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New edition of Guide to the Major Trusts publishd

Recent NewsPublished on 9 April 2010, by howardlake in Grant seeking Research / statistics

The Directory of Social Change has published new editions of the two-volume 'The Guide to the Major Trusts'. Despite a reduction in income due to a drop of around 4 billion in the value of their assets, the top 400 UK trusts still gave a combined total of around 2.53 billion in 2007/08, the year for which most recent figures are available. Despite the bad economic climate at that time, this still represents an increase, albeit a modest one from the 2.3 billion of grants reported in the 11th edition of the Guide, based mostly on data for 2005/2006. Tom Traynor, co-author of the Guide, said: "The research we did shows most trusts are maintaining their level of spending, at least in the short term, and would rather dip into their reserves if necessary to support their beneficiaries who are largely small to medium-sized charities." However, much of this increase is down to the work of the Wellcome Trust, which increased its grantmaking from 324.7 million to 598.5 million in between the latest two editions. As a result, the top 25 trusts increased their giving from around 959 million in the previous edition to 1.23 billion in the new edition.

Cool Britannia: New Labour and Cultural PolicyIn Hunts defence, it has to be said that he is likely to take on a very difficult legacy. First, the recession has affected the UK even more than most European countries. To manage the exploding public deficit, cuts in the already small budget for arts and culture are very likely. Second, Arts and Culture are arguably one of the very few remaining success stories of New Labour. It has often been argued that New Labours interest in arts and culture was merely populist. Tony Blair used Britpop musicians, actors and writers to generate a young and hip image for himself and his party which is nowadays known referred to as Cool Britannia. However, in June 1998, Blair invited the directors of leading institutions to a Number 10 summit on how New Labour's policy on the arts might develop. Afterwards, he publicly announced: We must write the arts into our core script." And only two weeks later the long freeze on arts funding begun by the Conservatives was over, thanks to a three-year settlement worth an extra 290m. Museums, galleries and the performing arts all benefited. The main aims of Labour were to make the most of the economic and social benefits they believed culture could contribute to society. Based on the ideal of democratising culture, they aimed to widen access to cultural activities and tried to overcome barriers to attendance and participation. At the same time they supported the private creative sector through tax breaks and major infrastructure investments. Christopher Frayling, former chairman of Arts Council England, therefore describes the last decade as a golden age for the arts in Britain." And numbers show he is right. The UK now has the largest and fastest growing cultural economy in the world the creative industries contribute 6.2% to the UK economy, with nearly 2 million people in creative employment. Two thirds of the adult population enjoy the arts, visit historic sites, and go to museums and galleries. Music contributes nearly 5 billion to the UK economy, with 1.3 billion of that coming as export earnings. The economic benefits of the UKs major museums and galleries alone are estimated to be 1.5 billion per annum.The economic impact of theatre is 2.6 billion a year. In 2009 the 52 major theatres in central London, which represent a mix of subsidised and

3 commercial theatres and productions, had their best year ever, worth 504 million in box office receipts. British visual artists, conductors, musicians, composers, actors and film-directors are among the very best in the world.

Essential intelligence for arts fundraisers and sponsorship managers in any climate - from our authoritative annual research project into business investment, individual giving and funding from trusts and foundations for the UK's cultural sector.Having launched the headline figures in January, the full report now uncovers the multiple stories within the story. How indicators such as region, artform and size of organisation affect the nature and scope of private investment and the upcoming trends in private investment in light of the recession and beyond. Explore private investment for your organisation on our interactive map.

Know what you can do for others, not what they can do for you Fundraising is all about the other person whether that be a donor, a company or a foundation. To successfully develop a relationship with them, you need to recognise how your organisation is able to address their needs and objectives through your work and focus less on how they can help you

Strong public investment coupled with the highest ever levels of private investment at almost 690 million 1 has made the arts a real success story today. Since the introduction of Gift Aid in 1990, major steps have been taken to improve the tax treatment of donations in this country. The cumulative effect of these changes has meant that the UK now has one of the best systems for tax-efficient giving in the world. In other words, there has never been a better time to support the arts.

Private giving is a key growth area for arts funding and the role of the individual has really come of age. We now need to ensure that this private money creates continued growth and excellence for the arts. Whether you give cash, shares, land, property, time, energy or skills, you are making a vital contribution to the UKs heritage scene and cultural life. The art

In April 2008, the basic rate of tax was lowered from 22% to 20%. As Gift Aid is based on the amount of tax paid, this change has meant that the amount of Gift Aid that charities can claim has also been reduced (although it has also meant that the amount of Gift Aid that higher rate tax payers can claim has increased). To help charities with the resulting drop in their Gift Aid

4

claims, the Government have offered transitional relief for three years from 2008, which will effectively return Gift Aid claims to the pre-April 2008 levels. Throughout this document we will quote Gift Aid amounts both with and without transitional relief as they stand today. For the most recent details on the governments current plans for Gift Aid, please visit the

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Funding structure of the arts and culture sector Statutory funding Examples of the significant funds received from central government by the largest arts and culture agencies are set out below, with the proportion of their total income represented by statutory funds. The Arts Council England, a grant-making body for the arts, and the Museums, Libraries and Archives Council, launched in 2000 with 52 million of statutory funds to provide advice and resources for museums and libraries, are both examples of armslength government arts and culture agencies with charitable status, or quangos.

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The arts in England are funded through a wide variety of sources, which include earned income, Government subsidy, private donations and business sponsorship. Through this mixed economy, England occupies the middle ground between heavy dependence on the State - as in European countries such as France and Germany - and almost entire reliance on private investment, as in the USA. Funding the arts in this way can prove highly beneficial to artists and arts organisations as it reduces the risks that can arise from reliance on a single funding source, and ensures that they have greater

1

artistic freedom and financial flexibility 2

Business investment in the arts currently stands at 120.2 million (2004/05). When added to individual investment (244.2) and Trust & Foundation Investment (88.7), the total figure private investment is 452.1, a rise of 3% across the UK from 2003/04. This is an encouraging figure and reveals the success of the arts when they seek private sector support Arts & Business (A&B) aspires to be the worlds most successful and widespread creative network. It helps business people support the arts and the arts inspire business people, because good business and great art enrich society. A&B is funded partly by Arts Council England and partly from a membership scheme for both the arts and business communities. It also attracts major funding from Regional Development Agencies and sponsorship from the private sector for various activities including its Annual Awards. With a membership base of 1458 arts and business organisations it is in regular contact with over 3,500 businesses and over 6,000 arts organisations. A&B has 12 regional offices Direct support of business arts partnerships Helping businesses succeed Helping the arts improve their business performance Helping arts raise money for themselves Since the millennium, A&B has trained over 5,000 arts managers in how to raise sponsorship. They have created the largest UK membership network of people raising money for the arts the Development Forum. There are now over 1,200 organisations co-operating in this centrally coordinated network. Members meet regularly to exchange

2

ideas at the 13 regional forums. A&B deliver annually nearly 200 specialist training courses and seminars to Development Forum members and arts practitioners, together with around 1,300 free surgeries offering one-to-one advice sessions for arts organisations and projects wishing to develop arts/business relationships.

Section 6: Trusts and FoundationsUK trusts and foundations give about 2.1 billion in grants each year to charities (including universities and religious organisations). They prefer to fund those areas which Government funding cannot fully cover, such as one-off projects, access to services for disadvantaged and minority groups and experiments using new methods to tackle existing problems

Section 7: International FundsThis

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The BC was founded 1934. Its the UK`s international organisation for educational opportunities and cultural relations. As well as education . The BC runs programmes in the arts, science, sport, governance and english language. Its a magor international organization , employing 7,900 staff and operating in 110 countries and territories worldwide. Its proggrames reach over 112 million people a year, across the world. The bc core purpose is to build engagement and trust for the UK through the exchange of knowledge and ideas beetween people worldwide.

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- - . Its a non-departmental public body, a public corporation incorporated by royal charter, and is registered as a charity in England. The term has its origin in a humorous shortening of quasi-NGO, an ostensibly non-governmental organization performing governmental functions, often in receipt of funding or other support from government. [1

An essential feature of a quango in the original definition was that it should not be a formal part of the state structure . Quango has been abandoned almost entirely from UK official usage. Instead, the less contentious employedAn term non-departmental public body (NDPB) is to identify numerous organizations with devolved

governmental responsibilities. The UK government's definition in 1997 of a non-departmental public body or quango was:"A body which has a role in the processes of national government, but is not a government department or part of one, and which accordingly operates to a greater or lesser extent at arm's length from Ministers." [2]

The British Council is a Quango of the United Kingdom Government which specialises in international educational and cultural opportunities. It is a non-departmental public body, a public corporation incorporated by royal charter, and is registered as a charity in England. - . The British Council says its remit is `` to build mutually beneficial cultural and educational relationships beetween the United Kingdom and other countries, and increase appreciation of the UK`s creative ideas and achievments. `` its overseas network extended to 233 locations in 107 countries and territories. , .

3 1934 non-commercial public service organization. , , . 60% . , . . 1930 by the Foreign Office after the Foreign Office realised it needed a means of promoting British culture, language and enterprise overseas. France and Germany had already set up cultural organisations to serve that purpose. The new organisation was initially called the "British Committee for Relations with Other Countries", but changed its name to the British Council two years later. Some argue that there were more political motivations behind the formation of the council, suggesting that its creation came as a response to fears that British democracy was coming under threat from fascism.. ... The council has often faced the difficulty of being something of a mystery to the public. Part of the problem is its nondescript name, which gives little clue to its activities. Its leaders have often been asked about a name change to something that better explains what the council does. "Market research shows that organisations that change their name often lose out in terms of public recognition," its former head, David Drewry, once said, Royal Charter 1940 -. . . In effect, it is tasked with promoting British culture, language and business around the world.( ))))) 2010 , by looking at the attendance figures at its teaching centres and the traffic on its website. 200 110 . . ......

They choose UK artistic products that will be innovative in the country where it is touring, and fits with the overall aims of the British Council office in that country.

Of its total income of 551m pounds in 2006/7, the BC received 195m pounds of grants from the British government. The rest was earned through charging for teaching English to individuals and organisations, examinations and commercial consultancy- often acting as a managing agent for UK Government departments, . Its main areas of activity are ''Learning/Teaching, the Arts, Science and Society''

Martin Devidson ( British council CEO) identified in his introduction to the british council annual report 07/08 that one way to increase impact is to run more programmes in partnership with others. For example UKIERI is a unique programme involoving 11 funding partners . UKIERI is run with corporate partners BAE Systems, BP , Glaxo Smith Kling and Shell. Martin davidson concludes if we are to achieve our growth objectives, we recognise that we need to increase our ability to develop successful partnerships such as UKIERI. Partnership with the BC is advertised on their website as helpng many of our buisness partners gain competitive advantage in an increasingly challenging global market place .. many companies also welcome the opportunity to work with us as a way of underlining their company values and commitment to corporate social responcibility

3

murky BC Trading International LTD BAE, British..... Hilton, Deutsche bank , Renault etc they all sponsor BC Because the British Council being part of British Diplomatic network can open Embassy doors worldwide and provide a degree of access and proximity to the british government and Establishment. That government /official/ diplomatic status+ registered charity + business+ + limited company combination is pretty neat(and unique) , and guarantees that nobody can compete with the british Council on a level palying field. And makes a mockery of EU competition Law.

The british council`s core purpose is to build engagement and trust for the UK through the exchange of knowledge and ideas between people worldwide

BC Trading International LTD (BC Trading) was incorporated on 5th April 2004 as a wholly owned subsidiary of British Council. It is registered at Companies House under company registration no. 05093170 The directors and company secretary of bc trading are all employees of the British Council. The Auditors of BC Trading are the National Audit Office ( The national audit office audits central goernment accounts and reports to Parlament on the value for money achieved be government projects and programmes ) The last available et of audited accounts are for the year ended 31 murch 2008. VSTAVIT`a na to chto BC Trading is wholly owned by the BC, it operates on an arms length basis. It carries out variety of nonprimary purpose commercial activities, such as generating sponsorship income through BC events. The profit from such activities is paid by giftsd to the BC to fund its charitable activities. The BC identified in 2004 that by adopting a more externally-focussed approach and developing corporate partnership across the globe , it could diversify its income streams, develop its brand awareness and increass audience-reach through the provision of better projects. The council recognised that generating income- and the successful implementation of this as a global strategy- would require its stuff worldwide to develop new skills. In particular sponsorship , business relations and partnership working were identified as major skills gaps.( uge partner bolee 20 let sBAE...................................................) If it were to schieve its goal of improving the income generation potential from buisness at local , regional anf global levels ,it would also have to adress the following key challenges: sponsorship and business had grown in recent years but the Council was not gaining as large a market share as it might the council had a significant and valued brand that had the potential to raise significant sums but was not beeing exploited the structure if bc meant that there was increasing demand for income generation at a regional and country level products, projects and regional contexts varied considerably limited skills existed globally to implement the business partnership strategy In november 2005 = mc were approached by BC to design and provide a programme to develop business partnership, which could be delivered globally. Part of this would consist of a 2 -day programme to be delivered in a range of countries. The overall aim was : `` To achieve greater impact on BC outcomes by building capacity within BC stuff worlwide for securing and managing mutually beneficial partnerships with business``

4

Working commercially at a local level , world wide the BC asked =mc to help it to increase income generation across the globe by desining and delivering training programmes that would develop sponsorship and buisness relations skills among staff. After this training BC stuff in Russia secured a 1 million Euro sponsorship deal!

In June 2009- hours after its Chairperson Nell Kinnock announced that he would be stepping down- it was announced that 400-500 jobs at BC would be shed as part of wider restruction of the organisation which is reported to involve outsorsing back-office jobs overseas and a further centralization of their regional operational across UK. In September 2009 British Council Director of Arts Rebecca Walton told ''Monocle''magazine: '' We 've really been striving to put arts back alongside the main purpose of the BC which is cultiral relations. The arts are the most powerful tool you have to build a dialogue discussion across boundaries. It was only very recently that I heard a member of the Foreign Office say for the first time that arts are noe as important as sanctions in the toolkit. We want people to become more inclined towards the UK and more sensitive to the positive benefits of the UK in the world. We want to focus on the BRIC countries. Russia is a difficult area politically. Also, in the Gulf we`re just growing our presence. We`re extending playwriting development work down there, which is about writing about areas of interest for younger people, seeing what can capture their interests. We have had this going on at the Royal Court with readings from Near East and North Africa and we want this to go down the Gulf as well. As a country we do the longer-term stuff, there are occasions when I think the UK needs to do more of the big bucks projects, when it can change the atmosphere of a city quite viscerally, like France`s Louvre in Abu Dhabi'' ( Monocle Issue 26 volume 03 September 2009.) Shakespearean play in Afghanistan The brirish C -supported production of Love`s Labour`s Lost in 2005 was the first performance of a Shakespeare play in Afghanistan in over 17 years. The play was performed in the Afghan Language of Dari Young entrepreneurial awards The british c has joined in work on promoting the UK experience with the Creative industries abroad, including running a series of awards for young creative entrepreneurs worldwide such as the

4 International Young Publisher of the Year and International Young Music Entrepreneur of the Year awards. : .......... , . , , . In Russia BC operates under 1994 intergovernmental agreement on cooperation in the fields of education, science and culture. The British Gov has been seeking for some years to establish a new Ciltural Centres Agreement (CCA) which would formalize the British Council status in Russia.

, . , . , , ,

ts purpose is to "build mutually beneficial relationships between people in the UK and other countries and to increase appreciation of the UK's creative ideas and achievements". In effect, it is tasked with promoting British culture, language and business around the world. It is a not-forprofit charity and though it is -independent, it is partly funded by the British Government.

The council has often faced the difficulty of being something of a mystery to the public. Part of the problem is its nondescript name, which gives little clue to its activities. Its leaders have often been asked about a name change to something that better explains what the council does. "Market research shows that organisations that change their name often lose out in terms of public recognition," its former head, David Drewry, once said, When was it founded and why? It was founded in 1934, after the Foreign Office realised it needed a means of promoting British culture, language and enterprise overseas. France and Germany had already set up cultural organisations to serve that purpose. The new organisation was initially called the "British Committee for Relations with Other Countries", but changed its name to the British Council two years later. Some argue that there were more political motivations behind the formation of the council, suggesting that its creation came as a response to fears that British democracy was coming under threat from fascism. Its first overseas office was set up in Cairo in 1938. It now has offices in 110 countries. Is it totally funded by the government? It receives an annual budget from the government, but tops that up through its other projects. In 2006, it received a 189m government grant, but its contracts to manage development projects and its teaching activities boosted its total turnover to 517m. Its funding has remained pretty stable in recent times, when inflation is taken into account. Its budget was 460m a decade ago. Historian Nicholas Cull has described it as "one of the great bargains on the Treasury's list". What does i The term has its origin in a humorous shortening of quasi-NGO, an ostensibly non-governmental organization performing governmental functions, often in receipt of funding or other support from government. [1

An essential feature of a quango in the original definition was that it should not be a formal part of the state structure . Quango has been

4

abandoned almost entirely from UK official usage. Instead, the less contentious employedAn term non-departmental public body (NDPB) is to identify numerous organizations with devolved

governmental responsibilities. The UK government's definition in 1997 of a non-departmental public body or quango was:"A body which has a role in the processes of national government, but is not a government department or part of one, and which accordingly operates to a greater or lesser extent at arm's length from Ministers." [2]

The British Council is a Quango of the United Kingdom Government which specialises in international educational and cultural opportunities. It is a non-departmental public body, a public corporation incorporated by royal charter, and is registered as a charity in England. Support and Funding We work with many organisations, overseas and in the UK, to make arts events happen and our support can range from managing a whole event, to brokering funding agreements with overseas partners, or contributing towards freight costs for an international exhibition.

The British Council does not offer support to arts and creative economy work that is unlikely to contribute to the development of cultural relations between the UK and the rest of the world. Dance, Drama and Music Funding We are not an 'arts funding body' in the typical sense. This means that we do not support artists and companies for the purpose of developing their work. To read about our funding policy, see our main Arts funding page. However, we do give support to artists in dance, drama and music in other ways, providing a contact network, information and some tour management. HOW DO YOU APPROACH US FOR SUPPORT? As we are not a funding body, there is no application form. The process involves assessing whether particular projects match the Council's priorities and whether they can be included in our plans for the country concerned. We strongly recommend that an overseas partner approaches the local British Council Arts Office in the country concerned to discuss the project in general terms before submitting full details. Also the British theatre, dance or music company should contact our Arts staff based in London to assess the likelihood of British Council support. If the project is supported by our British Council office overseas you will need to send full details of the project in writing. Where possible, and where relevant, include the following: reviews, curricula vitae, details of the number of people, length of tour, freight specifications, breakdown of weekly fees, tour budget, and copies of invitations from overseas.

4 WHAT SUPPORT CAN WE GIVE YOU? Provided you meet the criteria for support, we can offer advice and sometimes financial assistance to any form of high quality drama, dance and music activity overseas. A small number of outward tours are directly managed by our department, usually to countries where the arts infrastructure is less developedOne such organisation working in partnetship with BAE is the British council, who places amongs its organizational values: Integrity we demonstrate this by beeing the Bc has been running programmes in partnership with BAE sistem for lmost 20 years british council commitment to increas ternational understanding and bridge trust gaps in order to create harmony and prosperity for all.

Martin Devidson ( British council CEO) identified in his introduction to the british council annual report 07/08 that one way to increase impact is to run more programmes in partnership with others. For example UKIERI is a unique programme involoving 11 funding partners . UKIERI is run with corporate partners BAE Systems, BP , Glaxo Smith Kling and Shell. Martin davidson concludes if we are to achieve our growth objectives, we recognise that we need to increase our ability to develop successful partnerships such as UKIERI. Partnership with the BC is advertised on their website as helpng many of our buisness partners gain competitive advantage in an increasingly challenging global market place .. many companies also welcome the opportunity to work with us as a way of underlining their company values and commitment to corporate social responcibility murky BC Trading International LTD BAE, British..... Hilton, Deutsche bank , Renault etc they all sponsor BC Because the British Council being part of British Diplomatic network can open Embassy doors worldwide and provide a degree of access and proximity to the british government and Establishment. That government /official/ diplomatic status+ registered charity + business+ + limited company combination is pretty neat(and unique) , and guarantees that nobody can compete with the british Council on a level palying field. And makes a mockery of EU competition Law.

The british council`s core purpose is to build engagement and trust for the UK through the exchange of knowledge and ideas between people worldwide

BC Trading International LTD (BC Trading) was incorporated on 5th April 2004 as a wholly owned subsidiary of British Council. It is registered at Companies House under company registration no. 05093170 The directors and company secretary of bc trading are all employees of the British Council. The Auditors of BC Trading are the National Audit Office ( The national audit office audits central goernment accounts and reports to Parlament on the value for money achieved be government projects and programmes ) The last available et

4 of audited accounts are for the year ended 31 murch 2008. VSTAVIT`a na to chto BC Trading is wholly owned by the BC, it operates on an arms length basis. It carries out variety of non-primary purpose commercial activities, such as generating sponsorship income through BC events. The profit from such activities is paid by giftsd to the BC to fund its charitable activities. The BC identified in 2004 that by adopting a more externally-focussed approach and developing corporate partnership across the globe , it could diversify its income streams, develop its brand awareness and increass audience-reach through the provision of better projects. The council recognised that generating income- and the successful implementation of this as a global strategy- would require its stuff worldwide to develop new skills. In particular sponsorship , business relations and partnership working were identified as major skills gaps.( uge partner bolee 20 let sBAE...................................................) If it were to schieve its goal of improving the income generation potential from buisness at local , regional anf global levels ,it would also have to adress the following key challenges: sponsorship and business had grown in recent years but the Council was not gaining as large a market share as it might the council had a significant and valued brand that had the potential to raise significant sums but was not beeing exploited the structure if bc meant that there was increasing demand for income generation at a regional and country level products, projects and regional contexts varied considerably limited skills existed globally to implement the business partnership strategy In november 2005 = mc were approached by BC to design and provide a programme to develop business partnership, which could be delivered globally. Part of this would consist of a 2 -day programme to be delivered in a range of countries. The overall aim was : `` To achieve greater impact on BC outcomes by building capacity within BC stuff worlwide for securing and managing mutually beneficial partnerships with business``

Working commercially at a local level , world wide the BC asked =mc to help it to increase income generation across the globe by desining and delivering training programmes that would develop sponsorship and buisness relations skills among staff. After this training BC stuff in Russia secured a 1 million Euro sponsorship deal!

The BC was founded 1934. Its the UK`s international organisation for educational opportunities and cultural relations. As well as education . The BC runs programmes in the arts, science, sport, governance and english language. Its a magor international organization , employing 7,900 staff and operating in 110 countries and territories worldwide. Its proggrames reach over 112 million people a year, across the world. The bc core purpose is to build engagement and trust for the UK through the exchange of knowledge and ideas beetween people worldwide.

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ts purpose is to "build mutually beneficial relationships between people in the UK and other countries and to increase appreciation of the UK's creative ideas and achievements". In effect, it is tasked with promoting British culture, language and business around the world. It is a not-forprofit charity and though it is -independent, it is partly funded by the British Government.

The council has often faced the difficulty of being something of a mystery to the public. Part of the problem is its nondescript name, which gives little clue to its activities. Its leaders have often been asked about a name change to something that better explains what the council does. "Market research shows that organisations that change their name often lose out in terms of public recognition," its former head, David Drewry, once said, When was it founded and why? It was founded in 1934, after the Foreign Office realised it needed a means of promoting British culture, language and enterprise overseas. France and Germany had already set up cultural organisations to serve that purpose. The new organisation was initially called the "British Committee for Relations with Other Countries", but changed its name to the British Council two years later. Some argue that there were more political motivations behind the formation of the council, suggesting that its creation came as a response to fears that British democracy was coming under threat from fascism. Its first overseas office was set up in Cairo in 1938. It now has offices in 110 countries. Is it totally funded by the government? It receives an annual budget from the government, but tops that up through its other projects. In 2006, it received a 189m government grant, but its contracts to manage development projects and its teaching activities boosted its total turnover to 517m. Its funding has remained pretty stable in recent times, when inflation is taken into account. Its budget was 460m a decade ago. Historian Nicholas Cull has described it as "one of the great bargains on the Treasury's list". What does i The term has its origin in a humorous shortening of quasi-NGO, an ostensibly non-governmental organization performing governmental functions, often in receipt of funding or other support from government. [1

An essential feature of a quango in the original definition was that it should not be a formal part of the state structure . Quango has been abandoned almost entirely from UK official usage. Instead, the less contentious term non-departmental public body (NDPB) is employedAn organizations with to identify numerous devolved governmental

responsibilities. The UK government's definition in 1997 of a non-departmental public body or quango was:"A body which has a role in the processes of national government, but is not a government department or part of one, and which accordingly operates to a

4 greater or lesser extent at arm's length from Ministers." [2]

The British Council is a Quango of the United Kingdom Government which specialises in international educational and cultural opportunities. It is a non-departmental public body, a public corporation incorporated by royal charter, and is registered as a charity in England.

International Playwrights 2001 5/1/2001 - 5/5/2001 RUSSIAN NATIONAL POST by Oleg Bogaev / Translated by Tom Birchenough U by Olga Mukhina / Translated by Sasha Dugdale DREAMS by Ivan Viripaev / Translated by Rachel Polonsky PLASTICINE by Vassily Sigarev / Translated by Sasha Dugdale

RUSSIA

In March 1999 Graham Whybrow took part in the first seminar on new writing in Russia, organised by the British Council Moscow and the Golden Mask Theatre Festival in Moscow. In July 1999 the Royal Court conducted the second seminar on new writing. One of the projects developed, MOSCOW OPEN CITY, was performed both in Moscow and as part of the International Playwrights season at the Royal Court in 2000. This was directed by Russian director Alexander Galybin and performed by UK actors. Further workshops have taken place in Moscow and in December 2000 work started with Siberian writers at the Globus Theatre in Novosirbirsk, Siberia. In May 2001 the Royal Court presented a week of rehearsed readings New Plays from Russia in the Jerwood Theatre Upstairs. Four Russian playwrights worked in London with British actors and directors. This was the first time a British audience had the opportunity to see work emerging from post-perestroika Russia. Russian work featured largely in the 2002 International season with performances by two Russian companies, Baabi and Theatre Lohzhe from the Urals and Siberia. The season also included Vassily Sigarevs PLASTICINE and readings of three other new plays from Russia. The Royal Court International Department produced two Russian plays in early 2003; BLACK MILK by Vassily Sigarev and TERRORISM by Oleg and Vladimir Presnyakov. Further workshops and seminars took place in Moscow and Novosirbirsk in the Spring of 2003. The Royal Court also co-produced PLAYING THE VICTIM by the Presnyakov Brothers at the Royal Court and on Tour in August/ September 2003. LADYBIRD by Vassily Sigarev was produced as part of the 2004 International Playwrights Season. Further workshops continued in Moscow in October 2004, and three participants from that workshop took part in the 2005 and 2006 International Residencies at the Royal Court. The fourth International Playwrights Season took place at the Royal Court Theatre from February to April 2004 LADYBIRD by Vassily Sigarev from Russia in the Jerwood Theatre Ups

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15. . . // . 2002. 2. . 57 65. 16. // rt-. 2002. 1, 2. 17. .. : // . 2002. 0. .16-21. 18.- . // rt-. 2002. 1. . 3-6. 19. . . // . 2004. 1. . 42 50. 20. . . // . 2006. 11. .61 74. 21. . . // . 2000. 3. 22. . . // . 2002. 0. . 8 15. 23. .. // rt-. 2002. 1. .7 - 11. 24. .. : // . 2008. 6. . 40-47. -. 25.http://www.consultant.ru 26.http://www.garant.ru

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27.http://britishcounsil.com 28.http://soros.org 29.http://fdncenter.org