Arts Council of Great Britain - Essay Example

The structure of the arts council changed twice in about a decade. For the changes in 2003, make a strategic assessment of those aspects of their revised ambitions that the changes were designed to facilitate. How successful do you feel they were?" The Arts council of Great Britain was divided in 1994 to form country specific bodies to address the development of arts and culture. From the break-up emerged the arts council of England which took up the responsibility of being the distribution centre for the National Lottery. Shortly after a few years the Arts council of England was further merged with the regional arts board to form a single organization for the development and control of arts and culture in England. This made the arts council emerge as a bigger and more distributive organization since its establishment in 1987. Since the time the arts council was conceived, it has gone through many restructuring and major changes in an attempt to improve its authority and control over the arts and culture industry (A.C.E, 2005 [1]). In the mid of 2002 the arts council started off as a new era of significant expansion for the arts in England. The financial case for the arts was set to being won with Government. In 2002’s spending round, targets were set to achieve a major increase in public investment in the arts. Furthermore, the arts council intentions were to capitalise on that success by backing the country’s artistic talent and winning further support for the arts. The arts council has tried to adopt a more modern definition of the arts, one that is open to current trends in emerging (and often challenging) arts practice, in arts and technology, and in breaking down the boundaries between art forms, and between the arts and other disciplines (A.C.E, 2005 [1]). Furthermore the council has restructured to be unabashed about excellence in the arts by trying to gain the highest possible achievement through excellence and not a value system placed on one group by another. It will take a contemporary, international approach to the arts by promoting artists internationally, encourage international exchange and co-production, and do all we can to ensure that audiences and artists in this country benefit from the best of the arts from outside the UK. Being involved with the arts can have a lasting and transforming effect on many aspects of people’s lives. This may be true not just for individuals, but also for neighbourhoods, communities, regions and entire generations, whose sense of identity and purpose can be changed through art (A.C.E, 2002 [3]). The council had planned to transform to create more opportunities for people to experience and take part in life-changing artistic experiences, through: making, doing and contributing; watching, viewing, listening and reading; and performing, playing and publishing. The new system believes that access to the arts goes hand in hand with artistic excellence. Participation, contribution and engagement in the arts are the bridge between access and excellence. This bridge is especially crucial in a society which is itself subject to ongoing change: more culturally and ethnically diverse; more educated and informed but also more distracted and cacophonous (A.C.E, 2002 [2]). In a radical new budget that covers the entire country, many organisations will receive a step change in their funding to help them realise major ambitions. There is substantial investment in new groundbreaking organisations and the previously less recognised arts, for example circus and carnival arts. Classical music has also done well, with a much larger budget allotted for venues in Aldeburgh, Suffolk, Dartington in Devon the Sage in Gateshead. The Royal Opera Houses education and outreach programme received a significant increase as well (A.C.E, 2005 [1]). Individuals can apply for grants for arts-related activities which might include: projects and events; commissions and productions; research and development; capital items (such as equipment); professional development and training, including travel grants; bursaries; fellowships; residencies; and touring. Your application can cover more than one type of activity. Grants normally range from £200 up to a total of £30,000 and can cover activities lasting up to three years. Larger grants can be awarded for major projects and residencies. Most grants will be under £30,000 (A.C.E, 2005 [1]). 2002-2003 was a year of material change for Arts Council England. The former Arts Council merged with the 10 formerly independent Regional Arts Boards with effect from 1 April 2002. A Supplemental Charter was granted to allow for the new arrangements. A new national and nine new regional councils were appointed, and new terms of reference and internal frameworks of delegation established. As a result of this a new staffing structure was developed, consulted on and confirmed. This new structure reflected a major delegation of funding decisions and client relationship management to a regional level. The staffing structure became effective on 1 April 2003. In addition, several major changes to operational processes were developed and introduced, including the development of internal shared services and the wholesale simplification of grant programmes (A.C.E, 2002 [4]). Arts organisations and other people who use the arts as part of their work can apply for grants for arts-related activities. This might include: projects and events; activities for people to take part in; education activities; research and development; commissions and productions; marketing activities; audience development; capital items (such as equipment and improvements to facilities and buildings); professional development and training; organisational development to improve the long-term stability of arts organisations; and touring (A.C.E, 2002 [4]). The arts council has diverted most of its funding to go to their portfolio of ‘regularly funded organisations. The council is looking for a new, grown-up relationship with arts organisations; one that is based on trust, not dependency. They tend to foster hopes, aspirations and problems to be shared openly with the council. This new relationship is considered to be fundamentally important to the future of the subsidised arts. Arts organisations provide the foundation for the arts in England. Because of this, these organisations must play a leadership role in terms of artistic innovation and experimentation, as well as in how they are managed and governed. They are crucial to all our priorities and we will ask them to make a major contribution to our ambitions in cultural diversity (A.C.E, 2005 [2]). At the same time, the council may not ask them to take on any agendas that are not consistent with their fundamental purpose and ambition. This will take off the burden from the organisations rather than to add to their already overwhelmed agendas. The council wants a new relationship with arts organisations based on mutual trust. But this change ahs to be a two-way road from the council and returning a change of adaptation form the organizations as well. The council seems to be fair in what it expects of organisations. By helping them to provide training for their employees and to produce more cultural managers and leaders for the future. The arts council may also extend their hand to make the most of their capacity, but will not ask them to do more than their funding allows (A.C.E, 2005 [4]). As an organisation, the council has changed and developed to be focused on growth. It has setup projects that will bring the transforming power of the arts to bear on issues of health, crime, education and inclusion. Many artists are naturally drawn to those fields. Without compromising its main purpose- the arts, it will make the most of growth by establishing healthy and effective partnerships with a range of national, regional and local organisations. Nationally, these include government departments for health, education, trade & industry, and the Home Office as well as agencies such as the Youth Justice Board and national broadcasters (A.C.E, 2003 [1]). Regionally and locally, these include regional development agencies, regional government, regional government offices, local strategic partnerships, regeneration agencies and, of course, local authorities. Furthermore, the council has stepped up to place added emphasis on marketing and communicating the value of the arts. This will include marketing of the ‘transforming power’ of the arts- all the arts, not just the arts it may fund and more specific marketing, for example, in relation to new opportunities to raise extra resources for the arts (A.C.E, 2003). On 1 April 2002, the 11 organisations, which formerly made up the arts funding system in England, consisting of 10 Regional Arts Boards and The Arts Council England, merged to become one legal entity. Arts Council England is now the trading name of this new organisation. The organisation has nine regional offices, matching the Government’s regional boundaries, and a national office. Each region has a council and the 15-strong national Council includes the chair of each of the new regional councils. The national Council met in formal session five times during the year and monitored the work of the chief executive and staff. In addition a number of advisory panels, while carrying no executive authority, played an important role by providing advice from the arts constituency (A.C.E, 2005 [4]). The artist is the ‘life source’ of the council’s work. In the past, they had mainly funded institutions but now it wants to give higher priority to the artist. It can be done indirectly through training, legislative change, or in stimulating the economy for artists. Or the council might provide direct assistance through more funding, or help with spaces to work, with equipment, time, or travel and opportunities for international exchanges. The artists, at times, need the chance to dream, without having to produce. The council will establish ways to spot new talent; find ways to help talent develop; encourage artists working at the cutting edge; encourage radical thought and action, and opportunities for artists to change direction and find new inspiration (A.C.E, 1998). The arts provide spaces to explore differences. The results can be greater understanding and tolerance or, at their best, a sense of shared excitement and celebration of the miraculous richness and variety of cultural identity and endeavour. The council reshaped to promote cultural diversity to be a central value in their work, running through all our programmes and relationships. The term ‘cultural diversity’ can be interpreted in many different ways. The council will take a broad and inclusive interpretation, as meaning the full range and diversity of the culture of England. For example, in some cases our focus will be on race and ethnic background and in others on disability (A.C.E, 2005 [3]). The council has achieved much in cultural diversity through persuasion, illustration and by identifying and sharing good practice. But it also needs to take positive action if it is to share the riches and achieve greater equality of opportunity. For the same, at the very least, the council plans to make more funding available specifically for culturally diverse arts and will also take steps to change the employment profile, governance and activities of both the Arts Council and the funded arts sector (A.C.E, 2005 [2]). The council has also recognised the transforming power of the arts in relation to young people. To value the wealth of arts and education activity that has taken place and will continue to take place in schools and other settings up and down the country. Creative Partnerships are seen as a highly valuable extension of the previous arts and education work, and embrace the Creative Partnerships initiative with much excitement and enthusiasm. Creative Partnerships can bring about profound change in how education relates to the arts and vice versa (A.C.E, 2005 [3]). New grant commitments (offers made and accepted) in the year totalled £120.5 million. At year end a total of £186.4 million accepted grant commitments remained outstanding and awaiting payment together with £51.4 million commitments offered but not accepted. This compares with a balance in the National Lottery Distribution Fund, plus bank balances, of £254.7 million. The Arts Council monitors levels of lottery income closely, and the level of outstanding grant commitments is considered prudent, based on past and projected income flows (A.C.E, 2005 [2]). During 2002-2003 the Council incurred costs of £5.2 million on restructuring costs. £2.2 million of this was charged to lottery in these accounts, with the balance charged to the grant-in-aid accounts. Throughout the year Arts Council England awarded grants in support of the arts under a number of separate schemes and programmes. These included the first round of the Arts Capital Programme, the Stabilisation and Recovery Programmes, the National Touring Programme and the Regional Arts Lottery Programme. 2002-2003 was an interim year, coming between the formal completion of the reorganisation in April 2002 and the development of a new staff structure and ways of working, which came into effect in April 2003 (A.C.E, 2005 [3]). Staff consultation took place during summer 2002, following which the new structure was confirmed. New simplified funding programmes were also developed during the year, and announced in February 2003. These came into operation in April 2003. Two of these programmes, Grants for the arts- organizations and Grants for the arts, national touring, are funded through lottery. It is anticipated that the reorganisation will deliver significant savings in administration costs. These savings will be delivered in stages. Most will be achieved in 2003-2004, following implementation of the new structure (A.C.E, 2005 [4]). However, some savings cannot be realized until transitional issues have been worked through, for example, rationalization of IT systems and relocation of offices. The Arts Council is committed to creating a working environment that treats people with fairness and respect, and is free from discrimination, harassment and bullying. Policies and procedures are geared towards eliminating direct and indirect discrimination, and supporting employees in reaching their full potential (Jermyn, 2001). The Arts Council’s training and development programmes are designed to encourage and support all employees in improving performance. In recognition of the organisation’s positive approach to the recruitment and management of staff with disabilities, the Arts Council has been awarded the ‘Two Ticks’ symbol by The Employment Services. 11.3% of staff classify themselves as Black,Asian or Chinese, and 2.5% of staff classify themselves as disabled. The Arts Council has put in place arrangements to promote effective consultation and communication with all staff (Jermyn, 2001). Executive Board and Council activities are disseminated through a system of team briefing, supplemented from time to time by office and directorate meetings. A new staff intranet was launched in February 2003. More formally, during 2002-2003 the Arts Council recognised the trade unions Amicus and Unison for consultation and collective bargaining, and established appropriate consultative machinery to support this. Following the merger on 1 April 2002 a new national forum for managing issues with the unions has been put in place. The National Joint Consultative and Negotiating Committee (NJCNC) has a mandate to handle all core pay, terms and conditions of employment, and corporate HR policies and procedures across the whole organisation (Jermyn, 2001). In continuation with its policies throughout 2002 onwards The Arts Council intends to implement the following for the year ended 31 March 2004 so it can make a Statement on Internal Control, which illustrates that it has established a sound system of internal control during 2003-2004. A risk management policy and related procedures were put in place in January 2001.However, with the creation of the new organisation, it was recognised that a full scale review of risk management procedures was necessary, given the new organisational structure and devolved nature of decision making (Jermyn, 2001). A piece of consultancy work has been commissioned to advise on this. Revised risk management procedures were introduced in October 2003. A likely additional outcome of the above mentioned review is that the terms of reference of the Audit Committee, although compliant with existing guidelines, will be amended to include more specific reference to risk management. A shared finance service was introduced with effect from 1 April 2003 (A.C.E, 2005 [1]). Furthermore, this provides a single set of procedures for management accounting, a centralised payroll, a single financial ledger, and consistent procedures on authorisation of grant payments and purchasing, to ensure consistency of internal financial control across the organisation. A completely revised monitoring policy was introduced from September 2003. This will ensure consistency of approach to monitoring regularly funded organisations and early identification of issues (Jermyn, 2001). The council will give it a very high priority, evaluate it thoroughly and will do all that is needed to turn it from a pilot into a mainstream activity. Furthermore, using the same principle for the youth, the council is putting people and high quality artists and art together to create transforming experiences and is applying to other sectors and ages. Given the significant growth in the population in the fifty plus age group in the next decade, the council has step up to explore initiatives that apply the Creative Partnerships principle to that age group (Jermyn, 2001). In order to fulfil its ambitions it needs a dynamic and effective role as the Arts Council by building staff morale, delivering some early wins, and allowing people to get on with their new job have initiated these dynamics. The council will create a sense of progress, momentum, excitement and achievement. This will involve focusing on organisational culture and working methods and making the most of the new organisation’s strengths. It will form project teams to drive forward new programmes with clear goals, drawing on people across the organisation- and overall, improving operational performance and responsiveness, for example through our much simplified grants for the arts (Jermyn, 2001). Word Count: 2901 Works Cited A.C.E (Arts Council of England), 2005 [1], Grants for the Arts: Individuals and Organisations, Arts Council of England A.C.E (Arts Council of England) et al, 2002, Year of the Artist, Arts Council of England A.C.E (Arts Council of England), 2005 [2], Children, Young People and the Arts, Arts Council of England A.C.E (Arts Council of England), 2005 [3], Artist Placement Programme, Arts Council England A.C.E (Arts Council of England), 2005 [4], Cultural Leadership Programme: A Call for Ideas, Arts Council of England A.C.E (Arts Council of England), 2003, Ambitions for the Arts 2003-2006, Arts Council of England A.C.E (Arts Council of England), 1998, Cultural Diversity Action Plan for the Arts Council of England, Arts Council of England Jermyn, H. 2001, The Arts and Social Exclusion, Arts Council of England Read More