Arts Professional - issue 209 (January 2010) by PAUL VATER

Issue 209 | 18 January 2010 | £4.25 www.artsprofessional.co.uk

It is not right that

the PMSE sector should effectively pay for its own eviction Louise de Winter on the Save Our Sound Campaign p6

Power to the people? Proposals to create ‘smarter government’ may affect the arts sector.

The Government has devised a series of proposals to “strengthen the role of citizens and civic society”, “recast the relationship between the centre and the frontline” and “streamline central government for sharper delivery”. ‘Putting the Frontline First: smarter government’ lays out changes including working more closely with the third sector, new frameworks for national agencies and forcing cost savings on the Civil Service. A stricter governance framework for arm’s length bodies (ALBs) and their sponsor departments is due be published shortly. The Government hopes to “identify opportunities to save at least £500m by reducing duplication between organisations and streamlining the ALB landscape where appropriate”. A merger between the UK Film Council and the British Film Institute, which was welcomed by the Chairs of both bodies, has already been announced (AP201). The Government also wishes to “ensure greater transparency and scrutiny of ALBs, for example by ensuring they publish more data on their performance and value for money”. Other proposals include savings on human resources and finance

functions in agencies with more than 250 staff, and a reduction in spending on consultancy (by 50%) and marketing and communications (by 25%). A spokesperson for the DCMS told AP that it is not yet clear to what extent the DCMS and its ALBs including Arts Council England (ACE) and the Museums, Libraries and Archives Council (MLA) will be affected by the proposals. ACE and the MLA have already undergone extensive reorganisations with a view to cutting costs.

it is not yet clear to what extent the DCMS will be affected Other proposals include strengthening the Community Assets Programme, which encourages the transfer of under-used local authority assets, including buildings, to local organisations for community use, and the use of Social Impact Bonds to unlock funding for third sector work which deals with social problems. These could help arts organisations demonstrate their value in their local communities. Additional plans to streamline the national performance framework by “reducing the number of national indicators (NIs) for local areas by April 2010, and making further reductions from 2011” may also be of concern. NIs pertaining to adult attendance at museums

FutureEverything, a Manchester-based community interest company, has been awarded the £10,000 Lever Prize for its festival of art, music and ideas (pictured). It aims to bring together artists, technologists and future-thinkers by commissioning and producing work across all art forms that experiment with emerging technologies. The prize is judged by the North West Business Leadership Team, which comprises the 30 largest companies in the region, in partnership with Arts & Business North West. In addition to the cash prize, the award offers the winner a year-long collaboration with business leaders in the area.

Lever prize winner

and galleries (NI10) and adult participation in the arts (NI11) are already among those which local authorities may voluntarily adopt. The National Campaign for the Arts said, “We would hope that any rationalisation of NI sets retains arts and culture indicators in recognition of the benefits participation in and engagement with the arts can bring to a local area.” Measuring these benefits is currently underway, with recently released data on NI10 and NI11 showing that adult attendance at cultural events and venues has at best remained the same and in some cases decreased. A progress report from the DCMS compares baseline data from 2008 with interim data from 2009, with information from 150 local authorities (County Councils, Unitary Authorities and London Boroughs). Thirty-one local authorities show a decrease in adult attendance at museums and galleries, while no increase at all is shown in either NI10 or NI11 for the whole of Greater London. Lucy Bedford, Arts Development Officer for Milton Keynes and trustee of nalgao, pointed out that “due to short lead-in times, those local authorities that adopted NI11 started the delivery phase of their engagement plans to meet NI11 targets after the first phase of data was being collected”. She said that the NI targets mean that local authorities were having to turn their focus “from children and the disengaged to adults and the engaged”.

NEWS

Apprenticeship moves

Scotland bill passed despite doubts

Doubts have been cast on the Government’s strategy of providing apprenticeships to ease youth unemployment. The Chartered Institute of Personnel and Development claims that figures released by the Department for Business, Innovation and Skills show a drop in the take-up of all apprenticeships of 7.5% among 16–18 year-olds and 5.9% among 18–24 year-olds in the past 12 months. The figures coincide with the Culture Secretary’s announcement of 600 new jobs in the creative, cultural and sport sectors. A spokesperson for Creative & Cultural Skills, which will manage 200 of the new jobs, said that the cultural sector is attractive to young people, and that creative apprenticeships could “buck that trend”. The jobs will be for 18–24 year olds in member organisations of the National Skills Academy. A further 31 jobs will be managed by New Deal of the Mind, working with a Sixth Form College in East London and the performing arts and media centre Stratford Circus.

Creative Scotland (CS) has been formally established with the passing of the Public Services Reform (Scotland) Bill by the Scottish Parliament on 7 January, by 104 votes to 16. John Swinney, the Cabinet Secretary for Finance and Sustainable Growth, in whose name the Bill was brought forward, told MSPs that the Education, Lifelong Learning and Culture Committee and the Finance Committee recommended the move. He alluded to some continuing concerns about the Bill’s financial memorandum, the rejection of which caused the original Creative Scotland Bill to fail in June 2008 (AP173), but said that the Government has been asked “to monitor and report to Parliament regularly on progress”. Culture Minister Fiona Hyslop confirmed that the new body would “inherit the existing budgets of the Scottish Arts Council and Scottish Screen... [a] total provision of £57.5m”, and that there would be no compulsory redundancies to achieve the reduction of 30 in staff numbers. Labour’s Pauline McNeill said she was “in favour of a change of skill set for the new agency”, but opposed the slimming-down of the organisation, because of the additional functions the new body will take on. Referring to the way that responsibility for the creative industries is shared between CS and Scottish Enterprise, she also asserted that “the failure to make CS the lead body on the creative industries is a mistake”. Malcolm Chisholm (Labour) pointed to outstanding concerns over CS’s relationship to local authorities, the voluntary sector and other key partners, but voiced the opinion of many when he added that “we do not want any further delay”. Ewan Brown, the Chair of Creative Scotland 09, welcomed the news, and said that his first priority was “to find an outstanding leader to implement the business model”. Jim Tough, Chief Executive of the Scottish Arts Council, has already ruled himself out of the running by taking up the post of Area Executive Director, North for Arts Council England (p4).

Benefit scrutiny The Charities Commission is to examine fee-charging arts charities in its next round of public benefit assessments. The Royal Opera House, the Young Concert Artists Trust, The Castle Players and Gwent Ballet Theatre will be assessed as to whether they can demonstrate their public benefit according to the 2008 guidelines. Recent research by the Commission showed that 98% of trustees who knew about the requirement were confident that their charity could demonstrate its public benefit. www.charity-commission.gov.uk

Private cash falls Private investment in the arts fell by almost £32m (approximately 7%) in 2008/09, according to new figures from Arts & Business. Investment from business, and from trusts and foundations, was around 6% lower than 2007/08 (which translates to around £6m from each). Individual giving dropped by almost £20m (7%). Museums suffered worst, with both the biggest percentage drop (37%) and the biggest financial loss (£43.5m). Some artforms enjoyed an increase in investment. However, most suffered decreases, with literature and poetry receiving 26% less (£1m), and libraries and archives and community arts each receiving 23% less (£1.7m and £3.2m respectively). ISSUE 209 18 JANUARY 2009

Every person living in Northern Ireland now has an arts facility within a 20 mile radius, according to the Arts Council of Northern Ireland (ACNI). £33m has been invested in local arts centres by ACNI over the past 15 years, with the aim of providing every person in Northern Ireland with access to a local, dedicated arts centre. Many flagship buildings have been built or refurbished, including the Marketplace Theatre in Armagh City, the Island Arts Centre in Lisburn City, and most recently Strule in Omagh. Belfast’s Ulster Hall and Grand Opera House have both received extensive facelifts. Other building projects in the pipeline include The Crescent and the Lyric (pictured). The MAC, a new Belfast city centre arts venue, is due to be completed in 2011. Roisin McDonough, Chief Executive of ACNI, commented that “investment in venues goes further than supporting the local arts; it’s also about contributing to the cultural, social and economic life of our towns and cities”. www.artsprofessional.co.uk

NEWSREEL

Venues will no longer require a licence to mount live music performances for 100 people or less, according to a proposal by Gerry Sutcliffe, the Licensing Minister. The move is intended to benefit unlicensed premises such as village halls and cafés, which currently need to have a premises licence, a club premises certificate or a temporary event notice (TEN). The new arrangements would apply only to indoor performances between 8pm and 11pm, to prevent noise nuisance. The DCMS is carrying out a consultation on the proposal, which closes on 26 March. There is a further proposal to extend the time allowed to the police to object to a TEN, from 48 hours to two or three working days. www.culture.gov.uk

ROH plans The Royal Opera House (ROH) and Manchester City Council have reached an agreement regarding the proposed northern base for the ROH at Manchester’s Palace Theatre. The plans had been contested by the Lowry, but “clear and distinct artistic identities” have now been agreed. The Lowry will continue to present theatre, ballet and dance, while the ROH and the Palace will be primarily a producing venue for opera and music theatre. www.roh.org.uk; www.thelowry.com

A Drama and Theatre Manifesto is being developed by the National Campaign for the Arts and a number of other stakeholders. It aims to increase the opportunities for children and young people to engage with drama and the theatre, and to ‘catch up’ with other artforms. A feasibility study has been produced and circulated across the drama and theatre sector, and a steering group is currently being elected to create an action plan.

Two organisations have fallen victim to “a very challenging financial and economic period” already this year, and been forced to close. The KUBE gallery will close at the end of the month, following funding difficulties associated with the decision of Bournemouth and Poole College to withdraw revenue support. ArtsMatrix, the skills and enterprise development agency for the South West, has ceased trading and is seeking advice to place the company into voluntary liquidation. A ‘Save the KUBE’ campaign has been launched by local artists, and can be found on Facebook.

The Australia Council has developed a set of resources to help arts organisations define and assess artistic vibrancy. The toolkit is aimed at organisations that are struggling to find meaningful ways to evaluate their artistic impact, and to help funding agencies find ways of assessing artistic merit which go beyond box ticking.

Licence restored

The recipients of Arts Council England, London’s Older People Development Fund have been announced. The one-off fund of £34,092 aims to highlight the role the arts can play in the lives of older people. Organisations receiving funding include Akademi, which will work in care homes; Greenwich Dance Agency, which will offer dance sessions (pictured); and various projects working with Alzheimer’s and dementia patients. www.artscouncil.org.uk

The National Galleries of Scotland has been in discussion with Royal Bank of Scotland (RBS) following RBS’s decision to make its art collection available to the public. A pilot scheme has also been proposed, to place items from the collection in hospices, hospitals and other healthcare buildings across the country. www.nationalgalleries.org

A set of free guidelines to help artists and commissioners consider how to be more sustainable has been launched by Chrysalis Arts. The Public Art Sustainability Assessment is an online assessment tool which aims to promote sustainable practice in public art.

Ticket merger agreed

http://bit.ly/6nDO8I

In an “unusual but not unique” move, the Competition Commission (CC) has cleared the proposed merger of music promoter Live Nation and ticketing agent Ticketmaster. Following a provisional ruling blocking the merger in October 2009 (AP204), the CC launched a consultation, through which it received “significant new evidence and arguments”. An Inquiry Group then found that the merger “will not result in a substantial lessening of competition in the market for live music ticket retailing or in any other market in the UK, including live music promotion and live music venues”. The inquiry focused on the entry of German ticketing firm CTS Eventim into the UK market, and a recent agreement made by Live Nation to use Eventim’s ticketing software and services. Chair of the Inquiry Group, Christopher Clarke, said that the merger “is unlikely to make any significant difference” to fees and tickets allocated to Eventim by Live Nation.

A new Memorandum of Understanding (MOU) has been signed between the British Council and Arts Council England (ACE). The MOU defines areas in which ACE and the British Council can work more closely together and recognises that the two organisations cover some of the same ground.

The Dutch Ministry of Interior has taken permanent custody of exhibits on display at Tate Modern, on behalf of the Dutch Secret Service (AIVD). Jill Magid was commissioned by AIVD to “find the human face of the organisation”, but AIVD decided that Magid’s work revealed too much information, and made redactions a condition of the exhibition. After the exhibition, ‘Authority to remove’ had opened, some parts of it were confiscated.

www.artscouncil.org.uk

www.competition-commission.org.uk

www.tate.org.uk/modern

www.lancs.ac.uk/estates/projects

ISSUE 209 18 JANUARY 2009

www.britishcouncil.org/arts-ace-mou

www.pasaguidelines.org

Arts Council England has published two reports on new writing in theatre: one focuses on new writing for small-scale theatre, and the other looks at new writing on the English stage between 2003 and 2009.

Work has begun on the new £10m Lancaster Institute for the Contemporary Art (LICA). LICA will house Lancaster University’s Art, Design, Music and Theatre Studies departments, as well as the Peter Scott Gallery, the Nuffield Theatre and the International Concert Series. The building is due to open in September.

www.artsprofessional.co.uk

CHANGING FACES

Arts Council England has appointed Jim Tough as Area Executive Director, North. He is currently Chief Executive of the Scottish Arts Council. Network, the national membership body representing the UK’s audience development agencies, has appointed DAVID BROWNLEE as its first Chief Executive. He joins Network from London Councils, where he was Head of Culture, Sport and 2012 Legacy. Ruth Mackenzie, currently an adviser on cultural policy at the DCMS, is to be Director of Culture for the London 2012 Olympics. She has been General Director of the Manchester International Festival and Artistic Director of Chichester Festival Theatre. Four Artistic Associates have also been appointed: Sir Brian McMaster, Alex Poots, Martin Duncan and Craig Hassall. CLUNY MACPHERSON has been appointed as Regional Director of Arts Council England, North East, from April. He will be joined by Senior Managers MARK HOLLANDER and PETE MASSEY.

ALEC COLES, Director of Tyne and Wear Archives and Museums, is leaving in March to take up the position of Director of the Western Australian Museum in Perth, Western Australia. RACHAEL STANLEY is the new Research and Admin Assistant at Baker Richards Consulting.

Writers’ Centre Norwich has a new Creative Programme Manager, ANDREW BURTON. He moves from The New Wolsey Theatre where he was Head of Marketing. ANDREW DE ROSA is the new Chief Executive Officer at the Association of British Theatre Technicians. He has held managerial positions at Manchester’s Palace and Opera House, and oversaw the reopening of the Lyceum Theatre. BECKY BAILEY has been appointed to the new post of Programme Co-ordinator for the National Dance Teachers Association. She previously worked at Dance4 in Nottingham. JENNY WELCH joins Dance South West as Marketing and Communications Manager for Pavilion Dance. She was previously Visual and Marketing Co-ordinator for Chatsworth House. Tees Valley Arts has appointed an Arts Project Worker, MAURICE DEZOU, to support newly arrived communities and individuals who are interested in the arts. The Senior Visual Arts Officer at the Arts Council of Wales, EMMA GELLIOT, has been replaced by LINDSAY HUGHES. CapeUK has appointed JO JESSOP as Communications Co-ordinator.

Youth Music is inviting suitable applicants to tender for an evaluation of its national programme Youth Music Mentors Youth Music Mentors provides high quality music mentoring and development opportunities for children and young people in challenging circumstances. Please visit www.youthmusic.org.uk/Jobs for the research brief, or contact Douglas Lonie at Douglas.Lonie@youthmusic.org.uk The closing date for applications is 5th February 2010

ISSUE 209 18 JANUARY 2009

JAMES BAGGALEY, until recently General Manager at the ADC Theatre in Cambridge, has joined Spektrix Ticketing as Project Manager. ROGER MORGAN is the new Chairman of The Courtyard Centre for the Arts following the retirement of MARGARET THOMAS. After six years as Chairman, ROGER UMNEY is retiring from The Lightbox. He is replaced by ROGER HAWKSWORTH. NINA EGGENS has left her job as Marketing Manager for Peacock Visual Arts to become Project Manager for Growing Audiences North East. LAUREN JOHNSTON-SMITH has left Scottish Chamber Orchestra, where she was Marketing and Press Manager. She is replaced by ZOE WESTWOOD. TONY ELSON is the new Chair of the Board at The Lawrence Batley Theatre, replacing ROGER LANCASTER. HOWARD PANTER, Joint CEO and Creative Director of The Ambassador Theatre Group Limited, has succeeded PRUDENCE SKENE CBE as chair of Rambert Dance Company.

LIZ WILSON has been appointed as Chief Executive of York Theatre Royal. She has been the Executive Director of Oldham Coliseum Theatre for the past six years, and was also Executive Director of the Regional Cultural Consortium in the East of England.

The Creative Industries Development Agency International has appointed ALISON FORDHAM as its new Programmes Director, following the departure of JO WILKINSON.

Classical music agency Intermusica has appointed PETER ANSELL as Head of Tours and Projects. Currently Chief Executive of the Academy of Ancient Music, he will join in March. MICHAEL GRANDAGE, Artistic Director of the Donmar Warehouse succeeds the late HAROLD PINTER as the new President of the Central School of Speech and Drama, where he was once a student.

Audiences Yorkshire has appointed ABBIGAIL WRIGHT, Head of Communications at York Theatre Royal, to its board. Dance UK has announced that FAROOQ CHAUDHRY, Producer of Akram Khan Company, will succeed ALISTAIR SPALDING, Artistic Director and Chief Executive of Sadler’s Wells, as Chair of its Board. www.artsprofessional.co.uk

hotspot

Need to Know

Kate Hartoch examines how far circus has come in the past decade, and looks ahead to an exciting future.

Looking for advice? AP finds the answers to your questions

I really like my line-manager, but she regularly says things which I think she probably shouldn’t. For example, a couple of weeks ago she had a rant about old people, and she often makes rude comments about the Welsh. However, she always does it in a humorous way, and it makes lots of people in the office laugh. She is white (I am not), and I don’t want to complain and get branded as being too PC.

Ryan Styles at Shambala Festival

As 2010 begins, the UK circus sector is facing the decade from a stronger position than at the start of the noughties. In the past ten years the confidence, style and standard of circus performance in the UK has improved, it is recognised by Arts Council England (ACE) as an exciting arts sector, audiences for the form have increased, and training within the sector – from youth training to accredited degrees – has grown. ACE investment has aided these changes, and organisations such at the Circus Development Agency have worked to raise the profile of UK circus arts.

national venues will also grow in confidence in programming circus shows Circus productions are being regularly presented in key London venues such as Sadler’s Wells, the Roundhouse and The Barbican. These organisations continue to find a strong audience for contemporary circus productions. We expect national venues will also grow in confidence in programming circus shows, giving our UK companies opportunities to tour and collaborate with venues ISSUE 209 18 JANUARY 2009

across the country. What the next decade holds for the sector is predictably dependent on the ubiquitous uncertainties around the economic climate, changes to the structure of ACE and the future government of the UK. When approached by companies, we suggest they think creatively about how to fundraise and open opportunities to perform their work in this climate. Events such as scratch nights, cabarets and arts festivals offer platforms for new work and can be pivotal to a company’s progression. We also encourage companies to think on a European level, which comes naturally to many circus artists as the form easily crosses national boundaries. Schemes for artist mobility and funding for projects with an international focus are popular and offer formative opportunities to artists. So, in the next decade watch out for more innovative circus shows in a venue near you…

Your boss probably has no idea she is making you and possibly others feel uncomfortable. She clearly doesn’t know that older people are disproportionately unemployed and underemployed. That there are eight times as many older workers out of work for more than twelve months, than younger workers1. Equally she probably doesn’t know that the Race Discrimination Act applies to Brits, White, Black, Welsh or otherwise, either. She also sounds like a good boss doing her best. Unfortunately, what you are describing is a common symptom of a bigger problem. Most people do not challenge what are, on the face of it, minor incidents or attitudes, often prejudice disguised as humour. They wait until they can’t stand the atmosphere or ‘jokes’ any longer and then leave. The minor incidents combine and become part of an institutionalised mechanism that ensures some people, usually minorities, are kept firmly out. This is the reason, for example, that there are hardly any women in the board rooms of top companies. It simply becomes too tiring to keep fighting. Are you concerned about being seen as PC, or of annoying your boss and facing the possible consequences? Consider the risks to yourself first and then the risks to the business. If you decide to tell your boss how you feel, she may well be angry and embarrassed. Equally, she may reflect, choose her words with a little more care and consider the impact on others too. Only you can judge this based on how she behaves around you and others. What is the rest of the organisation like? If you think your concerns will be ignored or that you could become a target of further ‘jokes’, then do not approach your boss. Is there anyone else you trust that you could speak to in confidence? Perhaps even someone in a different department who could pass on your concerns anonymously to a more senior person. Failing this you could seek informal advice from a friendly employment lawyer. Most will offer a free ten-minute chat at no cost. This should help you to gain some confidence even if you decide not to take things any further. 1

www.caade.net/html/background___statistics.html

This week’s question was answered by Julie Kaya , Associate Director of Professional DiverCity. Julie has written and delivers equality and diversity standards for business. E julie@divercityuk.com Kate Hartoch is Project Manager of the Circus Development Agency. W www.circusarts.org.uk

What’s rocking your boat? Send us your work-related problem and we’ll find an expert to offer you advice. editors@artsprofessional.co.uk www.artsprofessional.co.uk

Campaign Trail

Save Our Sound Lack of adequate compensation from the Government could mean disaster for anyone using radio microphones. Louise de Winter explains what you can do to help. Readers may know that the future of live music, newsgathering, musical theatre, film making, television production, sports events, concerts, conferences and church, school and community events in the UK is at stake when Ofcom sells off the radio frequencies (channels 31–37 and 61–69) used by the Programme Making and Special Events (PMSE) sector for digital use (AP207 and AP208). Over 95% of the UK’s stocks operate in these bands, so the impact on the PMSE sector will be severe as equipment owners struggle to cover the cost of replacing their entire equipment to operate on new bandwidths. If they are forced out of business, which is likely under current proposals, then all productions that depend on their equipment and expertise will be under threat. At present, Ofcom is only proposing to compensate equipment that tunes to channel 69, and to only refund the “residual value” rather than what it will cost to replace.

It is not right that the PMSE sector should effectively pay for its own eviction The National Campaign for the Arts (NCA) is a key supporter and member of the Save Our Sound UK campaign (SOS UK) which was launched in November 2009 to campaign for adequate redress for the sector. As indicated above, the PMSE sector is a diverse community, both professional and amateur, which uses parts of the spectrum to relay sound and/or picture data across relatively short distances. The campaign has wide support among the biggest unions and associations within the arts and entertainment industries and also church groups and voluntary organisations. SOS UK has written to the Business Secretary, Lord Mandelson, to put forward the moral and business case for fair and adequate compensation. It is not right that the PMSE sector should effectively pay for its own eviction, a process that will generate very significant revenues for the UK Government from the ISSUE 209 18 JANUARY 2009

sale of the cleared radio frequencies. We have received a holding reply from Communications Minister, Stephen Timms, who acknowledges the economic contribution made by the sector and states that “You have set out your case for a wider basis for financial support, beyond that proposed by Ofcom and we are currently giving this careful consideration, in consultation with Ofcom.” In the meantime, MPs and Peers have also been galvanised to act with a number of key supporters championing the cause. Peter Luff MP, Chairman of the Commons Business, Innovation and Skills Committee, has been particularly busy on the campaign’s behalf: he has quizzed Ed Richards, Chief Executive of Ofcom, on the compensation issue in an oral evidence session to the Committee. He put forward the PMSE sector’s case that, as it did not stand to benefit from its eviction from the frequencies and indeed had everything to lose, partial compensation was not good enough, and only full-cost compensation, plus additional security of tenure on the new frequencies, was fair. Luff has also tabled an Early Day Motion (EDM) on the issue which has attracted some 71 signatures from MPs, including Chairs and members of Select Committees. The NCA has been encouraging its members to write to their MPs exhorting them to sign the EDM: the more signatures it can attract, the more the Government will be forced to listen. Draft letters to MPs, for people to personalise by describing their individual situation, are available to download from the SOS UK website. In the Lords, Baroness McIntosh made an excellent speech in which she called upon the Government to act: “[I] ask my noble friend whether he can assure me that the Government will act promptly to mitigate the damaging consequences of Ofcom’s interpretation of its

current duties under the Communications Act by providing compensation to all those affected, not just to some. This is not a small matter. If it is not resolved, we shall all notice the difference.” As I write, following on from an exchange of correspondence in the Times between Ed Richards and me, Richards has sought a meeting in January to discuss how we might take things forward. It also appears that the Government is now seriously considering the issue: Stephen Timms, in a response to a Parliamentary Question from Peter Luff said, “The Government [is] in discussion... with those who represent that particular interest. We recognise the importance of it and we are looking to see what we can do to help.” So, the campaign has been successful in forcing Government and Ofcom to reconsider their initial proposals, but we must continue to apply whatever pressure we can to ensure that our demands are met. If you have not already done so, I would urge you to add your voice to the campaign and to write to your MP and to the Ministers, underlining that the Government has a moral obligation to act. As the sale of frequencies will generate very significant sums for the Government in auction revenues, it must put aside a fraction of those proceeds to fully compensate those forced to move.

LOUISE DE WINTER is the Director of the National Campaign for the Arts. w www.artscampaign.org.uk; www.saveoursounduk.com

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08 © PHOTO Gillian McIver

Over site? Where did the site-specific idea come from? And can an artist ever really know how it will turn out? Gillian McIver traces its emergence and looks forward to future developments. When I first started to work with site-specific art in the mid 1990s it was seen as relatively unusual, even anti-institutional, despite being around since at least the 1960s. Attitudes changed as more and more projects were developed, and the practice attracted some serious critical writing, notably Miwon Kwon’s ‘One Place After Another’. Initially, site-specific art was associated with large-scale installation practices, particularly land art. From the late 1980s, artists began to leave the established institutions to resite their art works in other spaces. In many cases this simply reflected the lack of opportunity to exhibit in galleries, so makeshift galleries were set up. Others took an interest in these sites, working with the interaction between site and artwork as part of the process of making. Legitimisation of the practice of urban site-specificity came when, in the late 1990s, producing organisations managed to attract established artists and significant funding to make large-scale projects that attracted media attention. In the UK, the key organisation is undoubtedly London’s Artangel, which has commissioned more than 70 projects since 1992. While Artangel’s productions are not always site-specific, many of them are and most do not occupy established art venues but are presented in unusual sites. Although it is the pre-eminent agency of its kind in the UK, Artangel tends to work with established artists who are not necessarily known for working the site-specific or site-responsive vein. It is not clear that site-specificity is even a particular aim for Artangel. Another pioneering approach is that of Champ Libre, in Montreal. Champ Libre was founded in 1992 as a hybrid arts organisation and research laboratory. It produces in situ events that connect current practices in contemporary art to issues in architecture and urban planning, with a focus on art and media technologies. Recent sites used include a decommissioned incinerator, an operative building site, and pavilions in a rebuilt central business district. ARISTS FOR ART’S SAKE However, it is artist-run organisations and individual artists that more often lead the way in pursuing site-specific art as a way of developing installation, media art, theatre, performance, ISSUE 209 18 JANUARY 2009

mural painting, etc. The engagement occurs when the artist is actively involved with the site as part of the process in actually making the work. It goes much further than placing art in unusual places: it is about working with the total environment of a site. This process has a direct relationship to the art works made, in terms of form, materials, concept, etc. In ‘Titanic HQ’, a project that Luna Nera made in a former shipyard in Belfast, found materials were used to create large-scale paintings, costumes for performance and projection screens. In ‘The Derelict Sensation’, in Gilbert Scott’s Midland Grand hotel, it was the Victorian dereliction itself that was celebrated, on the eve of the structure’s renovation into once again becoming a luxury hotel. Aside from the expected problems of health and safety and permissions, one of the typical issues concerning arts managers who want to engage with site-responsive work is that it does not lend itself easily to proposals. Part of the fascinating nature of this kind of work, what creates its energy and appeal, is that it must be open to spontaneity and change. Once the groundwork has been done (basic methods established, basic materials sourced) the actual making must be sensitive and capable of responding to new discoveries about the site, newly revealed stories and, quite often, unexpected difficulties. The artist simply cannot be fully in control of the situation. Damp can suddenly warp a work – or transform it into a new shape. Flexibility is essential, though on paper it may seem like imprecision. These are challenges for arts professionals: from experience, I believe that the most crucial indications of probable success are the artist’s commitment to the research process, and the quality of completed site-specific projects, rather than employing a well-known artist. GROWING TREND The past half-decade has seen a growth in site-based work. The reasons are twofold: firstly, the increased institutionalisation of public space means that there is a desire by artists to intervene, to contest, to make something personal and active. Secondly, there is a growing consciousness of the post-industrial state we live

A Luna Nera project in Belfast

in. Everywhere we look, the old structures that bound social existence (such as factories, libraries, hospitals and schools) have been abandoned, turned into flats or razed for shopping developments. Working sitespecifically reflects a sense of rootlessness and dislocation shared by the community at large. Bringing people together to occupy a fleetingly shared space – mediated through art – has the potential to initiate important dialogues, and re-establish a sense of common ownership of the territory. In this way, site-responsive work can speak to audiences, and indeed reach new audiences. The territory itself attracts the public. Once inside, they have the opportunity to encounter art – sometimes for the first time. This curiosity makes marketing the work less difficult than might be expected. The current danger for the artform is that, in the hunger to find any space to mount an art event, too many projects are being labelled “site-specific” when they are anything but. Without a clear engagement between art and site, the energy is lost, and audiences drift away.

Gillian McIver is an artist and curator, and Co-Founder of Luna Nera. W www.luna-nera.com; www.artsite.org.uk This week Gillian was enthralled by ‘The House of Fairy Tales’ at Viktor Wynd Fine Art, watched ‘The Night of Counting the Years’ by Shady Abd Al Salam, and read Robert Hughes’s biography of Goya.

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FEATURE:

SITE-SPECIFIC WORK

CASE STUDIES

Lacking a specific base for arts work does not need to stop it from happening, as Claudia Zeiske explains. Deveron Arts is based in Huntly, a market town in rural Aberdeenshire with a population of 4,000. For us, the town is the venue: it is studio, gallery and stage. We invite artists to live and work in our town, to meet with local people and exchange ideas. We use spaces in the town and its surrounding, rather then a gallery or arts centre. As artists came to the area it became apparent that the most successful projects engaged directly with the place and its residents. Gradually the town itself became not just the arts centre but the content of investigation as well. Hence, the town is the venue.

We try to be at the heart of the community through regular communication with the local paper, attending community meetings and participating in local boards. We depict environmental, intergenerational, heritage and identity issues; all of the topics are of both local and universal concern. We invited the artists Dalziel and Scullion, who made a billboard which was placed in nearby Cabrach (where a wind farm is planned) as well as 11 cities across the UK. Another example of our work is ARTCUP, where Roderick Buchanan invited two teams made up of artists who are also footballers to represent countries who failed to qualify for the World Cup (Scotland and Denmark). Together with the local community he established a mini World Cup. South African artist Senzeni Marasela has developed a project called JONGA, where she worked with local girls and women on the issue of self-esteem. Our current project is ‘Money Crunch’. Gemuce, an artist from Mozambique, is

The town is the venue

looking at debt and credit, giving and exchange, through Calabash Bank – a new bank that swaps African gourds for good ideas. The artists’ works form Deveron Arts’ evolving town collection, which is placed in spaces around the town including a local garage, an estate agent, a pig-farming co-op, the local library and museum, a hotel, the business centre, the swimming pool. We have over 45 pieces located around the town. Our success lies in a stringent 50/50 approach, where the community and working locally have equal weighting with global vision and artistic criticality. This approach is present in all facets of operation: reflecting an ‘artocratic’ way of life, imagined through the idea of the world ruled by art. At least in a very microcosmic way.

CLAUDIA ZEISKE is the Director of Deveron Arts. w www.deveron-arts.com

Working with Foursight A site-specific theatre production can help local people to connect with the stories being told, explains Frances Land. Foursight’s site-specific theatre has mainly focused on large-scale regional projects, using them as opportunities to celebrate the extraordinary lives of ordinary people and to reach as broad a range of people as possible. Our most recent production, The Corner Shop, was a co-production with Black Country Touring. The Corner Shop project began with a period of research followed by a devising period. We recruited and trained a group of local volunteers to conduct interviews with current and previous owners of small local shops. These included White British people who were shopkeepers during the 1950s, shopkeepers from the Caribbean, the Indian Subcontinent and more ISSUE 209 18 JANUARY 2009

recent arrivals from the Middle East and Poland. We found a large empty shop unit in a shopping centre, and negotiated free use of the space. Next we had to share the many hours of interviews with core members of the creative team, the designers, composers and scripter. We mapped out a structure. Taking common themes and the most dramatic stories, we set them against what the space itself suggested – a dingy run-down street, a shop space with the living area behind, a sweet shop – the ideas began to flow. As the cast arrived each was given a number of interviews so they became completely familiar with those people and their stories, feeding them into the devising process. The result was a promenade production with live music and soundscapes, through a set of small shops and intimate living rooms. The audience experienced the rich stories of life, work and, most importantly, community in which these shops played a pivotal role. The production team included 33 people, with professionals working alongside volunteers and

people on work placements. The production attracted a diverse audience, including many people who would never dream of going to the theatre, as well as regular theatregoers. It resonated with people in many ways, from a recognition of their own experiences to an understanding of the vital role local shops play in holding small communities together. We also ran an education project, working with local schools towards a promenade site-specific production in their own schools. All the material generated, including photo documentation of all its aspects, fed into the creation of a new local archive, a touring exhibition, an online archive and into national archives.

Frances Land is Co-Artistic Director of Foursight Theatre Company. E francesland@foursighttheatre.co.uk T 01902 714 257 w www.foursighttheatre.co.uk

www.artsprofessional.co.uk

Recruiting the top team A new service is combining specialist arts sector expertise with high calibre HR skills to help organisations rise to the challenge of recruiting senior staff. Liz Hill explains. Recognising the organisation-wide pressures placed on those looking to appoint senior posts, Arts Intelligence has been piloting a new type of managed recruitment service aimed at generating the highest quality enquiries for senior level jobs and handling the selection and recruitment process on behalf of clients. Its first assignment was to manage a selection and recruitment process for Network, the national membership body representing the UK’s audience development agencies, which was looking to recruit a Chief Executive for the first time. The successful process began with a meeting of the Network HR panel and Arts Intelligence, to ensure that both were clear about the organisation’s key priorities and, consequently, the nature of the job and the competencies required by candidates. The meeting led to the drawing up of a detailed job specification and person specification, together with a plan, a time-line and candidate documentation for the recruitment process, and a brief for the recruitment communications campaign. At the heart of the campaign was a bespoke web microsite giving full details of the role, the organisation, the candidate profile and application details. Full colour display advertising in ArtsProfessional magazine, combined with web advertising on ArtsJobFinder, Third Sector and Guardian Online were created to drive interested parties to the website, a combination which proved very effective. This professional presentation was particularly important. According to ISSUE 209 18 JANUARY 2009

Network Chair, Alison Edbury, “the compelling and attractive positioning of the role attracted interest from people who otherwise might not have considered it seriously. The high visibility of our advertising also had a viral effect. People in the sector started talking about Network, and our profile has grown as a result.” Of 1,100 visits to the microsite1, over two-thirds either went directly to the microsite’s URL2 or clicked through from ArtsProfessional’s websites3, with the other third arriving there via 30 other websites.

Using Arts Intelligence got us to a place we wouldn’t otherwise have reached During the period that the advertising campaign was live, Arts Intelligence reviewed its extensive and diverse list of contacts and held a number of exploratory conversations, not only with those who might be potential candidates for the job, but also with others who might be able to recommend suitable applicants. This approach was widely welcomed: one potential candidate remarked, “I was given very personal attention, good advice, valuable information and guidance by someone with a deep understanding of the arts sector, and this really helped me to decide whether to apply. It was not the superficial fishing exercise you come to expect from headhunters: I was treated as a valued

individual.” All those who expressed an interest were encouraged to submit an application, and Arts Intelligence Chief Executive, Pam Henderson, was available for confidential conversations to answer potential applicants’ questions right through until the closing date. This combination of effective advertising, personal search, and a supported application process led to 95 people either downloading or being sent an application form. This in turn led to 28 applications being submitted. From this point, the selection process had three stages. First, using criteria agreed with Network, Arts Intelligence drew up a long-list of candidates, who were asked to complete an online psychometric assessment to shed more light on their behavioural preferences and competency potential. Armed with both application information and psychometric profile data, Pam then acted as a facilitator at a Network sub-committee meeting to select a short-list of five candidates for interview. Both the quantity of applications and the calibre of applicants were a pleasant surprise for Network. One panel member observed, “We were really unsure as to the type of person who would apply for this unique senior fixed-term job, and were delighted with the very high quality of candidates overall.” Pam’s role was then to bring discipline to the short-listing process and help those present to focus clearly on the candidate evidence, promoting equal opportunities and seeing that any personal agendas were set aside. “It was like herding ducks – and she did www.artsprofessional.co.uk

11 sponsored feature it brilliantly,” remarked one Network director. “She also helped us to review the profile data consistently and sensitively in support of the decision-making process for each candidate – not instead of it.” To help the Network interview panel prepare for the interview day, the pros and cons of different selection day structures were discussed with them, an interview task agreed and documents drawn up for shortlisted candidates. This level of preparation meant that Network felt well equipped to meet the candidates, discuss their applications, question them about their competencies and experience, and ultimately make a decision on the outcome. One remarked, “there is no doubt in my mind that using Arts Intelligence got us to a place that we wouldn’t otherwise have reached. I am a huge fan of the process and, one day, when I leave my organisation, I will strongly recommend that my board uses it to replace me.” All very well, but how did the interviewees feel about it all? Feedback from one summed up the experience of several: “throughout the process I was treated as a respected professional whose interest in the role was valued. Being nurtured in this way has been a very different experience from most recruitment agencies, which have made me feel as if I’m on a conveyor belt of applicants. The quality of this service from beginning to end gave me great confidence in Network themselves – Arts Intelligence has been very good for their PR.”

Source: Google analytics

www.networkceo.co.uk

www.artsprofessinal.co.uk; www.artsjobfinder.co.uk;

www.artsintelligence.co.uk. Statistics from Google analytics

Arts Intelligence is now open to any arts organisation seeking to appoint a senior post. For a confidential and no obligation conversation about the service, call Chief Executive Pam Henderson on 01223 200200, or email pam@artsintelligence.co.uk. See the Arts Intelligence website at www.artsintelligence.co.uk ISSUE 209 18 JANUARY 2009

Our vision is to raise the quality of recruitment practice in the arts. Finding the right person to fill a job vacancy takes time, expertise and money. The consequences of making a poor senior appointment are incalculable, affecting levels of performance, motivation and morale across a whole organisation. In addition, changes in legislation aimed at eliminating discrimination in recruitment can expose prospective employers to unlimited financial penalties.

candidates and our sector partners. We believe that recruitment has an incalculable impact on the identity and effectiveness of an arts organisation, so we bring high professional standards and always adopt best practice. We offer a quality service that is efficient, costeffective and offers excellent value: but we refuse to cut corners by doing a superficial job that merely adheres to basic legal minimums.

That’s why the team at ArtsProfessional has set up Arts Intelligence, a managed recruitment service We believe that by adopting specifically for the arts sector. We diversity and excellence have a well-resourced team of in recruitment practices, We match skilled recruiters with an in-depth individual arts organisations people and knowledge of the sector, and can flourish, and the sector can a relationship with our 23,000 organisations further its vision of becoming readers (49% of whom are in central to peoples’ lives. We not just skills a leadership or management and vacancies are passionate about customer role). We know that the costs care, and work collaboratively and uncertainty involved in and fairly with our clients and recruitment can place a great strain candidates. We believe that it benefits the on arts organisations that are already sector if recruitment practices improve stretched to capacity. This is why we offer overall, so we share our skills, knowledge a straightforward promise: we will deliver and expertise generously with partners. an outstanding service for a fixed fee, so no matter how long or how challenging the *If the assignment involves advertising beyond ArtsProfessional, ArtsJobFinder and recruitment assignment, the cost to you CultureJobsInternational then additional changes will remains the same.* be made at cost.

Our purpose is to provide an outstanding recruitment process that generates the right person for the client organisation. We match people and organisations, not just skills and vacancies, and we do this through a professional, personalised service. Our values – excellence, diversity, integrity and transparency – define the way we work and behave towards our clients, their

Diversity Assured Recruiter Arts Intelligence has been awarded this kite mark because we deliver diversity effectively through better recruitment practices. Recruitment and Employment Confederation Arts Intelligence has corporate membership because we are serious about standards, working ethically, being well informed and maintaining accountability. The Chartered Institute of Personnel and Development (‘Recruiting within the

pam henderson is Chief Executive of Arts Intelligence and ArtsProfessional. w www.artsintelligence.co.uk

Law’) recommends that “When deciding to use an agency you should ensure that it has membership of the Recruitment and Employment Confederation (REC)” Two Ticks Arts Intelligence has been awarded the Two Ticks symbol because we will only take on a recruitment assignment if the organisation seeking to make a leadership appointment (our client) agrees to interview all disabled applicants who meet the minimum criteria for a job vacancy and considers them on their abilities. www.artsprofessional.co.uk

observations: Policy preview

Masters of illusion We’ve heard what the three main political parties would do for the arts if they won power in May. Paul Kelly cuts to the heart of the matter. Reading the party political submissions in recent issues of AP is a little like watching shopkeepers display their wares whilst a fire burns down the distribution depot they rely on for supply. All three are good at setting out their stall but none knows whether their products will be available for long. Culture has never loomed large in electoral campaigns. Its greater profile now is a sign that culture and arts are more central to the political script. But, knowingly or not, the arts have signed a Faustian pact that allows politicians to discuss what and who the arts are for, as well as how they are funded and by how much. Cultural policy and arts spending are one part of a bigger political debate, now focused on the banking crisis and climate change. Much of that debate is conducted through newspaper headlines, but a series of articles recently suggest a return to deeper thinking about the relationship between the state, the economy and society: issues which will inevitably shape how governments engage with culture. Part of this has been about electoral positioning. The Conservatives need to shake off an image of being regressive Thatcherites purely concerned with the well-off. Labour needs to find a postBlairite script that will tackle growing public ennui. And the Liberal Democrats just need to be heard. BIGGER QUESTIONS Deeper questions lie at the heart of these discussions, about the balance between individual freedoms and community cohesion, about the role of the state, and how the state will pay for its policies. Public funding of the arts emerged as part of a radical post-WW2 public welfare and reconstruction programme. Today, the arts are caught between two quite different political ideologies: on the one hand, welfareoriented, state-moderated capitalism and, on the other, a neoliberal free market philosophy reliant on low taxation, privatisation and financial services. New Labour adopted Thatcherite freemarket economics and used the profits to pay for increased spending on public welfare (including the arts), but it has used old-Labour centralised, ISSUE 209 18 JANUARY 2009

directive statism to run public services. Examples from arts target-setting to the way the McMaster report was implemented demonstrate that the arts have not been immune. In the same way, the Conservatives are now subtly stealing the New Labour script. “There is such a thing as society,” says David Cameron, contradicting Thatcher, “it’s just not the same thing as the State.” And to prove it, Conservatives want to give society stronger powers at local level. This could be fine, so long as there is equality of representation and it’s not just strong voices deciding on priorities for a disenfranchised majority. REALITY BITES However, the philosophical debate is being overrun by practical reality. The financial meltdown followed by increasing attention on climate change is starting to challenge some long-held assumptions. Arts managers trying to plan their future want to know whether the subsidy they have fought to grow and maintain will be cut. The commodification of culture has raised its profile and importance, socially and economically. But whether you are looking at culture as welfare or culture as industry, it is reliant on a westernised model of economic growth which the banking crisis has derailed. All political parties are trying to find a way to recreate the financial and social equilibrium. The political focus has shifted from the level of private taxation to the level of public debt and how to reduce it, whether through public service cuts, increased taxation or both. Either way, culture will be affected.

the arts are caught between two quite different political ideologies A number of eminent critics, including David Marquand, John Gray, Will Hutton and Andrew Gamble, argue that a global financial system in which continued growth is financed by ever increasing debt is both inequitable and unsustainable. To address the crisis, says Marquand, the British Left is offering a slightly tarted-up version of business as usual: better regulation, smaller banks and a dent in the bonus culture. “But the object of the exercise,” he says, “is patently to return to the pre-crisis, advanced-capitalist merry-go-round, with all its gross injustices, built-in instability and contempt for social need.” It’s a delicate equilibrium. Government debt is shoring up financial markets which in turn decide government credit-

worthiness. What we are experiencing, say the neoliberal critics, is not just a corrective blip, but a deep systemic crisis. The longer-term future of arts subsidy may no longer just be a question of spending priorities. Former Culture Secretary James Purnell is one of a small number intelligently trying to rethink the Left’s future. He argues for economic protectionism guaranteeing jobs for the young, increasing power to individuals and prioritising issues of cultural power. Culture, he says, is vital to allowing people to scrutinise the opinions of others and form their own, whether it be through the mass media or vibrant theatre. Last year marked the 150th anniversary of John Stuart Mill’s celebrated essay ‘On Liberty’. Citizenship, said Mill is a testing and arduous practice, not a right. It cannot not be handed down from on high or guaranteed by a piece of paper. Arts managers contemplating their budgets post 2011 might be starting to feel exactly the same about arts subsidy.

Paul Kelly is Senior Lecturer in Arts and Event Management at the Arts University College Bournemouth. This week Paul walked from Hoxton Square to Waterloo Station taking in public art and architecture en route, a Norman Parkinson exhibition at Somerset House and ‘The Beatles to Bowie – the 60s Exposed’, exhibition at the National Portrait Gallery. He is currently reading Robert Peston’s ‘Who Runs Britain?’ .

www.artsprofessional.co.uk

top 5 websites Marcus Romer shares the sites he couldn’t do without. The best is yet to be… www.ted.com Without doubt this has been the most influential site on my work at Pilot Theatre over the past three years. Since discovering this site, which has hundreds of talks, I applied to attend the TED conference in Monterey and was accepted. It not only provides great ideas, but allows thinking and creative connections to be made. Since returning from TED in 2007 I was inspired to set up and develop our Shift Happens conferences, which again look at the places and space in between arts and technology and allow room for discussion, debate and dialogue. www.number27.org This is the site that looks at the work of Jonathan Harris, digital storyteller. Again, I wanted to find out more about his work after seeing and being inspired by the great site www.wefeelfine.org, which Jonathan created in 2006. He is a great artist who is leading the way in how technology and the arts can interface to create new cultural connections. www.posterous.com This is something you will be hearing a lot more about in the coming months. It is quite simply the easiest way to blog and share information. It is so easy to set up, and you can mail links and web stuff, and your digital footprint will be there for all to see and share. I will share this article on posterous, which will automatically send it straight to Twitter and Facebook. The possibilities for dissemination and sharing are greatly enhanced with intuitive usability. www.spotify.com I love this site. You can pay monthly for a premium account or have a free basic account. It is a way to hear music and to keep connected with the shifting platforms of delivery. It is an exciting and great site that just works. Give your ears a treat and listen to some new stuff. What is the worst thing that can happen? www.audioboo.fm This is an awesome app that creates podcasts on the fly. It’s a start-up funded by 4IP (Channel 4’s £50m investment programme in arts and technology). The integration from the iPhone to Facebook and Twitter is a real-time news gathering tool and information-sharing device that has the capacity to change the way we tell and communicate stories and ideas. This is direct communication that came into its own during the G20 protests, which happened during its launch week. The great thing about all these sites and their content and functionality? They are all free. As you can see I am pretty passionate about sharing ideas and information across all sectors and am keen to look for new ways we can tell and share stories. New thought – give away 80% and people will pay for the remaining 20%.

Marcus Romer is Artistic Director of Pilot Theatre. The next Shift Happens event will take place in July 2010.

Courtney Consulting would like to wish our clients and the wider cultural sector a very Happy New Year. May you and your audiences have a fabulous, fun and flourishing 2010.

www.courtneyconsulting.co.uk

External Consultant required For an organisational review

Established in 2003, The Spark Children’s Arts Festival is a two week festival of professional arts for children aged 0-13 in Leicester and Leicestershire. Our mission is to give children the opportunity to immerse themselves in the arts, as audiences, as learners, as creators of their own work. We are seeking an external consultant, with experience of business development in the arts, to conduct an organisational review (to take place between February – July 2010), to support the creation of a long term development strategy for the festival and the organisation. For a detailed brief and information about how to apply please visit the website http://www.sparkfestival.co.uk/get-involved.html, email admin@sparkfestival.co.uk or telephone 0116 261 6893 Deadline for applications: 10 am on 25th January 2010 Interviews: Wednesday 10th February 2010

Marketing in a recession A one-day Arts Interlink/V&A seminar examining the impact of the economic slowdown on arts organisations, visitor attractions and audiences.

Friday 5 March, Sackler Centre, V&A Museum, London. Has the recession changed the way we market the arts and visitor attractions? Could collaboration be the way to sustain audiences? With keynote speaker Sandie Dawe, Chief Executive of Visit Britain, new research from MUSE and case studies from Kew Gardens, Tate Liverpool, Liverpool Playhouse, the Royal Opera House, the V&A, the National Theatre, Hypertag and York Museums Trust, this seminar will explore how organisations are developing innovative ways to maintain and build audiences.

SpeCial offer – Save over £50! for artsprofessional readers If you book before 8 February all places for the seminar are just £99 (full price £150). To book, go To www.vam.ac.uk/activ_events/courses/conferences/index. html#marketing and follow the link, or phone 020 7942 2211 and quote ‘ArtsProfessional’ offer. Further information: stephen@stephenbrowning.com

w www.pilot-theatre.com

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www.artsprofessional.co.uk

Management File

Spam’s off Email should be the perfect promotional channel for arts organisations. It’s relatively cheap, relatively quick and you can put campaigns together in-house. So why do so many struggle to make email pay? We can summarise the problems as a general unwillingness to open, read, believe or act on promotional emails. There are solutions though. First, let’s be clear: we are selling. Selling doesn’t mean being ‘sales-y’, cheesy or ‘spammy’. It does mean having a clear, commercial goal: repeat ticket sales, member recruitment or subscription renewals, for example. It then means ensuring that every word, full stop and image work tirelessly towards that goal. You could do worse than follow the sales

Jo Kelly shares seven tips for writing effective marketing emails, without sounding like a spammer.

formula: attention – interest – desire – conviction – action (AIDCA). Grab your reader’s attention with a headline. Secure their interest by showing them how they benefit. Arouse desire, perhaps by using storytelling techniques to dramatise your offer. Instil conviction by including a testimonial from a satisfied customer. Prompt action with strong, clear and direct language telling them what to do. With that in mind, here are our top seven tips for effective email copywriting.

and some email programmes truncate subject lines. Test using your recipients’ names in the subject line. Don’t worry about whether it looks like a promotional email, measure your open rates instead.

1. Get your subject line right Use your keywords – ‘ticket offer’ for example – at the beginning. This is partly because people scan their inboxes vertically, not horizontally, and partly because mobile phones

3. Open with an immediate appeal to your reader’s self-interest People often screen emails by looking at the first few lines using the preview pane. This is not the place to digress into the history of your organisation, or even the process that led you to contact them. If you have a half-price ticket offer or a special deal for members or supporters, open with that.

EUROPE TALKS TICKETS (ETT) AMSTERDAM 10TH – 12TH FEBRUARY 2010

THE ESSENTIAL TICKETING CONFERENCE Are You a Ticketing, Marketing or Venue Management Professional – then ETT is for YOU! The Exhibition Hall is packed with the very latest in Ticketing, Entertainment Support Systems and Technology Attracting a broader range of Delegates than ever before from the Arts, Sport, Music, Museums, Galleries, Theatres, Attraction, Theme Parks and Zoo’s With commercial and Industry Speakers offering Diverse and Relevant Workshops to help Maximise on Your Staff, Sales and Customer Service

BOOK NOW Delegate Registration is Now Open Some Exhibition Space is still available

ISSUE 209 18 JANUARY 2009

For Full Information and booking www.ettconferences.com mail@ettconferences.com Or call +44 (0)20 7 631 5574

2. Include a headline Headlines that work in emails should promise a benefit of some kind. They should be personal, urgent, practical, irresistible and specific. Short is good, but don’t make a fetish of brevity. Relevance is more important.

4. Don’t hide your call to action Why not have a call to action – a hyperlink to a landing page for example – at the top of your email? Then repeat it a couple of times more through the email itself. You could use images and text links, and test which ones people click more. Make it decisive. Don’t say “If you would like to join us”. Instead, try “Join us today and you get...” 5. Keep your tone of voice friendly The emails most people prefer to read are those from their friends, family and colleagues. Look at your own personal emails and see how they are written in a personal, informal style. For a promotional email you may want to adjust the style and tone to reflect your organisation and brand. But emails are no place for stiff, starchy language. Why use “purchase”, “immediately” or “complimentary”, when “buy”, “now” and “free” are available?

6. spam filters You may have been told that you can’t use the word “free” in a promotional email or it will get marked as spam. It won’t. SpamAssassin software, used in lots of email checking programs, has 746 separate spam tests, but none explicitly forbids the use of “free”. In general, if you aren’t a spammer, and you are writing relevant, truthful copy about an ethical product or service, you have nothing to worry about. 7. Shorten your sentences Offline you should be aiming for an average sentence length of 16 words. Online, even that figure allows sentences that are just too long to be easily understood. It’s not that your reader is stupid. Indeed, for arts organisations, most of the time your reader is better educated than average. But reading onscreen is physically more tiring than reading off the page, so you need to make your copy easier to understand by chopping it up into more readily digestible chunks. Let’s say you aim for an average sentence of 12 words. Above all, write with a genuine voice that meets expectations of email as a communications medium and of your organisation. Always sign off with a person’s name. Emails signed by “The Arts Centre Team” deserve to be canned, possibly with a label showing a piece of that lovely, shiny, pink meat called... shh, don’t even say it.

Jo Kelly is Commercial Director of Sunfish Ltd., a communications agency specialising in direct response copy for online and print campaigns, and corporate publicity. E jo.kelly@sunfish.co.uk T 01722 413 900 W www.sunfish.co.uk

www.artsprofessional.co.uk

SHIFT HAPPENS ARTS | LEARNING | TECHNOLOGY

Essential for all in the arts; listen to leading speakers from world renouned organisations, learn about the latest developments in digital technology, explore innovative online opportunities and network with industry leaders and professionals. This two-day event features: Sir Ken Robinson, Jonathan Harris, Tom Loosemore (4ip), DK (Mediasnakers), Lyn Gardner (The Guardian), David Sabel (National Theatre), John E. McGrath (National Theatre Wales), Alice Greenwald (September 11 Memorial Museum), and many more...

The Cultural Department of the Dutch Embassy in London is looking for a Freelance Researcher with Cultural background for regular input into their 2010 UK – Dutch Culture Calendar. This is an initial 3 months assignment that can be extended, fees are to be discussed. Please apply to lon-pcz@minbuza.nl supplying your relevant credentials.

WHEN: MON 5 - TUE 6 JULY WHERE: YORK THEATRE ROYAL, YORK PRICE: £150 + VAT

SHIFT-HAPPENS.CO.uk PILOT-THEATRE.COm FINd uS ON TwITTER @SHIFT_ HAPPENS

RECRUITMENT ADVERTISING 01223 200200 Audiences Central is the audience development agency for the West Midlands region. We work with and inspire arts and cultural organisations and audiences to increase and diversify engagement in the region.

Are you innovative in your approach and passionate about bringing arts and culture, and audiences together? Building on our recent successes and growth we now seek to recruit a key individual to be instrumental in our continued progression as a leading cultural organisation.

Senior Manager – Audience Engagement Salary Range £32,801 – £35,432 “It’s all about the audience …” Audiences Central’s successful programme of activities initiates and delivers high-quality innovative support and intelligence to arts and cultural organisations in order to develop audiences. If you enjoy working in a fast-paced challenging environment, possess an analytical approach, and are committed to engaging audiences and leading customer focused activity, then this is the job for you.

The Belgrade Theatre Coventry seeks two enthusiastic staff for: COMMUNICATIONS OFFICER – Marketing & COMMUNICATIONS OFFICER – Press To play an active role in the planning and implementation of all the theatre’s strategic and tactical marketing and press activities. Salary C £18,500 pa. Closing date for applications: 5pm, Fri 29 January. For further details please download a job pack from www.belgrade.co.uk or send an SAE marked “Communications Officer” to Denise Duncombe, Belgrade Theatre, Belgrade Square, Coventry CV1 1GS. The Belgrade Theatre strives to be an Equal Opportunities employer.

The post will be for an initial contract to end June 2011. It is anticipated that the contract will continue beyond that date, dependent upon funding. Applications from candidates seeking a one year secondment opportunity would also be welcome. The closing date for applications is 12pm on Monday 15 February 2010. To download an application pack and for further information about Audiences Central, please visit www.audiencescentral.co.uk. CVs will not be accepted. Application by application form only. No agencies. For enquires email vacancies@audiencescentral.co.uk or call 0121 685 2600 Audiences Central strives to be an equal opportunities employer.

The next issue will be published on Monday, 1 February Book your advertising by noon Tuesday, 26 January Call 01223 200200

ISSUE 209 18 JANUARY 2009

Head of Sales & Marketing TRSE works to discover and develop new talent and new audiences. This is an exciting opportunity for a creative individual to lead the Sales & Marketing team in the run up to 2012 and beyond. Application deadline midday Friday 29 January For a full job description and an application pack, please visit our website www.stratfordeast.com/the_theatre/working_with_ us.shtml or call 020 8279 1134

www.artsprofessional.co.uk

RECRUITMENT ADVERTISING 01223 200200 Isle of Dogs Music Co-ordinator, Salary: £30-34,000 + benefits (pay award pending) Trinity College of Music Full time, fixed term to 30 March 2011 Sing Up Funded Programmes Manager

Trinity Laban Conservatoire of Music and Dance is redefining the conservatoire for the 21st century - building on the heritage of Trinity College of Music and Laban, a centre of contemporary dance. Our purpose is to advance our art forms by bringing 0.5 FTE (17.5 hours per week) - Fixed-Term Contract to March 2011. together artists to train, collaborate and perform in our inspiring creative facilities Sing Up is the Music Manifesto National Singing Programme, produced by Youth at the Old Royal Naval College in Greenwich and the award-winning Laban building Music, with AMV-BBDO, Faber Music and The Sage supportedfor by Music and Dance As Gateshead, the first Conservatoire in the Trinity in Deptford. The UK, key roles below,Laban in our Marketing & Communications Department, DCSF. Launched in November 2007, Sing Up is the programme its kind inof the will make significant contribution to the success of the organisation. is only proud to be at theofforefront development ina the education and

Based in London, SE1£26,805 p.a. (Incl’ LWA) pro-rata

Isle of Dogs Music world, aiming to provide every primary school-aged childofwith the opportunity to and dancers. training professional musicians Co-ordinator, Performance Marketing Manager experience high-quality singing activities every day. Working with the Education & Community Manager and other members of the team, Trinity College of Music you willopportunity be responsible the up dayone to day This exciting opportunity offers the successful candidate an to for head of management of our IODM projects. You will Salary: £26,922 - £32,339 p.a. (incl’ LWA)

You will primarily be responsible for marketing and audience development for Trinity College of Music’s wide range of performances and events at both our own beautiful

be an excellent project manager, with previous experience of working in a community Sing Up’s 4 main strands, Funded Programmes. This supports direct singing activity across concert venues, Blackheath Halls and the Old Royal Naval College in Greenwich, and arts setting.Sing You should have excellent organisational experience of furtherskills, afield. including As you will also be closely connected to the professional and artistic England through the vehicles; Sing Up Beyond the Mainstream, Up Clusters, Sing performances, theand role requires strong interpersonal and administrative using MS Outlook). good ofcommunicator have the Up Communities, Sing Up Events and Sing Up Flagships. YouMS willOffice also and oversee the SingYou Up should be aplanning skills combined with a keen interest in music and the performing arts. Ideally we require ability to workofunder and deadlines, ensuring accuracy, attention to detail Awards scheme. With a budget of up to £2 million and a number staff pressure reporting toto you, a person with a deep knowledge of music marketing who possesses the gravitas and this role requires an enthusiastic team player that canand demonstrate efficiency. Aproject musical leadership, background and previousauthority experience of event toand contribute usefullyproduction to discussion of the content and marketability of events. As the first Conservatoire for Music Dance in the UK, Trinity Laban Thean successful candidate will alsoRecords be someone who can lead on the development of management and an understanding of music education, socialApplicants policy and the is preferred. will bearts. required to apply for, Enhanced Criminal

£26,805 p.a. (Incl’ LWA) pro-rata 0.5Music FTE (17.5 hours per week) - Fixed-Term Contract to March 2011. Dogs

Isle of Co-ordinator, a single patron database, who can capture and interpret ticketing data and who can is proud be at the forefront of development in the education and Trinity College oftoMusic Bureau Disclosure. revolutionise the presentation of our performance programme in print and online.

For further information or an application pack visit www.youthmusic.org.uk/Jobs.html or professional dancers. Intraining return we pro-rata canof offer you a final salarymusicians pension scheme,and generous holiday £26,805 p.a. (Incl’ LWA) www.singup.org or call 020 7902 1060. Completed application forms may Student Recruitment Marketing Officer entitlement, season ticket loan, and staff development opportunities. Please Salary: £23,099 £26,235 p.a. (incl’note LWA) be returned by email (to jobs@youthmusic.org.uk), fax (020 7902 1061) or 0.5 FTE (17.5 hours per week) - Fixed-Term to March 2011. Working with the Education &Contract Community Manager and members of the team, this post initially for 18 months but has other the post (to HR, Youth Music, 1 America Street, London, SE1 0NE)isby 5pm,being offered on a fixed term basis You will have experience in marketing higher education - delivering quality advertising and 28 January 2010. Interviews: 14 February 2010 possibility of being extended. you will be the in day topublicity dayTrinity management of our–IODM You will materials forLaban a range of programmes as this roleprojects. is vital to the implementation Trinity Laban As the first Conservatoire forresponsible Music and for Dance the UK, incorporates: (Secondments will be considered) of Trinity Laban’s future focused International Student Recruitment Strategy. The Student be excellent manager, with previous experience of working in a community is proud to be atFor the forefront development theRecruitment education and a an job pack and of anproject application form,in please go to the Marketing Officer will work closely with the Student Recruitment Marketing Manager andor the Registry teamskills, to help maximise UK and international recruitment vacancies page ofYou our should website www.trinitylaban.ac.uk training of professional musicians and dancers. arts setting. have excellent organisational including experience offor the higher education and training courses at both Trinity College of Music and Laban. Email pthompson1@trinitylaban.ac.uk You should will develop external contacts appropriate to the role, have contributethe to the usingdate: MS Office andManager MS Outlook). You a networks goodandcommunicator and Closing January 4th 2010 5pm Agencies) Working with the Education &Monday Community and(Noother members ofbethe team, process of collating and analysing market intelligence and help to produce regular reports Interviews: Week Commencing Monday 11th January 2010 ability to work under pressure and to deadlines, ensuring accuracy, attention to detail on the UKprojects. and international you will be responsible for the day to day management of our IODM Youmarkets. will You must have professional marketing experience, preferably in a similar role, and knowledge of the education and arts sectors. andmanager, efficiency. musicalexperience background and previous experience of event production be an excellent project withAprevious of working in a community For job pack and application forms, please go to the vacancies page of our website arts setting. You should have excellent organisational including experience of Enhanced is preferred. Applicants will beskills, required to apply for, an Criminal Records www.trinitylaban.ac.uk or contact: Pamela Thompson, HR Assistant, Trinity Laban Tender You is a charity which using MS Office andBureau MS Outlook). should be aworks good communicator have Conservatoireand of Music andthe Dance, Disclosure. with young people to promote Festival Manager £27K pro rata ability to work under pressurehealthy and to deadlines, accuracy, attention Telephone: 020 8305 to 4374detail or E-mail: pthompson1@trinitylaban.ac.uk relationships. Weensuring are (22.5hrs/ wk, initially 12 monthand contract) In return we can offer you experience a final salary pension scheme, generous holiday recruiting for an Education efficiency. A musical background and previous of event production Closing date: Friday 19th of February 2010 (No Agencies) Manager to coordinate and is preferred. Applicants will be required to apply for, an Enhanced Criminal Records Wirksworth is a historic Derbyshire Dales market town. Each entitlement, season ticket loan, and staff development opportunities. Please note Interviews: Week Commencing Monday 1st March 2010 develop our educational September the town hosts a unique Bureau community inspired Disclosure. £27,000 p/a.offered on CVs this postprogrammes. is initially being a fixed term basis for 18 months but has form. the will not be accepted unless accompanied by a completed application

wirksworth festival

festival with a focus on great art in unexpected places throughout the town. In return we can

Please see www.tender.org.uk

Trinity Laban is committed to Equal Opportunities and Diversity. offer you a final pension scheme, generous holiday for details on how to apply. possibility ofsalary being extended. Trinity Laban Trinity College of Music is incorporated by Trinity Laban, a company Limited by guarantee. entitlement, season ticket loan, and staff development opportunities. Please note incorporates: You will co-ordinate the planning and delivery of the festival, Registered in England: Kings Charles Court, Old Royal Naval College, London SE10 9JF. For aoffered job pack and term an application form, please go to the helping to shape the artistic programme this and postdeveloping is initiallyabeing on a fixed basis for 18 months but has the Company No. 51090. Registered Charity No.309998. strong volunteer base. You will manage all operational aspects vacancies page of our website www.trinitylaban.ac.uk or possibility of being extended. Trinity Laban Trinity Laban incorporates:

of the festival including finances, HR and office management. incorporates: Email pthompson1@trinitylaban.ac.uk You will have at least 3 years experience arts/pack events For aofjob and an application form, please go to the management as well as a proven track record in working Closing date: Monday January 4th 2010 5pm (No Agencies) vacancies page of our website www.trinitylaban.ac.uk or with volunteers. Interviews: Week Commencing Monday 11th January 2010

The Met, Greater Manchester Email pthompson1@trinitylaban.ac.uk

Closing Date: 3 February 2010 Closing date: Monday January 4th 2010 5pm (No Agencies) Financial Administrator Interviews: 10 February 2010 Interviews: Week Commencing 16 Monday 11th – 18K pro rata January 4 days per2010 week Application pack can be downloaded from www.wirksworthfestival.co.uk For further details please visit or e-mail: info@wirksworthfestival.co.uk www.themet.biz or email or call: 01629 824003

www.wirksworthfestival.co.uk Naomi Russell + Partners is fast becoming one of the UK’s go-to consultancies for the cultural sector. We work with some of the UK’s best-loved cultural organisations as well as FTSE 100 listed companies. We have two exciting opportunities to join our growing team: Associate Consultant £32,000 - £38,000 A great opportunity for an experienced fundraiser looking for the challenge of working with a range of clients. Closing date: Monday 15 February Junior Executive £18,000 - £23,000 This role is ideal for a recent graduate looking to forge a career in the cultural sector. Closing date: Tuesday 2 February For full details contact claire@nrandpartners.com

ISSUE 209 18 JANUARY 2009

director@themet.biz Closing date 01/02/2010

‘bringing insight to transform the relationship between arts organisations and audiences for the good of both ’

Research Consultant

Fixed-term contract (39 weeks) Salary: £28,867 pro rata

An opportunity for a highly-motivated researcher to manage their own portfolio of work, devising and delivering research, analysis and consultancy for some of London’s most vibrant cultural organisations.

Development Officer 12 months fixed term part-time contract £18,000 (pro rata for 3 days per week) or £12,000 flat fee for self-employed The RSCDS is seeking a creative, self-motivated individual to identify and collate examples of good practice in engaging children and young people with Scottish country dancing, and then to work in local communities, supporting up to 3 RSCDS Branches in Scotland to establish such practice in their area. Applicants should be passionate about Scottish country dancing, have a proven background in research and community development work, and excellent communication and interpersonal skills. For an application pack, email info@rscds.org or phone 0131 225 3854 for further details. Closing date: 5.00pm Friday 29 January Interviews: Wednesday 17 February in Edinburgh The Royal Scottish Country Dance Society is a registered charity (SC 016085) dedicated to promoting Scottish country dancing.

This is an income-generating role in a forward-thinking, not-for-profit audience development agency. The successful candidate will have worked in a contract-research environment for at least three years with experience of both qualitative and quantitative research. Deadline: 5pm, Monday 1st February 2010 Full Job Description and application form: www.audienceslondon.org/jobs or email jobs@audienceslondon.org

Production Managers (Music) (1 x permanent, 1 x nine-month maternity cover) £29,390 - £34,210 pa dependent on experience Please go to www.barbican.org.uk/careers or apply online at www.cityoflondon.gov.uk/jobs Closing date: 12pm, Friday 22 January 2010. The City of London Corporation is committed to Equal Opportunities and welcomes applications from all sections of the community.

www.artsprofessional.co.uk

RECRUITMENT ADVERTISING 01223 200200

PRODUCER Following the recent appointment of Edward Hall as Hampstead Theatre’s new Artistic Director, a new role of Producer has been created in order to take the theatre into the next phase of its development. As Hampstead plans to create and develop increasing amounts of work, it is seeking an experienced, forward-looking, innovative and creative Producer to work closely with the Artistic & Executive Directors on creating and executing the programme of work in a way that will bring adventure and excellence to Hampstead Theatre. S/he will be central to implementing Hampstead’s plans for onward presentation of its work both commercially and within the funded sector - on tour, through regional residencies, in the West End and Internationally. Application packs are available to download from www.hampsteadtheatre.com/jobs or can be requested via email from jobs@hampsteadtheatre.com Closing date for applications: 5pm on Friday 5 February 2010 Hampstead Theatre is an equal opportunities employer and encourages applications from all sections of the community.

NFASP seeks administrator London office £19,000 to £22,000 per annum, pro rata, four days a week London-based, national arts body seeks an experienced, organised, self-motivated individual with excellent communication skills and a strong track record in general administration to join our small, enthusiastic team. The National Federation of Artists’ Studio Providers is the professional membership body supporting all those engaged in developing and managing affordable artists’ studios in the UK. Applications deadline: 5pm, Wednesday 3 February 2010. For job information pack email: helen.pike@nfasp.org.uk or download information from our website: www.nfasp.org.uk Contact: Helen Pike: 020 7426 0067. Please contact us if you require information in alternative formats.

Interested in having an impact on the UK arts sector? EDITOR

Cambridge • Up to £30,000 (pro rata) • 2-5 days per fortnight ArtsProfessional needs an Editor who has strong journalistic skills, a deep understanding of the UK’s cultural sector, and both the creativity and discipline to re-think how we take advantage of existing media to provide editorial content. For the right person, this is a flexible role (2-5 days per fortnight) with the opportunity to make a real difference to the sector. Closing deadline for applications: 15th February Selection day: 2nd March in Cambridge Information pack from www.artsprofessional.co.uk/jobs

General Manager

PRESCAP (Preston Community Arts Project)

Salisbury International Arts Festival

Projects Director:

Full time, £26,000-£27,500 Apply by 21 January, interviews 26 January.

For application packs please go to www.salisburyfestival.co.uk or, if necessary, email katie@salisburyfestival.co.uk. Winner: South West Tourism Event of the Year 2009/2010 Salisbury International Arts Festival Friday 21 May – Saturday 5 June 2010

Preston £24,000 - £27,000 based on experience + benefits Permanent contract, full-time 37.5 hours

Do you believe in the value of the arts in changing communities? Are you inspired to create great art and innovative projects, engaging and exciting the people involved? Can you respond to trends and strategic initiatives whilst motivating and empowering a skilled projects team? PRESCAP is seeking an experienced Projects Director with vision and ideas to deliver our Mission and strategic objectives; to design projects in accordance with the company’s artistic policy. Established in 1985, Preston based PRESCAP is a catalyst for change: enabling people to explore, realise and value their full potential through creativity.

South Camden Community School, Charrington Street, London, NW11RG Headteacher: Rosemary Leeke Roll: 990 Mixed 11 - 18 “A brilliant place to learn”

Arts College Manager (0.6) Maternity Cover PO3 £35,055 to £37,851 inclusive (£21,033 to £22,710 inclusive pro rata) Required 22nd March 2010: An experienced manager from the visual or performing arts, community arts, arts development or related industries who will lead the implementation of the Arts College specialist status and further develop partnerships with local primary schools, arts providers and community partners. The post is likely to be up to 12 months in the first instance. SCCS is a successful multi-cultural Specialist Arts College within easy reach of the West End. Ofsted (October 2007) praised our “strong trajectory of recent improvement” and our support for students, who “are confident, enjoy school and have good attitudes to learning”. We are about to benefit from a multi-million pound BSF investment programme which will transform teaching and learning for our whole community. We are proud of our inclusive approach to raising achievement and we celebrate the diversity of our school community. We are committed to equal opportunities and have Investor in People status. For further information and an application pack, please visit our website at www.sccs.camden.sch.uk or send a large, stamped addressed envelope to the Personnel Officer at the above address. SCCS is committed to safeguarding and promoting the welfare of children and young people and expects all staff and volunteers to share this commitment. All successful applicants will be subject to an enhanced CRB check.

PRESCAP creates and delivers dynamic arts projects with people, supporting urban regeneration and community development. Current projects include Preston’s full time community radio station and Arts Based Community Development programme of projects in the North West. Benefits include 30 days holidays plus bank holidays and 5% pension contribution. To apply visit www.prescap.co.uk or email: hayley@prescap.co.uk for an application pack and further details. Closing Date: 12 noon, Mon 15th February 2010 Interviews: w/c 22nd February 2010

Marketing and Development Manager A key senior management role in an exciting and progressive multi art form venue We wish to recruit a self - motivated, flexible individual with a real passion for audience development, creative marketing and sponsorship. The successful candidate will demonstrate a flair for managing people and be excited by the thought of working with brand new box office and marketing software to build audiences for the organisation.

Salary: £21,250 - £23,002 dependent on experience Deadline for applications: Saturday 6th February, 4pm Interviews will be held on: Friday 12th February

If you would like to visit our school before applying, please contact the Personnel Officer to make an appointment. We are open for visitors on Wednesday mornings at 9am.

For more information and to receive a job pack, please call 01722 343020, e-mail info@salisburyarts.co.uk or visit www.salisburyartscentre.co.uk

Closing date: Noon on Friday 29th January 2010.

As an equal opportunities employer we welcome applications from all sections of the community. This post is subject to an enhanced CRB disclosure check. Reg. Charity No. 1023945

ISSUE 209 18 JANUARY 2009

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RECRUITMENT ADVERTISING 01223 200200 Artistic Projects Manager

Applications for 2010/11 Fellowships Strengthening leadership in the cultural sector From 19 January 2010 onwards we are inviting applications for 2010/11 Fellowships on the Clore Leadership Programme Each Fellow will have an individually tailored programme which will include: • Two intensive residential leadership courses in Sep 2010 and June/July 2011

• Time for reflection, discussion and debate

• Professional development through mentoring, coaching, training and group learning

• A period of secondment, including experience of managing a challenging project

The closing date for applications is Friday 12 March 2010 For further information and to use the online application form, please visit our website www.cloreleadership.org The Clore Leadership Programme is an initiative of the Clore Duffield Foundation

Festival and Academy Officer ARE YOU A GIFTED INDIVIDUAL WHO CAN MAKE AMAZING THINGS HAPPEN? You’ll be an experienced and talented arts administrator, with a sound knowledge of classical music, able to deliver high quality events on time and within budget, and with evidence of excellent interpersonal & IT skills. Salary: negotiable. Interviews: Friday 26 February 2010. For an application pack visit www.ldsm.org.uk or contact Andrew Lucas, Senior Executive Officer 08456 442505 / andrew@ldsm.org.uk Deadline for applications: 12noon, Monday 15 February 2010

Registered Charity No.516350

The London Sinfonietta is looking for an outstanding individual to work at the heart of the organisation, responsible for the co-ordination and delivery of the ensemble’s ambitious and adventurous programme of London events, UK and overseas tours and recordings. Excellent organisational skills, experience of classical music events production and knowledge of 20th and 21st century repertoire are essential. An exciting opportunity to develop your career in a challenging role, working within a supportive and dedicated team. Closing date for applications: Monday 15 February 2010 For more information www.londonsinfonietta.org.uk or call 020 7239 9340

GENERAL MANAGER

Salary: £27,000 Full time permanent position Candoco Dance Company is the award winning contemporary dance company of disabled and nondisabled dancers. With a formidable UK and international touring schedule and an extensive education programme Candoco seeks an exceptional individual with excellent all round skills. This is an important role within a busy team. Deadline: 5pm, Tuesday 2 February 2010 Interviews: Wednesday 10 February 2010 Further Information: A job description and application form can be found at www.candoco.co.uk or contact lauren@candoco.co.uk or T: +44 207704 6845. Candoco is an equal opportunities employer and welcomes applications from disabled people. Candoco is supported by Arts Council England, Paul Hamlyn Foundation and Esmee Fairbairn Foundation.

Go on...

think

outside the

box

Advertise today! For a quote email

ads@artprofessional.co.uk

or call Paul or Tricia on 01223 200200

With the publication of Turning Point, Arts Council England has made strengthening the visual arts one of its key priorities. Regional strategy groups are being formed by visual arts organisations across the country with a view to developing a shared vision for change.

West Midland Visual Arts Co-ordinator £30,000 freelance contract 24 hours per week, fixed term for 12 months

Hosted by Birmingham City University, and working with the new regional Visual Arts Strategy Group, a highly motivated and experienced administrator with excellent knowledge of the visual arts is sought to work with organisations across the West Midlands region. We would expect candidates to have experience of project management and delivery in order to take forward a wide range of initiatives and programmes. You must have effective communication and negotiation skills and be able to develop and manage relationships at all levels. For an informal discussion, please contact Professor John Butler on +44 (0) 121 331 5971. For an application pack, please contact Sue Rice, School Administrator, School of Art, Birmingham Institute of Art and Design, Birmingham City University, Margaret Street, Birmingham B3 3BX. Email: sue.rice@bcu.ac.uk Tel: 0121 331 5970. This post is available as a freelance contract. Closing date: Monday 8th February 2010 Interview date: Friday 19th February 2010 ISSUE 209 18 JANUARY 2009

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RECRUITMENT ADVERTISING 01223 200200 Kendal Arts International, in partnership with the Local Authorities of West Cumbria and Arts Council England, is seeking to appoint an

Arts EngAgEmEnt mAnAgEr The post-holder will work strategically to increase attendance and participation in the arts by the people of Allerdale and Copeland. S/he will work as part of the Kendal Arts International team and its exciting Lakes Alive programme, one of the North West’s three commissioned Olympic Legacy projects.

salary up to £30,000 p.a., two year post initially. For more information and for an application pack please visit www.lakesalive.org or email jenny@kendalartsinternational.com

Closing date: for applications Fri 12 Feb, 2010.

main Partners

DV8 Physical Theatre Seeks Chair of the Board of Directors. DV8 Physical Theatre is an award-winning dance theatre company, touring nationally and internationally to critical and popular acclaim. We are looking for an exceptional individual with the stature, integrity and skills necessary to act as a powerful ambassador for the company in any forum, and to display strong leadership of the Board of Directors in the governance of the company. Excellent communication skills and an interest in the performing arts are essential. For further information on this volunteer role please contact Eva Pepper, Executive Producer on 020 76550977 or email eva.dv8@artsadmin.co.uk. A person specification is available on our website: www.dv8.co.uk. Application is by Letter and CV sent to Eva Pepper, Executive Producer, DV8 Physical Theatre, Toynbee Studios, Artsadmin, 28 Commercial Street, London E1 6AB. Deadline: Monday 15 February 2010 Interviews: Saturday 6 March 2010 Preliminary discussions with the Board of Directors will take place in March 2010 for a June 2010 succession. DV8 Physical Theatre is an equal opportunities employer. DV8 Physical Theatre receives regular funding from Arts Council England, London.

Post Title: IDFB Education Coordinator Salary: £10,200, plus reasonable approved expenses Contract: Freelance position, 68 days from February – end May 2010 DanceXchange is looking for an experienced, motivated and proactive individual to help International Dance Festival Birmingham 2010 (IDFB) achieve its full educational potential. Working with the IDFB Programme Manager and Festivals Producer, and drawing on the wealth of outstanding companies performing in the IDFB programme, the Education Coordinator will develop a strategic education plan, target and engage participating groups, and coordinate the Festival education offer. As well as a passion for dance, the successful candidate must have: • Substantial experience of working in dance education/participation settings • Experience of coordinating education programmes in liaison with artists/companies • Proven experience of booking workshops in schools and/or youth and community settings • Proven ability to communicate effectively to engage groups/communities new to dance • Excellent negotiation and communication skills, written and verbal

It is anticipated that the Education Coordinator will work in the IDFB office regularly to connect with relevant team members. The role will also require the Education Coordinator to work off-site around Birmingham and other locations in the West Midlands during IDFB planning and delivery. The Education Coordinator will not be expected to deliver dance workshops themselves, although candidates with suitable experience may have the opportunity to do so, for an additional fee. Closing date for applications is: 12noon on Monday 25th January 2010 Interviews will take place on: Friday 29th January 2010 For specific details and requirements of this post, please visit www.dancexchange.org.uk and click on ‘jobs’, or call 0121 689 3170. To apply, please email recruitment@dancexchange.org.uk with: • A full CV • A covering letter of no more than two sides of A4, which explains why you are suited to this role and how you fit the person specification • Details of any other work commitments you may have during this period • A DanceXchange Equal Opportunities Monitoring Form If you have not been contacted by 28th January 2010, please assume your application has been unsuccessful. Applications made through recruitment agencies will not be accepted. Previous applicants for this post should not re-apply. dx is an equal opportunities employer welcoming applications from all sections of the community

To advertise call Paul or Tricia 01223 200200

New Perspectives, the highly-regarded Nottingham-based national touring theatre producer and rural touring scheme-manager for Northamptonshire, seeks:

Administrator Full Time £16,000-£18,000 p.a. Director

3 days per week. Salary £35,430 - £38,042 (pro rata)

NDTA 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 a visionary Director to lead the NDTA into a new and exciting stage in its development. Closing date: Noon, Friday 29 January 2010 Interviews: Wednesday 10 February 2010 in Lichfield

Marketing Officer For details visit

For further information visit www.newperspectives.co.uk or call Chris Kirkwood on 0115 927 2334.

www.thebrewhouse. net/jobs.php

Closing date for applications: 5 February 2010 Interviews in Nottingham: 15 February 2010

Closing date: 25 January 5pm

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

DEVELOPMENT ASSISTANT As a member of Rambert’s small, fast paced and highly motivated development team, you will be responsible for running our membership schemes and organising events in support of the Company’s ambitious programme of artistic and outreach activities. For a job description and application form, please visit www.rambert.org.uk or send an A4 SAE for 50p to Celeste Holder, Rambert Dance Company, 94 Chiswick High Road, London, W4 1SH. Closing date for completed applications: 22 January 2010 at 12pm

ISSUE 209 18 JANUARY 2009

Head of Marketing & Communications - New Post

Charity No 1031800

£32,000 - £35,000

is looking for a full-time The UK’s leading contemporary dance company is seeking a

To provide effective administration across New Perspectives programme of touring theatre and Northants Touring Arts rural touring scheme. Nottingham-based.

Education & Access Officer Our ideal candidate would have excellent practical teaching skills, plus experience of project coordination. Salary: £16.900 -£18, 900 Start date: asap / by negotiation 6 month contract Deadline for applications: Jan 22nd. Interviews on Jan 29 Applications to swindance@aol.com

Based in Colchester, firstsite is a leading visual arts organisation for the East of England building a reputation over the last 15 years for presenting new work to new audiences through an integrated programme of learning, artistic and artists’ support. In 2011 firstsite will take occupancy of its new purpose built venue. We are inviting applications to join our Senior Management Team to manage & drive the organisation’s Marketing and Communications. You will be joining firstsite at an exciting time as the new building nears completion and will play a major role in developing the ambitious programme, partnerships, and local and international profile as it prepares to welcome its many visitors. You will have demonstrable leadership and managerial experience within the Marketing & Communication Sector and the ability to manage and oversee complex projects. You will possess excellent communication & administrative skills. To apply, please send a copy of your CV and covering letter to: Recruitment @ firstsite 4-6 Short Wyre Street, Colchester Essex, CO1 ILN, CLOSING DATE : 7th Feb 2010

www.artsprofessional.co.uk

LAST WORD

Write on Catherine Rose, Editor

Shoestring government

Leader dreams

The management adage ‘don’t work harder, work smarter’ may be what HM Government has in mind with its new document, ‘Putting the Frontline First’ (p1). However, while there could be some exciting opportunities thrown up by changes to local government, some of the proposals may simply mean that a lot of us will be working a great deal harder as we try to make less go further. The idea that Whitehall and its many quangos are in need of trimming may be generally accepted by the political classes, but the arts sector is unlikely to cheer on further attempts to reduce costs for our arm’s length bodies (now known economically as ‘ALBs’ – is this a sign that the arm’s length principle has finally become entrenched?). ACE has just gone through a massive downsizing operation and a reorganisation. Even those who still think it’s over-staffed and over-bureaucratic can hardly welcome the idea of further upheavals in the near future. In addition, the Museums, Libraries and Archives and Council might justifiably believe that it has already done its bit by moving its headquarters to Birmingham and slashing its staff. We want our culture bureaucrats to leave off worrying about themselves and spend their time looking after the sector – and no doubt they would prefer that too.

At last Creative Scotland is on its way (p2), gaining the green light from MSPs. Its immediate future will be taken up with an intense search for the right leader. Given that the Scottish Arts Council’s Jim Tough is off to pastures new (p4), Ken Hay of Scottish Screen must be a possible choice. However, we can’t be sure of that. This week, various papers have been running banker Robert Taylor up the flagpole as a potential Chair for Arts Council England, London – presumably to see if anyone salutes. Scotland may also look for a figure with one foot in the cultural sector and a business background. It can work – but picking a high-profile arts consumer instead of an arts professional could backfire – like appointing someone to run a bakery because they eat a lot of expensive bread. You don’t find a Tony Hall on every street corner. The recent clear-out of leaders from ACE’s regional offices might offer a few interesting possibilities.

Afterword Attentive readers will have noted that my job is advertised on p17. Yes, I’m leaving after more than two years of bringing you the latest and the greatest. Anyone thinking of applying should know that the AP staff all make very good tea.

Our feature writers are diverse – from all sectors, specialisms and regions of the arts. They are a big part of what makes ArtsProfessional the highly-valued resource it has become. And we are always on the look out for new writers. Here’s how it happens. We listen to ideas from readers, and explore them at an editorial planning meeting. We then agree a list of forthcoming features and post them on the ArtsProfessional website, asking prospective contributors to get in touch with our Editorial Co-ordinator, Eleanor Turney. When developing a feature, Eleanor is looking for a lead article that gives an introduction to or overview of the subject, as well as some discussion of current ideas and issues. She then looks for a range of case studies that will show how some of these new ideas are being put into practice. Case studies are an important opportunity to reflect the variety of the sector. Eleanor also writes News from the Nationals, the fortnightly roundup of news from the broadsheets and blogosphere. This involves a daily trawl of around 40 websites, reading everything you wished you had time to, and compiling a digest you can read in less than a minute. Find the features list at: www.artsprofessional.co.uk/write.cfm Subscribe to News from the Nationals at: www.artsprofessional.co.uk editors@artsprofessional.co.uk

This week Catherine finally got round to seeing ‘Up’, the enchantment and artistry of which didn’t quite neutralise a nagging question: how did the mad explorer end up with dozens of male dogs, and apparently no bitches?

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 209 18 JANUARY 2009

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

Chief Executive Pam Henderson

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

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