Arts Professional - issue 204 (October 2009) by PAUL VATER

Issue 204 | 19 October 2009 | £4.25 www.artsprofessional.co.uk

The country is now bracing itself for difficult times ahead The arts sector responds to party conference season on p6

Anger as companies lose the chance to apply for ACE recession funding. English arts organisations are shocked at the closure of Arts Council England’s (ACE) Sustain fund to new applications on 9 October, with only a week’s notice, just after AP last went to press. The director of one youth arts organisation told AP that her local ACE officer made it clear at an open meeting “that it would make more sense to apply in the second year of the programme”. She is “shocked” and “was not the only one who was advised to wait”. ACE will continue to announce Sustain awards until decisions have been made on all of the 192 applications it has received. Applications post-marked before the closing date will be accepted, even if they are delayed by Royal Mail strike action. Around £23m remains in the budget following the announcement of a further 16 awards last month (AP202). Speaking to AP, Charlotte Jones, Chief Executive of the Independent Theatre Council, questioned whether the closure had originally been planned. “A lot of people were holding off because they were quite prudently waiting to see what the effects of the recession would be,” she said. “Organisations which have managed to make a case so far for losses incurred may end up being the lucky ones.” An ACE spokesperson told AP that “if in some cases regional officers have advised an organisation not to apply immediately, it would be because they felt the organisation was very unlikely to be successful with their application”. He added that “this advice was not official and did not form part of the information sent to regional offices”, and that “arts organisations were able to apply…

Shock at Sustain closure whatever advice they received”. On the subject of the closure, he said ACE has always been “very clear that Sustain is a finite fund” to be spent over two years, and has ensured that “organisations were aware that Sustain was heavily subscribed”. A full evaluation of the impact of Sustain will be carried out at a later date.

the new emerging companies are the ones that will go to the wall AP readers have raised questions about the bar on applying for money to replace reduced local authority grants. The director of a major regional gallery, which is also an ACE Regularly Funded Organisation, argued that “we are more affected by the recession than other arts organisations” because the Government is “squeezing local authorities” which have in turn cut arts funding. He pointed out that many galleries, being free to the public, are not affected by box office income but have been hit badly by other cuts. ACE defended this rule, “as it is counter-intuitive to replace public funding with public funding”. The director of a large-scale regional theatre told AP that his organisation had held back from applying in the belief that smaller, more vulnerable organisations would be put first, only to see theatres of a similar type receiving large sums. “The new emerging companies are the ones that will go to the wall,” he said. “Those on the inside get the funding and those on the outside don’t know the way in and don’t get the money.” He added that to many in the sector, the fund appeared to be a “reward for failure, rather than an incentive to innovation”.

Folk music boost The English Folk Dance and Song Society (EFDSS) is to become a national development agency for folk music. This has been made possible because the Society has become an Arts Council England Regularly Funded Organisation, and is due to receive £400,000 over two years. Katy Spicer, EFDSS Chief Executive, explained that the new agency will set up a number of initiatives that will benefit the folk sector, including a “definitive online resource for both our members and the general public… that will make even more of our library and archive collections available”. EFDSS was founded in 1932 following the amalgamation of the Folk Song Society (founded in 1898) and The English Folk Dance Society (founded in 1911), and is based at Cecil Sharp House in Camden. It has been a centre for the study, practice and dissemination of traditional English song, dance and music, as well as housing the Vaughan Williams Memorial Library. www.efdss.org

02 New cash for Wales A £2.2m funding boost has been announced for the heritage sector in Wales (which includes the arts), as part of the Welsh Assembly Government’s drive to protect frontline services and counter the effects of the recession. Existing revenue funds will be maintained for 2010/11, with an additional £285,000 for the Arts Council of Wales (ACW) to develop creative networks and £200,000 allocated for work with the Department of Children, Education, Lifelong Learning and Skills to help disadvantaged young people train through local arts organisations. ACW is also undertaking a review of its Lottery Capital Programme over the period from 1999 to the present. It will assess the impact that capital projects have had on wider regeneration and make recommendations on future capital programme policy and priorities. The National Campaign for the Arts has welcomed ACW’s efforts “to look in depth at the value that large-scale capital projects have on infrastructure”.

NEWS

DCMS at loggerheads with Mayor Disagreement between the Mayor of London, Boris Johnson, and the DCMS has disrupted the appointment of the new Chair of Arts Council England (ACE), London. The power to make the appointment, which includes a seat on ACE’s National Council, was passed to the Mayor following the Government’s review of powers of the Greater London Authority in 2005/06. However, it is subject to approval of the Culture Secretary, Ben Bradshaw, who directly appoints the chairs of other ACE regions. The new appointment was due to start on 1 September. However, Bradshaw has blocked the candidature of Veronica Wadley, the former Evening Standard Editor, who headed the paper while Johnson was running for Mayor and strongly supported his candidacy. A spokesman from the DCMS said that “the Secretary of State has been advised the appointment process was in clear contravention of the Nolan principles and that panel members were deeply unhappy that due process had not been followed. On that basis [he] could not accept the Mayor’s recommendation.” However, Johnson, who recommended Ms Wadley for the £7,000-a year post, called the move “an outrageous politically motivated attempt to prevent [her] being considered for an important post for which she’s highly qualified”, and asserted that “senior civil servants agreed during the final selection that she was the strongest candidate”. Nolan’s Seven Principles of Public Life (which can be found on the website of the Public Appointments Commissioner) include “Objectivity – In... making public appointments, awarding contracts, or recommending individuals for rewards and benefits, holders of public office should make choices on merit.” Dame Liz Forgan, Chair of ACE, is reportedly “dismayed” that the row has been leaked. ACE told AP that it would be improper for Dame Liz, who was a member of the assessment panel, to comment, but reported that she considers the leak “is not proper procedure and is grossly unfair on all those involved”. The Mayor is able to consider the other candidates for the post or may, “under extreme circumstances, ask officers to readvertise the vacancy”. ACE was unable to say when they would be able to announce a new appointee. www.publicappointmentscommissioner.org

Creative Scotland (CS) will soon be seeking a Chief Executive and a supporting five-strong executive team, according to CS Chair Ewan Brown, speaking at a second update meeting in Perth earlier this month. Previously, the assumption was that a new Chief Executive could not be appointed until Royal Assent is granted in 2010 (AP196). Brown revealed that the new structure for CS would be simpler, but details will not emerge until after current negotiations with staff and unions are complete. The previous update meeting in June had revealed that CS would not be eligible for charitable status. Brown said that “the [Culture] Minister [Michael Russell] and I have had a very useful meeting with the Chairman and Chief Executive of OSCR [Office of the Scottish Charity Regulator], and I think we’ll get a good outcome from that”. Russell, who also spoke at the event, said that all the criticism of the previous CS Bill “had now been addressed in full”, and added that “changes have been profound and necessary, and do underpin a much better series of arrangements”. The Education, Lifelong Learning and Culture Committee of the Scottish Parliament has been taking evidence on CS, and the Stage 1 debate on the Bill is scheduled for 16 December.

Early recruitment for Scottish team

The £8.9m Jerwood Dance House, a major new international centre for dance developed by DanceEast, has officially opened. It is the first cultural development to be opened in Ipswich in over a decade and provides 2,500 square metres of dance facilities at the heart of a £70m renewal programme in Ipswich. The centre was opened this month with a huge parade through the streets, which featured the people of Ipswich performing a dance called ‘Let Yourself Go’, specially choreographed by New Art Club to James Brown’s ‘Get Up Offa That Thing’. The centre offered free taster workshops over its opening weekend including Egyptian belly dancing, ballet, hip hop, and musical theatre, to encourage Ipswich residents to get involved in dance. www.danceeast.co.uk

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NEWSREEL

Participation manifesto

www.vovici.com/wsb.dll/s/a291g4052f

www.homeoffice.gov.uk

Rural communities have no real cultural voice or clout, particularly when it comes to influencing how important arts and cultural funding policy decisions get made, according to the Rural Cultural Forum (RCF). At the moment, cultural funding and arts support for regeneration and the creative economy are weighted towards urban centres, and the RCF argues that support ought to be accessible to all communities – both urban and rural. However, a seminar which the RCF had hoped to hold this October to discuss Arts Council England’s proposed Rural Cultural Strategy has had to be postponed.

www.participationinthearts.net

Ticket merger blocked Live promotion and ticketing giants Live Nation and Ticketmaster remain committed to merging, despite a provisional ruling by the Competition Commission that the move “will limit the development of competition in the market for live music ticket retailing.” The Commission’s report raises concerns about Live Nation’s ability to restrict the supply of tickets to a new competitor, the German company CTS Eventim, but did not find “any adverse effects on competition affecting other ticketing agents, promoters and venue operators arising from the merger”. In a joint statement, Ticketmaster and Live Nation said, “We firmly believe that our merger achieves an important and much needed public interest.” The Commission has suggested possible measures to remedy the adverse effects of the merger, including either Ticketmaster or Live Nation divesting its UK business, and ensuring that any third-party ticket agent such as CTS could sell Live Nation’s tickets.

Arts & Business is calling for contributions to its annual Private Investment in Culture survey, which looks at trends in business investment, individual giving and funding from trusts and foundations. The deadline for responses is 30 October, and findings will be published in February 2010.

Everyone in England should be able to “participate in the arts and/or crafts”, regardless of their background or area, according to a new Manifesto for Participation launched at the nalgao conference. The Manifesto was developed by representatives from national organisations with support from Government departments and Arts Council England, and a new Participation in the Arts (PITA) website has been set up. Its vision is for “every person [to have] the opportunity to lead and develop arts and crafts activities in their neighbourhood if they so wish, and [to be] able to progress as far as they wish”. PITA hopes that organisations and individuals will use the manifesto to identify how and where participation takes place; to find ways of increasing and widening participation; to invest in, and develop, the infrastructure; to develop a strong coalition and a joined-up approach; to bring about a step change in current support; to share best practice; to raise the status of amateur/voluntary participation; and to develop the role of the participant in setting the agenda, defining the language and being actively involved in decision-making. Robin Simpson, Chief Executive of the Voluntary Arts Network, has urged arts professionals to pledge their support for the manifesto and to use its website as a forum for discussion.

The Home Office is to introduce all 16 recommendations of a report from the Migration Advisory Committee, including measures to make it harder for skilled foreign workers to take jobs in the UK under the Points-Based System. From 2010, all jobs must advertised with Jobcentre Plus for four weeks before an employer can recruit from outside the European Economic Area.

A new resource, ‘Bolder and Wiser’, will be available to download from Audiences London to support cultural organisations wishing to engage more with older people. It covers facts about an ageing population, looks at how age affects cultural participation and attendance, and offers resources supporting older people’s access to culture. It also contains a talk by David Cutler, Director of the Baring Foundation, which has just launched a new £3m fund for arts organisations working with older people. The Foundation has published the first UK-wide mapping report of such work. ‘Ageing Artfully’ includes 120 case studies as well as comparisons with the Republic of Ireland and the USA. www.audienceslondon.org/bolderandwiser; www.baringfoundation.org.uk

An open meeting about London Culture and 2012 will be hosted by the London Cultural Strategy Group and the Mayor of London on 2 November. It will be an opportunity for cultural organisations and practitioners in London to learn about the latest plans for cultural activities related to the 2012 Olympic and Paralympic Games and to find out how to get involved. lcsg@london.gov.uk

The Scottish Government has launched a £1.7m resilience fund to assist charities affected by the recession. Grants of between £10,000 and £100,000 will be available to organisations that can demonstrate that the recession has adversly affected them. The fund, which will be open for five weeks from late October, comes as part of as part of the Scottish Government’s £12m Third Sector Enterprise Fund. www.scotland.gov.uk

The controversial new Vetting and Barring Scheme governing who can work with children and vulnerable people came into force on 12 October. The new scheme will be delivered by the Criminal Records Bureau and the Independent Safeguarding Authority. New workers and volunteers working with vulnerable groups will need to start to apply to register from July 2010, and current workers and volunteers must register by April 2011. www.isa-gov.org.uk

Vocaleyes, the nationwide audio description company, is conducting research to evaluate current provision for blind and partially sighted people in museums, galleries and heritage sites. It is inviting feedback from blind and partially sighted people about their experiences of visiting museums, galleries and heritage sites, and to comment on reasons why they may not have made such visits. www.vocaleyes.co.uk

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NEWS COMMENT

Warning shots Nick Capaldi responds to Chris Ryde’s pointed advice for the Arts Council of Wales as it embarks on its Investment Review. © PHOTO David winwood

In AP203, Chris Ryde fired a volley of warning shots across the bow of the Arts Council of Wales’s Investment Review. Chris is an old hand in these matters, and his warnings deserve to be taken seriously, so I hope I can offer some reassurance as we brace ourselves for the choppy water ahead. Firstly, why are we undertaking such a radical review exercise? It’s very clear to me that too many arts organisations in Wales are being starved of the resources they need to flourish. Ambition and enterprise are in danger of being choked; newly refurbished buildings don’t have the revenue to capitalise on the potential of their new facilities; arts programmes are being reduced or curtailed; and international partnerships are under threat as organisations are unable to collaborate with their better funded counterparts outside Wales. The creative reasons for a review are overwhelming. But at a time when every pound of public spending will come under intense scrutiny, can we really afford not to be investing taxpayers’ funds as wisely as possible? We (and I include the Arts

Rabab Ghazoul’s installation at Chapter Arts Centre in Cardiff.

Council of Wales here) all need to play our part, raise our game. Are we good enough? How can we excel? What will persuade government to see the arts as a priority when there are so many other causes clamouring for attention? These are the questions that our Investment Review will try to answer. We move forward in as open a way as possible. The Review’s Terms of Reference, our vision for the future, and the criteria by which judgements will be

made have all been widely discussed and are available on our website. Of course, ultimately it will come down to making choices. We won’t rip up the things that work and that we know are of value in a devil-may-care fashion. But if need be, we’re prepared to take bold, and even unpopular, funding decisions to support what we believe in. We will not do this haphazardly or irresponsibly, but knowingly, confidently and diligently, equipped with our best instincts, knowledge and expertise. Our vision of a better future for the arts in Wales depends on nothing less.

Nick Capaldi is Chief Executive of the Arts Council of Wales. w www.artswales.org

hotspot In the second of our new regular columns where you tell us what’s going on your region, Alison Edbury asks whether Yorkshire’s population growth has lessons about diversity for every region. Population growth in the UK is at a 47-year high, and there are now more than 61m of us. The regional population projections reveal where the real challenges and opportunities lie. Audiences Yorkshire’s region bucks the UK trend, with a population increase of 3.5% between 2002 and 2007, compared to a national average of 2.8%. Despite the UK overview suggesting that natural change – births minus deaths – is key to population growth, international migration is a major contributor to regional population increases. For every 10,000 residents in Yorkshire and The Humber, 45 people arrive from abroad. At a recent Audiences Yorkshire event, ‘Time To Change’, delegates considered diversity post Arts Council England’s (ACE) ‘Race Equality Action Plan’, and how to embrace diversity with regard to artistic, audience and ISSUE 204 19 OCTOBER 2009

organisational development. Delegates spoke of a very strong desire for change in understanding of diversity, and recognised that “more interesting work” could be a positive outcome, as well as being able to “exploit the best skills in the world” and “to change perceptions of who art is for”. In the future, might this translate into positive change in demographic patterns of attendance and participation, as evidenced by ACE’s Taking Part survey? The report on findings from the first three years of the survey says that “inequalities reflect and perpetuate longstanding social norms and patterns of stratification and exclusion in society”. What truths will the future Taking Part surveys reveal about how arts and cultural organisations and policy-makers have collectively taken advantage of diversity? And will we be

ready for future population change? It’s down to us to make the difference. Let’s not overlook our role in taking charge of change and determining how we can take advantage of it.

Alison Edbury is Chief Executive of Audiences Yorkshire. E alison@audiencesyorkshire.org.uk w www.audiencesyorkshire.org.uk

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CHANGING FACES Nick Bearley, most recently Executive Director at The Lighthouse in Glasgow, has replaced Catherine Lockerbie as Director of the Edinburgh International Book Festival. © PHOTO Shelley Bennett

Brighton Dome and Festival has appointed Felicity Field to the new role of Director of Artistic Planning. She moves from Raymond Gubbay Ltd, the classical music promoter. Dany Louise has stepped down from her role as Creative Industries Manager at Brighton and Hove City Council.

Dr Tracy Long has been appointed by the DCMS as a non-executive board member. She also chairs the DCMS Audit Committee and serves on the Advisory Board of the London Symphony Orchestra. Rebecca Storey has moved from The Courtyard Centre for the Arts to become Press and Media Manager at York Theatre Royal.

The South London Gallery has a new Development Officer, Georgina Davey. She joins from the Horniman Museum, and prior to that she worked at The Campaign for Drawing. Audiences North East has appointed Kerry Ellis Byrne in the new role of Research and Audience Development Manager. She previously worked for Arts About Manchester and The Sage Gateshead. Colin Nee, Chief Executive of Charities Evaluation Services, is leaving to become Executive Director of the Ireland Fund for Great Britain. Bill Lloyd is to take over the role of Director of Artist Development at Aldeburgh Music in January. He succeeds Anita Crowe, who has held the post since 2004. Lighthouse, Poole’s Centre for the Arts, has appointed David Pratley as Chair of the Board. He succeeds Lyn Glass, who is stands down after six years of service.

matters arising Catherine Rose responds to readers’ feedback and calls for more of your questions. There’s an old joke about a letter home to Mother which starts, ‘sorry this letter is so late, it must have got lost in the post’. We hope you haven’t experienced too much delay in receiving your copy of AP, but trust you will realise that Royal Mail strike action may have caused its late arrival. This may also affect the following issue (AP205). POINTS AND POINT SIZE We’re delighted to learn from readers’ feedback on our last issue that many of you are enjoying our new design. We’ve been congratulated on “the new look and the sharpening attitudes at ArtsProfessional”, and on appearing “fantastic – clean, fresh and contemporary”, and many of you agreed that we have achieved our aim of renewing the magazine. But almost everyone who wrote to us pointed out that the size and style of our new font was difficult to read. This was certainly not our intention, so in this issue we have used a larger font size. Please let us know how you get on with it this time round. ISSUE 204 19 OCTOBER 2009

THE VOICE OF THE SECTOR We’ve also had positive comments about our news coverage. We hope to continue to improve this aspect of the magazine, and your involvement makes a lot of difference. We aim to ask all the right questions at the right time, and we often get our best results when those questions come directly from people in the sector. At the moment we’re looking into a number of issues of which you may have important first-hand experience. These are: the Sustain programme – whether you’ve been successful or not; the issue of rural arts entitlement; the Association of Chief Police Officers’ proposed charges for the policing of community arts events. If these strike a chord with you and you have a question or some useful information for us, contact us in confidence. We pride ourselves on discretion, and will never publish your name unless you say we may.

E editors@artsprofessional.co.uk

Need to Know Looking for advice? AP finds the answers to your questions.

Funders are talking more and more about “public engagement”. Why? Isn’t it just another word for audience development?

You’re right: public engagement has become a recurring motif in politicians’ and policy makers’ rhetoric about culture. It is a key driver of current government policy right across the public sector. So what is it? The Scottish Arts Council says that public engagement incorporates participation, audience development, marketing, education and learning, and is a way of achieving an arts organisation’s artistic, social and financial objectives. Arts Council England talks about engagement as attendance in both formal and informal settings and as participation in a creative process. So far, it sounds remarkably like audience development. But there’s a big difference: power. Public engagement aims to increase trust in the quality of public services. Many arts organisations have been listening and responding to audience feedback for years. But this is about the public getting involved in shaping those services. It’s not the same as community engagement and civic engagement, either. They centre on partnerships with gatekeeper organisations and strategic bodies, but public engagement is about involving individual members of the public. It’s serious stuff. Local councils now have a duty to involve local people in key decisions, including what gets funded. So do police authorities. And so do key arts and sports organisations, including the Arts Councils. How will this affect you and your colleagues? Community arts organisations will be wondering what the fuss is about. They’ve always taken this approach. But the rest of us will need to get to know our communities so much better. We need to understand how different individuals respond to our work, what they find relevant, what they value. We need to give them the information and support they need to consider, question and debate. The theory is that together, we’ll make better decisions. Public engagement is not audience development, it’s supposed to be democracy in action.

This week’s question was answered by HEATHER MAITLAND, a consultant specialising in marketing and audience development. T 01949 843161 E heather@heathermaitland.co.uk

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OBSERVATIONS

Jostling for position New research paints a depressing picture of the sector’s response to our political future. John Nicholls calls for more coherent lobbying for the future of the arts. As the Autumn Party Conference season disappears into memory, we have the prospect of up to seven months of increasingly aggressive political posturing to look forward to as the parties vie to capture the hearts and minds of a jaded electorate. Against this background and following the clear messages coming from Bournemouth, Brighton and Manchester, the country is now bracing itself for difficult times ahead with cuts in services and increased taxes. Where will the arts feature in the political landscape of pre-election Britain? Minimally, according to the findings of a recent survey undertaken by Arts Quarter. The second decade of the twenty-first century has the potential to see the cultural landscape of the UK shift massively, which will challenge financial models, creativity and the ways in which the arts looks to engage audiences. The manner in which the sector as a whole seeks to respond to these issues and strives to influence debate will be critical in shaping the future directions of the sector for the next ten years. Perceptions within the sector at present would seem to suggest that a significant proportion of arts professionals may be set to give up the fight before it has even begun. MANIFESTO DREAMS Conducted between 5 August and 16 September – in advance of the ‘conference season’ and as part of AQ’s ongoing recession impacts research on the arts, our research into perceptions around the 2010 General Election paints a rather depressing picture. We asked a series of questions aimed at capturing views from senior arts professionals as to what the next few months might hold for the sector, as the parties increasingly manoeuvre to engage the electorate. We sought views on what the arts sector looks for in party manifestos, possible outcomes of the election itself and what the immediate post-election period may hold for the arts. What became clear was lack of any knowledge within the sector of definite and open support for the arts from any of the political parties. If the past three weeks of on-screen and off-screen politicking have shown us anything, it is that there are bigger fish to land to win the hearts and minds of the UK electorate. It is now ISSUE 204 19 OCTOBER 2009

merely a question as to when and how deep the cuts will be and, conversely, how much we will all have to pay in increased taxes thanks to the state of the global economy. Without active intervention by the arts community, this major contributor to UK plc is in danger of appearing as a manifesto after-thought rather than at the heart of government economic and social development policy for the next five years. A wish to see the sector featuring more visibly in the spending debate was the most requested issue raised by respondents, along with a clear commitment from the parties to provide assurance that subsidy will remain uncut. That said, some 69% of our sample see cuts in subsidy as inevitable. Many respondents looked to see manifesto assurances that the parties will commit to promoting increased levels of support via the private sector through changes in tax regulations, to offset losses in public funding. Whether this may be truly viable, at a time when both government income and expenditure will be picked over both in party HQs and in the media, may be questionable, but the time is at hand for the sector as a whole to up its game in making its case. SHARPENING OUR ELBOWS The challenge will be for the sector collectively and via organisational networks to jostle for position, both in the public arena and within the corridors of power, when the agenda will be dominated by issues of health, financial regulation, unemployment, education and defence. Without any form of incentive to support the arts, and given the current economic climate, only 13% of our sample saw any prospect of private sector funding increasing beyond current levels, post-election. Without some degree of action, a visible shrinkage of the cultural economy could become a genuine prospect. On the political front, some 81% of respondents stated that a Conservative majority government could be the most likely result. No respondents foresaw the return of a Labour or Liberal Democrat government, while a further 15% of respondents remained undecided or did not wish to respond. In this context, we asked respondents how they felt the wider arts community might fare post-election –

The arts awaits the outcome of the General Election

irrespective of the outcome – and only 12% could see the sector prospering. When asked to provide further justification of views, there was a very clear steer: “There is a need for public spending cuts regardless of which party is elected.” “Given the economic and overall uncertainty, who knows what the government (whether Labour/Conservative/otherwise) will be able to do.” “[Arts] budgets will be raided to compensate for pressure upon statutory services such as education, social services, housing and welfare provision which have been heightened by the impact of the current economic downturn.” Without an escalation in lobbying, any notion of a thriving cultural economy will in itself become a memory – just like the conference season we have all just lived through.

JOHN NICHOLLS is Managing Partner of Arts Quarter LLP. Copies of the Briefing Paper can be obtained free of charge from AQ, and its second report on the impacts of the recession on the arts will be available later this month. e info@artsquarter.co.uk This week John attended the opening of the ‘Maharaja – The Splendour of India’s Royal Court’ exhibition at the V&A, and got to grips with the script of a new play about the life of Bess of Hardwicke.

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OBSERVATIONS

Cultural metropolis

London’s status as the centre of global finance may have taken a knock, but its role as a cultural metropolis is stronger than ever. Many of the world’s finest writers, theatre directors, musicians, choreographers and visual artists choose to live and work in the capital, as do 90,000 students from almost every country on Earth. We have four UNESCO world heritage sites, 400 music venues, more museums than Paris and more major theatres than New York. Seven out of ten tourists cite culture as a reason for visiting. London’s status as a cultural capital benefits the whole of the UK. It is a gateway for UK tourism, its creative sector makes a significant contribution to the economy and its cultural attractions are enjoyed by people from across the country. This is why Mayor Boris Johnson, alongside Kevin Spacey, Artistic Director of the Old Vic Theatre, says that it is vital to maintain public and private spending on cultural activity in London during the downturn. MELTING POT The vitality of the UK cultural sector is partly a result of its unique funding mix. The Battersea Arts Centre, the Roundhouse in Camden and Tate Modern are amongst the many organisations in London that thrive on a mixture of philanthropy, sponsorship, local and national government support, and earned income. Public subsidy of higher education has nurtured talented art, design and architecture graduates who have gone on to commercial success, with business clients or support from private collectors. This intricate web of financial assistance has started to fray in recent months. We know that business sponsorship of the arts and culture is down by 7% and corporate hire (a major income stream for larger institutions) has declined. Local authorities are under similar pressures. At least individual giving is holding relatively steady, and box office income is buoyant – people are ISSUE 204 19 OCTOBER 2009

You wouldn’t know we’re in a recession if you looked only at London’s theatres, galleries and museums, says Munira Mirza. Attendances are up, new shows are opening and the cultural life of the UK is still buzzing.

The Mayor’s Office will continue to support events such as the ‘Big Dance’

craving uplifting cultural experiences. Of course, we need to be realistic. Everyone is looking at their budgets and searching for savings. Cultural professionals will need to be even more entrepreneurial and look for ways to stretch their resources. There is even greater incentive for similar organisations to work together in more efficient and effective partnerships. We also need to find greater efficiencies in arts bureaucracy, and streamline the multiplicity of initiatives. Inevitably, there is an incentive for cultural organisations to be pragmatic and argue their case in terms of the boxes they can tick for business and local government. Cultural organisations will find it easier to get corporate funding for safe blockbuster exhibitions, or persuade councils to fund programmes that address social problems. Culture can be an effective way to help deliver these diverse priorities. KEEP CALM AND CARRY ON But funders themselves need to think long term and not just judge by immediate impact or go for the eye-catching initiative. An experimental piece of theatre, which has a small audience but breaks new ground, has its own value. Likewise, funding high quality instrumental tuition for young people in small groups will be more expensive than funding large events and one-off initiatives that get lots of publicity, but it is vital to train the musicians of the future. We need to make the case for supporting a strong, longterm cultural infrastructure that treats culture as a thing of value in itself, not just in terms

of immediate social and economic impacts. Transport, education, health and energy all contribute to the long-term success of the nation, so does culture. The Mayor’s Office is providing capital funding for world-class cultural facilities, such as £5m for the British Film Institute’s new centre on the South Bank, and a variety of festivals and public realm improvements throughout the city. We are making culture more accessible through longer-term initiatives like the Londoner’s Culture Card, and investing in the development of the workforce through the 2012 Cultural Skills Fund. We also endorse the work of the London Cultural Improvement Programme, led by London Councils and Capital Ambition, which is already beginning to improve local cultural services and increase efficiency. Most importantly, we are making the case for culture for London and nationally. There are tough choices ahead, but it is important for those who control the purse strings in the public and private sectors to understand the enormous value that culture adds to our lives now and in the future.

MUNIRA MIRZA is Advisor on Arts and Culture for the Mayor of London. W www.london.gov.uk/mayor/culture/ cultural-metropolis

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FEATURE © PHOTO robert day for watershed productions/polka theatre

Cover story Theatre companies visiting schools are doing well. But Paul Harman is worried that, thanks to new rules and recessionary pressures, school visits to arts venues are suffering. What can be done? Many children are missing out on theatre trips

A single event – often misreported or misinterpreted – easily diverts public attention away from a long-term trend. Crime in the UK is down but a gruesome headline frightens us. The arts budget has rocketed in recent years but some significant failures give an impression that there’s a wolf at the door. Government figures quoted recently in The Guardian1 imply a £1.5bn annual market in trips to museums, theatres, and heritage sites. But the article also says teachers are unreasonably scared of litigation if something (very rarely) goes wrong. The Government’s new rules which recommend that staff should ‘rarely’ cover for each other have had some bad consequences. Birmingham Rep had 40 secondary teachers for a Theatre Skills CPD Inset course last year, but only two this autumn. Teachers said they could not get cover. Touring shows for young audiences in larger-scale venues are losing bookings because higher costs of cover for teachers and transport make trips too expensive.

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WORLD CLASS? UK professional theatre for young audiences is a sustainable success at a basic level. But is the artistic standard of theatre in the UK as good as that offered to children in Holland, Denmark or Germany? Probably not. But then whether we look at Early Years provision, residential care, the number locked up, teenage pregnancies, obesity or educational outcomes for the majority, the UK does badly. In 1991, the UK signed up to the UN Convention on the Rights of the Child, but the obligation to “respect and promote the right of the child to participate fully in cultural and artistic life” has not yet been fully honoured. Governments still support the arts mainly for their instrumental benefits – in addressing all the failures listed above, as if they were caused by young people rather than by society at large. There is enormous public demand for cultural experience and expression for young people, from franchised drama clubs and a thousand youth theatres, to local dance schools, music lessons and discovery museums. But this demand is constrained by what people know. “Try something new today” was a slogan in my local supermarket before the recession hit. It has stopped now but was probably ineffective anyway. Similar exhortations to eat five pieces of fruit or vegetables a day don’t meet the real

challenges to public health either. PUSHING THE BOAT OUT To enable parents and teachers to go beyond what they know, to provide a broad and balanced cultural offer for all young people will cost serious money and need managing. Forget exhortation, pilots and talent spotting. To get high quality arts to every child, as an experience and as a practice will require structural and long term intervention by Governments, from arts training for teachers to more permanent theatre ensembles. To build productive relationships with artists, teachers will need cover to attend professional development events. Not ‘rarely’ but more often. Our task is to persuade Governments that the national interest requires such investment in arts and cultural experience for young people. Unless we “respect and promote” the arts and cultural experience as a force for human development, coming generations will be unable to cope creatively with accelerating change and the very real challenges of the future.

SCHOOL’S ALL RIGHT Children’s theatre companies touring into schools are doing well. Correction: bookings are at the expected level when established companies offer primary schools what they recognise as appropriate. The health and safety issues which worry teachers do not apply to shows in the school hall. Over 225 UK professional theatre companies offer plays and programmes of all sorts, and they probably reach most of our eight million young people. I say “probably”, because no official body checks the details of what goes where or who misses out. In October, there was a conference to address the long-term issues of programme co-ordination, marketing and innovation in middle and larger-scale touring theatre for young audiences. Commercial producers are

keen to join with subsidised companies in national and regional consortia to make new and original work, to share skills in marketing, to help create new policies and a manifesto for drama and theatre, to learn from development models in Scotland and Denmark and to harness IT and social networking. Without public money invested in the unsubsidised companies, new titles and original or innovative theatre in venues are just too risky. Innovation at the small scale is affordable but if larger-scale work fails the losses can be catastrophic. We are stuck.

PAUL HARMAN is Chairman of Theatre for Young Audiences UK and represents the UK in the International Association of Theatre for Children and Young People. This week Paul watched rehearsals for ‘Boo Icky Boo’, a participatory dance show by Tees Valley Dance, and attended the nalgao conference in Swindon. 1

Children denied school trips over teachers’ fears

of being sued’, Polly Curtis, Education Editor, The Guardian Friday 2 October 2009. http://bit.ly/18adqk

www.artsprofessional.co.uk

09 CASE STUDY

Look again New technology, when handled well, can aid interactive learning for schoolchildren in galleries, Neil Dymond-Green believes. OOKL is a mobile phone with software that connects it with a website. Users can take pictures, write comments and record audio. The phone then uploads this content to a website. Users can manipulate the image, text or voice recording into simple presentations or download them. They can read and ‘borrow’ fellow users’ content to supplement their own work. It sounds simple enough, so how does it work in practice? The Manchester Museum has used OOKL with a range of age groups in primary and secondary schools. One project made use of its two-way nature: a member of the secondary learning team captured images of exhibits along

with information and questions, creating an interactive trail. The content, based on evidence for evolution and adaptation in animal life, was available both from the phones and from the website, giving the stimulus to extend the pupils’ research. The second project was with a class of 10 and 11 year olds. The aim was to give an insight into how objects end up in museums, from taking part in a simulated archaeology dig and classifying and reporting on finds, through working with a curator to explore objects normally hidden in the museum stores, and exploring conservation issues with a conservator. The process continued with children critiquing displays in galleries in the Manchester Museum and the Whitworth Art Gallery. This culminated in the creation of ‘The Museum of Me’, a museum of personal objects where the children took full control of labelling, display and presentation. OOKL was an invaluable part of this process, as the children could capture thoughts, ideas and analysis very quickly, supplementing writing and sketching. This was

especially motivating for those more confident at verbalising ideas than writing them. The children also liked the idea that they could access their content from the website – one child independently Googled OOKL, worked out how to log in, and explained it to classmates before I had a chance to. The children used the content in their final presentations on the project. The technology has the ability to motivate pupils, support them in accessing museum and gallery collections, and extend and develop learning outside the classroom. There’s every reason to believe that this could work for other arts organisations as well. I’m sure we’ve only begun to unlock its potential, and look forward to exploring more ways to use new technology to aid learning. NEIL DYMOND-GREEN is Lead Educator (Primary) at the Manchester Museum. T 0161 306 1778 W www.manchester.ac.uk/museum/ learning; http://learningmanchester. wordpress.com

Gaining authority The success of much arts work is dependent on the structures and personnel in place in the local council at any one time. Sherrell Perkin highlights the importance of co-ordinators. Barking and Dagenham Local Education Authority (LEA) has a fabulously dynamic Dance Advisor, and her Schools Dance Network is a force to be reckoned with. She is backed up by a team of committed dance teachers, but without this centrally co-ordinated support system they might all be working in isolation. The Schools Dance Network is an influential body, consulted by those connected to local dance. The Network’s meetings are always well-attended. Students take part in courses, projects, festivals and competitions, two local schools have Dance Academies, and the Network works with The BROADWAY theatre to host professional ISSUE 204 19 OCTOBER 2009

performances, workshops and an annual showcase of primary and secondary dance. The Council has used this expertise to set up a community Dance Festival and a Dance Action Team. The future for dance looks bright. The picture for drama is different. We have no Drama Advisor. Drama provision in local schools varies widely in terms of resources, support and curriculum time allocated. The BROADWAY’s attempts to develop relationships with drama departments have fallen on stony ground. Of the nine secondary schools in the borough, only four have brought students to performances – just eight group bookings in four years. We had an English Adviser who set up Drama Forum meetings, which we hosted for free – and teachers came. The Advisor found funding for a major inter-school opera education project, but she left very suddenly and the post was eventually filled by someone without that proactive interest. We have been trying to fill the space ever since. Our stated aim has always been to raise the profile of schools’ drama, and to offer exciting opportunities to local schools. We have continued the termly Drama Forum meetings. The last one had one attender.

Co-ordinated support makes a big difference to dance.

We recently ran a Schools Drama Festival – publicised almost a year in advance, offering free use of the venue. Two schools participated – only one of which was from our borough. We could not generate the interest or buy-in that an LEA Advisor could have. We’ll keep trying, but it will remain an uphill struggle because the education sector responds to its own infrastructure far more readily than to any outside body, and coherence comes from within. It is the LEA that facilitates the dialogue, establishes common ground and renders it fertile for new developments. If there is a National Curriculum for schools, then surely there should be similar service level guarantees in those authorities responsible for upholding every child’s legal entitlement to arts and culture? Sherrell Perkin is Education and Community Manager at The BROADWAY, Barking. W www.thebroadwaybarking.com

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CASE STUDY

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CONFERENCES AND TRAINING October November (various)

Arts Award Bronze and Silver adviser training

November

Theatre of the Oppressed – Professional Training with Cardboard Citizens

UK-wide

A one-day course in delivering the Arts Award, a national qualification which supports young people 11-25 to develop as artists and arts leaders. Advisers support, mentor and assess young people taking the award. Arts Award offers a useful framework for arts activities and projects with young people, providing motivation and recognition. The course covers how to deliver and assess the Arts Award. Cost £130. » To find out more visit www.artsaward.org.uk/booktraining 020 7820 6178 enquiries@artsaward.org.uk

London

Joker Training (focusing on the skills of the Joker and the dramaturgy of Forum Theatre plays) and Forum Training Week (an introduction to Forum Theatre techniques). Courses are led by Adrian Jackson, translator and collaborator of Augusto Boal, who has been applying Forum Theatre techniques for over 15 years in homeless hostels, community centres, schools and theatres. » www.cardboardcitizens.org.uk / tel: 020 7247 7747 / email: too@cardboardcitizens.org.uk

2 &9 November

6 November

Leeds

MusicLeader Yorkshire and Live Music Now: Engage and Connect This training course is open to anyone who is interested in finding out more about the work of Live Music Now, and also developing a ‘toolkit’ of workshop activities. On completion of the training days, participants will have the opportunity to audition for the chance to work as musicians with Live Music Now in the future. The course costs just £20 for MusicLeader members (£40 for non-MusicLeader members). » For more information, or to book your place, please contact Yorkshire@musicleader.net or call 01422 321823

The Art of Location This one-day symposium, hosted by visual arts organisation and commissioning body Meadow Arts, will discuss the role of location in contemporaryvisual art practice. Speakers include artists: Ivan & Heather Morison, Mariele Neudecker, Clare Woods, Nathaniel Pitt, Yoke & Zoom and academics. This event is organised in partnership with Hereford College of the Arts and is supported by Herefordshire Council. Booking is essential.

The Courtyard, Hereford

» To book your place call 01432 340555 www.courtyard.org.uk email mandy@meadowarts.org 11 November

Fundraising For Your Music Project This one day participative course delivered by Rachel Mallows will look at how to fundraise for your music project. Participants will look at what to do and what not to do when seeking funding and will leave the course with the confidence to approach a range of potential funders and organisations. » Please email east-midlands@musicleader.net or call 01536 401902 for further information. Visit the MusicLeader website – http://www.musicleader.net

18 November

Arts Award Welcome training

The Guildhall, Northampton

North East

Promote your arts offer to young people and education professionals! The Arts Award Welcome badge announces that your organisation supports the Arts Award and can help young people to achieve aspects of their award programme. A half-day course introduces Arts Award and helps organisations plan their offer after which they can apply to the scheme www.artsaward.org.uk/welcome » To find out more visit www.artsaward.org.uk/booktraining 020 7820 6178 enquiries@artsaward.org.uk

18 – 29 January

Cultural Cinema Exhibition This intensive course returns for its eleventh year, offering a unique opportunity for anyone involved in the cinema sector who wants to develop their film programming skills. The course is taught by a wide range of industry experts and covers programming in different contexts; screening archive film, shorts and artists’ moving image; broadening audiences; marketing and PR; rights and formats. » See the Independent Cinema Office website for further information: www.independentcinemaoffice.org.uk/training / 020 7079 0477 / info@independentcinemaoffice.org.uk

ISSUE 204 19 OCTOBER 2009

BFI Southbank, London

www.artsprofessional.co.uk

THE EXTRACT

Sweet charity? Graham Devlin and Nicola Thorold summarise their essay that asks whether arts organisations could deliver better if they weren’t charities. © PHOTO robin stanley

Delegates at the CLP

A significant proportion of English not-for-profit arts and cultural organisations have charitable status, but in recent years doubts have been expressed about this dominant constitutional model. We believe that the operating model of an organisation should be driven by its mission and objectives. For some organisations, significant assets are held in trust over the long term, for the public’s benefit. For some, mainly smaller, operations, whose main assets are the individuals involved, a different model may be more suitable. For each organisation the circumstances will be different and there are a number of alternative structures available1. There are advantages to having charitable status, including public perception of value, a sense of continuity and financial benefits. Critics of the model claim that it often results in poor governance and undermines entrepreneurialism. GOVERNANCE Charities are led by groups of volunteer trustees (the board) which have responsibility for running the organisation and making decisions in its interests. This system provides an additional layer of knowledge, expertise and responsibility; and balances support and accountability. Despite this benevolent framework, there is evidence that governance malfunctions can undermine – and in some cases critically weaken – organisations. This damage may take the form of incompatibility between senior board figures and senior management, failure to achieve shared values and aspirations or a lack of clarity around executive and nonexecutive roles. But are these problems caused primarily ISSUE 204 19 OCTOBER 2009

by the characteristics of the charitable model? Many charities are excellently and effectively run whilst many non charitable organisations are dysfunctional. There does not seem to be evidence that poor governance is a direct function of a constitutional structure. Rather, we suggest that it arises largely from clashes within organisations (for example, when non-executive directors from a commercial field try to import inappropriate values to a charitable company), and/or individuals and institutions pursuing inappropriate attitudes and behaviour. Changing an organisation’s constitutional structure will not necessarily address these issues. ENTREPRENEURIALISM Innovation is fundamental to the success and relevance of cultural organisations. Commentators2 have argued that the charitable model is “inherently too conservative and risk averse” for the mixed economy model that cultural organisations need. Much of this seems to rest on myths such as “charities can’t make a profit or have reserves: they can’t borrow or invest”. None of these are true – although charities are subject to certain restrictions on what they are permitted to do and how they may expend their resources. Many charities across the voluntary sector deal with the challenge of those restrictions by setting up a wholly owned trading company to run aspects of their business (for example, catering concessions, or the commercial exploitation of the charity’s intellectual property). This approach makes it possible for the trading profits to be transferred to the charity and used for charitable purposes without incurring tax. It thus provides charities with

a mechanism for growing their income base through entrepreneurial activity. In certain circumstances, the new Community Interest Company (CIC) model can also offer advantages. The Watershed Media Arts Centre in Bristol, for instance, operates a group of three companies. The first two – a charitable trust and a trading subsidiary – operate in the traditional way; the third is a CIC with share capital. The CIC is allowed to expend its profits on community benefit or, to a limited extent, distribute them to its shareholders (which may include employees). It also has the attraction of enabling transparent joint ventures. While this option may have limited transferability, it does exist as a mechanism for facilitating entrepreneurial activity. need for change? This paper has not assumed that all cultural organisations should inevitably have – or aspire to have – charitable status. It has, instead, considered whether the charitable model presents any fundamental impediments to arts organisations’ effectiveness. We have found that the majority of well-governed cultural organisations generally regard their charitable objectives, the ensuing sense of public responsibility and the role of the board as sources of strength rather than of hindrance. Given that, we do not believe that the charitable model is, of itself, the principal source of conservatism or malfunction that some allege. Rather, we would suggest the problems of governance that exist in the cultural sector tend to stem from incongruent values, dysfunctional organisational culture and incompatible personalities. These challenges will not be resolved by amending constitutional structures; they need other approaches – not least changing the mind-set and behaviours of some who work and govern within them.

The Extract is taken from ‘Governance Now the hidden challenge of leadership’, published by the Cultural Leadership Programme (CLP). NICOLA THOROLD is a producer and strategic development consultant. GRAHAM DEVLIN is a creative artist, senior arts manager and cultural strategist. Readers can download a copy of the full publication from CLP’s website. E info@culturalleadership.org.uk W www.culturalleadership.org.uk 1

‘Towards a healthy ecology of arts and culture’, Mission,

Models, Money, 2007. 2

Alternative models of operation are described in

Governance and Organisational Structures which can be downloaded from www.ncvo-vol.org.uk/publications

www.artsprofessional.co.uk

MANAGEMENT FILE

Changing of the guard Organisations strive to recruit the right member of staff, but an altogether different set of rules prevails for trustee recruitment. Rick Bond thinks that the struggle to find a new trustee often outweighs the need to freshen up the board. It is strange the way trustees come and go, or rather the way so many come and don’t go. Too many stay on to gradually wither away over the years. This makes it difficult to ensure that your current board possesses the skills, expertise and energy relevant to your organisation’s needs. I sometimes wonder if there isn’t some tacit belief that trustees, once appointed, are entitled to stay as long as they like or, alternatively, cannot be allowed to step down as it’s so darned hard to find a successor these days. Let us therefore focus upon succession and recruitment issues. Firstly, check your governing document (essentially, your Articles of Association) to familiarise yourself with the clauses covering: minimum and maximum number of trustees; eligibility to become a trustee; maximum term of office; notice periods; procedures for nomination and election; re-election policy; election of honorary officers; representation of different interests on the trustee board; conflict of interest policy; trustee remuneration; policy for co-opting people onto the board. By law, they should address issues such as conflict of interest and remuneration. You may then wish to make other amendments to address key recruitment issues. Here are a few examples. Representation The right of some bodies to nominate a trustee is common. But are such nominees fully aware that they do not (and cannot) sit on the board to represent the interests of the nominating body? Trustees have a fiduciary duty to represent the interests of your organisation. Why not amend the Articles to allow them to be appointed as observers instead? Years ago, I happened upon a board whose trustees were representatives of local amateur arts societies. The only occasion when maximum attendance was guaranteed was for approving the theatre’s hire fees. You can imagine the outcome! ISSUE 204 19 OCTOBER 2009

Re-election Think about ways to address the dead wood factor. The majority of re-election clauses require a trustee to stand for re-election, usually after three years. In terms of removing dead wood, it’s a fairly useless device. Consider adding a clause restricting trustees to a maximum term, after which they must not be re-elected for a minimum period of one to two years. This will force your board to develop an effective succession plan, giving them the means and opportunity to find the right people at the time their skills are needed. An organisation planning a major capital campaign, for example, will need trustees able to fundraise, network and understand project management issues. Such trustees may not be the ones you want when you’re looking at developing artistic policy.

A code helps clarify expectations and obligations on both sides Diversity Has your board changed to reflect changes in the environment you work? Has the ethnic profile of the organisation’s beneficiaries changed? The bottom line Have your financial, sales and marketing structures have become more complex? What skills, experience and personal characteristics are you looking for in a board member with the ability not only to understand management reports, but also to offer valuable advice, guidance or contacts? This is by no means an exhaustive list – my space here is limited – but, I hope, a thought provoking starting point. You must also set up effective processes for managing succession. Nominating committee Establish with a specific remit to research and cultivate a pool of potential trustees, and to implement board development and induction programmes. Consider how many trustees you want to recruit at once. Introductions in pairs may save induction costs and provide moral support. Consider your needs in respect of your strategic plans, or major changes to the external environment in which you operate. Draw up a job description and person specification for each area of expertise required. Draft a code of conduct to help new and

existing trustees understand the relationship between trustees and the organisation. A code helps clarify expectations and obligations on both sides. Invite existing board members to align themselves with job descriptions to see where you have proliferation and gaps. This will indicate the type of trustee you need to find. Finally, a succession plan (which should become a standard agenda item) should seek to create a ‘talent pool’ of people you’re nurturing and grooming for future election. Consider advertising, social functions, talks to influential umbrella bodies, registering with board banks and discussions with influential networkers. So, next time you plan your expertly facilitated board retreat, why not focus on board recruitment and give yourself a whole day of blue-sky, common sense thinking on the issue?

RICK BOND is Director of The Complete Works (UK) Ltd, specialising in facilitating management insights, solutions and learning for arts and cultural organisations. e rick@thecompleteworks.org.uk T 01598 710698; 07970 742381 W www.thecompleteworks.org.uk

www.artsprofessional.co.uk

RECRUITMENT ADVERTISING 01223 200200 Programme Assistant Salary: £21,000 pa Based: London E1

To apply online visit

As our programme of captioned performances across the UK continues to grow, STAGETEXT would like to recruit a Programme Assistant. Working with the Programme Manager, your responsibilities will include liaising with theatres, captioners and technicians to book performances, issuing contracts, maintaining our database, and other administrative duties. For an application pack and more information, please see our website www.stagetext.org, email enquiries@stagetext.org or call 020 7377 0540. Deadline for applications - Friday 6 November.

STAGETEXT is a registered charity (1084300) and strives to be an equal opportunities employer.

Head of Participation (senior management post) TRW wishes to appoint an experienced and highly motivated person to develop further the theatre’s extensive, vibrant and award-winning Education Department. Applicants are required to have a minimum of two years related participatory arts development and/or theatre management experience. Salary: £28,700 p.a. Closing date: Monday 9th November Interviews: Tuesday 17th November For an application pack please contact Theatre Administrator on 01962 844600 or email finance1@theatreroyalwinchester.co.uk For an informal discussion please call Chief Executive, Fiona Burn, on 01962 844600

www.shropshire.gov.uk/jobs

Community Services

Theatre Services - Marketing Manager Theatre Severn – Shrewsbury. £24,646 - £28,636 pa, 37 hours per week. Permanent. Theatre Severn and Old Market Hall require an enterprising arts Marketing Manager. Opened in March 2009 Theatre Severn provides a diverse and exciting programme of arts for audiences across Shropshire, Mid Wales, and the West Midlands. Housed in a historic building the OMH Film and Digital Media Centre provides a hugely popular cultural cinema programme and is one of the top ten independent screens in the UK. Following successful seasons for both venues we are seeking an experienced and motivated Marketing Manager to plan and deliver an effective marketing, press and communications strategy for our arts programme. You will have significant experience in arts marketing, strong copy-writing skills, practical experience of online and social media systems/tools, an organised approach, good attention to detail, excellent interpersonal skills, and an interest in a wide range of art forms. Ref: SD329 Closing date: Friday 30 October 2009. Interviews date: Thursday 26 November 2009. HOW TO APPLY: To request an application pack please contact Shropshire Recruitment and contracts Team on, Tel: 03456789012 (24 hour answerphone), Email: srt.requestjobpack@shropshire.gov.uk quoting our job reference number. Details of posts are also available on our website: www.shropshire.gov.uk and we welcome applications submitted online. CVs are not acceptable. Shropshire Council will safeguard and promote the welfare of children and young people and expect all staff and volunteers to do the same.

Better for everyone. There is no upper age limit for applicants. Committed to Equality in Service Delivery and Employment

A new national programme supporting digital audience development requires:

Got a vacancy and need it filling quickly? Call Paul on 01223 200200

A project Manager A team of Specialist Advisors

Drama and Theatre

For info & application see www.gga4arts.co.uk/news

The department is entering an exciting new phase in its development and this post will offer the appointee the opportunity to participate in the growth and expansion of our International research, now focussing around the newly launched Centre for International Theatre and Performance Research.

Web Content Officer

Salary: £23,001 - £26,121 p.a. (incl’ LWA)

This is an exciting opportunity to support the development of dynamic new websites in the creative and performing arts higher education sector. Trinity Laban is the leading conservatoire of music and dance comprising Trinity College of Music and the Laban School of Contemporary Dance. The Web Content Officer will be responsible for the day to day maintenance of the family of Trinity Laban websites, intranets and social networking sites, managing them to become best-in-class in the performing arts higher education category. This is an exciting opportunity to be involved in a substantial re-development project for a creative performing arts organisation, working within the Communications Team you will deliver media rich content across a variety of platforms which is timely and relevant to a wide range of internal and external stakeholders

Lecturer (0.6FTE)

X0909/4136

Salary: £23,200 to £27,454 pro-rata, the full-time equivalent of £38,666 to £45,756 incl of London Allowance. We would encourage applications from scholars with a strongly international dimension to their research. This could include comparative, postcolonial or intercultural approaches to the study of drama, theatre and performance. The post is tenable from 1st January 2010. Further details and an application form are available from our website http://rhul.ac.uk/personnel/jobvacancies.htm or contact Human Resources on 01784 414241 email: recruitment@rhul.ac.uk Please quote the reference number. Closing date: Midday on 30 October 2009. Interview will be held on 23/24 November 2009. We positively welcome applications from all sections of the community.

The role requires two or more years commercial experience with web content management systems or online marketing, with some knowledge of HTML and Sharepoint applications. For a job pack and an application form, please go to the vacancies page of our website www.trinitylaban.ac.uk or E-mail: pthompson1@trinitylaban.ac.uk Closing date: Friday 30th October 2009 (No Agencies) Interviews: Week Commencing Monday 9th November 2009

ISSUE 204 19 OCTOBER 2009

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14 Sheffield Media Centre: Marketing and Audience Development Coordinator (full time post) Salary £16,000 p.a. Sheffield Media Centre aspires to be the Cross Arts Venue in Yorkshire – already a prestigious independent cinema and vibrant creative businesses centre in the region we have exciting plans to develop our cultural impact further in the next three years. We are seeking an experienced marketing professional that will help fulfill our ambitions by strategically building stakeholder relations within cultural, education and business sectors and developing audiences for Showroom Cinema. For more information and application form please visit www.showroom.org.uk or email reception@workstation.org.uk (tel 0114 2796511) Closing Date for completed applications 12 noon Monday 26 October 2009 Interviews will be held on Monday 2 November 2009 Please note that we cannot consider cv’s for shortlisting purposes Sheffield Media Centre is an equal opportunities employer and Investor in People. Sheffield Media and Exhibition Centre Limited (Showroom & Workstation) 15 Paternoster Row, Sheffield S1 2BX

This unique, open-access community arts centre for south-east London and beyond seeks experienced and capable applicants for two key full-time roles:

Head of Operations

National Museums Scotland is one of the UK’s leading museums services. Operating five museums and with one of the largest multidisciplinary collections in the UK, it aims to be a world-class museums service that educates, informs and inspires. A major redevelopment and modernisation programme is currently being implemented across our organisation, including a £46 million redevelopment of the Royal Museum building. This investment will create new displays, enhance learning and public facilities and provide high quality visitor experiences.

Exhibitions and Displays Manager £32,583 - £38,856 per annum plus membership of Civil Service pension scheme We are looking for a creative and highly motivated person with leadership qualities and excellent project management skills to join the Exhibitions and Displays Department. As Manager, you will work with the Head of Exhibitions and Displays to ensure delivery of an exciting programme of engaging and visitor-focused special exhibitions, touring exhibitions and permanent displays across all five Museum sites. This role offers a excellent opportunity to play a central role in the development of innovative and ground breaking special exhibition projects for our brand new 650m2 Special Exhibition Gallery at the National Museum of Scotland, which is due to open in 2011. An excellent communicator, you will be experienced in effectively managing a range of projects simultaneously. You will enjoy working to find solutions in a busy and highly paced environment and will be a strong team player. Experience in cost management, exhibition tendering and procurement procedures is sought.

£30,000 per annum with generous annual leave. Reporting directly to the Principal, the Head of Operations is a member of the Senior Management Team, and takes managerial responsibility for administrative staff and tutors, buildings maintenance, school holiday programmes and advertising & marketing.

You will hold a degree or a relevant qualification and have experience of working in museums, galleries or heritage attractions.

Class Registrar

Closing date for completed applications is Friday 30 October 2009. The selection event will be held on Tuesday 17 November 2009.

£16,500 per annum with generous annual leave. The Class Registrar administers enrolments and publicity for the Conservatoire’s varied group classes. For an application pack email info@conservatoire.org.uk or call 020 8852 0234. The deadline for applications for both positions is Friday 30 October 2009. 19-21 Lee Road, Blackheath, London SE3 9RQ 020 8852 0234 / www.conservatoire.org.uk

For further information and an application pack, please visit www.nms.ac.uk telephone 0131 247 4094 (answerphone) or email applications@nms.ac.uk stating reference NMS09/19.

National Museums Scotland is committed to being an Equal Opportunities Employer.

www.nms.ac.uk

To advertise email ads@artprofessional.co.uk or call Paul or Tricia on 01223 200200

Passionate about public engagement with culture? Shape the debate, and take us to the next level. Chief Executive / up to £50,000 Flexible location Network is the membership body of the twelve audience development agencies that cover the UK. Our vision is to create a passion for audiences and champion consistent, high quality audience development practices across the cultural landscape. We need a leader with superlative influencing and interpersonal skills. Someone who can both challenge the status quo, and build productive relationships. An individual who can work collaboratively with partners across the sector, and strengthen the membership and services of Network. For the right person, this is an opportunity to bring about real change in the UK cultural sector. For more information visit our micro-site www.networkceo.co.uk or www.artsintelligence.co.uk. For an informal and confidential discussion please call Pam Henderson on 01223 200200 or 07814 970154. Closing date for applications: 13th November. Selection day: Leeds, 2nd December. Network strives to be an equal opportunities employer.

ISSUE 204 19 OCTOBER 2009

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RECRUITMENT ADVERTISING 01223 200200 ARTS ENGAGEMENT OFFICERS

A NEW AUDIENCE DEVELOPMENT AGENCY FOR THE NORTH WEST

£27,573 p.a. 3 Year Fixed Term contract

is being created to work with arts and cultural organisations in Cheshire, Cumbria, Greater Manchester, Lancashire and Merseyside. Building on the strengths of the current agency Arts About Manchester and existing sub-regional initiatives, the new agency will deliver regional support in research, strategic marketing and audience development.

For further details and to apply on line please visit our website www.blackpool.gov.uk/jobs or alternatively contact our 24-hour answer phone on 01253 477244 quoting the reference number CC124.

As part of the preparations for working across the North West in 2010 we are seeking creative and enthusiastic team players for the following roles and to help us launch and shape the development of the new agency.

Head of Business Development & Client Services £27.2 - £29.3K

An entrepreneurial and results-driven senior manager with responsibility for overseeing all client services, communications and new business development.

General Manager £21.2 - £25.2K

Committed to systems and service improvement, this role will oversee the operations, HR, IT and finance systems.

Programme Co-ordinator 2 days per week, Salary £19,621 - £21,519 (pro rata) National Dance Teachers Association is recognised at the national voice for dance in education. It works to ensure that all young people in the UK have equal access to a high quality dance education. It is the leading subject association for dance in schools, led by teachers, for teachers, supporting dance across the curriculum. We are seeking to appoint an organised and enthusiastic person to plan and deliver our programme of CPD and events.

Digital Development Manager £21.2 - £25.2K

Requiring business-focus, initiative and drive, this is a new role to manage our digital services based around a new cultural what’s on listings portal.

Distribution Services Manager £21.2 - £22.4K

With a strong client-focus and planning skills, this role will work with suppliers and clients to deliver an effective print distribution service

Research Manager £23.1 - £24.1K, Fixed Term until March 2011

Closing date: Noon, Friday 6 November 2009 Interviews: Monday 16 November 2009 in Lichfield

Working in partnership with Renaissance North West, to increase and improve the understanding and application of research across the region’s museums and other cultural providers.

For more information email office@ndta.org.uk or phone 01543 308618 or download from www.ndta.org.uk/careers-info/job-vacancies

Research & Intelligence Co-ordinator £17.2 - £18.7K

Them Wifies Chief Executive, Newcastle-upon-Tyne

Website & Database Officer £17.2 - £18.7K

Salary £34000

(+ 4% matched pension contribution)

Them Wifies is a community arts company with 30 years experience of delivering exciting and high quality arts projects for women, girls and disadvantaged communities. Working to meet demanding targets we use the arts to positively change the lives of the people we work with.

The post of Chief Executive is a new role.You will have the vision and drive to develop a new strategy and to guide Them Wifies through a time of transformational change. The ideal candidate will be a hands on manager with proven business, communication, fundraising, networking and strategic skills. This is initially a 3 year post funded by The Northern Rock Foundation, Esmee Fairbairn Foundation and Lloyds TSB Foundation for England & Wales. Women only - section 7 (2) (b) of the Sex Discrimination Act 1975. We are committed to equality of opportunities. Registered charity number 702946 Closing date: 6th November Interview date: 25th November For further information contact: lesley.hall@themwifies.org.uk

This role will provide guidance and support systems for organisations wishing to improve research practice.

An applied self-starter, this role will coordinate all content for our new website, e-newsletters and CRM database.

To receive further details including person specification and application pack for any of the above posts please visit www.aam.org.uk/our_vacancies To arrange a time to talk informally please contact Helen Fairs by email helenf@aam.org.uk or call 0161 234 2955.

Closing date: 2 November

Full-time lecturer: Acting & Performance Salary Range £25,424 - £35,000 With around 24,000 student enrolments and a turnover approaching £30m, Dundee College is one of Scotland’s largest and most successful colleges. The School of Theatre as part of the Centre for Performing Arts has an excellent reputation for quality teaching and first class productions in our state of the art Dance and Theatre venue, The Space. We are moving into a period of expansion and seek an individual with a wide portfolio of practical expertise in theatre related subjects who will share our spirit of creativity, ambition and commitment to the training of our theatre students. You will inspire students and teach a variety of theatre related subjects at further and higher educational level, including directing main house productions. A degree or equivalent in an acting or theatre related subject is essential. For further information about this role please visit our website at www.dundeecollege.ac.uk. Alternatively contact Human Resources, Dundee College, 30 Constitution Road, Dundee DD3 6TB Tel: 01382 83 4912 or e-mail humanresources@dundeecollege.ac.uk Closing date for receipt of completed application forms is Friday 23 October 2009. Interviews will be scheduled on Tuesday 1st December, 2009

The next issue will be published on Monday, 2 November

Book your advertising by noon Tuesday, 27 October ISSUE 204 19 OCTOBER 2009

www.artsprofessional.co.uk

LAST WORD

In the realm of the subs

Catherine Rose, Editor

Mind the closing doors Many arts managers in England have been caught unawares by the closure of the Sustain fund. The short notice given – from the announcement on 1 October to the closure 8 days later – has come as an unwelcome surprise, though it also provoked a late surge in applications, with 41 received. Arts Council England (ACE) was praised for ‘doing something’ about the recession, and those who have received funds are grateful and relieved. (AP200). However, ACE’s response to our questions is disingenuous to say the least. If regional officers have been advising people to ‘wait until the second year’, there must have been an understanding that there was to be a second year. ACE’s original press release, back in April, said that “the programme will run initially over two years, 2009/10 and 2010/11”. It is now saying that the fact that money will be “spent over a two year period” means the same thing. Large numbers of arts organisations will have been under the impression that applications would have been possible during 2010/11. It is more evidence that, as one arts manager told us, “since day one, the information about this fund has been erratic, conflicting and incomplete”. ACE has assured us that the spread of grants will be seen to be fair once they have all been decided: obviously the cash is limited and ACE can only respond to the applications it receives. However, those applications have now

Olympic reactions

Here at ArtsProfessional there is one golden rule – we will never apply for external funding. Our editorial independence is precious in a sector where powerful stakeholders have a lot of influence over the futures of many organisations. We guard our independence closely, in an attempt to remain completely impartial in the news we report, the features we present and the comment we publish. The subscription you pay forms a vital part of the revenue that keeps the magazine, the email bulletins and the website going.

We’ve had a lot of comment about Sam Li’s piece in our last issue (‘The 2012 whitewash?’, AP203). One reader thought it “hilarious”, adding “it’s great to know satire can still find purchase in the grips of an economic recession”. Another was shocked by the LOCOG board members’ remuneration, “especially… the £500 hourly wage being paid to Princess Anne – don’t we pay her quite a lot already? £500 looks like a good weekly wage to most actors.” Something that still rankles is that the Olympics were partly won on the basis of the cultural offer, without the cultural community having brought on board in advance. Meaningful consultation prior to the bid might have helped to capture hearts and minds, and to give the sports establishment an inkling of how the arts sector works. The sports world’s reaction to the shortlist for ‘Artists taking the lead’ will be instructive. Spiral mounds, floating water mills and bee-keeping may sound like exciting projects to us, but could prove incomprehensible to athletes.

Our Subscriptions and Accounts Administrator, Jo Cherrie, is responsible for managing our relationship with you, making sure that you receive the products you have paid for (Royal Mail strikes notwithstanding) and dealing with any related queries that arise. It is she who wrestles daily with our ‘Myriad’ database, which was specially designed for the publishing sector, and enables her to deal subscription requests and let you know when it’s time to renew. She also arranges free trial periods to encourage first-timers to experience the e-bulletins, the magazine and access to the AP website. With her accounts hat on, she pays all our bills (on time!) and will be the person who phones you with a gentle reminder if you’re a bit late paying yours.

been abruptly stopped at source, and questions are still being asked about how the money has been deployed. ACE says it has further plans to help organisations during the economic downturn. We await them with interest.

This week Catherine devoured ‘Fun Home’, an extraordinary memoir by the fabulous graphic artist Alison Bechdel of her relationship with her troubled father. Bechdel is the author of the great comic strip ‘Dykes to Watch Out For’, and deserves to be better known.

Opinions expressed in ArtsProfessional, Ape-mail and ArtsJobFinder are not necessarily those of the publishers and no responsibility is accepted for advertising content. Any material submitted for publication may be edited for reasons of style, content or available space.

ISSUE 204 19 OCTOBER 2009

T 01223 200200 E join@artsprofessional.co.uk

Meanings will not be intentionally altered without permission from the author.

Chief Executive Pam Henderson

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Subscriptions and Accounts Administrator Jo Cherrie

Editor Catherine Rose Editorial Co-ordinator Eleanor Turney Consultant Editor Liz Hill

Publisher Brian Whitehead Designer Isla Jordan Sales Executive Tricia Bush Sales and Operations Manager Paul Minett

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