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Digest of Arts stAtistics

1ARTS COUNCIL OF NORTHERN IRELAND

Part IV: InVestIng In the arts 72

8 the PhysIcal Infrastructure 748.1 Overview 748.2 Capitalawards 758.3 venues 768.4 widerimpaCts 78

9 communItIes 819.1 Overview 819.2 prOgrammes 829.3 geOgraphy 84

Part V: economy of the arts 88

10 the creatIVe IndustrIes 9010.1 Overview 9010.2 emplOyment 9110.3 grOssvalueadded 9610.4 Businessesandenterprises 9710.5 innOvatiOn 98

11 arts enrolments 10011.1 Overview 10011.2 FurthereduCatiOninstitutiOns 10011.3 highereduCatiOninstitutes 102

Part VI: fundIng the arts 104

12 PublIc attItudes 10612.1 Overview 10612.2 netBalanCes 106

13 fundIng for the arts 10913.1 Overview 10913.2 puBliCFunding 11013.3 privateFunding 114

Part VII: the future 116

14 trends and look ahead 11814.1 Overview 11814.2 demOgraphiC 11814.3 theinternet 12014.4 theeCOnOmy 12114.5 privateinvestment 12114.6 puBliCexpenditure 122

aPPendIx a bIblIograPhy 124

aPPendIx b data sources

pOpulatiOnsurveys 134 aCnidatasets 138 theCreativeindustries 139 enrOlments 143 sOCiO-eCOnOmiCandtrends 143

Preface 4

Part I: the context for the arts 6

1 context for the arts In northern Ireland 81.1 intrOduCtiOn 81.2 FundingrespOnsiBilities 81.3 sOCial,eCOnOmiCandpOlitiCalCOntext 91.4 theprOgrammeFOrgOvernment 121.5 CreativeCOnneCtiOns 141.6 artsprOgrammes 15

Part II: engagIng wIth the arts 18

2 attendIng the arts 202.1 Overview 202.2 tOpiCs 202.3 datasOurCes 212.4 attendanCes 212.5 pOpulatiOnsuB-grOups 252.6 geOgraphiCalpatterns 262.7 reasOns 272.8 inFOrmatiOnsOurCes 282.9 FrequenCyOFattendanCe 292.10 enjOyingthearts 302.11 satisFaCtiOnwithartsprOvisiOn 312.12 reasOnsFOrnOtattendingthearts 32

3 PartIcIPatIng In the arts 333.1 Overview 333.2 tOpiCs 333.3 datasOurCes 333.4 levelsOFpartiCipatiOn 343.5 pOpulatiOnsuB-grOups 353.6 geOgraphiCalpatterns 363.7 reasOns 373.8 BeneFits 383.9 nOn-partiCipatiOn 39

4 VIewIng and lIstenIng 404.1 Overview 404.2 datasOurCes 404.3 artFOrm 404.4 agegrOups 414.5 useOFtheinternet 42

5 young PeoPle 445.1 Overview 445.2 datasOurCes 445.3 partiCipatiOn 455.4 attendanCe 465.5 enjOyment 475.6 Barriers 48

Part III: ProducIng the arts 50

6 arts organIsatIons 526.1 Overview 526.2 sOurCesOFinCOme 536.3 expenditure 556.4 perFOrmanCes 576.5 exhiBitiOns 596.6 partiCipatiOn 62

7 the IndIVIdual artIst 687.1 Overview 687.2 siapawards 687.3 prOFileOFsiapawards 69

contents

2 ARTS COUNCIL OF NORTHERN IRELAND


PrePared on behalf of the arts councIl of northern Ireland by tony dIgnan, economIc research eValuatIon



Preface



Preface

akeypriorityforthenorthernirelandgovernmentcentresongrowingadynamic,innovativeeconomy.thisrepresentsaconsiderablechallenge,especiallygiventhecurrenteconomicdownturn,theconsequenceofwhichisplacinganincreasingonusongovernmentandnon-departmentalpublicbodiestoproduceevidenceofkeyoutputsandoutcomes.insupportofthatendeavour,theartsCouncilofnorthernireland(aCni)hascommissionedthepreparationofthisdigestofartsstatistics.

sponsoredbythedepartmentofCulture,artsandleisure(dCal),theartsCouncilistheleaddevelopmentagencyfortheartsinnorthernirelandandthestatutorybodythroughwhichpublicfundingfortheartsinnorthernirelandarechannelled.

asintherestoftheuK,thereisalongtraditionofpublicsupportfortheartsinnorthernireland,datingbackto1943,whentheartsCouncilwasestablishedastheCouncilfortheencouragementofmusicandthearts.theestablishmentoftheartsCouncilgaveeffecttotherecognitionbygovernmentthatithasaroletoplayinsupportingthearts.intheinterveningsixandahalfdecades,therehasbeenaconsiderableevolutioningovernment’sexpectationsregardingpublicsupportforthearts.

Originally,theartsCouncilwassetup‘topreserveandimprovestandardsofperformanceinthevariousarts’.therationalewaslargelyculturalandaesthetic.thebenefitsmainlyaccruedtoarelativelynarrowportionofthepopulationi.e.thosewithatasteforthe‘high’arts.

now,governmentincreasinglyprovidesfundingfortheartswiththeexpectationthatsuchsupportcanalsoacttoleverbroadersocialandeconomicbenefits.Consequently,theobjectivesunderpinningfinancialsupportfortheartshavealsoevolved.promotinggreateraccesstoandparticipationintheartsisseenasimportantnotjusttoensurethatthebenefitsofpublicsupportareequitablydistributed,butalsobecausewideningaccessisanticipatedtobenefitindividualsandcommunitiesandpromotesocialinclusion.inthespecificcontextofnorthernireland,theartshavealsocometobeseenasavehicleforhelpingtofosterimprovedcommunityrelations.

similarly,area-basedinitiatives,rangingfromnewtheatrestopublicartsprojectstosupportforcommunityorganisations,areexpectedtocontributetoregenerationandrevitalisationobjectives.developmentofandsupportforcultureandheritageisviewedasimportantnotjustfortheenjoymentofcurrentandfuturegenerations,butalsoforthepotentialeconomicimpactofattractingincreasedtouristnumbers.Bythesametoken,thecreativitythatisattheheartoftheartisticendeavourisincreasinglybeinglinkedtoeconomicoutcomes,notablyinnovationandthedevelopmentofthecreativeindustries.

thegrowingneedtodemonstratewidersocialandeconomicimpactsprovidesthefundamentalcontextforthepreparationofthisdigest.thatrequirementhasbeensharpenedoverthecourseofthelastdecade.efficiencysavingshavebecometheorderoftheday,inanefforttoreleaseresourcesforfrontlineservices.thisincreasesthepressureonpolicyareassuchastheartstoshowthattheycontributeacrossarangeofgovernmentobjectives,therebyincreasingtheoverallimpactofpublicexpenditure.

morerecently,thecontextforallpublicspendinghaschangedconsiderablyinthewakeoftherecentrecession.thefallineconomicoutputacrosstheuKhasbeensteep.governmentspendinghasrisensharplyrelativetothesizeoftheuKeconomy.theconsequencehasbeenaseveredeteriorationinthegovernment’sfiscalposition,withaprojectednetdeficitof12-13percentin2009-2010.whilethescaleandtimingisuncertain,thedeficitwillhavetobetackledinthecomingyears.makingthecasefortheartsissettobecomemorechallenging.

Currently,thereisnosinglesourcepublicationthatcapturesdataonconsumption,employment,publicexpenditurelevels,anddirectandcontributedincomefigureswithintheartssector.Forthatreasoncreatingadigestthatcapturesboththequantitativeandqualitativevalueoftheartswillbeausefultoolforstakeholdersincentralgovernment,localauthorities,individualartists,culturalprovidersanduniversities.



theaimofthedigestistoprovidereliablesinglesourcedatareflectingcurrentartsbasedeconomicandconsumptiontrendsinnorthernireland.theneedforsubsequentdigestswillbereviewedannuallyanddependlargelyonthevolumeofartsbasedstatisticsgeneratedandthefrequencywithwhichrelevantexternaldatasourcesareupdated.thedigestprovidesacompilationofstatisticalinformationdesignedtoreflectcurrentconsumption,economicandsocialtrends,sourcedfrombothgovernmentandprivatesourcesanddrawingespeciallyontheresultsfromindependentsurveysandactivitiesundertakenbytheartsCouncilofnorthernireland.

thepreparationofthedigestalsoprovidesanopportunitytotakestockoftheavailablestatisticaldata.theprocessofupdatingthedigestwillprovidefurtheropportunitiesforexpandingandrefiningtheavailabledatasources.

thedigesthasbeencompiledinsevenparts,asfollows:

Part I: the context for the arts.thissectiondescribesthesocial,economicandpoliticalcontextfortheartsinnorthernirelandincludingreferencetothefundingresponsibilitiestoartsbycentralandlocalgovernmentaswellastheartsCouncilofnorthernireland.

Part II: engaging with the arts.thissectionpresentsstatisticsonattendingthearts,viewingandlisteningandparticipatinginthearts,bothfortheadultpopulationandyoungpeopleaged11-16.themainfocusisthereforeoncurrentlevelsofengagementwiththeartsinnorthernireland.

Part III: Producing the arts.strengtheningtheartsbysupportingartists,artsorganisationandthephysicalinfrastructureisoneofthecentralthemesinCreativeConnections,theartsCouncil’scurrentstrategyfordevelopingtheartsinnorthernireland.withinthatcontext,thispartofthedigestfocusesinthemainonartsorganisationsandindividualartistsfundedbytheaCni.thetopicscoveredincludeexpenditurebysupportedartsorganisations,theirsourcesoffundingandtheirmainactivitiesi.e.performances,exhibitionsandtheprovisionofopportunitiesforparticipationinthearts.

Part IV: Investing in the arts.thissectiondocumentstheconsiderableinvestmentthathastakenplaceinrecentyearsinartsvenuesinnorthernireland.thesectionalsopresentsinformationonthegeographicalpatternofprovision.akeytargetfortheaCnihasbeentoensurethatanartsvenueislocatedwithin20milesofeverybodylivinginnorthernireland.Part V: economy of the arts.thispartofthedigestfocusesonthecreativeindustriesinnorthernireland,coveringtopicssuchasemployment,grossvalueadded(gva)andnumbersofbusinessesandenterprises.thecreativeindustriesaredefinedasthoseindustriesthatarebasedonindividualcreativity,skillandtalent.theyhavethepotentialtocreatewealthandjobsthroughdevelopingintellectualproperty.thepotentialeconomicbenefittonorthernirelandofdevelopingthesectorisreflectedintheniexecutive’sprogrammeforgovernment2008-2011.Oneofthekeygoalsoftheeconomicgrowthpriorityintheprogrammeforgovernmentistogrowthecreativeindustriessectorbyupto15percentby2011.partvi:Fundingthearts.thispartofthedigestsetsoutthecurrentpositionwithrespecttopublicandprivatefundingforthedevelopmentoftheartsinnorthernireland.

Part VII: the future.thefinalpartofthedigestconsiderstheimplicationsofcurrentsocial,demographicandeconomictrends.

theartsCouncilofnorthernirelandwouldliketothanktonydignanforcompilingthereport,andarts&Businessnifortheirimportantcontribution.

nicklivingstondirector of strategic developmentArts Council of Northern Ireland





Part I: the context for the arts



1 context for the arts In northern Ireland

1.1 IntroductIon

1.2 fundIng resPonsIbIlItIes

thispreamblebrieflydescribesthesocial,economicandpoliticalcontextfortheartsinnorthernireland,withreferencetothefundingresponsibilitiestoartsbycentralandlocalgovernmentaswellastheartsCouncilofnorthernireland.thepurposeistosetthesceneforthepresentationofstatisticalandotherdataintheremainderofthedigest.

thepreamblecommenceswithanoverviewonfundingresponsibilitiesfortheartsinnorthernireland.itthenprovidesanoutlineofthecontextwithinwhichexistingpoliciesandstrategiesfortheartshavebeenformulated.thesectionconcludesbysummarisingCreativeConnections,theartsCouncilscurrentfive-yearstrategy,coveringtheperiodfrom2007to2012.

therearethreemainsourcesofpublicfundingfortheartsinnorthernireland:

• exchequerorcentralgovernmentfunding.

• nationallotteryfunds.

• localgovernment.

thedepartmentofCulture,artsandleisure(dCal)hasoverallresponsibilityfortheartsinnorthernireland.dCalisoneof11departmentscreatedfollowingthedevolutionofpowertotheexecutiveofthenorthernirelandassemblyindecember1999,followingtheimplementationofthegoodFridayagreement(gFa)reachedin1998.thedepartmentprovidesfunding,setsartspolicyandsupportsartsbasedinitiatives.

theartsCouncilofnorthernirelandisthestatutorybodythroughwhichpublicfundsarechannelledfordevelopingtheartsinnorthernireland.theCouncilwasestablishedbytheartsCouncil(northernireland)Order1995.theartsCouncilischargedwithfourstatutoryfunctionsunderthe1995Order,asfollows:

• todevelopandimprovetheknowledge,appreciationand practiceofthearts.

• toincreasepublicaccessto,andparticipationin,thearts.

• toadvisedCalandothergovernmentdepartments, districtcouncilsandotherbodiesonmattersrelatingto thearts.

• performsuchotherfunctionsasareconferredonthe Councilbyanyotherstatutoryprovision.

theartsCouncil’scorebusinessisprovidinggrantstoprofessionalartistsandartsorganisationsthroughoutnorthernirelandinawidevarietyofartisticdisciplinesandtoactastheprincipaldevelopmentagencyforthearts(Box1.a).morerecently,theCouncilhasassumedresponsibilityforfundinginnovationinthecreativeindustries.Finally,theCouncilisresponsiblefordistributinglotteryproceedsallocatedtotheartsinnorthernireland.

box 1.a theartsCouncilofnorthernireland:scopeofsupportforartsdevelopment

architecture

artsanddisability

artsandhealth

Circusarts

Carnivalarts

Communityarts

Crafts

dance

drama

internationalarts

languagearts

literature

music

publicart

traditionalarts

visualarts

voluntaryarts

youtharts

source:aCni,annualreview2008-09



1.3 socIal, ecVonomIc and PolItIcal context

injanuary2007theartsCouncillaunchedCreativeConnections,afive-yearstrategyfordevelopingtheartsinnorthernirelandovertheperiodfrom2007-2012.thepreparationofthatstrategywasinformedbyareviewoftheCouncil’spreviousstrategy,whichcoveredtheperiod2001-2006.thatreviewidentifiedanumberofimportantinfluencesonthebroadersocial,economicandpoliticalcontextfortheartsinnorthernireland,including:

• shiftsinhowartisproduced,distributedandconsumed asaresultofsocial,demographicandtechnological change.

• developmentsonthepoliticalfront,followingthegood Fridayagreementofapril1998.

• increasingpolicyinterestinthepotentialoftheartsand culturetocontributetoeconomicdevelopmentandsocial cohesion.

Fiveyearson,eachoftheseinfluencesremainsrelevanttothecontextfortheartsinnorthernireland.Buttherehasalsobeensignificantchangeintheexternalenvironmentfacingthesector.

thereviewoftheCouncil’s2001-2006strategy,andtheshapingofthe2007-2012strategy,tookplaceagainstapropitiouseconomicbackdrop.year-on-year,employmentwasrisingsteadilytorecordhighswhileunemploymentwasfallingintandemwiththegrowthinjobs(Figure1.1).allofthatchangedfrommid-2008onwards,astheglobalfinancialcrisistookhold.Byautumn2009,over40,000employeejobshadbeenshed.unemploymentmorethandoubled,from24,000toover50,000.

theCounciloperatesasanon-departmentalpublicBody(ndpB)ofthedepartmentofCulture,artsandleisure.dCalisthemainsourceofexchequerfundinginsupportoftheaCni’sroleastheleadagencyfordevelopingthearts.someartsCouncilFundingwasprovidedbythedepartmentofeducation(de)innorthernirelandforworkthatfellunderCulturaltraditionsupto2008-09.theremaininggovernmentdepartmentsdonothaveaspecificremitinrelationtothearts.wheretheirobjectivesoverlapwiththoseoftheartsCouncil,fundingpartnershipscanbeformedforbespokepolicyorprogrammeareas.Forexample,theCreativeyouthpartnershipsprogramme,apilotinitiativelaunchedforathree-yearperiodin2004,wasaprofessionalandintersectoralcollaborativeinitiativebetweentheartsCouncilofnorthernireland(aCni),thefiveeducationandlibraryBoards(elBs),departmentofCulture,artsandleisure(dCal)anddepartmentofeducation(de).

alsoactiveintheareaoftheartsareCraftniandnorthernirelandscreen,responsibleforthecraftandfilmartformsrespectively.theaCnihadpreviouslybeenthedevelopment

agencyforthoseartforms.Forstrategicdevelopmentreasons,theaCnidevolveditsresponsibilitiestoCraftniandniscreen.CraftniisstillsupportedbytheCouncil.niscreenismainlyfundedbyinvestnorthernireland,theprincipaleconomicdevelopmentagencyinnorthernireland,withsupportalsofromeuropeanunionstructuralFunds,dCalandtheuKFilmCouncil.aCnihasdelegatedauthoritytoniscreentoadministerlotteryFundsforthedevelopmentofthescreenindustryinnorthernireland.

whileitsprimaryfocusisenglandandwales,thedepartmentofCulture,mediaandsport(dCms)servesastheconduitforlotteryproceedstobeallocatedbytheartsCouncil.underarticle10(1)of‘therecreationandyouthservice(ni)Order1986’,eachofthe26localgovernmentdistricts(lgds)innorthernirelandhasastatutorydutyto“securetheprovisionforitsareaofadequatefacilitiesforrecreational,social,physicalandculturalactivities.”itis,however,foreachlgdCounciltodecidetheappropriatelevelandmixofprovisionrequiredforitsownarea.



Figure 1.1 Employment and unemployment

Source: DETI

Une

mpl

oym

ent

Empl

oym

ent

60,000 740,000

712,500

685,000

657,500

630,0000

45,000

15,000

2000

2001

2002

2003

2004

2005

2006

2007

2008

2009

30,000

EmploymentUnemployment

1.3 socIal, economIc and PolItIcal context (COnt)

thecontextforallpublicspendinghaschangedconsiderablyinthewakeoftherecentrecession.thefallineconomicoutputacrosstheuKhasbeensteep.governmentspendinghasrisensharplyrelativetothesizeoftheuKeconomy.1theconsequencehasbeenaseveredeteriorationinthegovernment’sfiscalposition,withaprojectednetdeficitof12-13percentin2009-2010.whilethescaleandtimingisuncertain,thedeficitwillhavetobetackledinthecomingyears.makingthecasefortheartsissettobecomemorechallenging.

notwithstandingtheonsetoftherecession,othertrendshavecontinuedunabated.thepopulationofnorthernirelandrosesteadilythroughoutthelastdecade.reflectingtheongoingageingofthepopulation,thesharpestincreasewasseen

amongthoseaged65andover(Figure1.2).also,followingtheaccessionofthea8countriesofeasterneuropein2004,northernirelandexperiencedsubstantialinternationalimmigration,2whichprovidedafurtherboosttothegrowthofthepopulation,especiallythoseaged16-24.anotherimportantandcontinuingtrendistheincreasinglevelofinternetaccess.atthebeginningofthedecade,lessthanoneinthreehouseholdshadaccesstotheinternetviaahomecomputer(Figure1.3).By2008-09,accesshadgrowntoalmost55percent.aswillbeseeninlatersectionsofthisdigest,increasingaccessto,anduseof,theinternetishavingamarkedinfluenceonthedistributionandconsumptionofthearts.

1accordingtothelatestpublicexpenditurestatisticalanalysis(pesa)figures,uKpublicexpenditureisestimatedtohaverisenfrom39percentofgrossdomesticproduct(gdp)in2007-08to41.5percentin2008-09,representinganincreaseofovertwopercentagepointsinthespaceofoneyear.

2thea8countriesaretheCzechrepublic,estonia,hungary,latvia,lithuania,poland,slovakiaandslovenia.



themaindevelopmentonthepoliticalfronthasbeenthereturnofdevolution.atthetimeofthe2006strategyreview,thenorthernirelandexecutivehadbeeninastateofsuspensionsince14October2002.3devolutionwasrestoredtothenorthernirelandassemblyon8may2007followingtheelectionofanexecutiveof12ministersdrawnfromfourpoliticalparties.

the2006strategyreviewobservedthatthereintroductionofdirectrulefromlondonappearedtohavecontributedto

areducedprofilefortheartsinnorthernireland.indeed,intheperiodfrom2004-05to2007-08,exchequerfundingfortheartsinnorthernirelandfellincashterms,from£11.05mto£10.5m.thenewexecutivepublisheditsprogrammeforgovernmentandBudget2008-2011injanuary2008.thisincludedanimprovedsettlementforthearts,amountingto£13.33m,inthefinancialyear2008-09,therebyhelpingtorecoupsomeofthegroundlostduringthemid-2000’s.thefundingoftheartsisdiscussedinmoredetailinpartviofthedigest.

3technically,theassemblywasinastateofdissolutionfrom28april2003tonovember2003.itwasrestoredtoastateofsuspensionfollowingthenovember2003elections.thestandrewsagreementof13October2006ledtotheestablishmentofthetransitionalassembly.

Figure 1.2 Population change, 1999-2008

Source: NISRA

Per

cen

t of 1

999

120

111

103

94

85

25-34

50-64

Less than 1616-24

65+All

35-49

Figure 1.3 Internet access, 2001-02 to 2008-09

Source: NISRA, Continuous Household Survey

Households, home computerIndividual, all sources

Per

cen

t

70

57.5

45

32.5

20

2001-02 2002-03 2003-04 2004-05 2005-06 2006-07 2007-08 2008-09



anotherimportantchangeintheperiodsince2006istheimplementationofthereviewofpublicadministration(rpa),afundamentalassessmentofarrangementsforthedeliveryofpublicservicesinnorthernireland.inparticular,thestructureoflocalgovernmentinnorthernirelandissetforradicalchangeonfootoftherecommendationsfromtherpa.presently,thereare26localgovernmentdistricts(lgds),ranginginsizefromBelfast,withapopulationof268,000,tomoyle,hometo17,000people.inmarch2008,theministerwithdevolvedresponsibilityforlocalgovernmentannouncedareductioninthenumberofcouncilsfrom26to11.thenewCouncilsarescheduledtocomeintoeffectinmay2011.4

theministeralsoannouncedthatarangeoffunctionswilltransfertolocalgovernmentincludingurbanregeneration,communitydevelopment,localeconomicdevelopment,localtourism,ruraldevelopmentandaspectsofplanning.ithadbeenexpectedthataportionoftheaCni’sfundingwouldbetransferredtothelocallevel,tosupportthedevelopmentoflocalarts.thereispresentlysomeuncertaintyastothenatureandscopeofanysuchtransfer.

regardlessoftheformthatanytransferofresponsibilitiesmaytake,theartsarestillhighlyrelevanttomanyofthefunctionsthatwillbetransferredtothenewCouncils;forexample,theroleofartsinfrastructureinvestmentasatool

ofurbanregenerationandtownandcitycentrerevitalisation.hence,thecontextwithinwhichsupportfortheartsisdeliveredwillchangeandevolvefollowingtheimplementationoftherpa.

OutsideBelfast,thenewCouncilswillbeconsiderablylarger.thegreaterscaleandscopefromadditionalfunctionswillincreasethespendingauthorityofthenewCouncilswhencomparedwithpresentarrangements.thetransitiontothenewarrangementswillinevitablyresultinadegreeofuncertaintyasthere-formedlandscapetakesshape.Bythesametoken,inthenewconfiguration,opportunitieswillariseforimprovementsincoordinationandworkinginpartnershipwiththenewCouncils.

stepshavealreadybeentakeninthatregard.Originallyestablishedin1994,theForumforlocalgovernmentandthearts(Flga)hasbeenreconstitutedtoencourageadvocacyoftheartsatalocallevel.membershipisdrawnfromacrossthe26Councils.jointlyfundedbytheartsCouncilandthenorthernirelandlocalgovernmentassociation(nilga),theprimaryintentionofFlgaistoformalisethemechanismsandworkingarrangementsthroughwhichtheartsCouncilofnorthernirelandwouldconsultdistrictcouncilsandengenderastrongersenseofpartnershipworking.

thenorthernirelandexecutive’sprogrammeforgovernment2008-11(pfg)isthemainpolicyframeworkshapingfundingfortheartsintheperiodto2011.thepfgisorganisedaroundasetoffiveoverarchingpriorities,asfollows:

• priority1-growingadynamicinnovativeeconomy.

• priority2-promotingtolerance,inclusionandhealthand well-being.

• priority3-protectandenhancenorthernireland’s environmentandnaturalresources.

• priority4-investtobuildnorthernireland’s infrastructure.

• priority5-delivermodernhighqualityandefficient publicservices.

inaddition,therearetwocross-cuttingthemes:

• asharedandbetterfutureforall.

• sustainability.

withineachofthefivepriorities,theexecutivehasspecifiedanumberofhigh-levelaims,referredtoaspublicserviceagreements(psas).thereare23psasintheprogramme.eachpsainturnhasanassociatedsetofobjectivesalongwithaccompanyingactionstobetakenforwardbyoneormoredesignatedleadgovernmentdepartmentsandtargetstobeachievedoverthelifespanofthepfg.

dCalcontributestoeightofthe23psas.thedepartment’scorporateplanningisbuiltaroundtheseeightpsas.thepsastowhichdCalcontributesandwhichhavethemostdirectrelevancetofundingfortheartsarelistedintable1.1i.e.psas5and9.

threepointscanbenotedregardingtheexpectedbenefitsfromdirectsupporttotheartsthroughthepsaslistedintable1.1.First,theachievementofspecificpsatargetsisanticipatedtoalsohaveapositiveeffectontheprogressmadeinotherpsas.asnotedinthepfgdocument:

“the framework of 23 Psas is focused on addressing key cross-cutting issues and challenges. the Psas therefore cut across departmental boundaries and many of the outcomes are interdependent. this will help ensure a focus across government on the key issues and outcomes to which we are committed.” (page 21).

4thisisthepositionasatmay2010,asstatedontherpawebsite-http://www.rpani.gov.uk/

1.3 socIal, economIc and PolItIcal context (COnt)

1.4 the Programme for goVernment



thus,inthepfgdocument,psa5islinkedtopromotingtolerance,inclusionandhealthandwell-being,protectingtheenvironmentandinvestinginnorthernireland’sinfrastructure.similarly,psa9inthesocialinclusionpriorityisprojectedaslinkingtoeachoftheotherfourpriorities.

second,thepotentialcontributionoftheartsisimplicitlyrecognisedinarangeofgovernmentstrategiesthatarethemselvespartofthepfg.examplesinclude:

• education. thetenyearstrategyforChildrenandyoung peopleinnorthernireland2006-2016,titledOurChildren andyoungpeople–Ourpledge,includesarangeof targetsforpromotingyoungpeople’sparticipationin,and attendanceat,artsactivitiesandevents,withthe objectivetopromotetheenjoymentoflearningand achieving.thestrategyisoneoftheactionsinObjective 1ofpsa6(ChildrenandFamily),whichaimstoimprove theoutcomesandlifechancesofchildrenandyoung people.

• health.theartsfeatureinbothahealthierFuture,the20 yearvisionfornorthernirelandandinvestingfor health,thegovernment’soverarchingstrategyfor promotingpopulationhealthandwellbeingandreducing healthinequalities,thecentralfocusofpsa8.

• community relations.thedocument,asharedFuture, specificallyidentifiestheartsasasphereofgovernment policythathasthepotentialtoimproverelationships (para3.13).thislinksdirectlytooneoftheobjectivesin psa7,whichaimstoreducepovertyandaddress inequalityanddisadvantage.thepromotionofgood relationsisalsoacross-cuttingthemeinthepfg.

• sustainability.intheFirststeptowardssustainability document(2006),settingoutasustainabledevelopment strategyfornorthernireland,thepromotionof opportunitiesforcultureisoneoftheelementsinthe visionofasustainablecommunity.

Furthermore,thepfgsetsoutasetoflinkagesthatthegovernmentwishestodevelopoutsidenorthernireland,includingnorth/southandeast/westlinkagesand

internationalrelationships.asanoutward-lookingandoftencollaborativeactivity,theartscanmakeasignificantcontributiononeachofthosefronts.partiiiofthedigest–producingthearts–illustratessomeofthewaysinwhichtheartscandevelopsuchexternallinkages.

third,thereisagrowingbodyofresearchaimedattracingthewiderbenefitsofaccesstoandparticipationinthearts.Forexample,thecollectionofreadingsinCowling(2004)highlightstherolethattheartscanplayineducation,mentalhealthforsocialinclusionandreducingre-offending.suchevidencecanservetofurtherdemonstratethealignmentbetweenfundingtopromotetheartsandthegovernment’skeystrategicprioritiesassetoutinthepfg.

similarly,initsfinalreport,thereviewofartsandhealthworkinggroup,whichwassetupbythenationaldirectorforpatientsandthepublic,toassistinadvisingthedepartmentofhealthonitsroleinrelationtoartsandhealth,foundtheevidencesufficientlycompellingthatitmadethefollowingrecommendations:

• artsandhealthare,andshouldbefirmlyrecognisedas being,integraltohealth,healthcareprovisionand healthcareenvironments,includingsupportingstaff.

• artsandhealthinitiativesaredeliveringrealand measurablebenefitsacrossawiderangeofpriority areasforhealth,andcanenablethedepartmentandnhs tocontributetokeywidergovernmentinitiatives.

• thereisawealthofgoodpracticeandasubstantial evidencebase.

• thedepartmentofhealthhasanimportantleadership roletoplayincreatinganenvironmentinwhichartsand healthcanprosperbypromoting,developingand supportingartsandhealth.

• thedepartmentofhealthshouldmakeaclearstatement onthevalueofartsandhealth,buildpartnershipsand publishaprospectusforartsinhealthincollaboration withotherkeycontributors.

table 1.1dCalandtheartsintheprogrammeforgovernment2008-2011

priority/psa/Objective actions target

priority1economicgrowth

Keygoal growthecreativeindustriessector upto15%by2011

psa5developnitourismsector

Objective1enhancenorthernire-land’stourisminfrastructure

manageanddevelopniculturalinfrastructure

deliver£229mcapitalinvestment,includingartscapitalprojects

priority2tolerance,socialinclusionandhealthandwellbeing

psa9promotingaccesstoculture,artsandleisure

Objective1enableasmanypeopleaspossibletoimprovetheirqualityoflifebyexperiencing,participatingandaccessingtheexcellenceofour

culturalassets

promotetheartsCouncilfornorthernirelandCorporateplan

2007-2010

toincreaseby2percentagepointstheproportionofthenipopulationwhoattend

artsevents

toincreaseby2percentagepointstheproportionofthenipopulationwho

participateinartsevents

source:dCal



theCouncil’scurrentstrategyfordevelopingthearts,titledCreativeConnections,coverstheperiodfrom2007-2012.reflectingtheCouncil’smissiontoplacetheartsattheheartofnorthernireland’ssocial,economicandcreativelife,CreativeConnectionsisbuiltaroundfourthemes,asfollows:

• theme1artattheheart-promotingthevalueofthearts.

• theme2strengtheningthearts.

• theme3growingaudiences.

• theme4improvingorganisationalperformance.

asdiscussedinsection13ofthedigest,onapercapitabasis,publicfundingoftheartsinnorthernirelandlagsbehindtherestoftheuK.withinthatcontext,theCouncilisseekingtopromotethevalueoftheartsinordertoincreaseunderstandingofthecontributionthattheartsmakeacrossabroadspectrumofpolicyareas,including:

• addressingissuessuchasracism,discriminationand sectarianism.

• theartsasaforceforregenerationandtransformingthe livesoflocalcommunities.

• helpingtopromotenorthernireland’simageabroadand contributingtotheeconomythroughculturaltourismand exchange.

• Boostingpeople’sconfidence,enhancingwell-beingand empoweringindividuals,anaspectoftheartsthatis receivingincreasingrecognitionacrossanumberofpolicy areas,includinghealthcare,educationandcriminal justice.

theobjectivesofpromotingthevalueoftheartsareasfollows:

• improverecognitionofthecontributionartistsandarts organisationsmaketosociety.

• influencegovernmentregardingthecontributionthearts maketotheachievementofarangeofpolicyobjectives.

• gainbroadacceptanceoftheneedforincreasedfunding fortheartsinnorthernireland.

• achieveinternationalrecognitionfortheartsfrom northernireland.

thethemeofstrengtheningtheartsdescribestheCouncil’sobjectivesforsupportingartists,artsorganisationsandthephysicalinfrastructure,whichareasfollows:

• improvethewell-beingofindividualartists.

• strengthenanddevelopartsorganisations.

• strengthenanddeveloptheartsinfrastructure.

thegrowingaudiencesthemeisfocusedonencouragingpeopletoengagewiththearts,withthefollowingobjectives:

• increasethediversityandnumberofpeopleattendingthe arts.

• increasethediversityandnumberofpeopleparticipating inthearts.

• encouragemoreyoungpeopletoexperiencethearts.

1.5 creatIVe connectIons

these themes are revisited at relevant points in the digest. for example, the growing audiences theme is central to Part II, which presents statistics on engagement with the arts by adults and young people in northern Ireland. In order to help set the context for the remainder of the digest, this section concludes with an outline of the council’s programmes for implementing creative connections.



Figure 1.4 Arts awards by Fund, 2004-05 to 2008-09, £ million

Source: ACNI

£mill

ion

2004-050

10

20

30

40

2005-06 2006-07 2007-08 2008-09

OtherLotteryExchequer - ACNI programmes

DCAL Capital & NW Challenge Funds

theartsCouncilfundsapplicationsforabroadrangeofcapitalandrevenueprojectsintheartsunderavarietyofdifferentprogrammes.asnotedearlier,themainsourcesoffundingarethegrant-in-aidreceivedfromthedepartmentandlotteryFunds.in2008-09,theCouncilawardedatotalof£18.4m.exchequerfundsprovidedbythedepartmentaccountedfor£12.7mofthetotal(Figure1.4).lotteryFundscontributedafurther£5.5m.theremaining£0.2mcamefromthedCalCapitalFund.

1.6 arts Programmes



1.6 arts Programmes (COnt)

thedCalCapitalFundwascreatedinsupportofpsa5(developthetourismsector),todeliverarangeofartscapitalprojects.asubstantialamountofcapitalfundingwasawardedin2007-08(£18.9m).theCapitalFundisdiscussedfurtherinsection8below,undertheheadingofinvestmentinartsinfrastructure.

thebulkoftheCouncil’sexchequerfunding(76percent)isdevotedtotheannualsupportforOrganisationsprogramme(asOp)(table1.1).in2008-09,140organisationsreceivedasOpawards.theseorganisationsarethecentralfocusofsection6ofthedigest.

thesupportfortheindividualartistprogramme(siap)isfundedfromboththeexchequerandlotteryFunds.asthenameimplies,siapawardsaredirectedtowardsindividualsratherthanorganisations.hence,thesizeofsiapawardstendstobesmallerinscalethanotherprogrammes.nonetheless,theindividualartistisakeyfocusofthestrengtheningtheartsthemeinCreativeConnections.theprogrammeisdiscussedinmoredetailinsection7ofthedigest.

there-imagingCommunitiesprogrammeisalsosupportedfromboththeexchequerandlotteryFunds.launchedinjuly2006,thisprogrammeseekstoplaceartistsintheheartofcommunitiestoworkwithlocalpeopletotacklevisiblesignsofsectarianismandracismtocreateamorewelcoming

environmentforeveryone.projectsarecommunity-based,aimingtorestorepridetolocalneighbourhoodsandmovingnorthernirelandtowardsanormal,inclusiveandstablesociety.theprogrammeisagoodexampleofanimportantfocusofaCnisupporti.e.localorplace-basedinitiatives,discussedinsection9ofthedigest.

ingeneralterms,lotteryFundshaveawidermore‘instrumental’focusthantheartsdevelopmentthrustofexchequerFunding.thisreflectsthebroadercriteriaunderwhichlotteryFundsareallocated.thus,inadditiontoconsideringtheCouncil’sassessmentoftheneedsoftheartsanditsprioritiesforaddressingthem,theCouncilisalsorequiredtoconsiderfactorssuchas:

• theneedtoinspirechildrenandyoungpeople,awakening theirinterestandinvolvementinthearts.

• theneedtofosterlocalcommunityinitiativeswhichbring peopletogether,enrichthepublicrealmandstrengthen communityspirit.

• theneedtosupportvolunteeringandencourage volunteeringinthearts.

• theneedtoencouragenewtalent,innovationand excellenceandhelppeopletodevelopnewskills.

table 1.2aCniawardsbyprogramme,2008-09,percentofFund

exchequer lottery all

% % %

annualsupportforOrganisations(asOp) 76 - 53

supportfortheindividualartist(siap) 2 7 3

re-imagingCommunities 7 4 6

artsdevelopmentFund/Other 10 - 7

projectfunding - 62 19

awardsforall - 9 3

publicart - 5 2

equipment 1 0 1

musicalinstruments 1 0 1

dCalmonitoringround 1 0 1

legacyFund - 14 4

Creativeindustries 2 - 2

all 100 100 100

Base(£million) 12.709 5.473 18.182

-notaprogrammeunderthisFund.

percentagesshownasrounded-maynotsumto100.

source:aCni.



table 1.3aCniawardsbyFundandartformofrecipient,2008-09

exchequer lottery1 all1

% % %

Combinedarts 33 34 34

Craft 2 1 1

dance 1 5 2

drama 12 17 13

literature 5 8 5

music 23 10 19

Opera 2 2 2

traditionalarts 4 2 4

visualarts 18 20 19

Film 0 3 1

all 100 100 100

Base(£million) 12.709 4.989 17.6991notincludingawardsforall–datanotavailablebyartform.

source:aCni.

Originally,lotteryFundinghadbeenawardedunderavarietyofschemes,suchasaccess,newwork,audiencedevelopmentandBusinesssupport.theprojectFundingstreamwasintroducedtoamalgamatethoseschemeswithacommonfocusonassistingorganisationstodeliverartsprojectswhichcontributetothegrowthofartsinthecommunityfornewandexistingaudiencesandwhichreflectthediversityofnorthernireland’ssocietyandculture.in2008-09,62percentoflotteryFundingwasawardedasprojectFunding.

afurtherpointtonote,whichcanbeseenfromFigure1.4,isthatthequantumoflotteryawardshasbeendeclining.partly,thisisbecauseanimportantthrustoflotteryFundingintheearlypartofthelastdecadehadbeensupportfor

capitalorbuildingprojects.asdiscussedinsection6below,therehasbeensignificantexpansioninthenumberofartsvenuesinnorthernireland’slargetowns.morerecently,largerscaleprojectshavebeensupportedbythedCalCapitalFund.inaddition,however,therehasbeensomedeclineintheavailabilityoflotteryFunds.OneofthereasonsfordeclininglotteryincomeistheredirectionoffundsavailableforgoodcausestotheOlympics&paralympics.

notwithstandingthedifferencesinscopeandpurpose,whenanalysedbyartformoftherecipient,thecompositionofexecutiveandlotteryFundsisstrikinglysimilar(table1.2).themaincontrastsaretheslightlyhighervolumeoflotteryFundawardsfordramaprojectsandthegreatershareofawardsgoingonmusicfromtheexchequerFund.





Part II: engagIng wIth

the arts



2 attendIng the arts

2.1 oVerVIew

2.2 toPIcs

asoutlinedinsection1enablingpeopletoimprovetheirqualityoflifebyexperiencingandparticipatinginnorthernireland’sculturalassetsisoneofdCal’sstrategicobjectiveswithintheniprogrammeforgovernment.theassociatedtargetsaretoincreasetheproportionofthepopulationattendingartseventsandthosewhoparticipateinartsactivities.themeansbywhichthedepartmentproposesachievingthataimistopromotetheartsCouncil’sCorporateplan2007-2010.

theCouncil’sCorporateplanisgroundedinitsoverarchingstrategy,CreativeConnections.ConsistentwiththeCouncil’sstatutoryfunctions,andalsothepfg,growingaudiencesandincreasingparticipationisoneofthefourthemesofCreativeConnections,astheCouncilaimstoencourageasmanypeopleaspossibletoengagewiththearts,whetherthroughattendingartseventsorparticipatinginartsactivities.

thefoursectionsthatcomprisepartiiofthedigestfocusonengagementwiththeartsinnorthernireland.thissectiondescribesthepatternandextentofattendanceatartseventsamongthepopulationaged16+.section3presentsarangeofstatisticsonparticipationbythoseaged16+.section4examinesthetrendsinviewingandlisteningtotheartsamongtheadultpopulation.section5presentsthefindingsofthemostrecentyoungpeoples’Behaviourandattitudessurvey,documentinglevelsofparticipationamongthoseaged11-16.

thissectionaddressesthefollowingtopics:

• howmanypeopleinnorthernirelandattendartsevents atleastonceayear?

• whatkindsofeventsdotheyattend?

• howdoesnorthernirelandcomparewiththerestofthe uKandireland?

• howdosub-groupsofthepopulationvaryinattendingthe arts?

• whatarethebroadgeographicpatternsinarts attendance?

• whatreasonsdopeoplegiveforattendingthearts?

• whatinformationsourcesdotheyuse?

• howoftendotheyattendanartsevent?

• howmuchenjoymentdotheygainfromattendingarts events?

• howsatisfiedisthepublicwithartsprovisioninnorthern ireland?



2.3 data sources

2.4 attendances

twomaindatasourceshavebeenusedincompilingthestatisticspresentedinthissection:

• theartsCouncil’sgeneralpopulationsurvey(gps).

• theContinuoushouseholdsurvey(Chs).

thedatasourcesaredescribedinmoredetailintheappendixtothisdigest.Briefly,bothsurveysarebasedonrandomsamplesofthenorthernirelandpopulation.also,bothsurveysareundertakenbythenorthernirelandstatisticsandresearchagency(nisra).

thegpshasbeenundertakenonthreeoccasionsi.e.2004,2007and2009.samplesizesrangefrom1,126to1,293.asthenameimplies,theChsisahousehold-basedsurvey.thatis,interviewersseektointerviewalladultsaged16+livingateachhouseholdinarandomsampleofaddresses.samplesizesarelargerintheChs,typicallyaround2,500householdscontaining4,700to5,000individualsaged16+.

notwithstandingthesmallersamplesizedifference,forthepurposesofthisdigestthegpsisthepreferreddatasourceformeasuringthenumberofpeopleattendingartseventsatleastonceayear.asoutlinedmorefullyinappendixBdatasources,therearethreereasonsforthatchoice,asfollows:

• thegpshasbeenconductedonaconsistentbasis since2004.theartsmoduleintheChshasbeenrunona consistentbasisonlysince2007-08.

• thedetailedgpsfindingscanbedirectlycomparedwith thetakingpartsurveyinengland,whichhasasimilar designtothegps.

• theChsisexperiencingagrowingproblemof non-responsewithinhouseholds.

thegpsasksrespondentswhethertheyhaveattendedanyoneof20eventsinthelast12months.theresultsbyeventtypefor2009areshowninFigure2.1.attendanceratesrangedfrom52percentsayingtheyhadbeentoafilmtoalittleovertwopercentsayingtheyhadbeentoanopera/operettainthelast12months.

Figure 2.1 Attendance at 1+ arts events, by type, 2009

Source: General Population Survey

FilmPlay or drama

Museum

Community festival

Rock or pop music

Pantomime

Other live music

Craft exhibitionOther live dance events

Exhibition

Carnival or circus

Arts festival

Contemporary dance

Poetry reading/story telling

Opera/operetta

Folk, traditional or world music

Classical music

Irish dance

Jazz concert

Ballet

Per cent

150 30 45 60



2.4 attendances (COnt)

ineachofthethreegpssurveysconductedtodate,aboutthreeinfourrespondentsrepliedthattheyhadbeentooneormoreofthe20eventsaboutwhichtheywereasked(table2.1).theslightdipfrom2007to2009isnotsignificant.5the2009surveydoesnotthereforeprovideanyindicationthattherecessionhasaffectedthepropensitytoattendanartseventatleastonceperannum.therecessionmay,ofcourse,haveinfluencedthefrequencyofattendance.

excludingmuseumsmakeslittledifferencetotheproportionsayingtheyhadattendedoneormoreeventsinthepast12months(table2.1).thisisbecause,onaverage,96percentofthosesayingtheyhadbeentoamuseumhadalsoattendedoneormoreoftheremaining19events.

theremainderofthissectionfocusesprimarilyonattendancesatthe19gpsevents,excludingmuseums(hereafter‘thegpsevents’).thereasonisthatthe19eventsoverlaptoaconsiderabledegreewiththesetofeventsthatareincludedinthepfgtargetforincreasingattendanceatartsevents(seethepsa9targetintable1.1above).6

asthenumberofpeopleaged16+innorthernirelandin2007was1.379million,theattendancerateof75percentforthatyeartranslatesintoatotalaudienceforthe19gpseventsof1.040millionpeople.

interestingly,intheperiodsince2004,therehasbeenanincreaseintheproportionsayingtheyhadattendedeventsotherthanfilmand/orrock/popconcerts,from55.5percentin2004to60percentin2009.thefourpercentagepointsincreaseissignificant,whichwouldindicateagrowingaudienceforthelesspopular/commercialendoftheartsspectrum.itisnot,however,possibletosaywhytheincreasehasbeenobservede.g.whetherthisisduetoagreatervarietyorlevelofprovision,ordemand-sidefactorssuchasincomegrowthorchangesinthemixofpreferencesforartsevents.

Comparingresultsacrossdifferentcountriesisfraughtwithdifficulty.samplingstrategiesmayvary,ascanthesetofeventsincluded,orreportedon.thewayinwhichquestionsarephrasedandpresentedtorespondentscanalsoaffectthecomparabilityoftwoormoresurveys.Bearingthosecaveatsinmind,itisreasonabletocomparethegpsresultswiththefindingsfromthetakingpartsurveyinengland,commissionedbythedepartmentforCulture,mediaandsport(dCms)andundertakenonanannualbasis.

thegpsandtakingpartcomparisonsareshownbybroadeventtypeinFigure2.2.Combiningthegpssurveysfor2007and2009,theoverallattendanceratefornorthernirelandis75percentcomparedto77percentinengland,agapoftwopercentagepoints.whilemodest,thegapisstatisticallysignificant.

5anyuseoftheword‘significant’inthisdigestinrelationtosurveystatisticsshouldbetakentoimplystatisticalsignificanceatthe95percentconfidencelevel.

6theoverlapbetweenthegpsevents(excludingmuseums)andthesetofeventsinthepsa9targetisdiscussedfurtherinappendixBdatasources.

table 2.1 artseventsattendedinlast12months,percentofpopulationaged16+

2004 2007 2009

% % %

Oneormoregpsevents,incl.museums 74.3 76.0 75.6

•excludingmuseums 73.8 75.4 74.4

•exclfilmandmuseums 60.9 65.0 64.5

•excludingfilm,rock/pop,museums 55.5 60.4 59.9

Base 1,293 1,211 1,126

source:aCni,generalpopulationsurvey.



thereare,nonetheless,someinterestingcontrastsbetweennorthernirelandandengland:

• accordingtothegps,attendanceratesinnorthern irelanddanceandmusiceventsarebothabovethe estimatedratesforengland.

• Conversely,thesurveyresultsindicatethattheni populationismuchlesslikelytoattendvisualartsand craftseventsand,toalesserextent,combinedarts events.7

thedifferencesillustratedinFigure2.2maybeduetosomecombinationoftastes/preferencesandtheavailabilityofopportunitiestoattendvarioustypesofartsevents,butitisimpossibletodistinguishtheseinfluencesfromthesurveyaveragespresentedinFigure2.2.Forexample,themarginallyhigherrateofattendanceatfilmsinnorthernirelandmaybeduetothefactthatthedensityofscreensinnorthernirelandisthehighestoftheuKregions.8Butthehigherdensityinturnmayreflecttastesforhigherlevelsoffilmattendanceinnorthernireland.

whencomparedtotheenglishregions,northernirelandranksapproximatelyinthemiddleofthedistributionofattendancerates(Figure2.3).thenorthernirelandattendancerateisaboutthesameastheenglishmidlands,higherthanthenorthernregionsandlowerthanthesouthernregions.thesharpnorth-southdivideinenglandmightsuggesttheinfluenceofeconomicfactorssuchashouseholdincomesandunemploymentrates.though,again,howpeoplechosetousetheirleisuretimewillalsobeafactor.

7thepresentationinFigure2.2isbasedontheaduKartsformclassifier.thus,‘combinedarts’referstostreetfestivalsandcarnivals.

8thatis,screensper100,000people.thedensityis9.5innorthernirelandcomparedtoauKaverageof6.0(source:uKFilmCouncil,statisticalyearbook2009,table10.4).

Figure 2.2 Attended 1+ events in last 12 months: Northern Ireland compared to England

Source: Northern Ireland - General Population Survey; England - Taking Part

Theatre

Per

Cen

t

Dance

Music

Visual

arts

& craft

s

Litera

ture

Combined A

rts Film

None of these

0

15

30

45

60

England 2007/08N.Ireland 2007-09



Figure 2.3 Attendance at 1+ arts events by region

Source: Northern Ireland - General Population Survey, 2007; England - Taking Part, 2006/07

70 75 80 85 90

N. IrelandSouth West

South East

LondonEast of England

West MidlandsEast Midlands

Yorks & HumbsNorth West

North East

England

Per Cent

2.4 attendances (COnt)

Finally,whennorthernirelandiscomparedtoenglandonthenumberofdifferenttypesofartseventthatpeoplehaveattendedinthelast12months,thedistributionsarenotgreatlydifferent(Figure2.4).accordingtothegps,40percentoftheniadultpopulationaged16+attendedthreeormoredifferenteventtypesintheprevious12months,comparedto37percentinengland.

the40percentrateofattendanceatmultipleeventtypesin2009representsanincreaseofsixpercentagepointswhencomparedwiththe2007gpsresults.thiswouldsuggestanincreaseintherangeofeventtypesthatpeopleattend.itisworthnotingthat,inthesameperiod,theaCniundertookconsiderableinvestmentbothintheprovisionofnewvenuesandaudiencedevelopmente.g.settingupaudiencesnitoassistartsorganisationswithmarketingandaudiencedevelopment.

whileitisreasonabletocomparethegpsfindingswithtakingpartinengland,thisismoredifficultfortheotheruKcountriesandalsoireland.

scotlandhasconducteditsownversionoftakingpart.theresultsofthe2008surveysuggestthatattendanceratesinscotlandareaboutonaparwiththoseinnorthernireland.Forasetofeventsthatincludesmuseums,thescottishattendanceratewasestimatedat77percent,comparedto76percentfornorthernireland.

Figure 2.4 Number of types of arts events attended in last 12 months

Source: Northern Ireland - General Population Survey, 2007; England - Taking Part, 2006/07

EnglandN.Ireland

0None One Two Three or more

10

20

30

40



Forthesetofeventsthatareroughlysimilartothegpsexcludingmuseums,the2008welshOmnibussurveyreportedanattendancerateof79percent,slightlyhigherthannorthernireland’s74percent(2009figure).

inasurveyconductedin2006intherepublicofireland,thefindingsindicatedthat85percentofthepopulationhadattendedoneormoreartseventintheprevious12months.

nonetheless,thecomparisonswithscotland,walesandirelandshouldbetreatedcautiouslyduetodifferencesinsurveydesigns.9

9Forexample,eachofthesurveysinwales,scotlandandirelandusedsomeelementofaquotasamplingdesignwhereasthegpsisarandomsample

2.5 PoPulatIon sub-grouPs

OneoftheobjectivesofthegrowingaudiencesthemeinCreativeConnectionsistoincreasethediversityandnumberofpeopleattendingthearts.itisthereforeusefultoconsidervariationsinattendanceratesacrosspopulationsub-groups.analysisbysub-groupissubjecttotheusualcaveatregardingsamplebasenumbersforthecalculationofpercentages.

ascanbeseenfromtable2.2,differentsub-groupsofthepopulationvaryconsiderablyintheirpropensitytoattendartsevents,withthoseaged16-24reportingattendanceratesintheregionof90percent,almostdoubletheaverageforthoseaged65andover(47percent).

womenaremorelikelythanmentoattend1+events.amongthoseforwhomasocio-economicgroupcouldbedetermined(professionalthroughtounskilledmanual),attendanceratesarehighestintheprofessionalclassandlowestamongunskilledmanualpersons.personswithoutadisabilityweremorelikelytoattendartseventscomparedtothosewithadisability,ineachofthesurveyyearsreported.someofthesecontrastsarelikelytoreflectthevariationsbyagenotedearliere.g.theolderagegroupsaremorelikelytohaveadisability.

table 2.2 attendingthearts:populationsub-groups–1+psa9eventsinlast12months

2004 2007 2009

% % %

all 73.8 75.4 74.4

agegroup

16–24 89.1 91.7 90.2

25–34 89.3 87.9 83.8

35–49 82.6 81.8 81.8

50–64 64.7 71.5 68.0

65andover 40.8 42.4 46.9

gender

male 72.3 73.0 71.8

Female 75.2 77.7 76.8

socio-economicgroup

professional 81.2 98.4 89.5

managerialandtechnical 82.3 82.1 78.6

skillednon-manual 80.7 82.3 76.7

skilledmanual 65.0 70.7 70.0

partlyskilled 67.9 65.9 68.3

unskilledmanual 56.0 47.5 45.1

neverworked 56.9 46.2 69.2

Fulltimestudents 91.4 99.3 95.4

disability

hasdisability 53.0 54.1 52.9

nodisability 78.5 80.8 78.6




2.5 PoPulatIon sub-grouPs (COnt)

2.6 geograPhIcal Patterns

thereare,however,someinterestingaspectsoftheageeffect.First,theagegradientismuchlesspronouncedwhenfilmisexcludedfromthesetofeventsusedtoestimateartsattendancerates(Figure2.5).

withasamplesurveysuchasthegps,itisonlypossibletoshowthebroadgeographicalpatternsinattendancerates.theseare,however,relevantinanumberofrespects.First,oneofthekeyperformanceindicatorsintheCouncil’sCorporateplanforgrowingaudiencesistoincreasethelevelofattendanceofpeoplelivingindisadvantagedareas.ascanbeseenfromtable2.3,increasingattendancesinthemostdeprivedarearemainsachallenge.in2004,thegapinattendanceratesbetweentheleastandmostdeprivedareaswaseightpercentagepoints.By2009,thegaphadwidenedto13percentagepoints.

second,inthepastdecade,theCouncilhasinvestedheavilyinensuringaspreadofartvenuesacrossnorthernireland,suchthateverymemberofthepopulationislocatedwithin20milesofavenue.itisnotpossiblefromasamplesurveytoassesstheefficacyofsuchastrategy.itis,however,interestingtonotethatthegpsdatadoesnotindicateanypronounceddisparitiesinattendanceratesbyregion(table2.3).

second,thereissomeevidencethatattendancerateshavebeenincreasingmostquicklyintheolderagegroups.From2004to2009,theattendanceratesofthoseaged65andoverincreasedbysixpercentagepoints,from41percentto47percent(table2.2).thisisnotstatisticallysignificant,

buttheincreasehasbeenconsistentoverthethreesurveysconductedtodate.asoutlinedinsection1,theshareofthepopulationaccountedforbyolderpeoplehasbeenincreasing.thetopicisexploredfurtherinthesectionthatconcludesthedigest.

Figure 2.5 Attendance at arts events by age group, 2009


Excl. filmAll events

100

75

50

25

016-24

Per

cen

t

Age group

25-34 35-49 50-64 65 and over



2.7 reasons

whenaskedthereasonfortheirmostrecentattendance,themostfrequentresponse(38percent)wasthattherespondentwantedtoseetheperformer(Figure2.6).thesecondmost

frequentresponse,byamarginofjusttwopercentagepoints,wasthattheattendancewasa‘socialevent’.Foroveroneinfour(27percent),theeventinvolvedfriendsorrelatives.

thisservestounderlineanimportantpointregardingtheprovisionofpublicfundsinpursuitoftheobjectiveofincreasingattendanceatartsevents,thatis,thesocialdimensionofartsactivities.Consideredfromthatperspective,attendingartseventshelpstobuild‘socialcapital’i.e.theaccumulationofsocialoutcomesthatpositivelyaffectthe

qualityoflifeofmembersofsociety.thisisanimportantingredientinthedepartmentforsocialdevelopment(dsd)approachtosupportforthevoluntaryandcommunitysector.Buildingsocialcapitalisanimportantelementincommunitydevelopmentandtacklingsocialexclusion.

indeed,attendanceratesintheBelfastareatendtobelowerthanthoseintheeastandwestoftheprovince.thismayreflectthegreaterincidenceofdeprivationintheBelfastarea.accordingtothe2005nimeasuresofmultipledeprivation,

fourin10ofthe20percentmostdeprivedsuperOutputareas(sOas)innorthernirelandwerelocatedinBelfast.thiscanbecomparedwithBelfast’s15percentshareofthenipopulation.

table 2.3 attendingthearts:geographicalpatterns–1+psa9eventsinlast12months

2004 2007 2009

% % %

all 73.8 75.4 74.4

lotcalareadeprivationscore

leastdeprived-lessthan10 77.3 80.3

10-19.99 74.3 76.2 73.6

20-29.99 69.1 69.3 76.5

mostdeprived-30+ 69.5 70.6 67.5

region

Belfast 74.4 73.4 71.2

east 75.7 76.3 75.9

west 71.2 75.1 73.9

urban/rural

urban 73.7 76.6 75.5

rural 73.9 73.8 72.3


Figure 2.6 Reason(s) for most recent attendance, 2009, 1+ arts events in last 12 months


Social eventLike going to that event

Wanted to see performer

Friend or relative involvedSpecial occasion

Was invited alongRecommended

Religious festival/eventLearn more about the artform

Related to studiesOther

0 10 20

Per cent

30 40



2.8 InformatIon sources

peopleattendingartseventsusearangeofsourcestoobtaininformationabouteventsthattheymaywishtoattend(table2.4).printandtv/radiosourcesfeatureprominently,albeititisnotobviouswhythereshouldhavebeensuchasharpincreasefrom2007to2009intheproportioncitingtv/radioasaninformationsource.

notunexpectedly,inlightofthetrendininternetaccessdiscussedinsection1(seeFigure1.3),therewasasignificantincreaseof+8percentagepointsintheproportionofrespondentssayingtheyhadsoughtinformationfromawebsite.

theincreasingroleoftheinternetintheconsumptionoftheartsisalsoevidentfromthetrendintheuseoftheinternettobookticketsforartsevents(Figure2.7).amongallthoseattending1+events,oneinthreeusedtheinternetforthatpurposein2004.justfiveyearslater,theproportionhadrisento45percent,asignificantincreaseof+13percentagepoints.therisewassharpestamongthoseaged35-49.Butevenamongthoseaged50+,by2009,30percentwereusingtheinternettobooktickets,upfrom17percentin2004.allofthechangesshowninFigure2.7foruseoftheinternetarestatisticallysignificant.

table 2.4 informationsources:personsattending1+artseventsinlast12months

2007 2009

% %

newspaper 60.1 62.5

tv/radio 37.8 51.4

website 16.4 25.0

article/listing 8.9 13.1

Flyer/brochure/billboard 32.9 35.5

wordofmouth 41.5 45.7

Other 4.3 2.5

mean number of sources mentioned 2.09 2.43

Base 913 838


Figure 2.7 Ever used the internet to book tickets for arts events, by age group, persons attending 1+ arts events in last 12 months


60

45

Per

cen

t

30

15

0

2004 2007 2009

35-4950+All

Less than 34



2.9 frequency of attendance

thegpsdoesnotcollectinformationonthefrequencyofattendanceatartsevents.thisis,however,oneofthetopicscoveredbytheChs.accordingtotheChs,lessthanoneinfiveofthoseattendinganartseventdosoonlyonceayear(Figure2.8).excludingattendanceatfilmevents,theproportionrisesto37percent.asimilarproportionattends2-3timesperannum.thus,almostthreeinfourofthosewhogotoartseventsotherthanfilmdoso1-3timesyearly.the

proportionattending1-3timesyearlyishighest(92percent)forcombinedartsevents(festivals,circus,carnival,streetarts),followedbytheatre-goersat85percent(Figure2.9).Frequencyofattendancewillbeaffectedbyarangeoffactors,suchasopportunitiesforattendance,tastes,cost,andsoon.nonetheless,stimulatingincreasedfrequencycanbeseenasanotherwayofgrowingaudiences.

Figure 2.8 Frequency of attendance at arts events, 2008-09, persons attending 1+ events in last 12 months


40

30

20

10

0

Once a week

Per

cen

t

Once a month 4-6 times a year 2-3 times a year Once a year

All eventsExcl Film

Figure 2.9 Frequency of attendance at arts events, 2008-09, by art form

Source: Continuous Household Survey

TheatreDanceMusic

Visual arts & craftsLiterature

Combined artsFilm

All eventsExcl. film

0 25 50

Per cent

75

4-6 times or more1-3 times yearly

100



2.10 enjoyIng the arts

thevastmajorityofthosewhoattendartsevents(86percent)saidthattheyenjoyedtheexperience‘alot’(Figure2.10).mostoftheremainderenjoyedtheexperience‘alittle’ratherthan‘notatall’.theproportionsayingtheyenjoyed

theirlastevent‘alot’washighestformusicanddance(92+percent).eventhelowestrankingeventtypeonthatcriterion–visualartsandcrafts–stillregistered80percentsayingtheyenjoyedtheirlastattendance‘alot’.

attendinganartseventcoststimeandoftenmoney.peoplewillthereforechoosetoattendeventsintheexpectationthattheywillgaininenjoyment.Forthatreason,itisnotatallunexpectedthatalargemajorityofthoseattendinganartseventsaythattheyenjoyedtheexperience.nonetheless,thisisausefulindicatortomonitor,fortworeasons.

First,themeasureofenjoymentthatpeoplegainfromattendingartseventscanbeviewedaspartoftheintrinsicvalueoftheartsi.e.peoplegainenhancedqualityoflife.akeyelementintheobjectiveofpromotingattendanceatartseventsistoimprovethequalityoflifeofthosewhochosetodoso.

second,thereisincreasinginterestinthebeneficialeffectsforpeople’shealthandwellbeingfromexperiencingthearts.areviewpublishedbytheartsCouncilofengland(aCe)includes385referencesfromthemedicalliterature

relatedtotheeffectoftheartsandhumanitiesinhealthcare(staricoff,2004).thestaricoffstudyhighlightedthepotentialcontributionoftheartsandhumanitiesacrossarangeofclinicaloutcomes.Forexample,amongthosebeingtreatedforcancer,thestudyreportedthatvisualartandliveandtapedmusichavebeenusedeffectivelyinanumberofstudiesaddressinghighanxietyanddepressionduringchemotherapy.

promotingengagementin,andaccessto,theartscanthereforebeseentohavebroaderpolicyimplications,particularlywhentheeffortistakenforwardwithanaccompanyingsocialinclusionagenda.viewedfromtheperspectiveoftheprogrammeforgovernment,theobjectiveofpromotingaccesstoculture,artsandleisure(psa9)canplausiblybelinkedtotheobjectiveofpromotinghealthandaddressinghealthinequalities(psa8).

Figure 2.10 Enjoyment of last event attended

Source: Continuous Household Survey, 2008-09

Film

All events

Combined arts

Visual arts & crafts

Music

Dance

Theatre

0% 25% 50% 75% 100%

A lotA littleNot muchNot at all



2.11 satIsfactIon wIth arts ProVIsIon

alargemajorityofthosewhoattendartseventstendtobeveryorfairlysatisfiedwithartsprovisioninnorthernireland.inthe2008-09Chs,almostthreeinfourofthoseattendingoneormoreartseventsinthepastyearsaidtheywere‘very’or‘fairly’satisfiedwithartsprovisioninnorthernireland(Figure2.11).Oneinfiveofthosewhoattendtheartshadnoopinion.lessthanfivepercentweredissatisfied.

Oneintwoofthosewhodonotattendartseventshadnoopiniononartsprovisioninnorthernireland.however,amongthosewhoexpressedanopinion,thenetbalancewasfirmlypositive,withoveroneinthreebeing‘very’or‘fairly’satisfiedcomparedtounderfivepercentexpressingdissatisfaction.

Figure 2.11 Individual Internet access by age


Very satisfied

Fairly satisfied

Neither/nor

Dissatisfied

Don’t know/refused

0 15 30 45 60

1+ attendancesNo attendances



2.12 reasons for not attendIng the arts

thelevelsofsatisfactionexpressedintheChsresultswouldsuggestthatprovisionperseisunlikelytoexplainnon-attendanceatartseventsorthefrequencywithwhichpeopleattendartsevents.thisimpressionislargelyconfirmedfromtheresultsofafurtherquestiononwhypeopleeitherdonotattendartseventsatallordonotattendmorefrequently.

amongthosewhosaidtheyattendednoeventsinthepast12months,factorsrelatedtoprovisionwerealmostabsentasreasonsfornon-attendance(table2.5).typically,reasons

relatedtovenues,performancesand/orperformerswerementionedbylessthanonepercentofthenon-attendees.these‘supply-side’factorsweremorelikelytobementionedbythosewhoattendedoneormoreeventsinthepast12months,butgenerallybylessthanfivepercentofsurveyrespondents.inotherrespects,therewasamuchgreatercontrastbetweenattendeesandnon-attendeesinthesetoffactorsthatlimitattendanceatartsevents.

amongthosewhodidnotattendanyartseventsintheprevious12months,twofactorsstandoutinparticular,asfollows:

• Closeto30percentsaidtheywere‘notreallyinterested’.

• Overoneinfive(21percent)saidtheir‘healthisnotgood enough’.

thehealthconstraintwasstronglyrelatedtoage.amongthoseagedunder35,thehealthfactorhadlimitedeffect,beingmentionedbylessthanfivepercent.thefactorwasslightlymoreimportantforthoseaged35-49(12percent).amongtheolderagegroups,healthwasmuchmorelikelytobementionedaslimitingattendanceatartsevents.Oneinfiveofthoseaged50-64citedthehealthfactor,risingtooneinthreeamongthoseaged65andover.inlightoftheageingofthepopulation,thisisanimportantfactortoconsiderinlookingahead.thedigestreturnstothistopicinpartvii.

averycontrastingsetoffactorswerementionedbythosewhosaidtheyattendedoneormoreeventsinthepastyear.mainly,theyreferredtoconstraintsonmorefrequentattendance,asfollows:

• time–overoneinfivesaiditwasdifficulttofindtime.

• Cost–asimilarproportionsaidcostwasafactor.

• Familycommitments/childcare–mentionedby 15percent.

• lackofinformation–alittleoveronein10saidthat eventsarenotpublicisedenough.

table 2.5 reasonsfornotattending(more)arts-relatedactivitiesinlast12months

Zeroattendances

1+attendances

% %

difficulttofindtime 8.3 22.5

Coststoomuch 9.2 23.9

notreallyinterested 29.6 11.8

don'thaveanyonetogowith 3.2 3.2

mightfeeluncomfortableoroutofplace 1.1 1.1

healthisnotgoodenough 21.4 4.8

lackoftransport 3.6 5.2

Familycommitments/childcare 7.6 15.1

performancesandeventsarepoorquality 0.5 1.9

lackofhighprofileperformers 0.5 5.1

venuesareofpoorquality 0.5 1.9

accessinandaroundvenuesispoor 0.8 3.0

venuesareinunsafeplaces 0.6 1.0

iwouldn'tenjoyit 4.0 2.4

eventsarenotpublicisedenough 1.2 11.2

Other 1.1 1.0

noneofthese 32.8 31.4

Base 1,062 2,073

source:Continuoushouseholdsurvey,2008-09.



3.2 toPIcs

thissectionaddressesthefollowingtopics:

• howmanypeopleinnorthernirelandparticipateinarts activitiesatleastonceayear?

• inwhatkindsofactivitiesdotheyparticipate?

• howdosub-groupsofthepopulationvaryintheirlevelsof participation?

• whatreasonsdopeoplegiveforparticipatinginthearts?

• whatbenefitsdotheygainfromparticipation?

• whatfactorslimittheirparticipationinartsactivities?

3 PartIcIPatIng In the arts

3.1 oVerVIew

3.3 data sources

thissectionpresentsarangeofstatisticsdescribinglevelsofparticipationintheartsbythoseaged16+.increasingparticipationisoneoftheprogrammeforgovernmenttargetsbeingpursuedbythedepartmentforCulture,artsandleisure(dCal)(psa9).itisalsoanimportantthemeinCreativeConnections.assetoutinitsCorporateplan2007-2010,oneoftheCouncil’sobjectivesis‘toincreasethediversityandnumberofpeopleparticipatinginthearts.’

Forsimilarreasonsasoutlinedinsection2regardingattendances,thegpsistheprimarydatasourceusedformeasuringparticipationlevelsinthissection.

thesetofactivitiesaboutwhichrespondentsareaskedinthegpsareasfollows:

• drama,theatreordanceofanykind.

• singingorplayingamusicalinstrument.

• Creativewriting(poetryorstories).

• photographyorfilmmaking.

• painting,drawingorsculpture.

• Crafts.

• helpwiththeorganisationorrunningofafestivalor carnival.

• Otherartsactivity.



3.3 data sources (COnt)

3.4 leVels of PartIcIPatIon

ingeneralterms,thegpsfocusesonactivitiesthatinvolveindividualcreativityorproductionofart(e.g.creativewriting)andparticipationactivitiesthattypicallyinvolveacollaborativeorsocialelement(e.g.performinginaplay).thecreativedriverbehindtheselectionofparticipationclassificationsemphasisesaCni’sintentionofdesigningaperformancemeasurementsystemthatgetstotheheartofitsbusinessobjectivesinCreativeConnections.

thegpsactivitiesdonot,however,mirrorthosespecifiedbydCalinrelationtothemeasurementandmonitoringoftheprogrammeforgovernmenttargetforparticipationinartsactivitiesi.e.thepsa9targetintable1.1above.10thisisbecausethepsa9targetincludesalsoactivitiesbasedonindividualconsumptione.g.readingforpleasure,purchasingoracquiringworksofart,buyinghand-madecrafts.

asecondconsequenceofusingthegpsisthatitisnotpossibletomakecomparisonswiththefindingsfromthetakingpartinenglandsurvey,aswasdoneinrelationtoattendancesinsection2.thisisbecausetheparticipation

moduleinthetakingpartinenglandsurveyincludesactivitiessuchasreadingforpleasure,buyinghand-madecrafts,etc.itisnotthereforepossibletoreconcilethedifferencesinapproachbetweenthegpsandtheenglandsurveyforthepurposeofproducingcomparableestimatesofparticipationlevels.

thetakingpartinenglandsurveyisthemainsourceofdataforthemeasurementofitspsatargetsbythedepartmentforCulture,mediaandsport(dCms).inthatregard,itisinterestingtonotethat,inmeasuringparticipationlevelsforassessingprogresstowardsitspsatargets,dCmsfocusesonlyonthesubsetofparticipationactivitiesthataretodowithindividualcreativity,productionofartand/orsocialandcollaborativeactivitiessuchasperforminginaplayordrama.11dCmsdoesnotthereforeincludeindividualactsofconsumption,suchasreadingorbuyingworksofartinmeasuringparticipationlevels.thatis,thepolicyinterestinparticipationderivesfromactivitiesinvolvingcreativity,production,collaborationand/orasocialdimension.thisispreciselytheapproachtakeninthegps.

thegpsfindingsforparticipationarepresentedintable3.1.Overall,theproportionsayingtheyhadtakenpartinanyofthegpsparticipationactivitiesincreasedfrom23percentin2004to26percentby2009.whengrosseduptothepopulationaged16+,thesurveyfindingssuggestthatover350,000peopleparticipatedinarts-relatedactivitiesin2009.

10amoredetaileddiscussioncanbefoundinappendixBdatasources.

11seedCmsstatisticalreleasedateddecember2008andtitledtakingpart:thenationalsurveyofCulture,leisureandsport-Finalassessmentofprogressonpsa3:completeestimatesfromyearthree,2007-08.theartsparticipationactivitiesarelistedonpage11oftherelease.

table3.1participationinartsactivitiesinlast12months:percentofpopulationaged16+

2004 2007 2009

% % %

drama,theatreordanceofanykind 2.8 4.3 3.5

singingorplayingamusicalinstrument 6.6 8.0 8.9

Creativewriting(poetryorstories) 1.4 2.8 3.6

photographyorfilmmaking 3.6 3.9 7.5

painting,drawingorsculpture 4.6 4.2 4.0

Crafts 6.6 5.3 6.4

helpwiththeorganisationorrunningofafestivalorcarnival 6.0 3.8 5.5

Otherartsactivity 1.0 1.4 1.7

noneofthese 77.1 77.9 73.8

any 22.9 22.1 26.2

Base 1,293 1,211 1,126

source:aCni,generalpopulationsurvey



3.5 PoPulatIon sub-grouPs

thechangefrom2004to2009wasnotstatisticallysignificant,thoughthefourpercentagepointsrisebetween2007and2009wassignificant.

thelargestincreasecamefromthosesayingtheyparticipatedinphotographyorfilmmakingactivities,upfrom3.6percentin2003to7.5percentby2009.thismaybeindicativeofthepaceoftechnologydevelopmentinphotographyandhomefilm-making,alliedtotheveryrapidgrowththathasbeenseeninopportunitiesforpeopletouploadtheircreationstotheinternet.albeitfromalowbasein2007(onepercent),therehasalsobeenanincreaseintheproportionsayingtheyhadengagedincreativewriting.participationlevelsinotheractivitieshavebeenbroadlystable.

thegpsdoesnotcollectinformationonthesettingsinwhichpeopleparticipateinartsactivitiesortheuseofproviders,suchasartsclassesincolleges,localauthorityprovisionand/orvoluntaryartsgroups.voluntaryartsirelandconductedasurveyin2003(Facts,Figures,Futures)whichreportedthatover12percentoftheadultpopulationparticipatesintheartsthroughvoluntaryartsgroupsinnorthernireland.

similartothepatternforattendance,participationvariesbyage,rangingfromoveroneinthreeamongpeopleaged16-24tolessthanoneinfive(19percent)forthoseaged65andover(table3.2).relativeratesofparticipationbyagehavebeenconsistentoverthethreegpssurveys.By2009,participationlevelsformen(25.5percent)wereaboutonaparwiththoseforwomen(27percent).Comparedto2004,thissuggestsanarrowinginthegapinparticipationlevelsbetweenmenandwomen.atfivepercentagepoints,thegapinparticipationratesbetweenthosewithandwithoutadisabilitywasnarrowerthanthegapinattendancerates(shownintable2.2insection2above).

table3.2participationinartsactivitiesinlast12months:populationsub-groups

2004 2007 2009

% % %

all 22.9 22.1 26.2

agegroup

16–24 32.4 33.7 34.8

25–34 19.3 20.7 26.3

35–49 23.0 20.1 24.9

50–64 21.1 20.8 27.0

65andover 19.1 17.3 18.8

gender

male 19.7 20.2 25.5

Female 25.9 24.0 26.8

disability

hasdisability 18.2 18.0 22.3

nodisability 24.0 23.2 26.9




3.6 geograPhIcal Patterns

whenanalysedaccordingtothegeographicaldistributionofparticipants,thefollowingpointscanbenotedfromthegpsfindings(table3.3):

• region.By2009,therewasverylittledifference inparticipationlevelsacrossthethreemainregions. participationlevelsinBelfasthavefluctuatedmorethan inotherregions,butthesmallersub-groupsamplebases needtobeborneinmind.

• urban/rural. participationlevelsdonotvarygreatly betweenruralandurbanareas.

• deprivation. participationlevelstendtobelowestinthe mostdeprivedareas.Outsidethemostdeprivedareas, therewasrelativelylittlevariationbydeprivationscore.

table3.3participationinartsactivitiesinlast12months:geographicalpatterns

2004 2007 2009

% % %

all 22.9 22.1 26.2

region

Belfast 23.0 17.7 26.8

east 23.6 21.2 26.3

west 22.0 25.3 25.7

urban/rural

urban 21.5 21.6 26.8

rural 24.6 22.8 25.0

localareadeprivationscore

least-lessthan10 26.3 19.0 27.2

10-19.99 24.8 24.4 29.6

20-29.99 18.8 24.6 26.1

most-30+ 17.8 21.7 20.2




3.7 reasons

peopleparticipateinartsactivitiesforawidevarietyofreasons.typically,also,peopleparticipateformorethanonereason;inthe2009gps,theaveragenumberofreasonsgivenwasthree(table3.4).Basedonthefindingsfromthegps,themainreasonsforparticipationcanbeclassifiedunderfourmainheadings,asfollows:

• to enhance their quality of life. inthe2009gps,four infivesaidtheyparticipatefortheenjoymentand pleasurethattheyreceivedfromtheirartsactivities (table3.4).Bothin2007and2009,thiswasthereason mostfrequentlymentioned.peoplealsosaidthey participatedasanoutletforcreativityandtoexpress themselves.

• health and wellbeing. theimportancegivento health-relatedreasonsforparticipationwouldappear tohaveincreasedovertime,whenthe2009gpsresults arecomparedwiththefindingsfor2007.in2009,overone infivesaidthatimprovedhealth/wellbeingwasoneof theirreasonsforparticipation,comparedtoeightpercent in2007.theproportionsayingthattheywishedtoreduce stresslevelsalsoincreased.

• Personal development.Bothinthe2007and2009 surveys,almostoneinthreesaidtheyparticipatedinarts activitieswithaviewtolearningnewskills.

• social.aswithartsattendance,participationinthearts hasastrongsocialdimension.aboutoneinfour participateinordertomeetnewpeopleand/orbecausea friendtakespart.

itwouldalsoappearfromthegpsresponsesthatartsparticipationcanoftenoverlapwithvolunteering.inthe2009gps,almostoneinfourparticipantssaidthattheywantedtocontributetotheircommunity.

Overall,thereasonsthatpeoplegiveforparticipatingintheartsarestronglyconsistentwiththeobjectivesofpublicfundingtosupportthepromotionofincreasedparticipationasexpressedinpsa9ofthepfgi.e.toimprovepeople’squalityoflifeandtocontributetonorthernireland’seconomic,healthandeducationalgoals.Basedonthereasonsgivenbysurveyrespondents,thebroaderpolicyagendastowhichartsparticipationarelinkedinclude:

• promotinghealthierlifestyles(psa8).

• activecitizenshipandvolunteering,oneoftheobjectives inpsa12,whichencompassescommunitydevelopment.

• skillsdevelopmentandlifelonglearning.

table3.4reasonsforparticipationinartsactivitiesinlast12months

2007 2009

% %

learnnewskills 28.7 30.2

expressself 18.5 28.2

enjoyment/pleasure 77.1 80.0

improvehealth/wellbeing 8.3 22.5

Outletforcreativity 20.1 32.0

Friendtakespart 22.4 25.3

reducestresslevels 13.3 28.5

Contributetocommunity 20.2 24.8

meetnewpeople 22.8 26.7

Otherreason(s) 4.9 6.5

mean number of reasons 2.4 3.0

Base 268 295




3.8 benefIts

thebenefitsfromartsparticipationreportedbygpsrespondentsareshownintable3.5.themostfrequentlycitedbenefitwasimprovedself-confidencefollowedbyimprovementsincreativity.Otherbenefitsincludedimprovedproblem-solving,concentrationanddecision-making.

theself-reportedbenefitslistedintable3.5resonatewiththeresearchliteratureontheoutcomesfromparticipationinartsactivities.Forexample,theCommunitydevelopmentandhealthnetwork(Cdhn)artsandhealthactionresearchproject,whichwasfundedbytheartsCouncilfornorthernireland,involvedtheco-ordinationofathreeyearartsandhealthactionresearchprogrammewithsociallydisadvantagedandvulnerablepeople.theevaluationoftheproject,publishedin2007,identifiedanumberofindividualandsocialimpactsofparticipation,includingimprovedself-confidence;skilldevelopment;improvedself-efficacy;unlockedcreativeenergies;therapeuticgain;increasedsocialconfidence;formationofnewsocialnetworksandrelationships;desiretoengagefurtherinartsactivitiesandanawarenessandrecognitionofthepositiveroleofartsinhealthandwell-being.

table3.5Benefitsofparticipationinartsactivities(self-reportedimprovements)

2007 2009

% %

self-confidence 48.3 49.0

Concentration 28.8 25.3

Creativity 53.0 41.4

decision-making 14.6 19.8

problem-solving 13.4 15.5

attitudetowardslearning 18.7 28.9

noneoftheseareas 14.3 13.9

meannumberofbenefits 1.9 1.9

Base 268 295




3.9 non-PartIcIPatIon

regardingnon-participationinartsactivities,theapproachtakeninthegpsistoaskthosewhodidnotattendorparticipateinanyartsactivitiesinthelast12monthstoidentifyfactorsthatpreventthemfromactivelyengagingwiththearts.theresponsesareshownintable3.6overleaf.themainreasonsgivenbythenon-participantsarelargelyrelatedtochoiceortastes.

thus,themostfrequentlyprofferedreasonfornon-participationwasalackofinterest(39percentinthe2009survey)and/orthattherespondentpreferstospendhisorhertimeinotherways(21percent).thesalienceofchoiceandpreferencesinchoosinghowtospendleisuretimeclearlysignalsthattherearelimitstotheextenttowhichitispossibletopromoteincreasedparticipationinartsactivities.

Forotherrespondents,non-participationwasmoretodowithconstraints,mainlyhealth(18percent),costs(16percent)andfamilycommitments(12.5percent).

table3.6Factorspreventingpeoplefromattendingorparticipatinginarts-relatedactivities

2004 2009

% %

difficulttofindtime 10.9 17.7

Coststoomuch 8.6 16.0

notreallyinterested 32.0 39.2

no-onetogowith 2.7 2.5

mightfeeluncomfortableoroutofplace 3.6 2.5

neverknowwhatisgoingon 2.8 1.6

healthnotgoodenough 14.8 18.4

lackoftransport 5.6 5.5

Familycommitments/childcare 5.3 12.5

nothingavailablecloseby/toofartotravel 6.7 7.5

lackoffacilitiesfordisabledpeople 2.1 2.6

prefertospendfreetimeinotherways 15.8 20.7

don'thavetheability/talent 3.7 3.5

Other 0.6 1.1


Base 332 290




4 VIewIng and lIstenIng

4.1 oVerVIew

4.2 data sources

4.3 art form

thissectionfocusesonthepublic’sengagementwiththeartsbywayofviewingand/orlisteningtoartsprogrammesthroughvariousmediasuchastelevision,radio,listeningdevices(mp3,Cds,etc)andviatheinternet.stimulatingorpromotingengagementthroughviewingandlisteningisnotperseapublicpolicyobjective,eitherfortheCouncil’sCreativeConnectionsstrategyortheniexecutive’sprogrammeforgovernment.nonetheless,thetopicisofinterestwithinthecontextofadigestofartsstatistics,fortwomainreasons.

First,peoplehavelongenjoyedtheartsthroughmediasuchasradioandtelevision.recentyearshaveseenveryrapidgrowthintechnologiesthatgreatlyenhancetherangeofopportunitiesforindividuallisteningandviewing,includingviatheinternet.Consequently,artformsthatcanbeenjoyedthroughviewingandlisteningarenowmoreaccessiblethaneverbefore.itisthereforeofinteresttoexaminetrendsinviewingandlisteningasanindicationoftheimpactofthenewtechnologies.

second,theincreasedopportunitiesforconsumingtheartsthroughviewingandlisteningalsoposestheissueofwhetherthenewtechnologiesmayhavetheeffectofsubstitutingformoreactiveformsofengagementi.e.attendingartseventsandparticipatinginartsactivities.Conversely,itmaybethecasethattheexpansioninopportunitiestoenjoytheartsthroughviewingandlisteninghastheeffectofstimulatinginterestandincreasedparticipation.whetherthenewtechnologiesactascomplementsto,orsubstitutesformoreactiveformsofengagementisacomplexmatterthatcannotbeaddressedwithinthecontextofadigestofstatistics.themostthatcanbedoneistocontrasttheviewingandlisteninghabitsofthosewhoattendartseventswiththosewhodonot.

thestatisticspresentedinthissectioninrelationtoengagementwiththeartsviaviewingandlisteningaredrawnentirelyfromtheartsCouncil’sgeneralpopulationsurvey.theContinuoushouseholdsurveydoesnotaskrespondentsabouttheirviewingandlisteninghabits.

judgingfromthegpsresults,thevastmajorityofthepopulation(89percent)vieworlistentooneormoreartformsonaregularbasisi.e.atleastoncewithinthefourweeksprecedingthesurvey(table4.1).

evenamongthosewhohadnotattendedanartseventinthepast12months,almostthreeinfour(74percent)hadengagedwiththeartsthroughviewingorlistening.Further,theirinterestswerenotconfinedtoanyoneartform;onaverage,theyviewedorlistenedtothreeofthelistedartformsinthepreviousfourweeks.



4.4 age grouPs

aswithartsattendance,viewingandlisteningtotheartsvarieswithage,rangingfrom96percentamongthoseagedunder34to74percentamongpersonsaged65andover.

Formostagegroups,thegapbetweenthosewhoattendedoneormoreartseventsinthepast12monthsandthosewho

didnotattenddoesnotvarymucharoundtheaverageof20percentagepoints.theexceptionisthe25-34agegroup,withagapofninepercentagepoints.itwouldnot,however,beappropriatetoattachanysignificancetothatexception,duetothesmallersamplebaseofpopulationsub-groups.

Comparedwiththenon-attendees,thosewhosaidtheyhadattendedoneormoreartseventsintheprevious12monthsweremorelikelytosaythattheyhadlistenedtoorviewedanartforminthelastfourweeks(94percent).at34.5percentagepoints,thegapbetweentheattendeesandnon-attendeeswaswidestinrespectofthosesayingtheyhadviewedorlistenedtorock/popinthelastfourweeks.while

thisisindicativeoftheageprofileofviewersandlisteners,itcanbeseenfromtable4.1thatattendeesatartseventswerealsomorelikelytovieworlistentoeachoftheotherlistedartformsonaregularbasis.theirinterestswerealsowider,astheyviewedorlistenedtoanaverageofalmostfourartformsoverthepreviousfourweeks.

table4.1viewingandlisteninginlast4weeks,byartform,percentofpopulationaged16+

whetherattendedanartseventinlast12

months

allaged16+ none

none 1+ 1+

% % %

rock/pop 40.9 75.4 66.6

Classicalmusic 13.2 27.4 23.7

Opera 3.7 7.1 6.2

musical 13.6 30.0 25.8

jazz 3.7 11.9 9.8

Folk/traditionalmusic 28.7 34.0 32.6

poetry/bookreading 3.0 7.1 6.0

play 19.1 23.0 22.0

generalartprogrammeorreviews 8.9 22.5 19.1

any 73.8 94.4 89.1

averagenumberofartforms 2.9 3.8 3.6

Base 288 838 1,126

note:viewingreferstowatchingontelevision,video,dvdortheinternet;listeningreferstotheradiooruseofalisteningdevice(e.g.mp3,ipod,Cd).source:aCni,generalpopulationsurvey,2009.

table4.2viewingandlisteninginlast4weeks,byagegroup,percentofpopulationaged16+

whetherattendedanartseventinlast12months

none 1+ all

% % %

16-24 77.4 98.0 96.0

25-34 88.2 97.1 95.9

35-49 73.7 94.4 90.7

50-64 70.8 90.0 83.8

65andover 62.2 88.5 73.6

any 73.8 94.4 89.1

Base 288 838 1,126

note:viewingreferstowatchingontelevision,video,dvdortheinternet;listeningreferstotheradiooruseofalisteningdevice(e.g.mp3,ipod,Cd).source:aCni,generalpopulationsurvey,2009.



4.5 use of the Internet

useoftheinternetasavehicleforconsumingtheartsthroughviewingandlisteningisgrowingrapidly.in2007,fewerthanoneinfourofthoseaged16+saidtheyhadusedtheinternetinthepastfourweeksforviewing,listeningtoordownloadingoneormoreoftheartformslistedintable4.3.in2009,justtwoyearslater,theproportionhadswelledtooveroneinthree(36percent).

at+10percentagepoints,thegrowthininternetusewasstrongestamongthoseviewingorlisteningtorock/popmusic.atleastinpart,thismayreflectdifferencesbetweenartformsinthe‘supply’ofmaterialavailableforviewing,listeningordownloading.Butthereisalsolikelytobeademand-sideeffect.internetaccessishighestamongtheyoungeragegroups.By2008-09,justundernineintenofthoseaged16-19hadaccesstotheinternet,whetherbyhomecomputer,workcomputer,digitaltv,mobilephoneorsomeothermedium(Figure4.1).thiscompareswith40percentforthoseaged60-69andlessthan20percentamongthoseaged70+.

table4.3useoftheinternetforviewing,listeningordownloading,last4weeks,byartform

2007 2009

% %

rock/pop 19.9 30.0

Classicalmusic 2.4 4.6

Opera 0.8 1.0

musical 1.2 3.0

jazz 1.7 3.1

Folk/traditionalmusic 3.1 6.1

poetry/bookreading 1.0 1.3

play 0.6 2.2

generalartprogrammeorreviews 0.9 2.9


any 23.9 35.9

Base 1,212 1,126




however,internetaccesshasbeengrowingamongallagegroups.indeed,inmorerecentyears,thefastestgrowthhasbeenseenamongthoseaged60-69.inthatcontext,itisinterestingtonotethatuseoftheinternetforconsumingtheartshasalsobeengrowingacrossallagegroups,notjusttheyoungest(table4.4).thehighestrateofinternetuseisamongthe16-24agegroup(71percentin2009).albeitfromrelativelylowbases,theperiodfrom2007to2009sawuseoftheinternetdoubleamongthoseaged50-64andtripleforthoseaged65andover.

Figure 4.1 Individual Internet access by age


100

90

80

70

60

50

40Per

cen

t

2001-02 2002-03 2003-04 2004-05 2005-06 2006-07 2007-08 2008-09

30

20

0

10

16-1920-2930-3940-4950-5960-6970+All

table4.4useoftheinternetforviewing,listeningordownloading,last4weeks,byagegroup

2007 2009

% %

16–24 57.5 71.3

25–34 38.0 53.6

35–49 19.8 32.1

50–64 8.9 20.6

65andover 2.6 9.5

all age groups 23.9 35.9

Base 1,212 1,126




5 young PeoPle

5.1 oVerVIew

5.2 data sources

promotingengagementwiththeartsamongchildrenandyoungpeoplehaslongbeenapriorityfortheartsCouncil.underthethemeofgrowingaudiencesandincreasingparticipation,theCreativeConnectionsstrategyre-affirmstheCouncil’scommitmenttobuildontheCreativeyouthpartnerships(Cyp)programme,apilotinitiativethathelpedtodevelopartsprogrammeswiththeintentionofencouragingyoungpeopletousetheirimaginationandmakethemostoftheircreativepotential.

promotingincreasedattendanceandparticipationinartsactivitiesamongyoungpeopleisalsoimportantinthecontextofthenorthernirelandexecutive’sprogrammeforgovernment(pfg).thisisanexplicitaimofpsa9(promotingaccesstoculture,artsandleisure)inordertocontributetobroadereconomic,healthandeducationalgoals.withinthecontextofthepfg,helpingyoungpeopletoengagewiththeartsisfirmlyalignedwithspecificpsaobjectivesineducationandhealth.

thevalueoftheartsasameansofstimulatinglearningandachievementisexplicitlyrecognisedinthetenyearstrategyforChildrenandyoungpeopleinnorthernireland2006-2016.titledOurChildrenandyoungpeople–Ourpledge,thestrategyisoneoftheactionsinObjective1ofpsa6(ChildrenandFamily),whichaimstoimprovetheoutcomesandlife

chancesofchildrenandyoungpeople.theenjoyinglearningandachievingstrandofthe10-yearstrategyincludestargetsforpromotingyoungpeoples’participationin,andattendanceat,artsactivitiesandevents.achievingthoseobjectivescanbeexpectedtomakeapositivecontributiontothepsa10objectiveofhelpingchildrenandyoungpeopletoachievethrougheducation.

promotingtheartsamongyoungpeopleisalsorelevanttotheobjectivesofpsa8i.e.promotinghealthandaddressinghealthyinequalities.asnotedininvestingforhealth(dhssps,2002):

art in general and drama in particular, are increasingly recognised as valuable vehicles for informing young people and the community as a whole about health.

therelationshipbetweenartsandhealthandwellbeingwasre-affirmedinthedhssps2005document,titledahealthierFuture:atwentyyearvisionforhealthandwellbeinginnorthernireland2005-2025,whichmadethefollowingpoint:

arts and creative activities play an important role in stimulating physical and mental wellbeing and contributing to the whole environment and health of people and society.

thestatisticspresentedinthissectionaredrawnfromtheyoungpersonsBehaviourandattitudessurvey(ypBas).theypBasisaschool-basedsurveyconductedamong11-16year-olds,designedtocollectinformationonthebehaviourandattitudesofyoungpeopleinpost-primaryeducationinnorthernireland.

undertakenbytheCentralsurveyunitofnisra,theypBaswascommissionedbyaconsortiumofgovernmentdepartmentsandpublicbodies.theresearchcoversawiderangeoftopics,includingyoungpeoples’accesstoandparticipationinthearts.theypBasisthedatasourceformonitoringthearts-relatedtargetsinthetenyearstrategyforChildrenandyoungpeopleinnorthernireland2006-2016.

threeroundsoftheypBashavenowtakenplace:thefirstinautumn2000,thesecondinautumn2003andthethirdinautumn2007.thissectiondrawsupontheartsmodulefromthe2007survey,whichcontainsmoredetailonattendanceatandparticipationintheartsthanitspredecessors.afurtheradvantageoftheypBasisitslargesamplesize.Forthe2007artsmodule,thebasenumberofrespondentsisinexcessof3,500.



5.3 PartIcIPatIon

thecapacityoftheartstostimulatelearningisakeyelementinthepublicpolicyinterestinpromotingparticipationinartsactivitiesbyyoungpeople.accordingtorobinson(2000),activeparticipationintheartsbyyoungpeoplepossessesintrinsicvalueinitsownright,butcanalsobeseenasalearningactivitythathelpsyoungpeopleto:

… acquire those skills most needed in today’s, and particularly tomorrow’s, society: communication skills; questioning skills; team skills; problem-solving; lateral thinking; flexibility and adaptability. they encourage young people to identify problems and find solutions.

itisthereforeencouragingtofindfromtheypBasresultsthat81percentofyoungpeoplesaidtheyparticipatedinoneormoreartsactivitiesinthe12monthsprecedingtheir

surveyinterview(table5.1).awiderangeofactivitiesareincludedintheypBasand,onaverage,respondentssaidthattheyparticipatedinalmostthreedifferentactivitiesatleastonceintheprevious12months.themostpopularactivitywaspaintinganddrawing(42percent),followedcloselybyreadingforpleasure(41percent).performingforanaudience,bothsingingandinplays/drama,alsofeaturedstrongly.sotoodidcreativeactivitiessuchaswritingstoriesorpoetry.Oneinfoursaidtheydidphotographicand/orfilm/videoasanartisticactivity.

thecommunitydimensionisalsoapparentfromtheoneintenwhosaidtheyhelpedwiththeorganisingorrunningofamusical,festival,pantomimeoranykindofshow.thisservestoillustratehowtheartscanencouragesuchformsofvolunteeringactivity.

therewerealsocontrastsinparticipationlevels.mostnotably,at89percenttheparticipationofgirlswaswellinexcessofthatforboys(74percent).thegapinparticipationbetweenboysandgirlswaswidelyspreadacrossthedifferentkindsofactivities,beingwidestfordancing(a35percentagepointsdifference)andnarrowestinplayinganinstrumentforpleasure(threepercentagepoints).

thesurveydataalsoshowedgapsinparticipationbytypeofschoolandwhethertheyoungpersonreceivesfreeschoolmeals.withanaverageparticipationrateof77percent,thoseattendingsecondaryschoolswerelesslikelytohavereportedparticipatinginanartsactivitybycomparisonwithgrammarschoolpupils,byamarginof11percentagepoints.

similarly,thoseinreceiptoffreeschoolmeals,ameasureofincomedeprivation,werelesslikelytosaytheyhadparticipatedinoneormoreartsactivitiescomparedtothosenotinreceiptoffreeschoolmeals;theparticipationratefortheformerwasestimatedat75percentintheypBas,comparedto83percentforthelattergroup.

itisnotpossibletosayifthegapsbygender,schooltypeandfreeschoolmealsrepresentcontrastingopportunitiesforparticipationorchoicesabouthowtospendleisuretimee.g.choicesaroundthebalancebetweenartsandsportingactivities.FurtherresearchwouldberequiredonthatissueandtheypBascouldbeusedforthatpurpose.

table5.1participationinartsactivitiesinlast12months:youngpeopleaged11-16

all Boys girls

% % %

dancingofanykind,notforfitness 32.9 15.2 50.5

sang(notKaraoke)orplayedmusicalinstrumentforanaudience 29.1 21.4 36.8

playedinstrumentforownpleasure 35.8 34.3 37.4

writtenmusicinfreetime 14.5 11.7 17.3

writtenstoriesorpoetryinfreetime(excludingschoolandhomework) 18.1 12.5 23.8

performedinorrehearsedforaplay/drama,pantomime,musicaloropera 24.1 17.3 30.9

painting,drawing,sculptingorprintmakinginfreetime(excludingschoolandhomework) 42.0 32.9 51.1

photographyorfilm/videomakingasartisticactivity(excludingfamily/holidayevents) 24.3 20.9 27.8

Craftactivitiessuchasworkingwithwood,textiles,pottery,jewelleryetc. 21.2 17.3 25.2

readforpleasure(excludingschoolbooks,magazines,newspapers,comics) 41.2 35.4 47.0

helpedwithorganisingorrunningamusical,festival,pantomimeoranykindofshow 9.7 7.4 11.9

noneoftheabove 18.7 25.9 11.3

any of the above 81.3 74.1 88.7

meannumberofactivities 2.9 2.3 3.6

Base 3,366 1,664 1,681

source:youngpeoples’Behaviourandattitudessurvey.



5.4 attendance

theypBassurveyresultsforattendingtheartsarepresentedintable5.2.perhapstobeexpected,goingtoafilmatacinemaorothervenuewasthemostfrequentlymentionedartseventattendedinthelast12months.with84percentofchildrensayingtheyhadgonetoafilm,theoverallattendancelevelfor1+artseventswasslightlyinexcessof90percent.

however,evenwhenfilmisexcluded,twointhreerespondentssaidtheyhadattendedoneormoreartseventsintheprevious12months.amongthosesayingtheyhadattendedaneventotherthanfilm,theaveragenumberofeventsattendedwasalmosttwo.

similartothepictureforparticipationlevels,girlsweremorelikelythanboystosaytheyhadattendedanartseventotherthanafilm.almostthreeinfourgirls(73percent)reportedoneormoresuchattendances,comparedtosixintenboys(59percent).aswithparticipationlevels,itisnotpossiblefromtherawstatisticspresentedintable5.2tosayifthedisparityrepresentschoiceorconstraint(e.g.costrelativetoincome),orsomemixofthetwo.

inadditiontothedifferencebetweenboysandgirls,attendancelevelsalsovariedbytypeofschoolattendedandreceiptoffreeschoolmeals.similartothedisparitiesinparticipationlevels,thoseattendingsecondaryschoolswerelesslikelytoattendartseventsthanweregrammarschoolpupils.excludingfilm,58percentofsecondaryschoolpupilsreported1+attendancescomparedto79percentofgrammarschoolpupils.

sixtypercentofyoungpeopleinreceiptoffreeschoolmealssaidtheyhadbeentoaneventotherthanfilm,comparedto68percentofpupilsnotinreceiptoffreeschoolmeals.

table5.2artseventsattendedinlast12months:youngpeopleaged11-16

all Boys girls

% % %

FilmatCinemaorothervenue 84.0 80.4 85.6

CircusorCarnival 24.2 23.6 24.0

pantomimeormusical 30.1 23.2 36.6

artsorCommunityFestival 9.8 8.8 10.5

playordramaattheatreorothervenue 22.8 18.0 27.3

Opera 3.0 2.2 3.8

rockorpopmusicperformance 26.9 19.9 33.6

traditionalFolkmusicperformance 6.3 5.8 6.5

Classicalorjazzmusicperformance 2.8 3.3 2.2

Otherlivemusicperformanceorconcert 17.1 13.3 20.6

Ballet 2.7 1.1 4.0

irishdancingperformance 10.1 6.1 13.9

anyotherlivedanceevent 7.3 3.5 10.3

poetryreadingorstorytelling 4.9 3.3 6.1

anytypeofvisualartsevent 8.9 8.2 8.3

noneoftheabove 9.5 11.3 6.8

any of the above 90.5 86.6 91.9

excluding film 66.5 59.4 73.2

meannumberofevents(exclfilm) 1.8 1.4 2.1

Base 3,348 1,664 1,681




5.5 enjoyment

theextenttowhichyoungpeopleenjoyparticipatinginorattendingartsactivitiesisimportanttomonitorfortworeasons.First,thelevelofenjoymentisameasureofthevaluethattheindividualobtainsfromtheactivityinwhichtheyhaveparticipatedorattended.assetoutinthe10-yearstrategy,youngpeopleareencouragedtoengagewiththeartsasameansofpromotingtheenjoymentoflearningandachieving.

second,itmightreasonablybeanticipatedthatthegreatertheenjoymentthatyoungpeoplegainfromtheirarts-relatedactivities,thegreaterthelikelihoodthattheirinterestinsuchactivitieswillbesustainedintoadultlife.

ingeneral,youngpeoplesaidtheyenjoyedtheactivitiesinwhichtheyparticipatedoratwhichtheyattended.themajorityenjoyedthemselves‘alot’(table5.3).Fewerthanoneintensaidtheydidnotenjoytheactivity‘atall’or‘notverymuch’.

table5.3enjoymentofartsactivitiesinwhichparticipatedorattendedinlast12months:youngpeopleaged11-16

howmuchenjoyed: participation attendance

% %

alot 56.3 63.0

alittle 35.8 29.5

notverymuch 5.4 4.8

notatall 2.4 2.7

Base(allparticipatingin1+artsevents) 2,707 3,000




table 5.4 reasonswhichputofftakingpartinorattendingmoreartsactivities:youngpeopleaged11-16

participationinlast12months attendanceinlast12months

none 1+ none 1+

% % % %

difficulttofindthetime 19 26 16 26

Costtoomuch 6 11 10 23

notreallyinterested 50 22 32 19

don'thaveanyonetodothemwith 7 14 5 12

wouldn'tenjoythem 29 12 17 11

mightfeeluncomfortableoroutofplace 11 11 5 8

notenoughinformationaboutwhatison 3 8 4 8

lackoffacilitiesclosetowherelives 6 14 3 13

healthisn'tgoodenough 1 2 1 1

don'thavetheabilityortalent 17 14 - -

religiousreasons - - 3 3

Otherreason 13 8 19 10

nothingwouldputmeoff 10 32 14 26

Base 629 2,737 367 2,999

-notasked.


5.6 barrIers

thefactorsthatyoungpeoplesaidputthemoffparticipatinginorattendingartsactivitiesareshownintable5.4.aswiththepopulationaged16+(seeFigure2.12insection2),theresponsesvaryconsiderablyaccordingtowhethertheyoungpersonhadattendedorparticipatedinanartsactivityinthelast12months.amongthosewhohadnotparticipatedinanyactivity,oneintwosaidthiswasbecausetheywerenotreallyinterested(table5.4.seealsoFigure5.1overleaf).almostthirtypercentofthenon-participantsfeltthattheywouldn’tenjoytakingpartinartsactivities.



turningtothosewhohadparticipatedinoneormoreactivities,themostfrequentlycitedreasonfornotengagingmorefrequentlywasdifficultyinfindingtime(26percent).interestingly,14percentfelttheydonothavetheabilityortalent,aboutonaparwiththosewhohadnotparticipatedatall(17percent).

Figure 5.1 Reasons for not doing/taking part in more arts activities, by participation in last 12 months

Source: NISRA, Youth Participation Behaviour and Attitudes Survey (YPBAS) Survey 2007, Table L.14.

1+ activitiesNone

Nothing

OtherLack ability/talent

Health reasonsLack of facilities nearby

Lack of informationUncomfortable/out of place

Wouldn’t enjoy

Nobody to do with

InterestCostTime

0 13 25 38 50





Part III: ProducIng

the arts



6 arts organIsatIons

6.1 oVerVIew

thepromotionofincreasedaccesstoandparticipationintheartsisdependentontheavailabilityofanappropriaterangeofopportunitiesthroughwhichpeoplecanengagewithandenjoytheartsi.e.astrongandwell-developedartssector.

strengtheningtheartsthroughsupportforindividualartists,artsorganisationsandthephysicalartsinfrastructureisacentralplankintheartsCouncil’sstrategyfordevelopingthesectorovertheperiod2007-2012.withinthatcontext,thispartofthedigestcomprisestwosections,focusingrespectivelyontheartsorganisationsandindividualsthroughwhichtheartsareproducedinnorthernireland.supportforthephysicalinfrastructureoftheartsisoneofthetopicsinpartivbelow.

artsorganisationsareimportantculturalassetsandformpartofthebasicinfrastructureofthearts.Overtheyears,northernirelandhasdevelopedadiverseandvariednetworkofculturalorganisations.publicsupporthasbeenakeyingredientinthedevelopmentoftheculturalinfrastructureofnorthernireland.

thissectionfocusesontheregularlyfundedorganisations(rFOs)thathavereceivedfundingundertheCouncil’sannualsupportforOrganisations(asOp)programmeforthreereasons.Firstly,therFOsprovideapictureofthepubliclysubsidisedartssectorinnorthernireland.secondly,throughtheasOp,theartsCouncilprovidesongoingsupportacrossthegamutofartsorganisations,includingtouringcompanies;receiving/producingcompanies;artscentresandvenues;galleries;arangeofpromoters;festivals;communityartsorganisations;disabilityartsorganisations;publishers;and,umbrella/artsresourceorganisations.

thirdly,eachyear,theartsCouncilconductsasurveyofitsregularlyfundedorganisations.therFOsurveycollectsinformationonarangeoftopics,includingincomeandexpenditure,performances,exhibitionsandparticipationactivities.

therFOincomeandexpendituredataareclearlycriticalinunderstandingthecurrentfinancialpositionoftheorganisationssupportedbytheCouncil,particularlyinthecurrenteconomicclimate.therFOsurveyreturnsforperformances,exhibitionsandparticipationactivitiesincludearangeofactivityindicatorsthatenabletheCounciltoreportonwhathasbeenachievedasaresultofpublicfunding.aswillbeseeninthissection,therFOsproduceawiderangeofoutputsandassociatedactivitylevels.

reflectingthediversityoftherFOs,adegreeofdatavariabilityisinevitableintherFOsurveyreturns.uncertaintiesassociatedwithsuchvariabilityarehighlightedintheaccompanyingtextwithinthissection.



6.2 sources of Income

thesourcesofrevenueincomereportedbyrFOsaresummarisedintable6.1.Overthetwoyearsshown–2006-07and2007-08–theCouncilsupported146rFOs.Ofthose,134(92percent)weresupportedinbothsurveyyears.Fortheconstantsampleof134organisations,totalrevenueincomeincreasedfrom£34min2006-07to£38min2007-08,ariseof12percent.thisprovidesabetterindicationofthetrendintotalrevenueincomeamongstrFOs.

inbothsurveyyears,subsidyincomefromvarioussourcesaccountedforthemajorityofrFOs’revenueincome,averaging59percentoverthetwoyearscombined.earnedincomecontributedafurther37percent,onaverage.Contributedincomefromsponsorshipanddonationsamountedtolessthanfourpercentoftotalrevenueincome.

thesourcesofincomevaryfromonetypeofrFOtoanother(table6.2).theorganisationsleastdependentonsubsidyincomewereartscentres/venues(39percent)andpublishers(40percent).reflectingthefactthattheyprovideartsforpublicconsumption,thesewerealsotheonlyorganisationtypesforwhichearnedincomecomprisedamajorityoftheirrevenueincome,58percentinbothcases.

reflectingtheirrolesasprovidersofservicestothesectorand/ornon-commercialorientation,therFOsmostdependentonpublicsubsidyweredisabilityartsorganisations(93percent)andumbrella/artsresourceorganisations(87percent).Festivalsweretheonlyorganisationtypeforwhichcontributionsformedasubstantialshareoftotalrevenueincome,15percentcomparedtoanaverageoflessthanfourpercent.

table 6.1 sourcesofrevenueincome,aCniregularlyFundedOrganisations

2006-07 2007-08 Combined

% % %

subsidy 61.8 57.2 59.3

Ofwhich:

•aCni 20.8 18.0 19.3

•lottery 8.9 9.2 9.0

•anChomhairleealaíon 5.1 4.6 4.9

•localauthorities 12.8 8.8 10.6

•nigovernmentdepartments 2.9 1.3 2.0

•europeanCommission 1.8 1.2 1.5

•Other 9.5 14.0 12.0

earned income 34.2 39.4 37.1

contributed 4.0 3.4 3.6

Ofwhich:

•sponsorship 3.1 2.3 2.7

•donations 0.9 1.0 1.0

all sources 100.0 100.0 100.0

noforganisations 138 143 146

totalrevenueincome(£’000s):

allorganisations £34,651 £42,387 £77,038

Constantsample(n=134) £34,246 £38,344 £72,590

source:aCni,surveyofregularlyFundedOrganisations.



6.2 sources of Income (COnt)

thesourcesofrevenueincomebytheartformoftheorganisationareshownintable6.3.12thecombinedartscategoryiscomprisedoforganisationsproducinganumberofdifferentartforms.aboutfourin10rFOs(38percent)areclassifiedascombinedartsorganisations.Onaverage,subsidyincomeaccountsforapproximatelyhalftherevenueincomeofcombinedartsorganisations.however,thisisaverymixedcategory.mostartscentres/venuesandfestivalsfallintothecombinedartscategory,asdocommunityanddisabilityartsorganisations.themajorityofthelargestrFOsareinthecombinedartscategory.ButthecategoryalsoincludesanumberofthesmallestrFOs.Consequently,therewillbeconsiderablevariabilityacrossthecombinedartsorganisationsintheextenttowhichtheyrelyonpublicsubsidyasasourceofrevenueincome.

table 6.2 sourcesofrevenueincomebyorganisationtype,combined2006-07and2007-08rFOsurveyreturns

Organisationtype: sourceofincome:

subsidy earned Contributed

% % %

all 59.3 37.1 3.6

touringcompany 65.0 29.6 5.4

receiving/producingCompany 65.4 31.4 3.2

artscentre/venue 39.3 58.4 2.3

gallery 83.1 14.4 2.5

promoter 75.0 21.8 3.2

Festival 56.9 28.1 15.1

Communityartsorganisation 68.4 26.0 5.6

disabilityartsorganisation 93.0 4.8 2.2

publisher 40.1 58.4 1.4

umbrella/artsresourceorganisation 86.8 12.8 0.4

Other 72.6 25.5 1.9


12theclassificationsusedareself-definedandrelatetoeachorganisation’smainartform.

table 6.3 sourcesofrevenueincomebyartformoforganisation,combined2006-07and2007-08rFOsurveyreturns

artformoforganisation: sourceofincome:

subsidy earned Contributed

% % %

all 59.3 37.1 3.6

Combinedarts 50.1 46.1 3.9

dance/drama 75.1 24.1 0.8

literature 59.7 39.2 1.1

music/Opera 64.4 29.7 5.9

traditionalarts 72.1 22.2 5.7

visualartsandCrafts 80.7 17.7 1.5




6.3 exPendIture

theanalysisbyartformalsoshowstheheavyrelianceonpublicsubsidyofdance/dramaorganisations(75percent)andvisualartsandcrafts(81percent).dance/dramaorganisationsaremainlycomprisedoftouringandreceiving/producingcompanies.thevisualartscategorycomprisestheartgalleries(thirteenofthose)aswellassomeartscentres/venuesandthestudiogroups.13

music/operaencompassesawiderangeoforganisationtypes,includingpromoters,communityarts,touringcompaniesandreceiving/producingcompanies.Onaverage,subsidyincomeaccountsfor64percentofrevenueincomeamongthemusic/operaartformorganisations.

traditionalartsarealsoheavilyreliantonsubsidyincome(72percent).Organisationsinthisartformcategoryaremostlypromoterse.g.societiesorco-opspromotingaspecifictypeoftraditionalartformorevent.somecommunityartsorganisationsalsofallunderthetraditionalartsheading.

theheadlineresultsontheexpendituresidefromtherFOsurveysof2006-07and2007-08areshownintable6.4.aswithincome,thechangeinexpenditurebytheconstantsampleof134organisationsprovidesthebetterindicationoftherateofchangeintotalexpenditurebyrFOs.ascanbeseen,totalexpenditurebytheconstantsamplerosefrom£35.4mto£39.1m,anincreaseof10percent,whichwasbroadlyinlinewiththe12percentriseinrevenueincome.

table 6.4 composition of expenditure, acnI regularly funded organisations

2006-07 2007-08 Combined

% % %

programmecosts

artists 32.3 32.4 32.4

Other 17.8 17.8 17.8

total 50.1 50.2 50.2

Corecosts

salaries 32.3 29.8 30.9

Other 17.6 20.0 18.9

total 49.9 49.8 49.8

allcosts 100.0 100.0 100.0

noforganisations 138 143 146

totalexpenditure(£’000s):

allorganisations £35,785 £43,016 £78,801

Constantsample(n=134) £35,426 £39,092 £74,518


13thestudiogroupsaretoofewinnumber–four–andsmallinscaletoshowseparatelyinanypartofthissectionwithoutdisclosinginformationthatcouldpotentiallybelinkedtoanindividualorganisation.

Onaverage,theprofileofexpenditurebytherFOswasverysimilarinboth2006-07and2008-09.totalexpenditurewasalmostequallysplitbetweenprogrammeandcorecosts.giventhediversenatureoftherFOs,thesplitbetweenprogrammeandcorecostsvariedsubstantiallyfromonetypeoforganisationtoanother.

programmecostsaccountedforthemajorityofexpenditurebytouringcompanies,festivalsanddisabilityartsorganisations.theprogrammecostssharewaslowestinthemiscellaneousothercategory(23percent),followedbygalleries(38percent)andumbrella/artsresourceorganisations(40percent).intheremainingorganisationtypes,thesplitbetweenprogrammeandcorecostswasclosetotheoverallrFOaverage.



6.3 exPendIture (COnt)

thesplitbetweenprogrammeandcorecostsvarieslessbytheartformoftheorganisation(table6.6).themainexceptionwasthemusic/operaartform.Forthatsetoforganisations,programmecostsaccountedforover70percentofexpenditure.mainly,thisreflectstheinclusionofalargetouringcompany.

table 6.5 Compositionofexpenditurebyorganisationtype,combined2006-07and2007-08rFOsurveyreturns

Organisationtype: programme Core

% %

all 50.2 49.8

touringcompany 74.1 25.9

receiving/producingCompany 49.0 51.0

artscentre/venue 47.6 52.4

gallery 38.4 61.6

promoter 44.4 55.6

Festival 65.7 34.3

Communityartsorganisation 40.4 59.6

disabilityartsorganisation 57.2 42.8

publisher 51.1 48.9

umbrella/artsresourceorganisation 39.6 60.4

Other 22.8 77.2


table 6.6 Compositionofexpenditurebyartform,aCniregularlyFundedOrganisations,combined2006-07and2007-08returns

artform: Component:

programme Core

% %

all 50.3 49.7

Combinedarts 46.5 53.5

dance/drama 40.7 59.3

literature 57.7 42.3

music/Opera 71.1 28.9

traditionalarts 40.9 59.1

visualarts&Crafts 39.0 61.0

Combinedarts 50.3 49.7

source:aCni,surveyofregularlyFundedOrganisativons.



6.4 Performances

thenumberofperformancesstagedinafinancialyear,andtheaudiencesattractedtothoseperformances,isanimportantindicatorofactivitylevelsacrossthesubsidisedartssector.intheannualsurvey,rFOsareaskedtostatethenumberofperformancesthattheyhavestagedinthesurveyyear,alongwithestimatedaudiencelevels.

inthe2007-08survey,84rFOsreportedthattheyhadstagedatotalof7,309performances(table6.7).Forthemostpart,theseperformanceswerereportedbyartscentres/venues,touringandreceiving/producingcompanies,promotersandfestivals.

Ofcourse,atouringcompanymay,forexample,performatanartscentre/venue.similarly,afestivalperformancemayinvolveatouringcompanyperformanceatanartscentre/venue.itis,therefore,likelythatthereissomeduplicationacrosstheperformancesreportedbytherFOs.thiswillcertainlynotbethecaseforallperformances.eventsmaybestagedatarFOvenuebyacompanythatisnotanrFO,whetherfromnorthernirelandorabroad.rFOtouringcompaniesdonotperformsolelyatrFOvenuesorartscentres.nonetheless,thepotentialforduplicationshouldbeborneinmindintheuseandinterpretationoftheperformancesdatareportedintherFOsurvey.

thesecondmajorlimitationoftheperformancesdataisthatitcanbemoreorlessdifficultforrFOstoprovideaccurateandreliableaudiencefigures.someorganisations,notablythosewithbox-officesystems,canprovidesuchfiguresforaudiencelevels.inothercases,thereportingrFOmayhavetorelyonestimatedattendancelevels.

theuncertaintyattachedtotherFOattendancefiguresishighlightedintable6.8bydistinguishingbetweenself-reportedaudiencefiguresandthosewhichrFOshavebeenabletosupplybydintoftheirmembershipofaudiencesni.audiencesniwasestablishedbytheartsCouncilin2004withtheobjectiveofhelpingtodevelopaudiencesfortheartsandculturalsectorinnorthernireland.audiencesniisconnectedtotheboxofficesystemsofmemberorganisationsandisthereforeinapositiontocompiledataonattendancesateventspromotedbyitsmemberorganisations.

Forthe2007-08rFOsurvey,anumberoforganisationssubmittedtheiraudiencefiguressourcedtoaudiencesnidata.intotal,theseorganisationsreportedover520,000attendances,mainlyatartscentres/venues(table6.8).theself-reportedattendancefiguresfromtheremainingrFOsarealsoshownintable6.8,withestimatedtotalaudiencesofover850,000.

table 6.7 performancesbyorganisationtype,2007-08,aCniregularlyFundedOrganisations

Organisationtype: reported:

total average noforganisations

no. no. no.

touringcompany 1,139 94.9 12

receiving/producingCompany 1,663 138.6 12

artscentre/venue 2,208 129.9 17

promoter 1,194 62.8 19

Festival 498 99.6 5

Communityartsorganisation 188 26.9 7

allother 419 34.9 12

all 7,309 87.0 84




6.4 Performances (COnt)

table 6.8 audiencesbyorganisationtype,2007-08,aCniregularlyFundedOrganisations

Organisationtype: sourcedto: 1+attendances

audiencesni self-reported

no. no.

audiencesreported

touringcompany 0 94,300

receiving/producingCompany 53,400 377,200

artscentre/venue 467,200 178,400

promoter 0 68,600

Festival 0 88,300

Communityartsorganisation 0 30,100

Other 2,000 16,700

total 522,500 853,600

averageperperformance

touringcompany - 89

receiving/producingCompany 212 268

artscentre/venue 431 171

promoter - 59

Festival - 179

Communityartsorganisation - 166

Other 31 48

total 374 150


Bearinginmindtheuncertaintiesassociatedwithself-reporteddata,itisstillofinteresttonotethelevelsofactivityindicatedacrossthevarioustypesofartsorganisation.

Furtherevidenceoftheactivitylevelsoftheartssectorinnorthernirelandcanbefoundintheaudiencesnireportonticketssoldinthecalendaryear2008byits22memberorganisations,amountingtojustunder930,000(table6.9).many,thoughnotall,oftheaudiencesnimemberorganisationswerealsorFOsinthatperiod.asnotedbyaudiencesniinitsreporttitledtheaudienceaudit2008,datadrawnsolelyfromitsmembers’boxofficesystemsdonotrepresentacomprehensivepictureofartsaudiencesinnorthernireland.14rather,theyrepresentaminimumlevelofartsattendancein2008.

14thereareanumberofticketoutletsthatarenotlinkedtoorganisationboxofficesystemssonotallticketsalesarereflected.



table 6.9 attendancesbyartform,2008–audiencesnimemberorganisations

performances tickets average

no. no. no.

theatre 1,929 539,656 280

Film 1,850 54,876 30

music 1,108 255,799 231

museum/exhibition 836 11,930 14

participatoryevents 345 5,530 16

literature 155 8,973 58

dance 126 43,592 346

visualartsandcrafts 107 5,816 54

Other 11 1,804 164

total 6,467 927,976 143

source:audiencesni,theaudienceaudit2008.

6.5 exhIbItIons

accordingtothe2007-08surveyreturns,rFOsmountedatotalof513exhibitionsspreadacross12,316days.thesurveyreturnsalsoreportonthenumberofartistsshownateachexhibition.asthesameartistmayexhibitonanumberofdifferentoccasionsatdifferentlocations,theaggregatedfiguresforartistsarebesttreatedasanindicationofartistshowingsandnotindividualartists.nonetheless,theopportunitygiventoindividualartiststoshowtheirworkisanimportantaspectofthecontributionthatexhibitionsmaketothedevelopmentoftheartsinnorthernirelandandveryrelevanttotheCouncil’sobjectiveofsupportingtheindividualartist.

table 6.10 exhibitions,2007-08,aCniregularlyFundedOrganisations

exhibitions days artistshowings

no. no. no.

all 513 12,316 6,150

whereexhibited:

nottouring/nionly 296 6,979 4,160

Outsidenorthernireland

all1 85 2,361 748

•restofuK 37 1,107 320

•rep.ofireland 33 924 326

•elsewhere 28 942 227

noresponse 132 2,976 1,2421Organisationsmayhaveexhibitedatanumberoflocationsoutsideni,hencethesumofexhibitionsbylocationoutsidenimayaddtomorethanthetotalnumberofsuchexhibitions.




6.5 exhIbItIons (COnt)

exhibitionscanalsobemountedoutsidenorthernireland.thisprovidesanopportunitytobuildnorthernireland’s‘reputationalcapital’,showcasingtheworkthatisproducedbyartistsintheprovince.in2007-08,85exhibitionstouredoutsidenorthernireland,totherestoftheuK(37),therepublicofireland(33)andinternationally(28).theinternationaltoursexhibitedinavarietyoflocations,includingwashingtondC,houston,texas,harbininChina,italy,slovenia,helsinki,andleuveninBelgium.

thesecondmajorindicatorofinterestisthelevelofattendancesattractedbytheexhibitionsmounted.again,itcanbemoreorlessdifficultforrFOstocountattendances.thereportedattendancesacrossallexhibitionsin2007-08amountedtoover900,000(table6.11).

themajorityofthetotalattendancesfigure(51percent)wasobtainedthroughtheuseofacounter(Figure6.1).however,thisinturnmeansthatclosetohalfofthereportedattendancesfigurewasestimatedratherthanbeingcounted.thisintroducesadegreeofuncertaintyregardingtheaccuracyoftheoverallattendancefigure.regardlessofthemethodofestimation,theartformreportingthehighestattendancelevelswasvisualarts/crafts.rFOsinthevisualarts/craftssectorwereparticularlyactiveoutsidenorthernireland,accountingforalargemajority(84percent)ofestimatedattendancesatexhibitionsmountedoutsidenorthernireland.

thethirdmajorpointofinterestintheexhibitionsdataistheextenttowhichrFOsactivelyseektoengagewiththepublic.suchactivityenhancestherelevanceoftherFO’sactivitiestothepsa9targetofincreasingattendanceatartsevents.themainmethodsreportedbyrFOsarelistedintable6.12.mostoften,rFOssoughttoensurean‘accessiblevenue’.moreproactivemethodssuchasoutreachwerelessevident.

table 6.11 exhibitions–attendancesbyorganisationartform,2007-08,aCniregularlyFundedOrganisations

Combinedarts visualarts/crafts

Other all

no. no. no. no.

all 186,000 645,700 70,800 902,500

whereexhibited:

nottouring/nionly 106,400 218,500 34,100 359,200

Outsideni

all1 49,100 300,700 6,300 356,200

•restofuK 0 82,600 1,500 84,100

•rep.ofireland 49,100 77,700 6,300 133,200

•elsewhere 10,300 255,700 0 266,000

noresponse 30,300 126,400 30,300 187,1001Organisationsmayhaveexhibitedatanumberoflocationsoutsideni,hencethesumofattendancesbylocationoutsidenimayaddtomorethanthetotalnumberofattendancesatthoseexhibitions.




Figure 6.1 Exhibition attendances: Method of estimation

Source: ACNI RFO Survey

500,000

375,000

250,000

125,000

0Counter Estimate Sample count No response

464,100

402,900

10,30025,100

table 6.12 exhibitions–methodsforengagingwiththepublic1,2007-08,aCniregularlyFundedOrganisations

method: all nottouring/nionly

touringoutsideni

noresponse

no. no. no. no.

accessiblevenue 378 222 70 20

affordability 200 119 28 10

grouptargeting 144 80 39 8

Outreach 118 61 35 8

Formatsavailable 116 53 39 8

helpwithtransport 34 20 3 2

languagesavailable 24 14 9 1

Other 41 30 4 1

none 22 18 3 1

Base-exhibitions 513 296 85 1321Organisationscouldhaveusedmorethanonemethod.




6.6 PartIcIPatIon

monitoringtheeffortsofrFOstopromoteparticipationisimportantatanumberoflevelsfromapolicyperspective:

• aspartofthegrowingaudiencesthemeinCreative Connections,itisanobjectiveoftheCounciltoexpandthe rangeofopportunitiesforpeopletotakepartinthearts.

• thepromotingartsparticipationobjectiveinpsa9ofthe programmeforgovernment.

• asameansofleveringthewidersocialbenefitsexpected fromparticipationinthearts.

participationcanbedifficultbothtodefineandtomeasure.inquantitativeterms,rFOsreportonthenumberofactivitiesinvolvingparticipationandthenumberofsessionsassociatedwitheachactivity.anactivitymayinvolveonesessiononly,oraseriesofsessionse.g.acoursethatstretchesoveranumberofweeksormonths.inthe2007-08survey,rFOsreportedalmost3,000participationactivitiesand34,000sessionsorinstancesofparticipation.thetotalnumberofparticipationsinthesesessionswasreportedat216,000.

aswithperformancesandexhibitions,itisclearfrominspectionofthesurveyreturnsthatrFOsfounditnecessarytoestimateparticipationlevelsonoccasion.thepreciseincidenceofestimatedparticipationlevelscannotbeestablished.thedatashownintable6.13shouldbeinterpretedwiththatcaveatinmind.

rFOsarealsoaskedtosaywhattypesofparticipationcharacterisedtheactivitiesincludedintheirreturns.atleastoneofthetypesofparticipationlistedintable6.14wasmentionedinrelationto58percentoftheactivitiesincludedintherFOsurveyreturns.mostoften,rFOssaidthattheparticipants‘createdart’(39percent).Conversely,in42percentofthe2,943activitiesreportedintherFOsurveyreturns,noneofthelistedtypesofparticipationwasmentioned.

table 6.13 participationactivities,2007-08,aCniregularlyFundedOrganisations

activities sessions participations

no. no. no.

all 2,943 34,092 216,100

Organisationtype:

touringcompany 266 899 22,200

receiving/producingCompany 278 3,513 9,200

artscentre/venue 637 7,225 77,800

gallery 337 1,326 18,100

promoter 678 11,039 53,900

Communityartsorganisation 484 6,940 21,000

disabilityartsorganisation 90 900 3,000

allother 173 2,250 10,900




theuncertaintiesarounddefiningandmeasuringparticipationservetoemphasisetheimportanceofobtainingapictureofwhatitisthatrFOsseektoachievethroughtheirparticipationactivitiesandhowtheytookthoseobjectivesforward.particularlyfromasocialinclusionperspective,themostappropriatepointtostartistoexaminethetargetgroupsmentionedbyrFOs.thisisparticularlyrelevanttothefollowingobjectivesinthegrowingaudiencesthemeofCreativeConnections,asfollows:

• toencouragemoreyoungpeopletoexperiencethearts, includingincreasingthelevelofactivitytargetingchildren andyoungpeople.

• increasethediversityandnumberofpeopleparticipating inthearts,withparticularreferencetoethnicminority groupsandpeoplewithdisabilities.

BothoftheseobjectivesarereflectedinthetargetgroupsthatrFOssaidtheyweretryingtoreachthroughtheirparticipationactivities.ascanbeseenfromtable6.15:

• therewasaparticularemphasisonyoungpeople.Outof 2,943activities,youngpeoplecomprisedthetargetgroup inalmost1,400sessions.

• peoplewithadisabilitycomprisedthetargetgroupin546 oftheparticipationactivitiesi.e.oneinfiveoftheactivities includedbyrFOs.theirshareofparticipationswas higher,atoneinfour(25percent).

• ethnicgroupswerethetargetgroupin207activities, equatingtosevenpercentofthetotal.theirshareof estimatedparticipationswashigherat14percent.

table 6.14 participationactivities–typesofparticipationmentioned,2007-08,aCniregularlyFundedOrganisations

no. %

all 2,943 100.0

typesofparticipationmentioned:

participantschosesubject 763 25.9

participantschosetreatment 855 29.1

Createdart 1,149 39.0

Formedgroup 747 25.4

participantsmet 333 11.3

participantscommented 816 27.7

participantsdiscussed 724 24.6

1+typesmentioned 1,694 57.6

nonementioned 1,249 42.4

note:rFOscouldreportmorethanonetypeofparticipationperactivity.hence,thetypesofparticipationmentionedwillsumtomorethanthenumberofactivities.


table 6.15 participationactivities,2007-08,aCniregularlyFundedOrganisations–targetgroups


no. no. no.

all activities 2,943 34,092 216,100

groupsmentioned1

young 1,386 15,199 127,600

elderly 368 2,791 35,700

deprivedgroups 884 11,631 77,300

ruralgroups 506 5,061 44,100

ethnic 207 3,128 30,700

Offenders 114 1,170 6,400

disabilities 546 6,438 53,200

victims 22 212 5,900

Othergroupsmentioned 501 7,073 33,700

nospecificgroups 242 2,434 20,4001multipleresponsespermittedperactivity,hencethesumofgroupsmentionedwillexceedthetotalnumberofactivities.




6.6 PartIcIPatIon (COnt)

itisalsoofinteresttonotetheinclusionofanumberofothergroupstargetedbyrFOparticipationactivities.asdocumentedinpartii,olderpeoplearetheleastlikelytoparticipateinartsactivities.particularlyinlightofanageingpopulationinnorthernireland,thereisincreasingawarenessofthebenefitstobegainedfromstimulatinggreaterengagementwiththeartsbyolderpeople.

theinclusionofruralgroupsresonateswiththeruralinfrastructureobjectivesinpsa17oftheprogrammeforgovernment.Oneofthetargetsfordevelopingruralinfrastructureintheniruraldevelopmentstrategy2007-2013istohave5,000peoplebenefitingfromculturalinitiatives.

Fromasocialinclusionperspective,itisalsointerestingtonotethatthereareanumberofactivitiesaimedathelpingoffenders.thepotentialroleoftheartsinreducingre-offendingandpromotingoffenderrehabilitationhasreceivedconsiderableattentioninrecentyears(forexample,thearticlesbywhiteandwrenchandClarkeinCowling’s2004setofreadingsonsocietyandthearts).

Ofcourse,themerefactoftargetingaparticulargroupdoesnotinitselfdemonstrateefficacyinreachingthatgrouporachievingbeneficialoutcomes.theoutcomesideofthegrouptargetingequationisalwaysdifficulttomeasureandrequirescarefulevaluation.nonetheless,itisusefultonotetherangeofmethodsthatrFOssaidtheyemployedinseekingtotakeforwardtheirparticipationactivities.

Outreachwasmentionedinrespectofabouthalftheparticipationactivitiesasamethodusedtosupportaccess(table6.16).theothermainmethodsmentionedincludedaffordability(1,725activities),accessiblevenue(1,670)andgrouptargeting(oneinthreeactivities).

table 6.16 participationactivities,2007-08,aCniregularlyFundedOrganisations–methodsusedtosupportaccess


no. no. no.

all activities 2,943 34,092 216,100

methodsmentioned1

Outreach 1,570 13,750 104,600

grouptargeting 1,010 10,014 62,000

Childcare 29 422 2,300

affordability 1,725 18,553 143,000

helpwithtransport 294 4,015 17,800

differentlanguages 48 548 7,100

differentFormat 339 3,132 25,800

accessiblevenue 1,670 18,978 97,500

speech-to-text 50 431 1,600

supportworkerCosts 130 1,413 4,400

sensoryinteraction 65 594 1,900

audiodescribed 17 1,019 6,200

nonementioned 29 387 2,5001multipleresponsespermittedperactivity,hencethesumofmethodsmentionedwillexceedthetotalnumberofactivities.




thetypesofartformsmentionedbyrFOsaspartoftheirparticipationactivitiesarelistedintable6.17.thevisualartsandcraftswerethemostfrequentlymentionedartformattheactivitylevel;overhalfofallparticipationactivitiesmentionedvisualartsandcrafts.whenmeasuredatthelevelofsessionsorparticipations,musicwasmentionedmoreoftenthananyotherartform.theatrealsofeaturedstrongly,beingmentionedinrelationtooneinthreeactivitiesandasimilarproportionofsessions.

table 6.17 participationactivitiesbyartform,2007-08,aCniregularlyFundedOrganisations


no. no. no.

all activities 2,943 34,092 216,100

artformsmentioned1

theatre 1,029 10,737 80,100

dance 429 7,539 53,300

music 664 22,396 129,400

visualarts&crafts 1,564 13,051 88,000

literature 308 3,139 24,600

Combinedarts 396 4,819 28,800

Film 127 1,408 7,800

nonementioned 131 898 12,7001multipleresponsespermittedperactivity,hencethesumofartformsmentionedwillexceedthetotalnumberofactivities.




6.6 PartIcIPatIon (COnt)

artsorganisationsexisttoproduce,orfacilitatetheproductionof,varioustypesofartformsandactivities.tothatextent,itisinterestingtonotethatanumberofrFOswereabletosaythattheirparticipationactivitieswouldleadtocertificatesandqualifications.ineightpercentofactivities,therFOindicatedthattheactivitywouldleadtoaqualification(table6.18).theseactivitieswerenotconfinedtoanyoneorganisation,beingspreadacrossanumberofdifferentartforms.rFOsalsoindicatedanumberofactivities,amountingtotwopercentofthetotal,whereparticipationwouldleadtoqualifications.

therFOsurveyresultsdonot,however,sayhowmanyindividualparticipantswentontoobtaincertificatesorqualifications.

thefinaltopicconsideredinthissectionistheextenttowhichrFOactivitiesaretakenforwardonacross-communitybasis.thisiswithinthecontextofthesharedFuturestrategyandthepotentialcontributionoftheartstoimprovedrelationshipsbetweenthetwocommunities.theCouncilhasalsoconsistentlysupportedprogrammesdesignedtofosterimprovedrelationshipsbetweenthetwocommunities,mostrecentlywiththere-imagingCommunitiesprogrammeaimedatdeliveringcommunity-basedprojectstohelptacklesectarianismandracism.theCouncilalsohasastatutoryresponsibilityundersection75ofthenorthernirelandact(1978)topromoteequalityofopportunityandtohaveregardtotheneedtopromotegoodrelations.

inthatcontext,therFOsurveyaskssupportedorganisationstosayiftheirparticipationactivitiesaresinglecommunity(participantsaredrawnmainlyorentirelyfromoneofthetwomaincommunities)orcross-community(participantsaredrawnfrombothmaincommunities).Forty-fourpercentoftherFOswereunabletogivearesponsetothecommunitybackgroundquestion(table6.19).Ofthoseorganisationsthatprovidedaresponse,70percentsaidthattheirparticipationactivitieswerecross-community.

table 6.18 participationactivitiesleadingtocertificatesandqualifications,2007-08,aCniregularlyFundedOrganisations

activities

number percentofall

no. %

Certificates

allmentions 247 8.4

Byartformoforganisation:

•Combinedarts 154 10.6

•dance/drama 20 1.4

•literature 27 6.8

•music/opera 15 7.6

•traditionalarts 18 14.6

•visualarts/crafts 13 4.2

qualifications

allmentions 62 2.1




theincidenceofparticipationactivitiesdescribedasbeingallormainlysinglecommunitywashighestforcommunityartsorganisations(33percent).thisisnotespeciallysurprisingasmanycommunitiesinnorthernirelandaredominatedbyoneorotherofthetwomaincommunities.

accordingtothe2001Census,amajorityofnorthernireland’spopulation(61percent)liveinareasthatareatleast80percentcomprisedofoneorotherofthetwomaincommunities.Furthermore,themostdeprivedareas–towhichcommunityregenerationfundstendtobedirected-arehighlyconcentratedinareaswhereoneorotherofthetwomaincommunitiesaccountsfor90percentormoreofthelocalpopulation.thisisanimportantpartofthecontextforcommunity-basedartsinnorthernireland.

table 6.19 participationactivitiesandcommunitybackground,byorganisationtype,2007-08,aCniregularlyFundedOrganisations

allormainlysingle

community

Cross-community

noresponse

% % %

touringcompany 28 15 57

receiving/producingCompany 18 44 38

artscentre/venue 15 46 39

gallery 13 63 24

promoter 10 35 55

Communityartsorganisation 33 24 43

disabilityartsorganisation 6 80 14

Other 8 30 62

all 17 39 44

excludingnoresponse 30 70


Figure 6.2 Catholic population shares of NI Super Output Areas

Source: NISRA, Census of Population 2001.

90% and above

80%-89%

70%-79%

60%-69%

50%-59%

40%-49%

30%-39%

20%-29%

10%-19%

Less than 10%

0 8 15 23 30

Cat

holic

pop

ulat

ion

shar

e

Per cent of Super Output Areas

Most deprived 20%All other areas



7 the IndIVIdual artIst

7.1 oVerVIew

7.2 sIaP awards

supportingindividualartistsisakeyelementintheartsCouncil’sstrategyforstrengtheninganddevelopingtheartsovertheperiod2007-2012.

theCouncilispursuingthatobjectivethroughitssupportfortheindividualartistprogramme(siap).From2004-05throughto2008-09,atotalof625individualswereawardedsiapgrants.drawingoninformationsuppliedbytheartsCouncil,thissectionpresentsapictureoftheindividualartistswhohavereceivedassistancefromsiap.

thenextpartofthissectionprovidesasummaryofsiapawardsovertheperiodfrom2004-05to2008-09.thesectionthenpresentsaprofileofthesupportedartistsalongthedimensionsofgender,ageandemploymentstatus.

Followingareportbyanthonyeverittin2000,theartsCouncilintroducedthesiapin2001asavehicleforthedevelopmentandsupportofartists.theprogrammeisopentoartistsofalldisciplinesandinalltypesofworkingpractice,whohavemadeacontributiontoartisticactivitiesinnorthernirelandforaminimumperiodofoneyearandaredomiciledinnorthernireland.

thosemeetingthecriteriacanapplyforprojectassistance,travelgrantsorresidencies,underanumberofdifferentschemes,including:generalartsawards(fundedthroughthenationallottery);self-arrangedresidencies;majorindividualawards;travelawards;newyorkresidency;internationalresidencies;and,youngmusicians’platform.Forthethreeyears,2008/09–2010/11,theartsCouncilisprioritisingemergingartistsbyring-fencing20percentofawardsforapplicantsthathavenotpreviouslyreceivedsiapawards.

From2004-05to2008-09,1,047siapawardsweremade,withavalueofalmost£2.2m(table7.1).assiapisforindividuals,themajorityofawardsarerelativelysmallinscale.Overfour-fifthsoftheawardsmade(84percent)wereforamountsoflessthan£3,000.the16percentofawardsinexcessof£3,000accountedforclosetohalf(47percent)ofthetotalvalueofsiapawards.themajorityofawards(62percent)weremadeunderthegeneralartsandotherni-basedschemes.travelandinternationalresidencyschemescomprised38percentofawards.awiderangeofartformsweresupported,mostfrequentlyforvisualartsandfilm(46percent),followedbymusic(17percent)andliterature(14percent).



7.3 ProfIle of sIaP awards

atotalof625individualsweresupportedthroughsiapovertheperiod2004-05to2008-09.Ofthese,428completedmonitoringreturnsprovidingtheinformationfromwhichtable7.2hasbeencompiled.theresponserateof68percentisadequateasabasisonwhichtopreparetheprofileofsiapparticipantsbyage,sexandemploymentstatus.

table 7.1 supportfortheindividualartist,awards,2004-05to2007-08

number value

no. % £’000s %

all awards 1,047 100.0 £2,194 100.0

sizeofaward

£100-£300 176 17 £43 2

£301-£1,000 273 26 £193 9

£1,001-£2,000 227 22 £368 17

£2,001-£3,000 202 19 £554 25

£3,001andover 169 16 £1,036 47

Category

general/ni-based 651 62 £1,792 82

travel/international 396 38 £402 18

artForm

Combined 62 6 £138 6

Craft 61 6 £136 6

dance 21 2 £58 3

drama 47 4 £143 7

literature 147 14 £332 15

music 181 17 £378 17

traditionalarts 48 5 £121 5

visualarts&Film 480 46 £889 41

source:aCni

table 7.2 profileofsiapawardees1,2004-05to2008-09,ageandsex

percent

all 100

sex

•male 54

•Female 46

age

•16-24 5

•25-39 54

•40andover 41

base 4281excludingnon-responses,ofwhichtherewere197(32percent).

source:aCni.



7.3 ProfIle of sIaP awards (COnt)

Basedonthemonitoringreturns,thegendersplitamongthosegrantedsiapawardswas54percentmaleand46percentfemale.thisisidenticaltothegendersplitamongstemployeesinemploymentinthecreativeindustries.15ascanbeseenfromtable7.3,theself-employedcomprisealargeportion(40percent)ofsiapgrantrecipients.theself-employedtendtohaveahigherproportionofmalesthanfemales,includingintheculturaloccupations(see,forexample,thestudybydaviesandlindley,2003,forastatisticalportraitoftheculturalsectorinengland).in2001,accordingtotheniCensusofpopulation,themale:femalesplitinculture,mediaandsportoccupationswas63:37.itwouldthereforeappearthattherepresentationofwomeninsiapisatleastonapar,andperhapsinexcessof,theirrepresentationintheculturalsectorasawhole.

Fromthesiapmonitoringreturns,onein20recipientswasaged16to24.thisislessthantheirshareofallpersonsinemployment(14percent).whilesamplesizesarelimitedfornorthernireland,thesiapshareofawardsgoingto16-24yearoldsisalsolessthantheirshareofemploymentinthecreativeindustries(approximately11percentbasedonlabourForcesurveydata).asgallowayetal(2002)note,startingandbuildingacareerischallengingforyoungartists.thisisrecognisedintheCouncil’sprioritisationofsupportforemergingartistsandalsotheinclusionoftheyoungmusician’splatformscheme.

personsmakingtheirlivingasemployeesaccountedforalmostoneintwosiaprecipients(48percent)(table7.3).Ofthose,abouthalfwereemployedinart,eitheronafull-timeorpart-timebasis.afurther30percentwereemployedinanart-relatedactivity.theremaining20percentofemployeeswereinnon-artrelatedjobs.

at40percent,theincidenceofself-employmentamongsiaprecipientsisconsiderablyhigherthaninthewiderlabourmarket.Fornorthernirelandasawhole,theself-employedshareofthoseinajobisabout15percent(source:labourForcesurvey).

justbelowonein10siaprecipientsdescribedthemselvesasunemployed,withtheremainingthreepercentsayingtheywereretired.

thepatternofemploymentshownintable7.3wasbroadlyreplicatedacrossthedifferentartformsforwhichawardsweregranted.at61percent,theself-employedsharewasabovetheaverageamongstthoseindramaordance.16inliterature,themajority(57percent)wereemployees.theywerealsolesslikelytobeworkinginajobintheartsorart-related(62percent),comparedtotheaverageforallrecipientsinemployment(80percent).

table 7.3 profileofsiapawardees1,2004-05to2008-09,employmentstatus

percentof:

all employees

employees 48 100

employedfull-timeinart 15 31

employedpart-timeinart 9 19

employedfull-timeinart-related 6 12

employedpart-timeinart-related 9 18

employedfull-timeinnon-art-related 6 12

employedpart-timeinnon-art-related 4 8

self-employed 40 -

unemployed 9 -

retired 3 -

base 428 2051excludingnon-responses,ofwhichtherewere197(32percent).

source:aCni.

15thecreativeindustriesaredefinedanddiscussedindetailinsection10below.

16artformshavebeencombinedsothatthebasenumberofreturnsisatleast30inanyonecategory.



thepatternofemploymentamongsiaprecipientsisconsistentwithfindingsfromanumberofstudiesofthoseworkingasindividualartistsand/orintheculturalsector,notablythehighself-employmentshare.

Forexample,inastudyofemploymentandincomepatternsofartistslivingandworkinginnorthernireland,everitt(2000)foundthat:

• two-thirdswerewhollyorpartlyself-employed;

• morethanhalfhadothersourcesofincome;

• earningsfromartwerelowandirregular;

• mostrespondentscouldnotliveontheincomefrom theirart;

• evenwithothersourcesofincomeartistswerestill struggling;

the2004evaluationofthesiapreportedthat,inthesamplestudied:

• lessthanhalf(42percent)earnedaroundorbelowthe averagehouseholdincomeinthepreviousyear.

• Overone-third(39percent)wereabovetheaverage incomerange.

• almost60percentofthoseartiststhathadtheaverage householdincome,andthosethatearnedlessthanit, earned50percentorlessoftheirincomefromart.

inaqualitativestudyofartists,gallowayetal(2002)foundthatmostartistspreferworkingforthemselves,notwithstandingtheassociateduncertaintyandinsecurity.But,asgallowayetalalsonote,uncertaintyisinmanyrespectsthe‘centralingredient’ofartists’employment.

theelementofuncertaintyinturnhighlightstherisksthatartiststakeinpursuitoftheircreativeendeavours.siapawardshelptosharethatrisk,therebypromotingahigherlevelofartisticactivitythanmightotherwisebethecase.

table 7.4 profileofsiapawardees,byartformsmentioned1,2004-05to2007-08

employees

all Ofwhichinthearts/

art-related

self-employed unemployed

% % % %

music 47 71 42 11

drama/dance 27 100 61 12

literature 57 62 33 10

visualarts/film 49 88 40 10

Other 46 73 47 7

all 49 80 41 91excludingnon-responses.

source:aCni.





Part IV: InVestIng In

the arts



8 the PhysIcal Infrastructure

8.1 oVerVIew

thispartofthedigestfocusesonthethemeofinvestinginthearts.inthissection,theobjectiveistodocumenttheprogressthathasbeenmadeinbuildingthephysicalinfrastructurefortheartsinnorthernirelandi.e.venuesandartscentres.thenextsectionreviewslocalorplace-basedinitiativesthatbuildtheartsinlocalcommunities.

Buildingthephysicalinfrastructurefortheartsisanessentialcomplementtothedevelopmentoftheculturalinfrastructureofartsorganisationsinnorthernireland(seesection5).venuesandartscentresprovidethefacilitiesthatartsprofessionalsneedtolearn,developandshowcasetheirwork.

theavailabilityofastockofmodernandaccessiblefacilitiesisalsoakeyingredientindevelopingaudiencesfortheartsinnorthernireland.OverthelastdecadetheartsCouncilhaspursuedthestrategicobjectiveofhavingadedicatedartsfacilitywithinaradiusof20milesofeverypersoninnorthernireland,toensureanequitabledistributionofopportunitiesforattendingandparticipatinginartseventsandactivities.thatobjectivewassetoutintheCouncil’sfirstdevelopmentplanforthearts,titledtothemillenniumandcoveringtheperiodfrom1995-2000.atthattime,artsfacilitieswereverymuchconcentratedintheBelfastarea.Bythemid-2000s,theartsCouncilhadsupportedthedevelopmentofarangeofnewculturalbuildingsintownsandcitiesacrossnorthernireland.everypersonlivinginnorthernirelandnowhasaccesstoadedicatedartsfacilityintheirregionthankstoaninvestmentof£33millionbytheartsCouncilofnorthernireland.

Byfacilitatingengagementwiththearts,whetherthroughincreasingattendancesorenablingwiderparticipation,investinginthephysicalinfrastructureisclearlyrelevanttotheCouncil’sCreativeConnectionsstrategyandtheprogrammeforgovernment(pfg)objectiveofpromotingaccesstoculture,artsandleisure(psa9).inaddition,thedevelopmentofnewculturalfacilitiesisrelevantacrossarangeofgovernmentobjectivesinthepfg,asfollows.

strategically-locatedculturalbuildingsrepresentoneofthemostvisiblesymbolsofregenerationintownsandcitycentres.suchinvestmentsthereforecontributedirectlytothepfgobjectivesforhousing,urbanregenerationandcommunitydevelopment(psa12).theregenerationobjectiveistopromote“viableandvitaltownsandcitycentres”inorderto“createsharedspacesthatareaccessibletoallandwherepeoplecanlive,workandsocialise”.

inFirststeptowardssustainability(2006),thegovernment’ssustainabledevelopmentstrategyfornorthernireland,asustainablecommunityisdefinedtoinclude“opportunitiesforculture,leisure,recreationandothersharedcommunityactivities”.thisengagesinvestmentintheartswithpsa11intheprogrammeforgovernment,whichaimstodriveinvestmentforsustainabledevelopment.

withintheeconomicgrowthpriority,investmentintheculturalinfrastructureisdirectlyrelevanttotheaimofdevelopingthetourismsectorinnorthernireland(psa5)andisoneoftheactionstobetakenforwardunderobjective1ofpsa5(seetable1.1insection1).

thenextpartofthissectionpresentsinformationprovidedbytheartsCouncilregardingcapitalspendingontheartsinnorthernireland.thesectionthenprovidesanoverviewonthevenuesandartcentresthathaveresultedfromtheCouncil’scapitalexpenditureawardsoverthepastdecade.



8.2 caPItal awards

Fundingforcapitalawardstowardsthedevelopmentofthephysicalinfrastructurefortheartshascomefromthreemainsources,asfollows(seetable8.1):

• nationallotteryFunds.

• dCalChallengeFund.

• northwestChallengeFund.

ingeneralterms,thelotteryFundshavebeenthemaininstrumentdrivingthedispersalofartsvenuesandcentresthroughoutnorthernireland.From2004-05to2008-09,over£6.5mwasawardedunderthelotterypublicartandBuildingscheme.indeed,capitalawardsbytheCouncilhadbeenevenhigherintheearly-2000s,withover£12mawardedbytheaCnitowardstheconstructionofsevennewartsvenuesbetween2000and2004.

thedCalChallengeFundhasbeenmainlyfocusedonbuildingtheculturalinfrastructureinBelfastandderry.in2002,BelfastsubmittedabidtobeconsideredastheeuropeanCapitalofCulture2008.thatbidwasnotsuccessful,withoneofthemainreasonsbeingthecity’srelativelackofculturalinfrastructure.inresponse,dCalbidforandsecuredsignificantcapitalawardsforinvestmentinartsprojectsduringboththe2004-2007and2008-2011budgetperiods.

intheperiod2004-2007,governmentallocated£18mforartsinfrastructure,primarilyinBelfast,underlininggovernment’sstrategytoencourageartsandculturetoleadthewayinthecity’ssocialandeconomicregeneration.during2008-2011,dCalsecuredafurther£31.6mfundingforallocationonartscapitalprojectsacrossnorthernireland.

in2005,a£4mChallengeFundfortheartsandculturalsectorinthenorthwestwasestablishedaspartoftheilexregenerationplanforthederryCityCouncilarea.thefundwasdistributedintwostrands:a£3.2mchallengefundforprojectscapableofmakingasignificantcontributiontoregenerationandartsprovisionintheareaand£0.8mforapieceoficonicartworktomarktheregenerationofthecity.

thegeographicaldistributionofcapitalawardsmadebetween1995and2008isshowninFigure8.1.thefourBelfastconstituenciesaccountedfor35percentofthetotalvalueofawards.theFoyleconstituency,withinwhichderryCityislocated,received17percentofthetotalawards.theremaining48percentofthevalueofawards,representinganinvestmentofalmost£18m,wasallocatedtovariouslocationsoutsideBelfastandderry.thatinvestmenthasbeenkeytomeetingtheCouncil’sobjectiveofensuringthateverypersonlivinginnorthernirelandhasaccesstoadedicatedartsfacility.

table8.1aCniawardsforinvestmentinartsinfrastructure,byartform,2004/05to2008/09,constant2007-08prices

£million percentofall

lottery-publicartandBuilding 6.512 20.3

•Combinedarts 4.011 12.5

•drama 0.264 0.8

•music 0.726 2.3

•traditionalarts 0.018 0.1

•visualarts 1.494 4.7

dCalChallengeFund 21.611 67.3


•drama 9.230 28.7

•music 2.393 7.5

northwestChallengeFund 3.994 12.4


•literature 0.045 0.1

•music 1.000 3.1

•visualarts 0.986 3.1

all 32.117 100.0

source:aCniawardsdatabase.



8.2 caPItal awards (COnt)

Figure 8.1 ACNI capital awaards, 1995-2008, Parlimentary Constituencies

Source: ACNI

Mid UlsterLagan Valley

FoyleFermanagh & S. Tyrone

East LondonderryEast Antrim

Belfast WestBelfast SouthBelfast North

Belfast East

West TyroneUpper Bann

StrangfordSouth Down

South AntrimNorth Down

North AntrimNewry and Antrim

0 5 10

Per cent of total

15 20 25

8.3 Venues

asaresultoftheinvestmentsmadeoverthepastdecadeandahalf,northernirelandnowpossessesanarrayofartsvenuesandcentresdistributedacrosstheprovince.thevenuescanbroadlybeclassifiedunderthreemainheadings:

• newvenues,constructedsince2000orcurrentlyin progress(table8.2).

• majorrefurbishments(table8.3).

• OthermainvenuessupportedbytheartsCouncile.g. throughtheannualsupportforOrganisationsprogramme (asOp)(table8.3).

the12completednewvenueslistedintable8.2havebeencentraltotheartsCouncil’sstrategyofensuringequitableaccesstodedicatedartsfacilitiesforthepopulationofnorthernireland.

state-of-the-artbuildingshavebeenconstructedinthemarketplacetheatreinarmaghCity,theBurnavonartsandCulturalCentreinCookstown,themillenniumForumandverbalartsCentreinderry/londonderry,theislandartsCentreinlisburnCity,themillenniumCourtartsCentreinportadown,theFlowerfieldartsCentreinportstewartandmostrecentlyBraidinBallymena,alleyinstrabaneandstruleinOmagh.



CurrentlythereisanemphasisonstrengtheningtheinfrastructureinderryandBelfast.derrynowboastsbuildingssuchastherecentlyopenedCultúrlannuíChanáin,andthenewlyrefurbishedplayhouseandwatersidetheatre.Belfast’sulsterhallandgrandOperahousehavebothreceivedextensivefacelifts.theCrescentartsCentrehasrecentlyundergoneamajorrefurbishment.

Otherbuildingprojectscurrentlyinprogressincludetheredevelopmentofthelyrictheatre.theOldmuseumartsCentreistakingforwardthe£17.6mmetropolitanartsCentre(maC)project,anewbuildartsCentreinBelfast’sCathedralquarter.

table8.2majornewvenuescompletedsince2000andcurrentlyinprogress

location venuename yearcompleted/scheduled

Completed

armaghCity marketplacetheatre 2001

Cookstown BurnavonartsandCulturalCentre 2000

derryCity millenniumForum 2002

derryCity verbalartsCentre 2000

derryCity CultúrlannuíChanáin 2009

lisburnCity islandartsCentre 2001

portadown millenniumCourtartsCentre 2002

portstewart FlowerfieldartsCentre 2004

Ballymena Braid 2008

strabane alley 2007

Omagh strule 2008

derryCity gasyardartFactory 2008

inprogress

Belfast metropolitanartsCentre(maC) 2011

Belfast lyrictheatre 2011

source:aCni

table8.3majorrefurbishments

location venuename yearcompleted

derryCity playhouse 2009

derryCity watersidetheatre 2009

Belfast ulsterhall 2007

Belfast grandOperahouse 2006

Belfast Conwaymill 2010

Belfast theCrescent 2010

source:aCni

table8.4OthermainvenuesdirectlysupportedbytheartsCouncil

location venuename

Belfast linenhalllibrary

Belfast OrmeauBathsgallery

antrim ClotworthyartsCentre

Coleraine riversidetheatre

derry thenerveCentre

downpatrick downartsCentre

enniskillen ardhowentheatre

newtownards ardsartCentre

source:aCni



8.4 wIder ImPacts

themostimmediatewiderimpactoftheartsinfrastructureinvestmentistheregenerationimpact.asnotedinthereviewoftheculturesub-pillaroftheinvestmentstrategynorthernireland(isni),“innorthernirelandtheartsarecentraltotheregenerationstrategiesforbothBelfastandderry”.theregenerationimpactisnotconfinedtoBelfastandderry.Forexample,thestruleartsCentreinOmaghispartofamajorurbanregenerationschemetotransformtheriverbankandsurroundingarea.

thecontributionthattheartsmaketowiderregenerationeffortscanbeseeninthepartnershipapproachthathascharacterisedthedevelopmentofnewartsvenuesandthemajorrefurbishmentslistedabove.inthefirst10yearsoflotteryFunding,throughto2004,atotalofsevennewartsvenueswerecompleted.thesevenuesengagedawiderangeofpartners,includingCityanddistrictCouncilsinarmagh,Cookstown,Craigavon,derry,lisburnandColeraine.Otherco-fundersincluded:

• departmentofsocialdevelopment(dsd).

• thenorthernirelandtouristBoard.

• internationalFundforireland.

• environmentandheritageservice.

• departmentofagricultureandruraldevelopment.

• peaceandreconciliationprogramme(dsd).

• Craigavondistrictpartnership(peaceandreconciliation).

thepartnershipapproachhashaditsmostobviousimpactintheleveringofotherresourcesinadditiontotheartsCouncilawards.Foreach£1ofaCnifunding,anadditional£1.56wasprovidedbythefundingpartners.thus,thetotalexpenditureper£1ofaCnifundingamountedto£2.56(seetable8.5).Clearly,thismultipliestheimmediateimpactofaCnifundinginthecreationofjobsduringtheconstructionphase.

theinvolvementofthevariousfundingpartnerstestifiestothemultipleobjectivesthataremetthroughinvestmentinartsinfrastructure.thecontributiontoregenerationobjectivesisclearlysignalledbytheinvolvementofdsd,thegovernmentdepartmentresponsibleforurbanregenerationinnorthernireland.thenitBinvolvementsignalstherolethattheculturalinfrastructureplaysintourismdevelopment.artsprojectshavealsobeenabletomakeacontributiontothepeaceandreconciliationeffortinnorthernireland,astestifiedbytheinvolvementofthepeaceandreconciliationFund,adistrictpartnershipandtheinternationalFundforireland(iFi).

table8.5newartsvenuescompleted2000-2004:totalspend

location venue total aCni total£’speraCni£

£m £m £

armaghCity marketplacetheatre 6.265 3.672 1.71

Cookstown BurnavonartsandCulturalCentre 1.924 1.126 1.71

derryCity millenniumForum 13.819 2.574 5.37

derryCity verbalartsCentre 1.638 1.174 1.39

lisburnCity islandartsCentre 3.618 1.302 2.78

portadown millenniumCourtartsCentre 2.110 1.090 1.93

portstewart FlowerfieldartsCentre 2.218 1.388 1.60

total 31.591 12.326 2.56

source:artsCouncilofnorthernireland,2004,Buildingforthearts:Celebrating10yearsoflotteryFunding.



itis,however,importanttoappreciatethattheadditionalfundingleveredbyaCniawardsisoftennotforthepurposeofartsdevelopmentperse.rather,partnersprovidefundinginordertoreleaseinstrumentalbenefitsfrominvestingintheartsthatmatchtheirownobjectivesorhelpthemfulfiltheirspecificremite.g.urbanregenerationinthecaseofdsdorpeaceandreconciliationobjectivesinthecaseofthepeaceprogramme.

withreferencetothearts,theinvestmentstrategynorthernireland(isni)/dCal(2008)reviewoftheCulture,artsandsportsub-pillarhasnotedthatinvestmentintheartshasthepotentialtocontributetothenewcreativeeconomyby“providingemploymentopportunities,generatingarangeofcommercialactivitiesandbuildingconfidenceandpridewithinartists,artsorganisationsandthecommunitiestheyserve”.theisni/dCalreviewpointsspecificallytothefollowingimpacts:

• asocialandeconomicimpactstudyofthegrandOpera housefoundthatevery£1ofartsCouncilrevenuesubsidy resultedinover£5beingspentwithinthewidernorthern irelandeconomy.asimilarstudyoftheulsterOrchestra showedthatitgeneratesdirectspendofover£3million, equatingto£1.90forevery£1ofrevenuesubsidyreceived.

• thenewvenueshavehelpedtobringadditionaldirect andindirectemploymentforvenuestaff,artistsandother servicesthatsupportthesevenues.

theisni/dCalreviewalsohighlightsthepotentialcontributionofinvestmentintheartstothetourismsectorinnorthernireland.thereviewnotesthatCulturaltourismrepresentsbetween35and40percentofalltourismworldwideandhadbeengrowingat15percentperannum,fasterthananyothertourismsector.

thepotentialtourismimpactofartsinfrastructureinvestmentisreflectedintherole,notedearlier,thatthenorthernirelandtouristBoard(nitB)hasplayedasapartnerinhelpingtosupportnewvenuedevelopment.inthemostrecentnitBCorporateplan,cultureandheritageisidentifiedasoneofthekeyproductswithinitsportfolioofattractions.itis,however,notpossiblefromthecurrentnitBvisitorattractionssurveytoidentifypreciselytherolethatculturaltourismplayswithinthenorthernirelandtourismsector.informationisavailableonvisitorstomuseumsandartgalleriescombined.totalvisitornumbersunderthisheadingareinexcessof1m,withtheout-of-stateproportionintheregionof25-30percent(table8.6).

table8.6museumsandartgalleries:visitornumbers

2004 2005 2006 2007 2008

visitornumbers 907,000 1,005,000 1,035,000 792,000 1,049,000

Ofwhich:

n.i.visitors 708,000 673,000 745,000 546,000 787,000

78% 67% 72% 69% 75%

Out-of-statevisitors 200,000 331,000 290,000 246,000 262,000

22% 33% 28% 31% 25%

source:nitBvisitorattractionssurvey



8.4 wIder ImPacts (COnt)

investmentinartsinfrastructurecanalsobeseentocontributetowidersustainabilityandeconomicgoals.asanexampleofthesustainabilitybenefits,itisworthnotingthatthewidervalueoftheplayhouserefurbishmentwasrecognisedbytheawardsithaswon,including:thenorthernirelandsustainableplanningawardforsustainableCommunitiesandregeneration;and,theBritishurbanregenerationassociation’sBestpracticeinregenerationawardfor2009.

Fromasocialinclusionperspective,theprovisionofappropriatefacilitiescanhelpartsorganisationstomoreeffectivelyleverthewidersocialbenefitsthatderivefromparticipationinthearts(asdiscussedinsections3and5).investmentinartsfacilitiesmeansthateducationalprogrammesandoutreachprojectscanbeexpanded,therebyencouragingwidercommunityinvolvementandincreasedopportunitiestoparticipate.

Finally,itcanbenotedthatinvestmentsneedtobesustainedinorderforthebenefitstoaccrue.meetingthesustainabilityrequirementwillrequireongoingpublicsupport.intheperiod2006-07to2007-08,18artscentres/venuesfeaturedamongtheaCni’sregularlyfundedorganisations.Oftheirtotalrevenueincome,39percentwasthroughsomeformofsubsidy,mainlythedistrictCouncilsandtheartsCouncil(table8.7).earnedincomeaccountedfor58percentofthetotalrevenueincomeofthese18organisations.Contributionsanddonationsmadeupalittleovertwopercent.

table8.7sourcesofrevenueincome,aCniregularlyFundedOrganisations–artcentresandvenues,2006-07and2007-08

%

subsidy 39.3

Ofwhich:

•aCni 10.9

•lottery 2.2

•anChomhairleealaίon 0.0

•localauthorities 21.7

•nigovernmentdepartments 1.3

•europeanCommission 0.9

•Other 2.3

earned income 58.4

contributed 2.3

Ofwhich:

•sponsorship 2.3

•donations 0.0

all sources 100.0

noforganisations 18




9 communItIes

9.1 oVerVIew

thereisincreasingrecognitionofthepotentialrolethattheartscanplayinlocalregenerationandcommunitydevelopment.inthatrespect,ithasbeenarguedthattheacceptanceoftheroleoftheartsasatoolforurbaneconomicregenerationhasgrownintandemwithanincreasinginterestinthewidersocialbenefitsofartsprovision:“artandcultureiscentraltolocalcommunities’identityandrepresentsinvestmentincommunities’socialcapital”(Cowling,2003).thatis,community-basedparticipationinartsandheritageactivitiescanplayaroleindevelopingsocialcapitalandbuildingcommunityrelations,especiallyindisadvantagedcommunities.

theartsCouncilhasahistoryofsupportingprogrammesthatseektohaveacreativeandpositiveeffectattheneighbourhoodorlocalcommunitylevel.Continuingsuchworkisoneoftheelementsoftheme1inCreativeConnectionsi.e.artattheheart–promotingthevalueofthearts.

withinthecontextoftheprogrammeforgovernment(pfg),andtotheextentthatartsprogrammesfocusondisadvantagedareas,thepotentialcontributionoftheartstolocalregenerationeffortsishighlyrelevanttotheurbanandruralregenerationobjectives.Objective2ofpsa12(housing,urbanregenerationandCommunitydevelopment)aimstoregeneratedisadvantagedurbanareas,workingtoclosethegapinqualityoflifeforthoselivinginneighbourhoodrenewalareasinnorthernireland.thetargetsinthisobjectivearespecificallylinkedtopsa9,whichaimstopromoteaccesstoculture,artsandleisure.

theruraldimensionisreflectedinpsa17(ruralinfrastructure),whichaimstohelpruralcommunitiesimprovethephysical,economicandsocialinfrastructureoftheirareas.Oneofthetargetsforimprovingtheruralinfrastructureobjectiveistodelivermeasuresthroughtheniruraldevelopmentstrategy2007-2013thatwillenable5,000peopletobenefitfromculturalinitiatives.

Community-basedartsactivitiesarealsorelevanttothesustainabledevelopmentagendaofpsa11.inFirststeptowardssustainability,thegovernment’ssustainabledevelopmentstrategyfornorthernireland,oneofthedimensionsofasustainablecommunityisthatitisactive,safeandinclusive,definedas“fair,tolerant,welcomingandcohesivewithopportunitiesforculture,leisure,recreationandothersharedcommunityactivities”.

Finally,inthespecificcontextofnorthernireland,community-basedartsinitiativescancontributepositivelytothesharedFuturestrategyforimprovingcommunityrelations,oneofthecross-cuttingthemesintheprogrammeforgovernment.

alloftheforegoingthemesareevidentintheartsCouncil’scommunity-focusedprogrammesoverthepastnumberofyears



9.2 Programmes

mainlythroughitsvariouslotteryschemes,from2004-05to2008-09theartsCouncilhasprovidedover£23m(constant2007-08prices)tosupportartsprojectswhichtakeplaceinacommunitycontext(table9.1).thisrepresents26percentofthecombinedexchequerandnationallotteryfundsawardedoverthesameperiod.17itshouldbenotedthattheawardsshownintable9.1donotincludesupportforcommunityartsorganisationsthroughasOp(section6)orsiapawardstocommunity-basedindividualartists(section7).

thefollowingprovidesabriefoverviewonsomeofthemainlotteryandotherschemeswithacommunityorplace-basedfocus.

theprojectFundingschemeaimstoassistorganisationstodeliverartsprojectswhichcontributetothegrowthofartsinthecommunityfornewandexistingaudiencesandwhichreflectthediversityofnorthernireland’ssocietyandculture.theschemecommencedin2006-07asanamalgamofanumberofpreviouslyexistinglotteryschemes,suchastheaccessscheme,whichwasaimedatsupportingartsprojectswhichtakeplaceinacommunitycontext.

theartsCouncil’ssmallgrantsprogrammewaslaunchedinjanuary2009,tohelpsmallgroupsinnorthernireland.awardscanbemadewithintherangeof£500to£10,000.previously,suchgroupshadbeensupportedunderthejointlotterydistributors’awardsforall.

theawardsforallprogrammewasestablishedinnorthernirelandin2001/02andofferedupto100percentfundingtosmallgroupstorunartsprogrammesinvolvingpeopleintheircommunities.theawardswereintendedtomakearealdifferencetosmallergroupsandstrengthencommunityactivity,particularlyamongthosewhostruggletofindfundsfromelsewhere.

theaimsoftheprogrammewereasfollows:

• Bringpeopletogetherandincreasecommunity-based artsactivitiesbyhelpingcommunitiestomeettheirneeds throughvoluntaryaction,self-helpprojects,localfacilities orevents.

• ‘Communities’couldbepeopleinalocalareaorpeople whoshareacommoninterestorneed.

• involvemorepeopleinawiderangeofcommunity-based activitiesbydevelopingprojectsandsupportingactivities whichareopenandaccessibletoeveryonewishingtotake part.

• increaseskillsandactivitiesbysupportingprojectswhich helptodeveloppeopleandorganisations,encourage talentandraisestandards.

• haveafocusonimprovingaccesstotheartsamongst themostdisadvantagedpeopleinsociety.

itwasthroughthisprogrammethattheartsCouncilfundedthemanyamateurmusicalanddramacompaniestomounttheirannualproductionsandthecompetitivefestivalcircuitbyprovidingthecostsofprofessionaladjudicators.whilstawardsforallservednorthernirelandwelloverthepast

table9.1Community-focusedprogrammes–aCniawardsbyFund,2004-05to2008-09,constant2007-08prices

£m %

lottery 20.413 87.6

•projectfunding/access 13.478 57.8

•awardsforall 2.918 12.5

•artofregeneration 2.586 11.1

•Otherprogrammes 1.127 4.8

•musicalinstruments 0.304 1.3

exchequer/other 2.889 12.4

•startup 0.096 0.4

•re-imagingCommunities 2.643 11.3

•musicalinstruments 0.151 0.6

total 23.302 100.0

source:aCni.

17thecalculationdoesnotincludecapitalawardsfromthedCalChallengeFundorthenorth-westChallengeFund.



18equatingto£2.586min2007-08prices.

numberofyears,itbecameincreasinglycomplextohaveasingleschemerespondingtoawidevarietyofapplications.Consequently,eachlotterydistributor,includingtheartsCouncil,nowprovidesitsown‘tailor-made’smallgrantsscheme.

thekeyaimoftheartofregenerationinitiativewastopositiontheartsatthecentreofsocietyinordertohelpmeetsomeofthesocialchallengesfacingnorthernireland.in2004,tenawardstotalling£2.4m18weremadetolocalauthoritiesworkingtogetherwithadiverserangeofdeliverypartnerssuchastraditionalmusicalschools,youthorganisations,communitysafetypartnershipsandlocaltenants’associations.

astrongethosoftheprogrammecentredondevelopingtherelationshipbetweencommunitiesandlocalcouncilsthroughpartnershipworking.thethreekeythemesoftheartofregenerationwere:

• theenvironment-contributingto‘sustainable development’throughtheuseofrecycledresourcesand materials.

• goodrelations-encouraginggoodrelationsbetween communities,promotingtolerance,respectandmutual understanding.

• anti-socialBehaviour-reducinglowlevelneighbourhood disorderandanti-socialbehaviourbybuilding relationshipswithyoungpeopletodevelopskillsand encouragewidercommunityparticipation.

withtheintroductionoflotteryfundsin1995theartsCouncilofferedaprogrammeforthepurchaseofmusicalinstrumentsformarchingBands.withinaperiodoftwoyearstheCouncilhadawarded£1.5mto109bandsthroughoutnorthernireland.giventheleveloffundsinvestedinthissectorascomparedtothatinvestedintheartssectorasawholeoverthesameperiod,theCounciltemporarilysuspendedthefundingprogramme.theprogrammewasre-introducedin2002/03.

there-imagingCommunitiesprogrammeoperatesspecificallywithinacommunitycontext.withatotalbudgetof£3.6mthisprogrammewaslaunchedin2006.workingunderthestrategicthemesofsharedFuture,Communityrelations,CommunityCohesion,regenerationthroughtheartsandneighbourhoodrenewal,theprogrammeprovidessupportforarangeofprojectswhichaimto:

• supportculturalawarenessanddevelopmentof communitybasedartsprojectsfocusedonthepublic realm.

• Commissionpublicartforsharedspaces.

• removeredundantsymbolsandemblems.

• supportlocallybasedchartersoutlininghowcommunities plantotacklenegativeperceptionsoftheirareasinan integratedmanner.

• removeaggressivesectarian/racistmuralsandgraffiti.

re-imagingCommunitiescomplementsotherstructuralprogrammeswithinthefollowingbroadcategories:

• neighbourhoodrenewalareas.

• anti-sectarianandanti-raciststrategies.

• districtCouncilgoodrelationsstrategies.

• localartsandCulturalplans.

• urban/rural/village/housingestateprogrammes.

• Communitysafetystrategies.

reflectingtherangeofstrategiestowhichitcontributes,there-imagingprogrammeisfundedbytheartsCouncilalongwith:

• thedepartmentforsocialdevelopment(dsd)through itsrenewingCommunitiesprogramme.

• theOfficeoftheFirstministeranddeputyFirst minister(OFmdFm).

• thenorthernirelandhousingexecutive(nihe).

• theinternationalFundforireland(iFi).

theCouncilcommissionedanevaluationoftheworktodateinordertoseekfurtherfundsfromarangeofpublicbodiesandotherexternalbodiestoextendthelifeoftheprogramme.

theCouncil’sstartupprogrammewasinitiatedtoprovideseedfundingtoareaswheretherewasweakculturalinfrastructure.Fundedthroughthedsd’srenewingCommunitiesprogramme,startupranforoneyearin2007/08withabudgetof£100,000.theaimofthisprogrammewastoprovidesupport(including100percentgrantaid)tothoseorganisationsthathadnotpreviouslyavailedofartsCouncilfunding,withtheintentiontomakearealdifferencetosmallergroups,particularlythosewhostruggletofindthemoneyfromelsewhere.

the2007/08programmeemployed49artists,primarilylocatedinruralareasandinvolvingamixofprotestantandCatholiccommunities.therewerealsoanumberofprojectsinvolvingethnicminoritygroups.

dsdfundingceasedbuttheartsCouncilhasnowidentifieda£95,000budgetfromitsown2010-11resourcestooffer“seedfunding”toencouragecommunitygroupstoinitiateartsprogrammeswhichmaybedevelopedtoastagewheretheycouldapplyundertheCouncil’smainfundingprogrammes.



9.3 geograPhy

theCouncil’scommunityfocusedprogrammesprovideanimportantmeansofensuringamoredispersedgeographicalpatternofsupportbycomparisonwithcapitalawardsandsupportfororganisations,wherethelargercitiesofBelfastandderryexertthestrongestpullonawardsduetotheirscaleandmoreestablishedinfrastructure.

thegeographicaldispersalofawardsismostapparentintheawardsforallscheme(Figure9.1).thepercapitavalueofawardsvariesacrossnorthernireland’s18parliamentaryconstituencies,butwithinafairlynarrowrangeoutsideBelfast.albeitdeprivedareasareheavilyconcentratedinBelfastandderry(Figure9.2),ithasalsobeenpossibletoachieveadegreeofskewinginthesupporttowardsthemoredeprivedareasinnorthernireland(table9.2).

Figure 9.1 Awards for all and Re-imaging Communities, £'s per capita, Parliamentary Constituencies

Source: ACNI

Awards for AllRe-Imaging Communities

Lagan Valley

Fermanagh & South Tyrone

East Antrim

Belfast South

Belfast EastBelfast North

Belfast West

£0 £2

£’s per capita

£5£4 £7

Upper Bann

South Down

North Down

Newry and Armagh

N. Ireland

East Londonderry

Foyle

Mid Ulster

North Antrim

South Antrim

Strangford

West Tyrone



table9.2awardsforallbydeprivationranking

20%mostdeprivedareas allotherareas allareas

Value of awards

•£'000s £457 £1,176 £1,633

•% 28.0 72.0 100.0

source:aCni,grantdistributionanalysis,2008.

Figure 9.2 Distribution of 20% most deprived areas by Parliamentary Constituency

Source: NISRA

20% most deprivedRemainder

West Tyrone

Strangford

South Antrim

North Antrim

Mid Ulster

Foyle

East Londerry

Belfast West

Belfast North

Number of SOAs

0 15 30 45 60

Lagan Valley

Fermanagh & South Tyrone

East Antrim

Belfast South

Belfast East

Upper Bann

South Down

North Down

Newry and Armagh



9.3 geograPhy (c0nt)

Bycontrast,thegeographicalpatterninthere-imagingCommunitiesprogrammeismorestronglyorientedtowardsBelfastandderry.partly,thisreflectsthegeographyofdeprivationinnorthernireland.

themostdeprivedareasareaparticularfocusofdsd’sneighbourhoodrenewalareasandsuchareasaredisproportionatelyconcentratedinBelfastandderry(Figure9.2).thesedriversarestronglyreflectedinthegeographyofthere-imagingprogramme.

upuntilapril2009,there-imagingprogrammehadsupported112projects.threeinfour(74percent)ofthoseprojectswerebasedinthemostdeprivedsuperoutputareas,while60percenthadbeenawardedwithindesignatedneighbourhoodrenewalareas.

partlyasaconsequenceofthefocusondeprivation,themajorityofre-imagingprojectsarelocatedinareaswhereoneorotherofthetwomaincommunitiesispredominant(seealsoFigure6.2insection6,whichshowsthatthemajorityofdeprivedareasareprimarilyofonecommunityortheother,ratherthanbeingmixed).thus,57ofthe112projectsweresituatedinpredominantlyprotestantareas,20inpredominantlyCatholicareasand35inareasthatarenotconsideredtobeof‘singleidentity’.

theinstrumentsforBandsschemeprovidesanillustrationofaschemethatisdrawnprimarilytoruralareas,reflectingthepatternofneedforthescheme.since1995,theCouncilhasinvested£3.9min340bands,manyofwhicharebasedinrural/deprivedareas.91percentoffundswereallocatedtobandsoutsideBelfastandderry,withareachacrossall26localauthorityareas(Figure9.3).



Figure 9.3 Instruments for Bands awards, 1995-2008, £’s per capita, Parlimentary Constituencies

Source: ACNI

£’s per capita

N.Ireland

Upper Bann

South Down

North Down

Newry and Armagh

Lagan Valley

Fermanagh and South Tyrone

East Antrim

Belfast South

Belfast East

£0 £2 £4 £8£6

West Tyrone

Strangford

South Antrim

North Antrim

Mid Ulster

Foyle

East Londerry

Belfast West

Belfast North

theCouncil’scommunityfocusedprogrammesprovideanimportantmeansofensuringamoredispersedgeographicalpatternofsupportbycomparisonwithcapitalawardsandsupportfororganisations,wherethelargercitiesofBelfastandderryexertthestrongestpullonawardsduetotheirscaleandmoreestablishedinfrastructure.

thegeographicaldispersalofawardsismostapparentintheawardsforallscheme(Figure9.1).thepercapitavalueofawardsvariesacrossnorthernireland’s18parliamentaryconstituencies,butwithinafairlynarrowrangeoutsideBelfast.albeitdeprivedareasareheavilyconcentratedinBelfastandderry(Figure9.2),ithasalsobeenpossibletoachieveadegreeofskewinginthesupporttowardsthemoredeprivedareasinnorthernireland(table9.2).





Part V: economy of

the arts



10 the creatIVe IndustrIes

10.1 oVerVIew

growingtheeconomyisthenorthernirelandexecutive’stoppriorityoverthelifetimeofthe2008-2011programmeforgovernment.withinthatcontext,oneoftheexecutive’skeygoalsistogrowthecreativeindustriesbyupto15percentby2011.

thedepartmentofCulture,artsandleisure(dCal)isthegovernmentleadonthecreativeindustries.dCalisworkingwiththedepartmentofenterprise,tradeandindustry,thedepartmentforemploymentandlearning,investni,theartsCouncil,thelocaluniversities,sectorskillsCouncilsandotherbodiestomapouthowtosupportanddevelopthecreativeindustriesinnorthernireland.

inOctober2008,thedepartmentlaunchedtheCreativeindustriesinnovationFund(CiiF).theCiiFisfundedbyanallocationof£5mfromthe£90mnorthernirelandinnovationFund.theCiiFaimstocontributetothegrowthofnorthernireland’sculturalcapitalbysupportingcreativityandcreativetalentsinbusinessactivities.thefundisbeingadministeredbytheartsCouncilofnorthernireland.

thissectionpresentsaprofileofthecreativeindustriesinnorthernireland,basedonthedefinitioncurrentlyemployedbythedepartmentforCulture,mediaandsport(dCms),whichdefinesthecreativeindustriesasthosesectorswhichhavetheirorigininindividualcreativity,skillandtalentandwhichhaveapotentialforwealthandjobcreationthroughthegenerationandexploitationofintellectualproperty.thesectorisdefinedtoincludethefollowingfields:

• advertising.

• architecture.

• artandantiques.

• Crafts.

• designanddesignerFashion.

• video,Filmandphotography.

• musicandthevisualandperformingarts.

• publishing.

• software,Computergamesandelectronicpublishing.

• radioandtv.

thesectionprofilesthecreativeindustriesunderthefollowingheadings:

• employment.

• grossvalueadded(gva).

• Businessesandenterprises.

• innovation.



10.2 emPloyment

10.2.1 data sources

thedatasourcesandmethodsusedforestimatingthenumberofpeopleemployedinthecreativesectorinnorthernirelandarediscussedindetailinthedatasourcesappendixB.themethodologyfollowsthesameapproachusedbydCmsinitsjanuary2009CreativeindustriesstatisticalBulletin.refinementstoadaptthedCmsmethodologytotheavailabledatafornorthernirelandhavebeenadoptedinlinewiththeCreativeindustriesemploymentestimate2007notepreparedbydCalstatisticsandresearchBranch.

10.2.2 emPloyee jobs

From2001to2007,thenumberofemployeejobsinthecreativeindustriesinnorthernirelandexpandedbyalmostaquarter,from12,000in2001toalmost15,000by2007(table10.1).19

therateofgrowthwasfastestinthevideo,filmandphotographysector(+49percent).thelargestcontributortothegrowthinnumericaltermswasthesoftware,computergamesandelectronicpublishingsector,addingalmost2,000jobsoverthesix-yearperiod.

twosectorsregisteredadeclineinemploymenti.e.publishing(-8percent)anddesignanddesignerfashion(-36percent).innorthernireland,thelattersectorismostlylocatedinthetextilesindustry,whichhasseenacollapseinemploymentoverthepastdecade.

Overtheperiod2001-2007,thetotalnumberofemployeejobsinnorthernirelandgrewatarateof11percent.thus,the24percentgrowthincreativeindustriesemploymentwaswellinexcessofthenorthernirelandaverage.

19thedatashownintable10.1weresourcedfromtheniCensusofemployment.the2007resultswerethemostrecentavailableatthetimeofpreparingthisdigest.

table10.1employeejobsinthecreativeindustries1

2001 2007 Change

no. no. %

advertising 671 686 2.2

architecture 1,215 1,581 30.1

art&antiques 154 179 16.2

design&designerFashion 55 35 -36.4

video,Film&photography 717 1,068 49.0

musicandthevisual&performingarts

885 1,165 31.6

publishing 2,416 2,224 -7.9

software,Computergames&electronicpublishing

4,577 6,561 43.3

radioandtelevisionactivities 1,328 1,450 9.2

total 12,017 14,950 24.41Figuresdonotincludeself-employedoremployeesincreativeoccupationsworkinginsectorsoutsidethecreativeindustries.

source:deti,Censusofemployment.



10.2 emPloyment (COnt)

10.2.2 emPloyee jobs (COnt)

indeed,thecreativeindustrieshavebeengrowingmorerapidlythanthewiderregionaleconomysinceatleastthemid-1990s(Figure10.1).From1995throughto2007,northernirelandexperiencedvirtuallyuninterruptedgrowthinemployment.asoutlinedinsection1,theeconomywentintoreverseontheemploymentfrontastherecessionhitin2008(seeFigure1.1).Fromautumn2007toautumn2009,thetotalnumberofemployeejobsfellbyoverthreepercent.untiltheresultsofthe2009Censusofemploymentarepublished,itwillnotbeknownwhetherthecreativeindustrieshavesufferedasimilarfate.itis,however,mostunlikelythattheywillhaveescapedunscathed.

10.2.3 creatIVe IndustrIes and occuPatIons

inthedCmsmethodology,totalcreativeemploymentisdefinedwithreferencetobothindustrysectorsandoccupationalclassifications.thus,dCmsdistinguishesthefollowing:

• employmentinthecreativeindustries,bothemployees andtheself-employed.

• employmentincreativeoccupationsoutsidethecreative industries.

theestimatesfortotalcreativeemploymentarepresentedintable10.2.inadditiontothoseemployedincreativeoccupations,theestimatesfortotalcreativeemploymentalso

includetheself-employed.thus,whentheself-employedinthecreativeindustriesandthoseworkingincreativeoccupationsoutsidethecreativeindustriesareaddedtotheemployeejobsestimatesdiscussedin10.2.2above,itisestimatedthatalmost33,000workedincreativeemploymentinnorthernirelandin2007.thisrepresentsanincreasefromalittleover28,000in2001.

Basedontheestimatespresentedintable10.2,creativeemploymentaccountedforabout4.2percentoftheregionaleconomyin2007.thiscompareswith,forexample,agriculture’sfourpercentshareasof2007.thecreativesectorwasalsoonaparwiththehotelsandrestaurantssector(4percent),transportandcommunications(4percent)andfinancialintermediation(3percent).20

Figure 10.1 Employee jobs in the Creative Industries, Northern Ireland, 1995 - 2001, per cent of 2001

Source: DETI, Census of Employment

130

108

85

63

401995

2001

=100

19991997 2001 2003 2005 2007

Creative industriesNI Total employee jobs

20source:deti,lFshistoricalsupplement1995-2008,http://www.detini.gov.uk/lfs_historical_supplement_2008.pdf.



thelargestindividualsourceofcreativeemploymentin2007wasthesoftware,computergamesandelectronicpublishingsector,accountingforoveroneinfourcreativeemploymentjobs(26percent).withapproximately4,000jobseach,publishingandarchitecturewerethenextlargestemployersinthecreativesector.

musicandthevisualandperformingartsistheindustrysectorcorrespondingmostcloselywiththerangeofartformssupportedbytheartsCouncil.employmentinthatfieldexpandedfrom2,200to2,900between2001and2007.again,itisnotpossibletosayasyetwhatimpacttherecessionmayhavehadonemploymentinthevisualandperformingarts.

withineachofthecreativeemploymentfields,thesplitbetweencreativeindustriesandthoseemployedincreativeoccupationsoutsidethecreativeindustriesisshownintable10.3.Overall,thecreativeindustriesaccountfor61percentofemploymentwiththeremaining39percentarisingfromemploymentincreativeoccupations.thisisnotmuchdifferentfromthegBsplitof58percentinthecreativeindustriesto42percentincreativeoccupations,asestimatedinthejanuary2009dCmsstatisticalBulletin.

table10.2Creativeindustriesandoccupations:totalemployment1

2001 2003 2005 2007

no. no. no. no.

advertising 2,900 2,900 3,100 3,100

architecture 3,500 3,600 3,800 4,200

art&antiques 200 200 200 200

Crafts 2,400 2,500 2,500 2,600

design&designerFashion 2,700 2,800 2,900 2,900

video,Film&photography 1,200 1,300 1,300 1,600

musicandthevisual&performingarts 2,200 2,400 2,400 2,900

publishing 4,600 4,700 4,800 4,500


6,300 6,300 7,400 8,600

radioandtelevisionactivities 2,100 2,400 2,300 2,300

total 28,100 29,000 30,700 32,9001includingtheself-employedandemployeesincreativeoccupationsworkinginsectorsoutsidethecreativeindustries.

source:estimatesderivedfromnilabourForcesurveyandniCensusofemployment.

table10.3Creativeindustriesandoccupations:sectorofemployment,20071

Creativeindustries

Creativeoccupations

2005 2007

% % no. no.

advertising 30 70 3,100 3,100

architecture 62 38 3,800 4,200

art&antiques 100 0 200 200

Crafts 0 100 2,500 2,600

design&designerFashion 0 100 2,900 2,900

video,Film&photography 88 12 1,300 1,600


93 7 2,400 2,900

publishing 62 38 4,800 4,500


86 14 7,400 8,600

radioandtelevisionactivities 88 13 2,300 2,300

total 61 39 30,700 32,9001includingtheself-employedandemployeesincreativeoccupationsworkinginsectorsoutsidethecreativeindustries.




10.2.3 creatIVe IndustrIes and occuPatIons (COnt)

thesplitbetweencreativeindustriesandoccupationsvariesconsiderablyfromonefieldtoanother,whichwillneedtobetakenintoaccountindesigningsupportforthecreativeemploymentsector.Craftsaredefinedentirelyinoccupationalterms,asthereisnospecificcorrespondingindustrysector.similarly,designanddesignerfashionisalmostwhollyoccupational,assofewemployeejobsexistwithinthespecificindustrysectorforthatfield.Bycontrast,almostallofthoseworkinginmusicandthevisualandperformingartsareinthecreativeindustries(93percent).thisisbecausethereisawell-definedindustryclassificationwithinwhichartistswork.

thetypeofemploymentthatpeopleholdinthecreativesectoralsovariesconsiderablyfromonefieldtoanother.Overall,theself-employedareestimatedtoaccountforalittleoveroneinfiveofthoseworkinginthecreativesector(table10.4).theincidenceofself-employmentvariesfrom10percentorlessinadvertisingandartsandantiquestoahighof55percentinmusicandthevisualandperformingarts.

theveryhighincidenceofself-employmentinthevisualandperformingartsisnotunexpectedfromthesiapprofilepresentedinsection7.itisalsoinlinewithfindingsfromgallagheretalthatmanyartistspreferself-employment,notwithstandingtheuncertaintythataccompaniesworkingonthatbasis.

again,thevariationsinthewaysthatpeopleworkinthecreativesectorwillneedtobeaddressedindesigningsupportforthewayforwardindevelopingthesector.

table10.4Creativeindustriesandoccupations:typeofemployment,20071

employee self-employed

% %

advertising 90 10

architecture 74 26

art&antiques 100 0

Crafts 76 24

design&designerFashion 86 14

video,Film&photography 76 24

musicandthevisual&performingarts 45 55

publishing 84 16


89 11

radioandtelevisionactivities 71 29

total 79 211includingtheself-employedandemployeesincreativeoccupationsworkinginsectorsoutsidethecreativeindustries.


10.2 emPloyment (COnt)



10.2.4 regIonal PIcture

Figure10.2showstheregionalpatternintheproportionoftotalemploymentaccountedforbythoseworkinginthecreativesector.acomparativeperspectiveisextremelyusefulinassessingtheextenttowhichnorthernirelandmaybealaggingregionintermsofthescaleofthesector.21

twopointscanbenotedinrelationtotheregionalpicture.First,thecreativesectorshareoftotalregionalemploymentismuchhigherinlondonthaninanyotheruKregion.almost13percentoflondon’sworkforceisinthecreativesector,doubletheuKaverageofsevenpercent.

second,outsidelondon,creativesectoremploymentvariesfromalowoffourpercentinnorthernireland(albeitonlymarginallybehindwalesandthenorthernregion)toahighofclosetoeightpercentinthesouthandeastregion.asnorthernirelandisatthelowerendofthespectrumofcreativesectoremploymentshares,thesectormayofferopportunitiesforexpansioninfutureyears.though,realisingthatpotentialislikelytobeconstrainedinthecurrenteconomicclimate.

21inordertomaketheregionalcomparisononaconsistentbasis,theestimatesshowninFigure10.2werecompiledbypoolingfiveyearsofuK-widelabourForcesurveydata,asameansofaddressingthesamplesizelimitationsforindividualregions.

Figure 10.2 Creative Sector: Employment by region - % of total

Source: Estimates derived from Labour Force Survey

UKN.IrelandScotland

WalesNorth West

West MidlandsSouth West

South and EastLondon

East MidlandsYorks & Humbs

Northern

0 3 7

Per cent

10 13



10.3 gross Value added

grossvalueadded(gva)isameasureofthetotalvalueofgoodsandservicesproducedinaneconomyoveragiventimeperiod.atregionallevel,gvaistypicallymeasuredonanannualbasis.

Forthecreativeindustries,thedatasourceforgvaestimatesisthenorthernirelandannualBusinessinquiry(niaBi).theniaBicoversmostsectorswithinthenieconomy.themainexceptionispublicadministrationanddefence.anumberofothersectors,includinghealthandsocialwork,education,agriculture,forestryandfishing,andfinancialintermediation,arealsoexcludedfrompublication.

theniaBisuffersanumberoflimitationsasasourceofinformationonthecreativesector.First,estimatescanbesuppliedonlyforfirmsinthecreativeindustries.theoutputofpeopleworkingincreativeoccupationsoutsidethecreativesectorcannotbemeasured.second,thedetailwithwhichestimatescanbesuppliedisconstrainedbytheneedtoavoiddisclosingresultsforanyonefirmwithinanindustrysector.third,forindustriesbelowspecifiedemploymentsizethresholds,theniaBiestimatesarebasedonasample.theycanthereforefluctuatefromoneyeartoanother.withitshighshareofself-employed,itislikelythatthecreativeindustriessectorismoresubjecttothatconstraintthanothersectors.

Bearingtheforegoingcaveatsinmind,gvaestimatesforthecreativeindustrieshavebeensuppliedbydetifromtheniaBi.themostrecentdataavailablerelateto2007.somesectorshavebeencombinedfordisclosurecontrolpurposes.

Fromtheinformationsupplied,totalgva22inthecreativeindustriesinnorthernirelandwas£582m.thisrepresentedanincreaseof14percentonthepreviousyear(2006).Ofcourse,thatgrowthratemaynothavebeensustainedinthewakeofthedownturn.

in2007,thecreativeindustriesaccountedfor3.4percentofgvainthesectorscoveredbytheniaiBi.wholeeconomyregionalgvafiguresareavailablefromtheannualregionalaccounts,producedbytheOfficefornationalstatistics.whenmeasuredrelativetotheregionaleconomy,gvainthecreativeindustriesamountedtotwopercentofthetotal.

itshould,however,beborneinmindthatthegvafiguresdonotincludetheoutputofthoseemployedincreativeoccupationsoutsidethecreativeindustries.tothatextent,theemploymentfigurespresentedaboveprovideabetterguidetothescaleofthesectorrelativetotheregionaleconomy.

Overtime,thegvafigureswillprovideanestimateoftherateofoutputgrowthinthesector.akeygoalintheprogrammeforgovernmentistogrowthecreativeindustriesby15percentbetween2008and2011.

22theniaBiprovidesanapproximatemeasureofgvaatbasicprices,thatis,taxesonproduction(e.g.businessrates),netofsubsidies,areincludedbutsubsidiesandtaxesonproducts(e.g.vatandexciseduty)areexcluded.

table10.5grossvalueadded(gva)ofthecreativeindustries1,basicprices,2006and2007

2006 2007

£m £m

advertising,art&antiques,designerFashion,publishing,radio&tv

148 162

architecture 60 80

musicandthevisual&performingarts 37 20

software,Computergames&electronicpublishing 245 294

video,Film&photography 21 26

total 512 582

shareofthenieconomy:

•percentofgvainsectorscoveredbyniaBi 3.2 3.4

•percentofwholeeconomygva 1.9 2.01doesnotincludegvaofthoseworkingincreativeoccupationsoutsidethecreativeindustries.

source:deti,niannualBusinessinquiry.



10.4 busInesses and enterPrIses

promotingthegrowthofthecreativeindustriessectorwillentailhelpingexistingfirmstogrowandstimulatingtheemergenceofnewbusinesses.inthatcontext,itisimportanttoincludeameasureofthenumbersofbusinessesandenterprisesinthecreativeindustries.

thedatasourcefornumbersofbusinessesandenterprisesistheannualOfficefornationalstatistics(Ons)reporttitleduKBusiness:activity,sizeandlocation.23

theactivity,sizeandlocationreportpresentstwomeasuresofthenumbersofbusinessesineachoftheuKregions,asfollows:

• uKvatand/orpayebasedenterprises.

• localunitsinuKvatand/orpayebasedenterprises.

thelocalunitisausefulmeasureinaregionalcontextsinceitgivesthenumberofbusinessesoperatingwithinaregion(andthatsatisfythecriteriaforinclusionintheactivity,sizeandlocationreport).Forexample,thelocalofficeofacompanywithheadquarters–andvatregistration–outsideofnorthernirelandisincludedinthelocalunitsmeasure,butnottheenterprisesmeasure.

theresultsfromthe2008reportarepresentedintable10.6.intotal,anestimated1,900localunitswereoperatinginthecreativeindustriesinnorthernirelandin2008.thenumberofenterprisesisestimatedat1,710.

whenanalysedbyindividualfieldinthecreativeindustries,therelativenumbersoflocalunitsbroadlyfollowstheemploymentpattern.thesoftware,computergamesandelectronicpublishingfieldsaccountforthelargestnumberoflocalunits(780).incontrasttotheemploymentpattern,thenumberoflocalunitsinmusicandthevisualandperformingartsexceedsthenumberinthepublishingfield.thisislikelytoreflectalargeraveragesizeofbusinessinpublishing.

thetotalnumberoflocalunitsinthecreativeindustriesinnorthernirelandamountedto1.2percentoftheuKtotal.thiscompareswithanall-industriesaveragefornorthernirelandof3.3percent.thelowershareofbusinessesinthecreativeindustriessectorwouldagainsuggestthatthereisroomforgrowth.though,thereasonswhythecreativeindustries’uKshareislowerthantheall-industriesaveragefornorthernirelandwouldneedtobefurtherinvestigated.

table10.6numbersofbusinessesinthecreativeindustries,2008

localunits enterprises

number percentofuK number

advertising 190 1.4 180

architecture 170 1.9 160

art&antiques 70 3.1 50

design&designerFashion 20 0.7 20

video,Film&photography 160 1.4 150

musicandthevisual&performingarts 230 0.7 210

publishing 180 1.9 140

software,Computergames&electronicpublishing 780 1.0 720

radioandtelevisionactivities 90 1.3 80

all 1,900 1.2 1,710

all industries 3.3

source:Ons.



10.5 InnoVatIon

therecentindependentreviewofeconomicpolicy(irep)recommendedthatnorthernireland’seconomicdevelopmentstrategyshouldincorporateanacceleratedshifttowardssupportforinnovationandresearchanddevelopment.theestablishmentoftheCreativeindustriesinnovationFundisclearlyconsistentwithsuchadirection.

inthenorthernirelandregionalinnovationstrategy2008-2011,innovationisdefinedas“thesuccessfulexploitationofnewandexistingideas..[it]isthemeansbywhichregionaleconomiescandifferentiateandexploittheiruniqueskillsandcapabilitiesinordertocompeteintheglobaleconomy”.thestrategygoesontolinkcreativityandinnovationinstatingthatoneoftheimperativesforactionis“toencouragenorthernireland’sbusinessestobecomemoreinnovativeandcreativeinordertocompeteintheglobalmarket”.

intherepublicofireland,arecentpolicystatementoninnovationalsolinksinnovationandcreativity,defininginnovationas“thecreativeprocessofexploitingnewideas”.

thelinkbetweencreativityandinnovationwouldsuggestthatthecreativesectorhasanimportantroletoplayinstimulatinginnovationactivity.therearetwoissuesofinterest:

• arecreativeindustriesmoreinnovationactivethanother sectors?

• dosupply-chainlinkageswithcreativeindustries stimulateinnovationinothersectors?

unfortunately,itisnotpossibletoprovideastatisticalpictureoftheinnovationeffectsofthecreativeindustriesinnorthernirelandthatmightaddressthesequestions.nonetheless,thefollowingpointscanbemadefromtheliterature.

First,arecentanalysisoftheresultsfromtheCommunityinnovationsurveyintheuKfoundthefollowing(Berr,2006,p.43):

• Creativeindustriesshowsignificantlyhighervaluesof innovationindicatorsthanotherindustries.

• thereappearstobegreaterregionalvariationinthe percentageofinnovationactiveenterpriseswithover 75percentofcreativefirmsinyorkshireandhumberside, northernirelandandthesoutheasthavinginnovation activity.

• Overafifthofcreativeindustrieshaveco-operation agreements,nearlytwiceasmanyasotherindustries.

• withinthesebusinesses,theworkforcehasahigher percentageofgraduatesregardlessofgeographic locationand,onaverage,ahigherpercentageofscience andengineeringgraduates.

second,arecentstudybythenationalendowmentforscience,technologyandthearts(nesta)foundevidenceof“asignificantpositiveeffectfromcreativelinkagesonsome,butnotall,dimensionsofinnovationbehaviour”(Bakhshietal,2008,p.6).inthenestastudy,firmsthatspenddoubletheaverageamountoncreativeproductswere25percentmorelikelytointroduceproductinnovationseithernewtotheirfirmormarket.thatis,thenestastudysupportsthehypothesisthatsupplychainlinkagestothecreativeindustriesarepositivelyrelatedtoinnovationelsewhereintheeconomy.nestaalsoconclude,albeitmoretentatively,thatthereissomeevidencethat“knowledgetransfersassociatedwithpurchasesbyfirmsofcreativeproductsmaysupportimprovementsintheirproductrangeandquality”.

thenestafindingsareconsistentwiththosefromastudybymüelleretal(2009),whichconcludedthat“thecreativeindustriesareamongthemostinnovativesectorsintheeconomy.theysupportinnovationinavarietyofothersectorsthroughcreativeinputs…andareanimportantuserofnewtechnologyanddemandinnovationsfromtechnologyproducers”.

whencomparedtootherregions,northernirelandfirmstendtoexhibitalowerlevelofinnovationactivity.asmeasuredbythefindingsfromtheCommunityinnovationsurvey(Cis),therearegapsbetweenthenianduKaverageacrossarangeofinnovationactivityindicators(Figure10.3).Forexample,whereas17percentofuKfirmsintheCisindicatedinnovationthroughallformsofdesign,thiswasthecasefor13percentofthenirespondents,thelowestofanyuKregion.



Figure 10.3 Innovation activities, 2004-06, all industries

Source: Community Innovation Survey

N. IrelandUK

Acq of machinery, equipment & software

of which: Advanced Machinery

Computer hardware

Computer software

Intramural R&D

Extramural R&D

Acq of external knowledge

Training

All forms of design

Market introduction of innovations

of which: Changes to productor service design

Market research

Changes to marketing methods

Launch advertising

0 10 20 30 40 50 60 70 80



11 arts enrolments

11.1 oVerVIew

11.2 further educatIon InstItutIons

thissectionpresentsstatisticsregardingenrolmentsonarts-relatedcoursesatnorthernireland’sFurtherandhighereducationinstitutes.Bothofnorthernireland’suniversitiesofferarangeofdegreecoursesinthearts.CertificateanddiplomacoursesinartsrelatedsubjectsarealsoavailablewithintheFurthereducationsector.

theartsCouncildoesnothaveadirectroleintheprovisionoffurtherandhighereducationinnorthernireland.however,thedemandforplacesinarts-relatedcoursesisclearlyofinterest,fromanumberofperspectives.mostobviously,enrolmentsprovideanindicationofpotentialfutureflowsintotheprofessionalarts.

artsenrolmentscanalsobeseeninthecontextofdevelopingtheskillsbaseforthecreativeindustries.though,itisrecognisedthatskillsdevelopmentforthecreativeindustriesextendsbeyondtherealmofartsandarts-relatedcoursesalone.

injune2008,theCreativeBlueprintwaspublished,settingoutaplanofactionwrittenbyCreative&Culturalskillsincollaborationwithemployers,governmentandeducation.theplanisdesignedtoconsider“howindividualseitheremployedin,orrunningbusinessesinthecreativeandculturalindustries,canaccessthetrainingtheyneed,findthejobtheywantandemployskilledpeoplewhowillbeanassettotheirbusiness”.

Further,in2009theartsCounciljoinedwiththedepartmentofemploymentandlearningandartsandBusinessnitopromotetheCreativeandCulturalskillsleadershipprogramme,ayear-longindustry-ledprogrammedesignedtodevelopnorthernireland’sexistingcreativeandculturalleadersandprepareemergingleadersforthefuture.thisnextpartofthissectionpresentsthemostrecentinformationonenrolmentsinarts-relatedcoursesatFurthereducationinstitutionsinnorthernireland.thisisfollowedbyanoverviewonthehighereducationsector.

informationonstudentenrolmentsinartsandarts-relatedcoursesatFurthereducationCollegesispublishedannuallybythedepartmentforemploymentandlearning(del).Coursesinarts,mediaandpublishingincludethefollowingsubjectareas:

• performingarts.

• Crafts,Creativeartsanddesign.

• mediaandCommunication.

• publishingandinformationservices.

thedatapresentedinthissectionhavebeenextractedfromthedelpublicationprofessionalandtechnicalenrolmentsinthenorthernirelandFurthereducationsectorfor2007/08and2008/09.thereportincludesdatarelatingtothe2007/08and2008/09academicyears,whichwerethefirsttwoyearsofthesixCollegeconfiguration.hence,itisnotpossibletodrawcomparisonswithenrolmentstatisticsfrompreviousyears.

thefollowingpointsshouldbenotedintheinterpretationoftheenrolmentsdata:

• thedelfiguresgiveafullyearcountofstudent enrolments.studentsmaybeenrolledonmorethanone courseatagiventimeandwillthereforebecountedas twoormorestudentenrolments.

• highereducation(he)isdefinedasacourseleading toaqualificationabovea2levelstandard.thisincludes postgraduatestudy,firstdegrees,BteChighernational diploma(hnd)andCertificate(hnC)courses,Foundation degreesandanumberofprofessionalqualifications.heis nqFlevel4(andequivalent)andabove.

themostrecentdataonenrolmentsinarts,mediaandpublishingcoursesarepresentedintable11.1.thefollowingarethemainpointstonote:

• From2007-08to2008-09,thenumberofarts,mediaand publishingenrolmentsincreasedfrom7,278to7,429 (+2percent).

• in2008-09,arts,mediaandpublishingenrolments accountedfor5.2percentofallenrolmentsinthe FurthereducationColleges.

• theshareoftotalenrolmentswasmuchhigheramong thoseinfull-timehighereducation(20percent).

• theshareoftotalenrolmentswasalsoaboveaverage amongthosestudyingfull-timeinFurthereducation (11percent).

• themajorityofenrolmentsinarts,mediaandpublishing areinFurthereducation.in2008-09,Furthereducation enrolmentsaccountedfor87percentofallenrolments, withtheremainderbeingonhighereducationcourses.

• part-timeenrolmentsaccountedfor56percentofall enrolmentsin2008-09.



theageandgenderprofileofthe2007-08and2008-09enrolmentsisshownintable11.2.themainpointstobenotedareasfollows:

• thoseaged19andundercompriseabouthalfofall enrolments,upfrom48percentin2007-08to52percent in2008-09.

• asubstantialproportionofenrolmentsareaged25and over(36percentin2008-09).

• womenaccountedforthemajorityofenrolmentsinboth 2007-08(61percent)and2008-09(57percent).

• thehighershareofwomeninenrolmentsforarts, mediaandpublishingcourseswasentirelyduetothe preponderanceofwomeninthe25+agegroup.

• in2008-09,womenaged25+accountedfor27percent ofenrolments.meninthesameagebracketcomprised lessthanoneintenenrolments.

• amongthoseagedunder25,approximatelyequal numbersofwomenandmenenrolforarts-related courses.

table11.1arts,mediaandpublishing:professionalandtechnicalassessedenrolmentsatthenorthernirelandFurthereducationinstitutions

arts,mediaandpublishing percentoftotalenrolments

2007-08 2008-09 2007-08 2008-09

no. no. % %

all 7,278 7,429 5.1 5.2

level of study and mode of attendance

highereducation 971 976 9.5 10.5

Full-time 754 760 19.5 19.8

part-time 217 216 3.4 4.0

Furthereducation 6,307 6,453 4.8 4.9

Full-time 2,426 2,544 9.6 10.9

part-time 3,881 3,909 3.7 3.6

source:del.

table11.2arts,mediaandpublishing:professionalandtechnicalassessedenrolmentsatthenorthernirelandFurthereducationinstitutions,bygenderandage

arts,mediaandpublishing percentoftotal

2007-08 2008-09 2007-08 2008-09

no. no. % %

all 7,278 7,429 100.0 100.0

19andunder 3,490 3,882 48.0 52.3

20-24 856 868 11.8 11.7

25+ 2,932 2,679 40.3 36.1

male 2,857 3,169 39.3 42.7

19andunder 1,738 2,072 23.9 27.9

20-24 430 431 5.9 5.8

25+ 689 666 9.5 9.0

female 4,421 4,260 60.7 57.3

19andunder 1,752 1,810 24.1 24.4

20-24 426 437 5.9 5.9

25+ 2,243 2,013 30.8 27.1

source:del.



11.3 hIgher educatIon InstItutes

delpublishesanannualstatisticalBulletincontainingdataonenrolmentsatuKhighereducationinstitutes.themostrecentreleasecoverstheyears2007-08and2008-09.

theinformationonenrolmentsiscompiledfromdatacollectedbythehighereducationstatisticalagency(hesa).Forthepurposesofhesa’sdatacollection,highereducationstudentsarethosestudentsoncoursesforwhichthelevelofinstructionisabovethatoflevel3ofthequalificationsandCurriculumauthority(qCa)nationalqualificationsFramework(nqF)(e.g.coursesatthelevelofCertificateofheandabove).

From2007-08onwards,hesadoesnotincludewriting-upandsabbaticalstudents.hence,theenrolmentsdataforyearspriorto2007-08arenotconsistentwiththemostrecentstatisticalrelease.again,thisprecludesthepreparationofatime-seriestoshowthetrendinenrolments.

indel’sstatisticalBulletin,theCreativeartsanddesignsubjectgroupincludesthefollowingsubcategories:

• Fineart.

• designstudies.

• music.

• drama.

• dance.

• Cinematicsandphotography.

• Crafts.

• imaginativewriting.

• OthersinCreativeartsanddesign.

informationonenrolmentsispublishedfor:

• thoseattendingnorthernirelandheinstitutes(table 11.3).thisindicatesthecurrentsupplyofplacesat northernirelandinstitutes.

• northernirelanddomiciledstudentsenrolledonhe coursesintheuK(table11.4).thisindicatesthelevel ofinterestinarts-relatedhecoursesamongstudents fromnorthernireland.

turningfirsttoarts-relatedenrolmentsatnorthernireland’shighereducationinstitutes(heis),thefollowingpointscanbenotedfromtable11.3:

• in2008-09,therewere865enrolmentsoffirst-year studentsatnorthernireland’sheis.thiswasaslight reductionon2007-08,whenfirst-yearenrolmentstotalled 880.

• enrolmentsinCreativeartsanddesignaccountfor aroundsixpercentoftotalfirstyearenrolments.

• inboth2007-08and2008-09,womenaccountedforthe majorityoffirst-yearenrolments,byamarginof61per centfemaleto39percentmale.

• thetotalnumberofenrolmentsonCreativeartsand designcourseswasslightlyinexcessof2,000inboth 2007-08and2008-09.

• amongallstudentsenrolledatnorthernirelandheis, 4.3percentwereonaCreativeartsanddesigncourse in2008-09,almostthesameasinthepreviousyear (4.2percent).

• aswithfirstyearstudents,inbothyearsaboutsixinten ofthoseenrolledinCreativeartsanddesigncourses werewomen.

table11.3Creativeartsanddesign:enrolmentsonhighereducationCoursesatnorthernirelandhighereducationinstitutes

Creativeartsanddesign percentoftotal

2007-08 2008-09 2007-08 2008-09

no. no. % %

first-year students

male 340 325 6.2 5.7

Female 535 540 6.9 6.8

all 880 865 6.6 6.3

all students

male 835 865 4.4 4.5

Female 1,190 1,230 4.1 4.3

all 2,025 2,090 4.2 4.3

source:del/hesa.



themainpointstonoteinrelationtoni-domiciledstudentsstudyingCreativeartsanddesignatauKheiareasfollows(table11.4):

• in2008-09,atotalof2,745studentsfromnorthern irelandwereenrolledatauKhei,anincreaseofthree percentonthepreviousyear.

• Creativeartsanddesignenrolmentsaccountforover fourpercentofallenrolmentsatuKheisbyni-domiciled students.

• thevastbulkofenrolmentsareonafull-timebasis, 93percentinboth2007-08and2008-09.

• womenaccountforthemajorityofni-domiciledstudents enrolledatuKheisonCreativeartsanddesigncourses (58percentinbothyears).

table11.4Creativeartsanddesign:northernirelanddomiciledstudentsenrolledonhighereducationcoursesintheuK

Creativeartsanddesign percentoftotalenrolments

2007-08 2008-09 2007-08 2008-09

no. no. % %

all 2,660 2,745 4.3 4.4

full-time

male 1,030 1,070 5.6 5.7

Female 1,455 1,495 5.7 5.8

all 2,485 2,565 5.7 5.8

Part-time

male 90 90 1.3 1.3

Female 85 95 0.8 0.9

all 175 185 1.0 1.0

source:del/hesa.





Part VI: fundIng

the arts



12 PublIc attrIbutes

12.1 oVerVIew

12.2 net balances

thispenultimatepartofthereportfocusesonthefundingoftheartsinnorthernireland.thesourcesoffundingforthearts,bothpublicandprivate,arediscussedinsection13below.

anydiscussionofpublicfundingfortheartsneedstotakeplacewithinthecontextofpublicattitudestowardsthearts,includingthepublic’sperceptionsofthevalueoftheartstosocietyandthepublic’sviewsontheprovisionofpublicfundsinsupportofthearts.

withinthatcontext,thissectionpresentsthefindingsfromaseriesofattitudinalquestionsposedtorespondentsintheCouncil’sgeneralpopulationsurvey(gps).thetopicsaddressedinclude:

• whatkindsofbenefitsdoesthepublicexpectfrom thearts?

• howstrongly,orotherwise,doesthepublicsupport theprovisionofpublicfundsforthearts?

inthe2007and2009generalpopulationsurveys,respondentswereaskedaseriesofquestionsdesignedtoelicittheirattitudestovariousissuesrelatedtothearts.thequestionsposedtorespondentsarelistedintable12.1overleaf.Foreachquestion,respondentswereaskedtoexpresstheiropiniononafive-pointscalei.e.stronglyagreed;agreed;neitheragreednordisagreed;disagreed;or,stronglydisagreed.

inpresentingtheresponseswithinthisdigest,theapproachtakenhasbeentwo-fold.First,foreachquestion,theresponseshavebeenconvertedtonetbalancesi.e.thedifferencebetweentheproportionsayingtheystronglyagreed/agreedandtheproportionsayingtheystronglydisagreed/disagreed.apositivenetbalanceindicatesafavourableattitudetowardthearts;morerespondentsagreedwiththestatementthandisagreed.similarly,anegativenetbalancesignifiesanunfavourableattitude;morerespondentsdisagreedthanagreed.

second,the2007and2009surveyresultswerecombinedintoasingledatasetforthenetbalancesanalysis.thiswasforthespecificpurposeofobtainingreasonablesamplebasesforsub-groupanalysis.twosuchanalysesarepresentedinthissection:thosewhoattended1+artseventsinthelastyearcomparedtothosewhodidnot(table12.1);and,netbalancesbythedeprivationscoreoftheareainwhichtherespondentlived(table12.2).



therationalefordistinguishingbetweenthosewhohadattendedaneventinthelastyearandthosewhohadnotistohighlightanycontraststhatmayexistbetweenthosewhoareengagedwithandenjoytheartsandthosewhoarenotsimilarlyengaged.aswasseeninsection2,non-attendeeshavedifferentattitudestowardsengagingwiththearts.

thefirstpointtonotefromthesurveyresultsintable12.1isthatthereisasubstantialdegreeofpublicsupportforfundingthearts.amongthosewhoattendthearts,thenetbalanceinfavourofpublicfundingwas79percent.evenamongthosewhodonotattendartsevents,thenetbalancewasalsostronglypositive;61percentagreedorstronglyagreedwiththestatementcomparedtojust13percentdisagreeingorstronglydisagreeing,givingapositivenetbalanceof48percent.

Furthermore,theextentofpublicsupportfortheartshardlyvariesacrossthespectrumofareadeprivationscores.inthemoredeprivedareas(adeprivationscoreof30ormore),thenetbalanceinfavourofpublicfundingwas+67percent,marginallydifferentfromtheoverallaverageof+72percent.albeittoalesserextent,thepublicalsosupporttheirdistrictCouncilsinspendingmoneyonartsandculture.theoverallnetbalanceonthatquestionwas+53percent.

theextentofpublicsupportfortheartswouldseemtoreflectthegenerallypositiveexpectationsheldbythepublicregardingthecontributionmadebytheartsinspheressuchas:attractingtourists(+83percentnetbalance);contributionofdifferentcultures(+76percent);inclusivenessofthearts(+77percentagreeingthattheartsareopentoeveryone);enrichingqualityoflife(+75percent);andthecontributionofartistsandartsorganisationstosociety(+61percent).almostuniversally,respondentstookapositiveviewoftheeducationalroleofthearts,withapositivenetbalanceof+95percentagreeingthatallschoolchildrenshouldhavetheopportunitytoparticipateinthearts.

table12.1publicattitudestothearts:netbalancesbetweenpercentstronglyagreeingoragreeingandthosestronglydisagreeingordisagreeing

whetherattendedand/orparticipatedinanartsactivityin

last12months

all

none 1+

pps pps pps

thereshouldbepublicfundingofartsandcultureprojects

48 79 72

supportdistrictCouncilinspendingmoneyonartsandculture

32 60 53

allschoolchildrenshouldhavetheopportunitytolearntoplayamusicalinstrumentorparticipateinotherartactivities

91 97 95

theartsfromdifferentculturescontributealottosociety

61 81 76

artsandculturalactivityhelpstobringvisitorsandtouriststonorthernireland

72 86 83

theartsfundedbythegovernmentare[nOt]justforasmallminority

-8 16 11

artsandcultureisopentoeveryoneinnorthernirelandregardlessofdifferencesinreligion,ethnicoriginorsocialclass

71 79 77

artsandculturalactivityhelpstoenrichthequalityofourlives

56 80 75

artistsandartorganisationscontributealottosociety

44 66 61

skillsgainedfromparticipatinginartsandculturaleventscanhelpyougetajob

28 53 47

would[nOt]feeloutofplaceinanartgallery,museumortheatre

9 56 45

Base 524 1,813 2,337

ppspercentagepointsdifferencesource:aCni,generalpopulationsurvey,2007and2009,pooleddata.



12.2 net balances (COnt)

thetwoquestionswhichpromptedthelowestnetbalancesandthemostmarkedcontrastsinresponsesacrosssub-groupsrelatedtoperceptionsaboutartsbeingjustforasmallminorityandfeelingoutofplaceinanartsvenue.Onthetopicofwhethertheartsfundedbythegovernmentarenotjustforasmallminority,thenetbalancewaspositive,butonlybyamarginof+11percent.amongthosewhohadnotattendedanartseventintheprevious12months,thenetbalancewasunfavourable,by-8percent(seetable12.1).thesamequestionalsoevokedawiderangeofresponsesbyareadeprivationscores(table12.2).thoseinthemostdeprivedareasweremorelikelytoperceivegovernmentfundingasbeingforasmallminority,albeitbyaverysmallmargin(-2percent).Bycontrast,intheleastdeprivedareas,thenetbalancewas+19percent.

Overall,thereisstrongpublicsupportforthearts,judgingfromtheevidencecontainedinthegpsresults.Butamongsomesub-groups,thereareperceptionsaboutwhotheartsareforthatwouldneedtobeaddressed.

table12.2publicattitudestotheartsbyareadeprivationscore:netbalancesbetweenpercentstronglyagreeingoragreeingandthosestronglydisagreeingordisagreeing

deprivationscore

lessthan10

10-19.99 20-29.99 30+

pps pps pps pps

thereshouldbepublicfundingofartsandcultureprojects

74 73 72 67

supportdistrictCouncilinspendingmoneyonartsandculture

54 50 64 47

allschoolchildrenshouldhavetheopportunitytolearntoplayamusicalinstrumentorparticipateinotherartactivities

95 97 96 93

theartsfromdifferentculturescontributealottosociety

78 78 77 72

artsandculturalactivityhelpstobringvisitorsandtouriststonorthernireland

84 84 82 84

theartsfundedbythegovernmentarejustforasmallminority

19 12 12 -2

artsandcultureisopentoeveryoneinnorthernirelandregardlessofdifferencesinreligion,ethnicoriginorsocialclass

75 79 82 73

artsandculturalactivityhelpstoenrichthequalityofourlives

81 73 74 69

artistsandartorganisationscontributealottosociety

62 60 65 58

skillsgainedfromparticipatinginartsandculturaleventscanhelpyougetajob

45 49 51 43

would[nOt]feeloutofplaceinanartgallery,museumortheatre

67 40 39 32

base 619 686 509 524

ppspercentagepointsdifferencesource:aCni,generalpopulationsurvey,2007and2009,pooleddata.



13 fundIng for the arts

13.1 oVerVIew

thissectionexaminesthefundingoftheartsinnorthernirelandundertwomainheadings:

• publicfunding.

• privatefunding.

thepublicfundingsourcesdiscussedinclude:

• Centralgovernmentfunding.

• localgovernmentfundingforthearts.

• thenationallottery.

Forthepurposesofthisdigest,publicfundingsourcesareexaminedwithreferencetotheartsCouncil’sremit(seeBox1.ainsection1).thus,publicexpenditureonotherculturalsectors,suchasmuseums,isnotconsidered.

indocumentingcentralgovernmentfunding,thesectionconcentratesonrevenuefundingforongoingsupportforthearts.CentralgovernmentsupportonthecapitalsidehaslargelytakentheformofbespokeChallengeFunds,whichhavebeendiscussedinsection8.themajorcapitalprojectstendtohavemultipleobjectivese.g.thedevelopmentofartsvenuestopromoteurbanregenerationand/ortourism,andanaccompanying‘cocktail’offundingprovidedbyvariousstakeholders.Furthermore,sustainingthoseinvestmentshasrequiredongoingrevenuesubsidy,andthiswillcontinueintothefuture.

Fornationalaccountingpurposes,thenationallotteryisnotregardedaspublicexpenditure.however,lotteryFundsfortheartsaredistributedthroughthedelegatedauthorityoftheartsCouncilandwouldbeconsideredaspartofthemenuofpublicsupportsforthearts.

themainsourceofdataavailableinrelationtoprivatefundingistheartsandBusiness(a&B)annualprivateinvestmentinCulturesurvey(piCs).a&B’sremitencompassestheperformingarts,literature,visualartsandcrafts,museums,libraries,heritageandfilm.thisisreflectedinthepiCs,whichthereforehasabroaderscopethantheartsCouncil’sremit.nonetheless,thepiCsisstillveryusefultoexamineasameansoftrackingtrendsinprivatefundingforthearts.



13.2.1 central goVernment

similartotheothercountriesoftheuKandalsotherepublicofireland,theartsCouncilreceivesanannualgrant-in-aidallocationfromthegovernment.thegrant-in-aidservesasthemeasureofcentralgovernmentsupportfortheartssincethesearethefundsthatgovernmentdirectsspecificallytowardstheachievementofobjectivesforthedevelopmentofthearts.thegrant-in-aidisthesourceoftheresourcesavailabletotheartsCounciltomeetitsstatutoryobligationsastheleaddevelopmentagencyfortheartsinnorthernireland.

theuseofthegrant-in-aidasameasureofcentralgovernmentspendingisconsistentwiththeapproachadoptedby,forexample,galloway(2004)inananalysisofpublicspendingontheartswithintheuK(albeitgallowaytookabroaderviewof‘thearts’,whichshedefinedtoincludemuseumsandfilm).

inrecentyears,thegrant-in-aidhasbeendeterminedbythenorthernirelandexecutive,asthedevelopmentoftheartsisadevolvedmatter.the2008-09grant-in-aidamountedto£13m(2007-08prices).thisrepresentedarealtermsincrease(thatis,afteradjustingforpriceinflation)of27.4percentcomparedtotheCouncil’sfundinglevelattheoutsetofthedecade,in2001-02.however,thepercentageincreaserecordedbytheartsCouncilofnorthernirelandcomparesunfavourablywiththeratesofgrowthincentralgovernmentspendingintheotherjurisdictionsoftheuKandalsotherepublicofireland.

indeed,thebulkofthegrowthinartsexpenditureinnorthernirelandoccurredin2008-09.then,asharpupliftinthegrant-in-aidreversedapatternofdecliningcentralgovernmentexpenditurefrom2004-05throughto2007-08(Figure12.1).thepatternofcentralgovernmentexpenditureinnorthernirelandoverthelastdecadehasthereforebeeninsharpcontrastwiththerestoftheuKandtherepublicofireland.

13.2 PublIc fundIng

table13.1uKandroiartsCouncils,grant-in-aid,constant2007-08prices

2001-02 2008-09 Change

£million

artsCouncilengland 295.571 422.513 42.9%

artsCouncilofwales 19.425 29.405 51.4%

scottishartsCouncil 44.252 70.557 59.4%

artsCouncilofn.i. 10.220 13.017 27.4%

€million

theartsCouncil/anChomhairleealaíon 56.347 82.787 46.9%

source:aCni.



amajorconsequenceofthedivergencebetweennorthernirelandandotheruKcountriesincentralgovernmentspendingincreaseshasbeentheemergenceofasubstantialgapinpercapitafundinglevels.in2001-02,thegrant-in-aidpercapitainnorthernirelandlaggedbehindscotlandandwales,butwasonaparwithfundinglevelsinengland(table13.2).

asthetotalquantumofcentralgovernmentexpenditureinenglandisthemaindeterminantofaveragepercapitalevelsfortheuKasawhole,the2001-02percapitaexpenditurelevelinnorthernirelandstoodat97percentoftheuKaverage.thatis,in2001-02,northernirelandlaggedtheuKaveragebyamarginofthreepercent.

asaresultofthedivergentfundingpatternsillustratedinFigure13.1thegapinpercapitafundinglevelsbetweennorthernirelandandtheuKaveragewidenedbyalmost13percentagepointsoverthecourseofthedecade.thus,by2008-09,percapitafundinginnorthernirelandwas84percentoftheuKaverage,agapof16percent.

ClosingthefundinggapthatexistedbetweennorthernirelandandtheuKaveragebenchmarkin2008-09wouldhaveentailedanadditional£2.5mincentralgovernmentexpenditureontheartsi.e.atotalgrant-in-aidof£15.5m(2007-08prices)comparedtothe£13mthatwasactuallyallocatedtothearts.

Figure 13.1 Central Government Expenditure on the Arts, 1994/95 to 2008/09, constant 2007/08 prices

Source: ACNI; PESA

1994

/95

170

143

115

2001

/02

=100

88

60

1995

/96

1996

/97

1997

/98

1998

/99

1999

/00

2000

/01

EnglandWalesScotlandNorthern IrelandRepublic of Ireland

2001

/02

2002

/03

2003

/04

2004

/05

2005

/06

2006

/07

2007

/08

2008

/09

table13.2uKandroiartsCouncils,grant-in-aid,percapitacomparison,constant2007-08prices

2001-02 2008-09 Change

percapita

artsCouncilengland(£) £5.98 £8.21 37.4%

artsCouncilofwales(£) £6.68 £9.86 47.7%

scottishartsCouncil(£) £8.74 £13.65 56.2%

artsCouncilofn.i.(£) £6.05 £7.33 21.2%

theartsCouncil/anChomhairleealaíon(€) €12.66 €18.46 45.8%

percentofuKaverage

artsCouncilengland(%) 96 94 -1.5pps

artsCouncilofwales(%) 107 113 6.2pps

scottishartsCouncil(%) 140 156 16.6pps

artsCouncilofn.i.(%) 97 84 -12.7pps

ppspercentagepointsdifference.source:aCni.



13.2.2 local goVernment

everydistrictcouncilhasastatutorydutytoprovideculturalactivitiesunderarticle10(1)of‘therecreationandyouthservice(ni)Order1986’.asnotedinsection1above,theimplementationofthereviewofpublicadministrationwillseethe26currentcouncilsamalgamatedinto11largerlocalgovernmentdistricts.theselargercouncilswillhaveincreasedcapacitytopromotethedevelopmentoftheartswithintheircatchmentareas.

themostrecentavailabledatarelatetotheperiod2006-07and2007-08.Basedoncertifiedfiguresproducedbythedepartmentfortheenvironment,totallocalgovernmentexpenditureontheartswas£18.8min2006-07and£20.7min2007-08.at2007-08prices,theaverageexpenditurelevelinthetwo-yearperiodamountedto£20m.

expenditurepercapitavariedmarkedlyfromonelgdtoanother.thecontrastsinexpenditurepercapitaaresummarisedinFigure13.2intermsofthe11newlocalgovernmentdistrictsscheduledtoemergein2011.

13.2 PublIc fundIng (COnt)

Figure 13.2 Local Authority Expenditure on the arts, 2006-07 and 2007-08, £'s per capita (constant 2007-08 prices)

Source: DoE (as finalised from District Council 2008/2009 Certified Income and Expenditure Analysis returns)

** Newtownabbey only. Comparable data not available for Antrim.

£0 £8 £15

£’s per capita

N. IrelandMid Ulster

Mid & East AntrimFermanagh & Omagh

Causeway Coast & Glens

£23 £30

North Down & ArdsAntrim & Newtownabbey (**)

Newry, Mourne & DownLisburn & Castlereagh

Armagh, Banbridge & CraigavonDerry & Strabane

Belfast

Arts development and supportTheatres and public entertainment



13.2.3 lottery fundIng

asoutlinedinsection1above,theartsCouncilneedstotakeaccountofmultipleobjectivesinallocatinglotteryFunds.however,theCouncilisrequiredtoalsoconsidertheneedsoftheartssectoranditsprioritiesforaddressingthoseneeds.lotteryfundsaretypicallyalsograntedonamatch-fundingbasis.lotteryfundingpartnersmaybepursuingotherobjectivesthroughthemediumofanartsprojecte.g.localcommunitydevelopment.

Forthatreason,itisappropriatetoonlyconsiderthelotteryFundsawardedbytheCouncilinquantifyingthetotalamountofpublicfundsdirectedtowardsthedevelopmentoftheartsinnorthernireland.asoutlinedinsection1above,lotteryfundshavebeendeclininginrecentyears.By2008-09,thetotalvalueoflotteryFundsawardedbytheCouncilwas£5m,downfrom£10.8min2004-05,albeitthelatterfigurewouldhaveincludedasubstantialamountoffundingforcapitalprojects.

inordertosummarisetherelativeprofileoftheartsingovernmentexpenditureinnorthernireland,itisusefultomeasurethevarioussourcesrelativetoidentifiablenigovernmentexpenditureonservices(excludingsocialprotectioni.e.benefitpayments,etc,whicharelargelydemanddriven).theresultsarepresentedintable13.3.ascanbeseen,theaCnigrant-in-aidhasfallenslightlyasashareofnigovernmentexpenditure,from0.13percentin2004-05to0.12percentin2008-09.

theoverallvolumeofgovernmentexpenditurehasthereforerisenatafasterpacethanhasthegrant-in-aidforartsdevelopmentpurposes.asnotedpreviously,overthesameperiod,therewasawideninginthefundinggapbetweennorthernirelandandtherestoftheuK.

thesetwotrendsneedtobeseeninthecontextofincreasingexpectationsforthecontributionthattheartscanmaketomeetingwidersocialandeconomicobjectives.Furthermore,arecurringthemethroughoutthisdigesthasbeentherelevanceoftheartsinmeetingwidersocialandeconomicobjectives,inspheressuchas:healthandsocialwellbeing;education;thepromotionofsocialinclusion;improvingcommunityrelations;theregenerationeffortinnorthernireland’stownsandcities;andcommunity-basedlocalregenerationefforts.

thegapbetweenfundingandexpectationsisunlikelytobefilledthroughothersources.eustructuralFundshaveinthepastsupportedarts-relatedprojects,butonlywhenthosesameprojectsmeettheinstrumentalsocialandeconomicobjectivesofthevariouseuFunds.Furthermore,eustructuralFundinginnorthernirelandisonadownwardtrend.

theartsCouncilisassistinglocalartsgroupstoaccesstheeuCultureprogrammeFund,whichhasabudgetof€400millionforprojectsandinitiativestocelebrateeurope’sculturaldiversityandenhancetheunion’ssharedculturalheritagethroughthedevelopmentofcross-borderco-operationbetweenculturaloperatorsandinstitutions.however,thebudgetisspreadoverthesix-yearperiod2007-2013,acrosstheeu.also,collaborativecross-borderinitiativeswillnotbefeasibleformanygroupsassuchprojectsdemandtheirownparticularconjunctionofneeds,capabilitiesandpartnersinothereucountries.

table 13.3expenditureonthearts1:aCnigrant-in-aid,localgovernmentandlotteryawards(currentprices/cashamounts)

2004-05 2008-09

aCnigrantinaid

£million 11.050 13.333

percentofnigovtexpenditure2 0.13 0.12

lotteryawards

£million 10.801 4.989


aCnigrantinaidpluslottery

£million 21.851 18.322


localgovernmentexpenditure3

£million 19.495 20.7384

percentofnigovtexpenditure2 0.22 0.201FiguresdonotincludedCalCapitalFund.2excludingsocialprotection.3notincludingantrim,asdatanotavailableoncomparablebasiswithremaininglgds.42007-08value.

sources:aCni;doe(asfinalisedfromdistrictCouncil2008/2009Certifiedincomeandexpenditureanalysisreturns);pesa.



13.3 PrIVate fundIng

eachyeararts&BusinessundertakesitsprivateinvestmentinCulturesurvey(piCs)inordertomeasureprivateinvestmentinthearts&culturalsectorintheuK.24arts&Businessdividesprivatesectorinvestmentintothreecoreareas:

• business Investment:cash,in-kindsponsorship, corporatemembership,corporatedonations,andawards andprizes.

• Individual giving: donations,legaciesandbequests, andfriend’sschemes.

• trusts & foundations.

ascanbeseenfromtable13.4,thepiCscoversabroadculturallandscape,includingtheperformingarts,literature,visualartsandcrafts,museums,libraries,heritageandfilm.thescopeofthea&BsurveyisthereforebroaderthantheremitoftheartsCouncil.

the2007-08piCsestimatedthattotalprivatesectorinvestmentintheartsandcultureinnorthernirelandamountedto£8.53m.Overhalfoftheprivateinvestmentwasmadeinthetheatresector.thiswasmainlyduetoalargeone-offindividualdonation.indeed,asa&BnotedintheirpresentationtotheCalassemblyCommitteeinquiryintothearts,“fluctuationsinprivateinvestmentsupportcanbeattributedtofundraisingcampaignslinkedtotimeboundprojectsorcapitalprojects”.

nonetheless,whiletherewasaslightpick-upin2007-08comparedto2006-07,thetrendinprivateinvestmentincultureinnorthernirelandhasbeendownward(Figure13.3overleaf).in2004-05,thepiCsestimatedatotalinvestmentofover£12minnorthernireland.thedeclinetothe2007-08levelof£8.5mhasbeendueprimarilytoafallinbusinessinvestment,fromover£6min2004-05to£4mby2007-08.theeconomicclimateislikelytohavehadanegativeimpactoninvestmentinthe2008-09period.Finally,itcanbenotedthatprivateinvestmentinnorthernirelandamountedto1.2percentoftheuKtotalin2007-08.however,theregionalpictureissomewhatdistortedbytheverylargelondoneffect,whichattractsalmost70percentoftheuKtotal.

table13.4privateinvestmentinculturebyartform,northernireland,2007-08

n.ireland unitedKingdom

£m % £m %

artscentre 0.43 5.0 14.46 2.1

artsservices 0.34 4.0 28.97 4.2

Communityarts 0.24 2.8 15.71 2.3

Crafts 0.02 0.2 0.55 0.1

dance - - 23.65 3.5

Festival 0.41 4.8 23.63 3.4

Film/video 0.06 0.7 12.95 1.9

heritage 0.29 3.4 207.25 30.3

library/archives 0.04 0.5 8.23 1.2

literature/poetry 0.02 0.2 4.38 0.6

museum 0.51 6.0 124.33 18.2

music 1.07 12.5 35.86 5.2

Opera 0.07 0.8 29.93 4.4

Othercombinedarts 0.61 7.2 30.84 4.5

Othersingleartform - - 12.26 1.8

theatre 4.28 50.2 53.59 7.8

visualarts 0.12 1.4 58.39 8.5

total 8.53 100.0 684.98 100.0

source:a&Bsurvey.

24themostrecentannualsurveyresultscanbeaccessedviathea&Bwebsiteathttp://www.aandb.org.uk/



Figure 13.3 Private investment in culture, Northern ireland, 2003-04 to 2007-08

Source: A&B Survey

Trusts and foundationsIndividual givingBusiness investment

2003/04

£ m

illio

n

15

11

8

4

02004/05 2005/06 2006/07 2007/08

table13.5privateinvestmentinculturebyregion,2007-08

£million percentofuK

london 477.5 69.7

southeast 31.9 4.7

east 12.7 1.9

southwest 12.6 1.8

midlands 24.7 3.6

northwest 24.8 3.6

yorkshire 14.5 2.1

northeast 19 2.8

scotland 39.4 5.8

wales 19.3 2.8

northernireland 8.5 1.2

unitedKingdom 684.9 100.0

source:a&Bsurvey.





Part VII: the future



14 trends and look ahead

14.1 oVerVIew

14.2 demograPhIc

thissectionpresentsanoverviewonfuturedirectionsinanumberofthekeytrendsthathaveemergedthroughthecourseofthisdigest.ingeneralterms,thetrendscanbecategorisedundertwomainheadings:

• Ongoingseculartrendsthatareunlikelytoreverse; inparticular,demographicchangesanddevelopments ininformation,communicationsandtechnology,notably theinternet.

• Cyclicalchangesaffectingtheprognosisforthearts sectorintheshort-to-mediumterm,specifically,the impactoftherecession.

thesectioncommenceswithadiscussionoftheseculartrends,whicharewell-establishedandwillhavelong-termeffectsontheenvironmentinwhichtheartssectormustoperate.

theageingofthenorthernirelandpopulationissettoaccelerate.Overthenext20years,thepopulationaged65andoverwillincreaseby80percent(Figure14.1).incontrast,thechildpopulationwillremainatitspresentlevelwhiletheworking-agepopulationwillshowonlymodestgrowth(+4percent).

whilethefutureisinherentlyuncertain,thereislittledoubtthattheolderpopulationwillgrowatarapidpaceoverthenexttwodecades.thisisduetoacombinationoftheageingofthe‘baby-boom’generation(allthosewhowillbe65in2031havealreadybeenborn)andfallingmortalityrates(peoplearelivinglongerintooldage).



theprojectionsforthechildpopulationreflecttheassumptionthatfertilityrateswillremainattheirpresentlevelofaroundtwochildrenperwomanoverthecourseofherchild-bearingyears.thisissufficienttoreplacethechildpopulation,butnottospuranysignificantgrowth.

duringthelastdecade,northernirelandexperiencedanunprecedentedmigrationinflowfollowingtheaccessionofeighteasterneuropeancountriestotheeuin2004(Figure14.2).whilethisledtoanincreaseinthediversityofthenorthernirelandpopulation,themorerecentevidencesuggeststhattheeconomicdownturnhasstemmedtheinflowofmigrantsfromabroad(Figure14.2).theexpectationisthat,infutureyears,in-migrationandout-migrationwillbalanceout.theboosttothegrowthoftheworking-agepopulationthathadbeenpresentduringthe2000’swillthereforepeterout.

Figure 14.1 Population change, Northern Ireland, actual and projected, 1971-2031, per cent of 2008

Source: NISRA

1971

60

90

120

150

180

Actual Projected

Per

cen

t of 2

008

1974

1977

1980

1983

1986

1989

1992

1995

1998

2001

2004

2007

2010

2013

2016

2019

2022

2025

2028

2031

0-1516-6465+Total

Figure 14.2 International migration to and from Northern Ireland, 2001-2008

Source: NISRA

20,000

15,000

10,000

5,000

0

-5,000

-10,000

-15,0002001 2002

Year to mid

Estim

ate

2003 2004 2005 2006 2007 2008

InflowsOutflowsNet flows



14.3 the Internet

theimplicationsofdevelopmentsininformationandcommunicationstechnologyfortheproductionanddistributionoftheartsareincreasinglyappreciatedinthesector.asleigh-doylenotes,“newtechnologiesofferbothexcitingpossibilitiesandpotentialthreatstothepursuitofaprofessionalartisticpractice”.

Onthedemandside,arecurringthemeinthesurveystatisticsonengagingwiththeartsinpartiiofthedigestistheincreasinguseoftheinternetasaninfluenceonthewayinwhichtheartsareconsumedbythepublic.peopleareincreasinglyusingtheinternettoobtaininformationaboutartseventsandbooktickets.thesetrendsarelikelytohaveapositiveeffectonengagementwiththearts,asinformationisnoweasierandcheapertoobtain.Ontheotherhand,peoplearealsoincreasinglyusingtheinternetasamediumforconsumingthearts.again,thereareuncertaintiesastowhethersuchadevelopmentwillactasacomplementtomoreactiveengagementinthearts(e.g.bystimulatinginterestindifferentartforms)orasasubstitute.

14.2 demograPhIc (COnt)

theforegoingdemographicchangespresageashiftintheagecompositionofthenorthernirelandpopulation.presently,thoseaged65+accountfor14percentofthetotalpopulation.BasedontheprojectionsshowninFigure14.1,theirshareissettoriseto22percentby2031.

thechangingdemographicprofileofthepopulationislikelytoaffectthenatureandcompositionofdemandfortheartsinnorthernireland.thestatisticspresentedsections2and3abovewereconsistentinshowinglowerratesofartsattendanceandparticipationbythoseaged65andover.itisamootpointastowhethertherisingshareofthepopulationaged65andoverwilltranslateintoreduceddemandforthearts.Ontheonehand,withrisingincomesandincreasedmobility,thepopulationageingintotheir60smayhavedevelopedatastefortheartsthatwilloffsettheageeffectcurrentlyinevidence,accordingtothesurveystatistics.Conversely,oneoftheconstraintsfacedbythosecurrentlynotattendingtheartsistheirhealthcondition.thisfactoriscorrelatedwithageanditsinfluencemaywellbesettoincrease.

inrecognitionofanageingpopulationtheartsCouncilhaspreparedanartsandolderpeoplestrategythatisintendedtocreateavenuesandopportunitiesforolderpeopletoaccessandparticipateintheartsinnorthernireland.Forexample,anartsandolderpeopleprogrammeistobelaunchedin2010.inaddition,theCouncilisattheinitialstageofdevelopinganethnicminoritystrategy.



14.4 the economy

14.5 PrIVate InVestment

intandemwiththerestoftheuK,thenorthernirelandeconomyexperiencedsteadygrowthfrom2000to2008.Overthatperiod,gvagrewinrealtermsbyabout21percent,anaverageannualrateof2.5percent.gvapercapitarosebyalmosttwopercentperannum.theuKeconomywentintoreversein2008andgrowthplungedthroughout2009.northernirelandfollowedsuit.

thedepthoftherecessionhastwomajorlinkedimplicationsfortheartssector.inthefirstinstance,risingunemploymentandfallingemploymentwillinevitablyconstraindemand.Buteconomiesdopulloutofrecession.thekeyuncertaintyinthatregardisthetimingandpaceoftherecoveryphase.thelatestindependentforecastssuggestanaemicgrowthprospectsfortheuKoverthenexttwoyears.For2010,theconsensusforecastisfor1.3percentgrowth,followedby2.1percentin2011.whilecautious,theseforecaststhemselvesarehighlyuncertain.theeconomicprospectsforconsumer-orientedartsactivitieswouldseemtoremainmuted.

thesecondmajorimpactoftherecessionisthelikelyimpactontheavailabilityoffundingfortheartssector,bothfromthepublicandprivatesectors.

theeconomicdownturnwillundoubtedlyhaveanegativeeffectontheprivateinvestmentintheartsandculturalsector.intheirsubmissiontotheCalassemblyCommitteeinquiry,arts&BusinessreportedonasurveyofbusinessesacrosstheuKtoassesstheirviewsontheimpactoftheeconomicclimateandtheimplicationsfortheirinvestmentinarts&culture.

themainfindingsfromthesurveywerethatprivateinvestmentandparticularlybusinesssponsorshipislikelytohavedecreasedin2009andissettodeclinefurtherin2010acrossallsectorsandregions.thesurveyrespondentsexpecttheirinvestmentlevelstorecoversomewhatin2012withmoreexpectinganincreasethanadecreasein2013.



theevidencefromthetreasury’spublicexpenditurestatisticalanalysis(pesa)isthat,whilegrowthwasexperienced,thecultureandartssector(seeBox)laggedbehindtheoverallgrowthinexpenditure.From2003-04throughto2008-09,theshareoftotalspendingontheartsandculturedeclinedineachofthefourhomeCountries(Figure14.4).innorthernireland,thecultureandartssharefellfrom1.6percenttoalittleover1.4percent.

Figure 14.3 UK public sector expenditure, 1987-88 to 2008-09, constant 2007-08 prices, per cent of 2

Source: PESA 2009, Tables 4.3

Per

cen

t of 2

000-

01

1987

-88

1988

-89

1989

-90

1990

-91

1991

-92

1992

-93

1993

-94

1994

-95

1995

-96

1996

-97

1997

-98

1998

-99

1999

-00

2000

-01

2000

-02

2000

-03

2003

-04

2004

-05

2005

-06

2006

-07

2007

-08

2008

-09

140

123

105

88

70

14.6 PublIc exPendIture

thegovernmenthastackledtherecessionbyproppingupdemandthroughsustainedpublicspending.Buttheconcomitantriseinthegovernmentdeficitwillneedtobetackledatsomestageinthefuture.thatwillmeancutsinpublicexpenditure.theartssectoristhereforecurrentlyfacingintoaclimateofreductionsingrant-in-aidforthearts,whichwillbeexacerbatedbythedeclineinlotteryFunds.

againstthatbackdrop,itisusefultobrieflyreflectontheexperienceoftheartsandculturesectorintherecentpast.From1999-2000onwards,afterlabourhadbeeninpowerforabouttwoyears,uKpublicexpenditurewentthroughaperiodofrelativelyrapidgrowthcomparedtothepreviousdecadeandahalf.From2000-01to2008-09,uKpublicexpenditureonservicesgrewbyalmost40percent(Figure14.3).northernireland’sexpenditureisdeterminedasaproportionateshareoftheuKtotal,throughtheBarnettformula.



thefallingshareofresourcesdevotedtotheartsandculturesectorhascomeinthecontextofincreasingdemandsplacedonthesectortocontributetowidersocialandeconomicgoals,underpinnedbyincreasedrecognitionoftheroleofartsinmanypolicyareassuchasregeneration,reconciliation,educationandlife-longlearningandhealthandwell-being.therelevanceoftheartstomeetingthosewidergoalshasbeenarecurringthemeinthisdigest.tothatextent,thereisarationaleforattheveryleastmaintaining,ifnotreversing,thedownwardshiftintheartsandculturesector’sshareofpublicfunding.

Figure 14.4 Public spending on cultural services - Per cent of total (excl social protection)

Source: PESA, Chapter 10

1.9

Per

cen

t

1.7

1.5

2003-04 2004-05 2005-06 2006-07 2007-08 2008-09

1.3

1.1

England

United KingdomN. IrelandWalesScotland

box 14.a Culturalservices

inthepublicexpenditurestatisticalanalysis,culturalservicesaredefinedtoinclude:

•provisionofculturalservices;administrationofculturalaffairs;supervisionandregulationofculturalfacilities;

•Operationorsupportoffacilitiesforculturalpursuits(libraries,museums,artgalleries,theatres,exhibitionhalls,monuments,historichousesandsites,zoologicalandbotanicalgardens,aquaria,arboreta,etc.);production,operationorsupportofculturalevents(concerts,stageandfilmproductions,artshows,etc.);

•grants,loansorsubsidiestosupportindividualartists,writers,designers,composersandothersworkingintheartsortoorganisationsengagedinpromotingculturalactivities.

alsoincludedarenational,regionalorlocalcelebrationsprovidedtheyarenotintendedchieflytoattracttourists.someculturalactivitiesareexcluded,i.e.culturaleventsintendedforpresentationbeyondnationalboundaries(01.1.3);national,regionalorlocalcelebrationsintendedchieflytoattracttourists(04.7.3);productionofculturalmaterialintendedfordistributionbybroadcasting(08.3.0).





aPPendIx a:bIblIograPhy



25allinformationsourcedon-linewasaccessedduringjanuary2010

aPPendIx a

bIblIograPhy 25

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arts council of northern Ireland, 2006. artsandCultureinnorthernireland:2004Baselinesurvey.Belfast:aCni.availableat http://www.artscouncil-ni.org/subpages/strategyandpolicies.htm.

arts council of northern Ireland, 2007a.CreativeConnections:a5-yearstrategyfordevelopingthearts2007-2012.Belfast:aCni.availableat http://www.artscouncil-ni.org/news/2007/5yearstrategy2007-2012.pdf.

arts council of northern Ireland, 2007b.Corporateplan2007-2010.Belfast:aCni.availableathttp://www.artscouncil-ni.org/news/2007/3yearcorporatePlan2007-2010.pdf.

arts council of northern Ireland, 2007c. thetimeforthearts.Belfast:aCni.summaryavailableathttp://www.artscouncil-ni.org/campaign/documents/acnI_csr_summary.pdf.

arts council of northern Ireland, 2007d. localauthorityartsexpendituresurvey2003-04and2004-05.Belfast:aCni.availableathttp://www.artscouncil-ni.org/news/2007/images/local%20authority%20arts%20expenditure%20survey.pdf.

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arts council of northern Ireland, 2008b. annualreview2007-08.Belfast:aCni.availableathttp://www.artscouncil-ni.org/departs/all/report/annual/acni_annualreview2007_2008.pdf.

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arts council of northern Ireland, 2009b. annualreview2008-09.Belfast:aCni.availableathttp://www.artscouncil-ni.org/departs/all/report/annual/acni_annualreview2008_2009.pdf.

arts council of northern Ireland, 2009c. nationallotteryFundannualreport2008-09.Belfast:aCni.availableathttp://www.artscouncil-ni.org/departs/all/report/annual_reports.htm.

arts council of northern Ireland, 2010.responsetoCommitteeforCulture,artsandleisurereportonitsinquiryintoFundingfortheartsinnorthernireland.Belfast:aCni.availableathttp://www.artscouncil-ni.org/news/2010/new19012010.html.

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bakhshi, h., and mcVittie, e., 2009.“Creativesupply-chainlinkagesandinnovation:dothecreativeindustriesstimulatebusinessinnovationinthewidereconomy?”innovation:management,policyandpractice,11:2,169-189.specialissuetitledinnovationpolicyintheCreativeindustries.textavailableathttp://www.thefreelibrary.com/creative+supply-chain+linkages+and+innovation:+do+the+creative...-a0206867966.

belfast city council, 2005.“Creativeindustries”.developmentBrief,issue24,july2005.availableathttp://www.belfastcity.gov.uk/stateofthecity/docs/developmentbriefarchive/developmentbrief24.pdf.

central survey unit, northern Ireland statistics and research agency. youngpersonsBehaviourandattitudessurvey,2007:top-lineresults(weighted).Belfast:nisra.availableathttp://www.csu.nisra.gov.uk/yPbas%202007%20topline%20results%20weighted.pdf.

centre for cultural Policy research. theimpactdatabase.Bibliographyofresearchoncultureandthearts.availableathttp://www.impact.arts.gla.ac.uk/.

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colin stutt consulting, 2008.Creativeindustriesinnorthernireland:strategicactionplan.reportpreparedfordCalandaCni.availableathttp://www.dcalni.gov.uk/index/arts_and_creativity/creative_industries.htm.

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cowling, j., 2003. publicvalueandlocalartsprovision.instituteforpublicpolicyresearch.availableathttp://www.ippr.org.uk/articles/index.asp?id=285.

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craft northern Ireland, 2007. aFutureinthemaking:whytheCraftsmatter.anadvocacydocumentforthecraftsectorinnorthernireland.availableathttp://www.craftni.org/.

davies, r., and lindley, r., 2003.artistsinFigures:astatisticalportraitofCulturalOccupations.artsCouncilenglandresearchreport31.astudycarriedoutbythewarwickinstituteforemploymentresearchandCentreforeducationaldevelopmentappraisalandresearch,universityofwarwick.availableathttp://www.artscouncil.org.uk/media/uploads/documents/publications/524.rtf.

deloitte mcs and matarasso, f., 2006.reviewofthestrategicplan2001-2006.Belfast:aCni.availableathttp://www.artscouncil-ni.org/news/2006/new12052006.htm.



department of culture, arts and leisure, 2001.unlockingCreativity:makingithappen.Consultation.availableathttp://www.dcalni.gov.uk/unlocking_creativity_-_making_it_happen.

department of culture, arts and leisure, 2006.statisdCal–theartsinnorthernireland:Findingsfromthe2004/05Continuoushouseholdsurvey.dCalresearchandstatisticalBulletin3/2006.availableathttp://www.dcalni.gov.uk/statisdcal_-_the_arts_in_northern_ireland__dcal_research_and_statistical_bulletin_3_2006.pdf.

seealsoChsBulletins2007-08and2008-09,availableat:http://www.csu.nisra.gov.uk/chs%20bulletin%20200809.pdfhttp://www.csu.nisra.gov.uk/chs%20bulletin%20200708%20-%20final.pdf

department of culture, arts and leisure, 2007.vitalroleforlocalgovernmentandthearts.pressreleasedated19september2007.availableathttp://www.northernireland.gov.uk/news-dcal-190907-vital-role-for.

department of culture, arts and leisure, 2008a. Corporateplan2008-09andBusinessplan2008-2011.availableathttp://www.dcalni.gov.uk/corporate_plan_2008-11.pdf.

department of culture, arts and leisure, 2008b.Budget2008-2011.availableathttp://www.dcalni.gov.uk/general_publications/other_publications.htm.

department of culture, arts and leisure, 2008c.psadeliveryagreement9:promotingaccesstoCulture,artsandleisure.availableathttp://www.dcalni.gov.uk/general_publications/other_publications.htm.

department of culture, arts and leisure, 2008d.£5millionforCreativeindustries.pressreleasedated17October2008.availableathttp://www.northernireland.gov.uk/news/news-dcal/news-dcal-october-2008.htm.

department of culture, arts and leisure, 2009.Culturalandleisureactivitiesandevents:impactoftheeconomicdownturnonparticipationandattendance.dCalresearchFindings4/2009.availableathttp://www.dcalni.gov.uk/index/quick-links/research_and_statistics.htm.

department of enterprise, trade and Investment, 2008. regionalinnovationstrategyfornorthernireland,2008-2011.availableatwww.detini.gov.uk/cgi-bin/downdoc?id=4568

department of health, 2007.reviewofartsandhealthworkinggroup.availableathttp://www.dh.gov.uk/en/Publicationsandstatistics/Publications/PublicationsPolicyandguidance/dh_073590.

department of health, social services and Public safety, 2002.investingforhealth.availableathttp://www.dhsspsni.gov.uk/show_publications?txtid=10415.

department of health, social services and Public safety, 2004. ahealthierFuture:atwentyyearvisionforhealthandwellbeinginnorthernireland2005-2025.availableathttp://www.dhsspsni.gov.uk/publications/2004/healthyfuture-main.pdf.

department for business Innovation and skills.Communityinnovationsurvey.http://www.dius.gov.uk/science/science_and_innovation_analysis/cis.

department for culture, media and sport, 2008a.takingpart:england’ssurveyofCulture,leisureandsport–annualdata2006/07.london:dCms.availableathttp://www.culture.gov.uk/reference_library/publications/5396.aspx.

department for culture, media and sport, 2008b. takingpart:england’ssurveyofCulture,leisureandsport–Finalassessmentofprogressonpsa3:Completeestimatesfromyearthree2007/08.statisticalrelease.availableat http://www.culture.gov.uk/reference_library/publications/5653.aspx.

department for culture, media and sport, 2008c.takingpart:england’ssurveyofCulture,leisureandsport–headlineFindingsfromthe2008/09Childsurvey.statisticalrelease.availableat http://www.culture.gov.uk/reference_library/publications/6409.aspx.

department for culture, media and sport.Creativeindustries.webpageathttp://www.culture.gov.uk/what_we_do/creative_industries/. .

department for culture, media and sport, 2004.dCmsevidencetoolkit–det.technicalreport.availableathttp://www.culture.gov.uk/reference_library/publications/4569.aspx.

department for culture, media and sport, 2009.Creativeindustrieseconomicestimates.statisticalBulletin,january2009.availableathttp://www.culture.gov.uk/images/research/creative_Industries_economic_estimates_jan_09.pdf.

department for culture, media and sport, 2010.Creativeindustrieseconomicestimates.statisticalBulletin,may2010.availableathttp://www.culture.gov.uk/reference_library/publications/6622.aspx.

department for trade and Industry, 2006.innovationintheuK:indicatorsandinsights.dtiOccasionalpaperno6.availableathttp://www.berr.gov.uk/files/file31569.pdf.

department for trade and Industry, 2007.innovationinservices.dtiOccasionalpaperno9.availableathttp://www.berr.gov.uk/files/file39965.pdf.

edmund, j., 2010. anOperastrategyfornorthernireland.reportpreparedfortheartsCouncilofnorthernireland.availableathttp://www.artscouncil-ni.org/news/2010/new25012010.html.



education and training Inspectorate, 2005. anevaluationsurveyofCreativityseedFundprojects.availableathttp://www.dcalni.gov.uk/.../evaluation_survey.pdf.

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aPPendIx b:data sources



aPPendIx b

data sources

PoPulatIon surVeys

populationsurveysareanimportantmeansofcollectinginformationaboutthepublic’sengagementwiththearts,coveringtopicssuchasattendingdifferenttypesofartsevents,participationinarts-relatedactivitiesandattitudestothearts.dependingonthesamplesize,suchsurveysalsofacilitateanalysisbypopulationsub-group,suchasage,sex,socialclass,thosewithandwithoutadisability,andsoon.inrelationtotheadultpopulation(thoseaged16andover),thepopulationsurveysusedforthisdigestareasfollows:

• theaCni’sgeneralpopulationsurvey(gps).

• theContinuoushouseholdsurvey(Chs).

Forthoseaged11-16years,thedigesthasreliedupontheyoungpersonsBehaviourandattitudessurvey(ypBas).

thedigesthasalsodrawnonanumberofothersurveysforcomparativepurposes,notablythedCmstakingpartsurveyinengland.

general PoPulatIon surVey

thegeneralpopulationsurvey(gps)isarandomsurveyofthepopulationcarriedoutbythenorthernirelandstatisticsandresearchagency(nisra)onbehalfoftheaCni.thegpshasnowbeenconductedoneachofthreeoccasionsi.e.2004,2007and200926.themaintopicscoveredareasfollows:

• attendancei.e.artseventsthatrespondentssaytheyhave attendedinthelast12monthsandalsothepreviousfour months.

• participationinarts-relatedactivitiesintheprevious12 months.

• viewingandlisteningtoartseventsthroughvarious media,includingtv,radio,theinternet,etc.

• publicattitudestowardsartsandculturalactivities.

thesamplebasenumbersforthegpsaretypicallyintheregionof1,100to1,300adultsaged16+.asthedataarecollectedonarandombasis,theheadlinesurveyresultswillthereforeberobustandreliable.sub-groupanalysisisalsopossiblee.g.byageandsex,albeitsamplesizeconstraintslimittheextenttowhichsub-groupanalysiscanbeundertaken.

Otheradvantagesofthegpsincludethefollowing:

• asthemostrecentgpswasundertakenin2009,the surveyprovidesanup-to-datepictureofartsengagement bythenorthernirelandadultpopulation.

• theattendanceandparticipationquestionshavebeen posedonaconsistentbasisovereachofthethreeyears thatthegpshasbeenconducted.

• similarpopulationsurveyshavebeenundertakenin england,scotlandandwales,withwhichthegpsresults canbecompared.

thecomparabilityofthegpsfindingswithotheruKcountriesis,however,limitedinanumberofrespects.First,duetodifferencesinthesetofeventsaboutwhichpeopleareasked,thegpsheadlineindicatorsforattendance(i.e.theproportionsayingtheyhadattendedanyartsevent)arenotfullycomparablewiththepublishedfindingsfromtheseotherstudies.Forexample,thepublishedresultsforthetakingpartsurveyinengland27donotincludefilmamongthesetofeventsforwhichstatisticsonattendanceatartseventsarepresented.second,intheotheruKcountries,thedefinitionofparticipationissomewhatbroader.Forexample,bothenglandandwalesincludeactivitiessuchasthepurchaseoforiginalworksofartandreadingbooks,neitherofwhichareoptionsaboutwhichrespondentsareaskedinthegpsparticipationquestion.

thefirstofthosetwolimitationshasbeenaddressedbydownloadingthetakingpartsurveydatasetsforenglandfor2006-07and2007-08fromtheuKdataarchive28.thedatasetswerere-analysedtoproducetablesforattendancebytypeofartseventandpopulationsub-groupsthatcouldbecomparedwiththegpsresults(seeFigures2.2-2.4inthedigest).

asthegpsisasamplesurvey,theresultsareinevitablysubjecttosamplingerror.Forexample,thesampleestimatefortheproportionofthepopulationattendingatleastoneartseventinthelast12monthsrangesfrom74percentin2004to76percentin2007.the95percentconfidenceintervalsforthoseestimatesare±2.5percent.For2009,the95percentconfidenceintervalrangesfrom73.5to78.5percentofthepopulationi.e.in95percentofsamplestherangewouldcontainthetruevalueinthepopulation.withasamplesizeof1,100to1,300,theneedtotakeintoaccountsuchsamplingerroralsohastheeffectoflimitingtheuseofthegpsfortrendanalysisi.e.detectingstatisticallysignificantchangesfromonesurveytothenext.

26nisraconductsthegeneralpopulationsurveyaspartofitsregularniOmnibussurvey.FortechnicalandotherdetailsoftheniOmnibussurvey,see http://www.csu.nisra.gov.uk/survey.asp10.htm.

27http://www.culture.gov.uk/reference_library/research_and_statistics/4828.aspx.

28http://www.data-archive.ac.uk/.



aswithothersamplesurveysofthepopulation,thegpsisaffectedbynon-responseamongthosefromwhominterviewsarerequested.typically,non-responseishigheramongtheyoungeragegroups,sothatthoseaged16-24areunder-representedinthesurveyresultswhilethoseaged65andoverareover-represented.ascanbeseenfromtableB.1,thegpsresultsfollowthetypicalpatternintheageprofileofrespondentswhencomparedtothepopulation.Forthepurposesofthedigest,therefore,thegpsresponseshavebeenweightedsothattheageandsexprofileofrespondentsmatchesthenipopulationaged16+29.

afinalpointtobearinmindintheuseandinterpretationofthegpsfindingsisthatrespondents’reportedratesofattendanceatandparticipationinarts-relatedactivitieswillinevitablybesubjecttoadegreeofrecallerror.

contInuous household surVey

theContinuoushouseholdsurvey(Chs)isalarge-scalecontinuoussurveycarriedoutinnorthernirelandbynisra’sCentralsurveyunit30.itisbasedonasampleofthegeneralpopulationresidentinprivatehouseholdsandhasbeenrunningsince1983.thesurveyisdesignedtoprovidearegularsourceofinformationonawiderangeofsocialandeconomicissuesthatarerelevanttonorthernireland.

theChscomprisesacoresetofquestions,whichareaskedineveryyearthatthesurveyisconducted,alongwithspecialmodulescommissionedmainlybygovernmentdepartments.since2004/05,theChshasincludedasuiteofquestions,commissionedbydCal,askingpeopleabouttheirengagementinthearts.From2004/05to2006/07,thequestionregardingattendancewasposedusinganopen-endedformati.e.itwaslefttotherespondenttodecidewhatconstitutedan‘artsevent’.

theformatoftheattendancequestionwaschangedforthe2007/08and2008/09surveys,whenrespondentsweregivenalistofeventsandaskediftheyhadattendedanyofthoseinthelast12months.thelistofeventspresentedtoChsrespondentsinthe2007/08and2008/09surveysarebroadlysimilartowhatisusedinthegps.inaddition,theChsincludesa(banded)questiononfrequencyofattendanceforeachtypeofeventthattherespondentsaysheorsheattendedinthelast12months.Bycontrast,thegpsdoesnotaskaboutfrequencyofattendance.asitincludesthe

activitiesofbuyingoriginalworksofartandreadingforpleasure,theChsquestiononparticipationalsodiffersfromthegps.inaddition,theChshasaskedrespondentstostatetheirlevelofsatisfactionwithartsprovisioninnorthernireland.

themostimportantadvantageoftheChsisitsrelativelylargesamplesize.Forexample,inthe2008-09Chs,atotalof3,135individualsaged16+respondedtothedCalartsmoduleintheChsgivingasamplesizealmostthreetimesaslargeasthegps.inordertoexploretheuseoftheChsforthepurposesofthedigest,therelevantChsdatasetsweredownloadedfromtheuKdataarchive.

notwithstandingthesamplesizedifference,thegpshasbeenusedasthepreferredsourceforestimatingartsattendanceandparticipationratesamongthenipopulation,forthreereasons:

• thegpshasbeenconductedonaconsistentbasis since2004.theartsmoduleintheChshasbeenrunon aconsistentbasisonlysince2007-08.

• thedetailedgpsfindingscanbedirectlycompared withthetakingpartsurveyinengland,whichhasa similardesigntothegps.

• theChsisexperiencingagrowingproblemof non-responsewithinhouseholds.

30http://www.csu.nisra.gov.uk/survey.asp29.htm.

29thisage-sexweightingisinadditiontotheweightingbynisratoaccountforthefactthat,intheniOmnibussurveydesign,individualslivinginlargerhouseholdshavealowerprobabilityofselectionthanthoselivinginsmallerhouseholds.thisarisesbecause,ateachrandomlyselectedaddress,wheretherearetwoormoreadults,oneindividualisselectedforinterviewusingarandomprocedure,withnosubstitutesbeingpermitted.

table b.1 ageprofileofgpsrespondents,comparedtopopulation

gpsrespondents population1

2004 2007 2009 2004 2007 2008

% % % % % %

16-24 14 16 13 17 17 17

25-34 18 16 12 17 17 17

35-49 27 28 29 28 27 27

50-64 21 21 27 21 21 21

65andover 20 19 20 18 18 18

all 100 100 100 100 100 1001source:nisra,mid-yearpopulationestimates.



contInuous household surVey (COnt)

Ofthethreereasonslisted,thenon-responseissueintheChsisthesinglemostimportant.intheChs,addressesareselectedatrandom.atco-operatinghouseholds,interviewsaresoughtwithallindividualhouseholdmembers.however,whetherallhouseholdmembersareinterviewedornotwilldependonarangeoffactors,includingwhethertheindividualispresentandavailableforinterview.thatis,non-responsetothedCalChsmodulearisesnotjustfromtheusualproblemsofnon-cooperationthataffectsamplesurveys,butalsofromavailabilityorotherwiseforinterview.theproblemisthatavailabilitymightnotberandomlydistributedwithreferencetomeasuringthepropensitytoattendthearts.

theproblemisillustratedinFigureB.1forthe2008-09Chs.inthatsurveyround,atotalof4,732individualsaged16+wereresidentattheco-operatingaddresses.Ofthose,3,135(66percent)wereavailableandrespondedtothedCalmoduleintheChs.nointerviewswereobtainedfromtheremaining1,597(34percent)householdmembers.ascanbeseenfromFigureB.1,theageprofileforthenon-availablehouseholdmembersintheChsdifferedsharplyfromtheageprofileforthosewhodidrespond.itcanalsobeseenthattheageprofileforgpsrespondentsismorecloselyalignedtothepopulationprofilethanisthecaseforthosewhorespondedtothedCalartsmoduleintheChs.

Forthereasonsoutlinedabove,theChshasnotbeenusedinthisdigestinpreparingestimatesforthepropensityofthepopulationtoattendartseventsorparticipateinarts-relatedactivities.

theChshas,however,beenusedinpresentingstatisticsinsection2ofthedigest(attendingthearts),inrelationtotopicsthatarenotincludedinthegpsi.e.frequencyofattendance,enjoymentoflasteventattendedandsatisfactionwithartsprovisioninnorthernireland.theChshasalsobeenusedindocumentingreasonswhypeopledonotattend(more)arts-relatedactivities.ineachoftheseanalyses,theresponsesofthosewhosaidtheyattendedoneormoreartseventsinthelast12monthsarepresentedseparatelyfromthosewhosaidtheyhadattendednosuchevents.

Figure B.1 CHS 2008-09: Response and non-response to DCAL arts module, by age

PopulationCHS w/ DCAL responseCHS, no DCAL responseCHS, all household membersPooled 2007-09 GPS

Per

cen

t

Age group

30

23

15

8

025-3416-24 35-49 50-64 65+



the Psa 9 arts eVents

thesetofartseventsspecifiedbydCalasfallingwithintheambitofpsa9intheprogrammeforgovernment(pfg),aresetoutintableB.2.thesearealsotheeventsaboutwhichrespondentsareaskedintheChs31.

thesetofeventsaboutwhichpeopleareaskedinthegpsvariesfromthepsa9setasthetwounderlinedeventsintableB.2arenotincludedinthegpsi.e.eventswhichincludevideoorelectronicartandstreetfestivals.however,theevidencefromtheChsisthatalmostallwhoattendthoseeitherorbothofthosetwoeventsalsoattendoneormoreothereventsinthepsa9list.inthe2007-08Chs,96percentofthosesayingtheyhadattendedoneorotherofthetwoeventsalsoattendedatleastoneotherpsa9event.theproportionwas99percentinthe2008-09Chs.

Consequently,excludingthesetwoeventsmakeslittledifferencetotheproportionofChsrespondentssayingtheyhadattendedoneormorepsaevents.Forthe2008-09survey,thepsa9attendanceratefromtheChsfallsfrom66.1whenalleventsintableB.2areincludedto66.0percentwheneventswhichincludevideoorelectronicartandstreetfestivalsareexcluded.thedegreeofoverlapbetweenattendanceatotherpsa9eventsandthetwoeventtypeswhichareexcludedfromthegpswouldsuggestthatthepropensitytoattendapsa9eventiscapturedbythesetofeventsthatareincludedinthegps.

young PeoPle’s behaVIour and attItude surVey

theyoungpeople’sBehaviourandattitudessurvey(ypBas)isaschool-basedsurveycarriedoutamong11-16yearolds.themainaimoftheypBasistogainaninsightinto,andincreaseunderstandingof,thebehavioursandlifestylesofadolescents.

introducedin2000asanomnibussurveyofpost-primaryschoolchildren,theypBasisnowatriennialstudy,thesecondroundofwhichwasconductedin2003,andthethirdin2007.

theypBascoversawiderangeoftopics.therelevancetotheartsdigestisthatthe2007surveyincludedasuiteofquestionsonthearts.intheartsmodule,youngpeoplewereaskedabout:

• participationi.e.artsactivitiesthattheyhavetakenpartin overtheprevious12months.

• attendancei.e.artseventsthattheyhavebeentointhe last12months.

thefollowingpointscanbenoted:

• thesamplebaseislarge,inexcessof3,300.hence,the top-linesurveystatisticswillberobustandreliable.the samplesizealsopermitssub-groupanalysis.

• theartsmodulewasfirstintroducedin2007.thisis timelyenoughforthepurposesofthedigest,butthere arenopreviouscomparabledatatogaugechanges overtime.

• whilethereissomeoverlap,theresponsechoicesdo notcorresponddirectlytothoseusedforadultsinthe gps.thisisparticularlytrueforparticipation,which includesreadingforpleasure.

theypBasisclearlyrelevanttothedigestandfillsanimportantgapinknowledgeofyoungpeople’spropensitytoattendandparticipateinarts-relatedactivities.tofacilitatemoredetailedanalysisthanwasavailablefromthepublishedtop-lineypBasresults,the2007datasetwasdownloadedfromtheuKdataarchive.

table b.2 psa9artsevents

Filmatacinemaorothervenue;exhibitionofcollectionofart,photographyorsculpture;craftexhibition;eventswhichincludevideoorelectronicart;eventsconnectedwithbooksorwriting;streetarts;circus;carnival;artsfestival;communityfestival;playordrama;othertheatreperformance;opera/operetta;classicalmusicperformance;rockorpopmusicperformance;jazzperformance;folk/traditional/worldmusic;otherlivemusic;ballet;irishdance;otherdance.

source:departmentofCulture,artsandleisure,2008.psadeliveryagreement9:promotingaccesstoCulture,artsandleisure.

31similartothegps,theChsalsoasksrespondentsaboutattendanceatmuseumsinthepast12months.museumsarenotincludedasaneventtypeinpsa9,butitisstraightforwardtoomitmuseumsinordertocalculateapsa9attendancerate.



acnI datasets

theaCnisuppliedanumberofdatasetstoassistinpreparingthedigest,asfollows:

• surveyofregularlyFundedOrganisations(rFOs).

• siapawardsdatabase

• grantawardsbyyearandtype,from2004-05to2008-09.

• grantdistributionanalysis.

theartsCouncilconductsanannualsurveyoforganisationssupportedundertheannualsupportforOrganisationsprogramme(asOp)andthemulti-annualprogramme(map).therFOsurveycollectsinformationonarangeoftopics,includingincomeandexpenditure,performances,exhibitionsandparticipationactivities.itisthemainsourceofdataforsection6ofthedigest(producingthearts).

therFOfinancedataareverydetailed,withinformationbyorganisationtypeandartformclassificationoftherFO,inrelationtothefollowing:

• expenditure,includingcorecostsandprogrammecosts.

• Currentincomesourcesi.e.grantincome,earnedincome andcontributedincome.

• Capitalincome.

Fortheincomeandexpenditurestatistics,rFOdatawerepooledfortheyears2006-07and2007-08.inthoseyears,atotalof146organisationsmadereturns.Ofthese,135(92percent)madereturnsinbothyears.

inthedetailedanalysesbyorganisationtypeandmainartformoftheorganisation,twostepsweretakentopreservetheconfidentialityoftherFOreturns:

• athresholdminimumoffiveorganisationswasspecified foranydisclosureoftherelevantstatistics.

• inthedetailedprofiletables(e.g.table6.2forincome sourcesbyorganisationtype),onlythepercentage compositionofincomeorexpenditureisshown,notthe actualamounts.

separatedatasetswerealsoprovidedfromtherFOsurveyinrespectofthefollowing:

• performances.

• exhibitions.

• participation.

thesedatasetsservetodocumenttheoutputsandactivitiesoftherFOsi.e.numbersofexhibitions,performancesandeventspromotedtoengageparticipationbythepublic.asnotedinpresentingtheanalysesinsection6ofthedigest,therFOreturnsforperformances,exhibitionsandparticipationaremostlyself-reported,withtheexceptionoftheattendancefiguresderivedfromtheaudiencesnisystems.theuncertaintiesassociatedwithself-reporteddataarealsohighlightedinthemainbodyofthedigest.

thesiapawarddatasetisdescribedinsection7ofthedigest.asnoted,themainuncertaintyassociatedwiththeprofilingofsiaprecipientsisnon-completionofmonitoringreturns.

thegrantawardsdatasuppliedbytheaCniisimportantindocumentingthelevelandorientationofpublicfundingfortheartsintheperiodsince2004-05.thesedataareusedinsections1(Contextfortheartsinnorthernireland),8(physicalinfrastructure),9(Communities)and13(Fundingforthearts).



the creatIVe IndustrIes

thecreativeindustriesaredefinedasfollows(dCms,2009):

“those industries which have their origin in individual creativity, skill and talent which have a potential for job and wealth creation through the generation and exploitation of intellectual property”.

Formeasurementpurposes,thecreativeindustriesaredefinedbydCmstoencompass13fields:advertising,architecture,artandantiques,computergames,crafts,design,designerfashion,filmandvideo,music,performingarts,publishing,softwareandtvandradio.

emPloyment In the creatIVe IndustrIes

thedepartmentforCulture,mediaandsports(dCms)hasdevelopedamethodologyforestimatingemploymentinthecreativeindustries32.inthedCmsmethodology,creativeemploymentisdefinedwithreferencetobothindustrysectorsandoccupationalclassifications.thus,dCmsdistinguishesthefollowing:

• employmentinthecreativeindustries.

• employmentincreativeoccupationsoutsidethe creativeindustries.

employmentinthecreativeindustriesisdefinedbymappingthe13fieldslistedabovetothestandardindustrialClassification(siC)usedforreportingemploymentonanindustrialsectorbasis.themappingusedbydCmsisreproducedastableB.3.itshouldbenotedthatthemappingisapproximate.assomeindustrysectorscontainactivitythatfallsoutsidethecreativeindustriesdefinition,onlyaportionofthetotalactivitywithinthosesectorsisincludedinthedCmscreativeindustriesemploymentestimates.themappingshownintableB.3isbasedonthe2003siC.therehasrecentlybeenarevisionofthesiCclassifications,fromsiC2003tosiC2007,whichwillentailare-designofthedCmsmapping.

theestimationofemploymentincreativeoccupationsoutsidethecreativeindustriesisdesignedtocapturethefullbreadthofthesector.Forexample,peoplewhoworkinarts-relatedoccupations,suchasactors,entertainers,dancersandchoreographers,mayworkinanindustrysectoroutsidethecreativeindustries.thus,inestimating‘creativeemployment’,dCmsalsoincludescertainstandardOccupationalClassification(sOC)codesasbeing‘creativeoccupations’.themappingfromcreativeindustriestooccupationsissetoutinannexBofthedCmsstatisticalBulletin,reproducedbelowastableB.4.

theestimatesforcreativeemploymentinsection10ofthedigestfollowthedCmsmethodologyinmappingfromindustrysectorsandoccupationstocreativeemployment.therearetwobasicsourcesofcurrentinformationonemploymentinthecreativeindustries:

• thelabourForcesurvey.

• theCensusofemployment.

thelabourForcesurvey(lFs)isaquarterlysamplesurveyofhouseholdslivingatprivateaddresses.asthenameimplies,themainpurposeofthelFsistocollectinformationontopicssuchasemployment,bothself-employedandemployees,andunemployment.thelFsalsocollectsverydetailedinformationontheindustrysectorsandoccupationsinwhichpeopleworkaswellasawealthofdataonpersonalattributes,bothdemographicandemployment-relatede.g.highestqualification.infact,thelFscollectsalltheindustrysectorandoccupationinformationthatdCmsrequiresforitsestimatesofcreativeemploymentingreatBritain.

thelFsisalarge-scalesurvey.inanygivenquarter,about3,600-3,700individualsaged16+areinterviewedinnorthernireland.typically,about1,700-1,800areinemployment.however,ataroundfourpercentofthetotalworkforce,thetypicalquarterlylFsincludestoofewindividualsinthecreativeindustriesoroccupationstosupportestimationbyindustrysector.

thenorthernirelandCensusofemployment(Coe)isundertakeneverytwoyears.themostrecentpublicationrelatesto2007.theCoeisafullcountofthenumberofemployeejobsinallindustriesexceptforagriculture.jobsdataarepublishedforverydetailed(4and5-digit)siCcodes.Forexample,in2007,accordingtotheCoe,therewere279employeesinartisticandliterarycreationandinterpretation(siC92.31)and634employeesengagedinOperationofartsfacilities(siC92.32).

theCoecannot,onitsown,beusedforestimatingcreativesectoremployment,fortworeasons:

• theself-employedarenotincluded.

• theCoedoesnotrecordtheoccupationsofemployees.

inlightoftheconstraintsassociatedwithboththelFsandtheCoe,dCalhaspreviouslyproducedestimatesofcreativeemploymentinnorthernirelandbyusingamixedapproach,relyingontheCoeforestimatesofemployeejobsinthecreativeindustriescombinedwithlFsratiodatafortheself-employedandpersonsemployedincreativeoccupationswhodonotworkinoneofthe13creativeindustries.theapproachtoestimatingcreativeemploymentforthepurposesofthedigesthasthereforebeenbasedupondCal’smixedapproachintheuseoftheavailablesourcesofemploymentdata.

thefirststageintheapproachwastoobtainestimatesofemployeejobsinthecreativeindustriesfromtheCoe.theseestimatesweresuppliedbydeti,afterapplyingtherelevantdCmscreativeindustryweightstotheCoedata(seetableB.3).

thesecondstagewastodownload,fromtheuKdataarchive,eachquarterlylFsfortheperiodfrom2004tospring2009i.e.21quarterlydatasets.thedatasetswerethenpooledtoobtainestimatesoftherelevantratiosforeachcreativeindustrysectore.g.theself-employedincreativeindustriesrelativetoemployeesinthecreativeindustries.theseratioswerethenappliedtotheCoe-basedemployeejobfigurestoderiveestimatesoftotalemploymentincreativeindustriesandoccupations.

32departmentforCulture,mediaandsport,2009.Creativeindustrieseconomicestimates.statisticalBulletin,january2009.availableat:http://www.culture.gov.uk/images/research/creative_Industries_economic_estimates_jan_09.pdf.



table b.3assumptionsforcorrespondencebetweenCreativeindustriesandthe2003standardindustrialClassification

sector standardindustrialClassification(siC) proportionofcodetaken1

Code description

advertising 74.40 advertising

architecture 74.20 architectureandengineeringactivitiesandrelatedtechnicalconsultancy

(25%)

art&antiques 52.48 Otherretailsaleinspecialisedstores (5%)

52.50 retailsaleofsecond-handgoals (5%)

Crafts majorityofbusinessestoosmalltobepickedupinbusinesssurveys

design nocodesmatchthissector

designerFashion 9Codes Clothingmanufacture2 (0.5%)

74.87 Otherbusinessactivitiesnotelsewhereclassified (2.5%)

video,Film&photography

22.32 reproductionofvideorecording (25%)

74.81 photographicactivities (25%)

92.11 motionpictureandvideoproduction

92.12 motionpictureandvideodistribution

92.13 motionpictureprojection


22.14 publishingofsoundrecordings

22.31 reproductionofsoundrecording (25%)

92.31 artisticandliterarycreationandinterpretation

92.32 Operationofartsfacilities

92.34 Otherentertainmentactivitiesnotelsewhereclassified (50%)

92.72 Otherrecreationalactivitiesnotelsewhereclassified (25%)

publishing 22.11 publishingofbooks

22.12 publishingofnewspapers

22.13 publishingofjournalsandperiodicals

22.15 Otherpublishing (50%)

92.40 newsagencyactivities


22.33 reproductionofcomputermedia (25%)

72.21 publishingofsoftware

72.22 Othersoftwareconsultancyandsupply

radio&tv 92.20 radioandtelevisionactivities

notes:1assomesiCscontainactivitydeemedtobeoutsideofthecreativeindustries,onlyaproportionofthetotalactivitywithinthesecodesisincludedintheestimates.

2nineClothingmanufacturingcodesusedfordesignerFashion:17.71,17.72,18.10,18.21,18.22,18.23,18.24,18.30,19.30.source:tablea1,dCms,CreativeindustriesstatisticalBulletin,january2009.

emPloyment In the creatIVe IndustrIes (COnt)



tableB.4Best-fittingsOC2000CodesforCreativeOccupations,toestimatenumberofcreativejobsoutsidebusinessesintheCreativeindustries

sector standardOccupationalClassification(sOC)

Code description

advertising 1134 advertisingandpublicrelationsmanagers

3433 publicrelationsofficers

3543 marketingassociateprofessionals

architecture 2431 architects

2432 townplanners

3121 architecturaltechnologistsandtownplanningtechnicians

art&antiques nocodesmatchthissector

Crafts 5491 glassandCeramicsmakers,decoratorsandfinishers

5492 Furnituremakers,othercraftwoodworkers

5493 patternmakers(moulds)

5494 musicalinstrumentmakersandtuners

5495 goldsmiths,silversmiths,preciousstoneworkers

5496 Floralarrangers,Florists

5499 handCraftoccupationsnotelsewhereclassified

8112 glassandCeramicsprocessoperatives

9121 labourersinBuildingandwoodworkingtrades1

design 2126 designanddevelopmentengineers

3411 artists

designerFashion 3421 graphicdesigners

3422 product,Clothingandrelateddesigners

5411 weaversandKnitters

video,Film&photography

3434 photographersandaudio-visualequipmentoperators


3412 writers,authors

3413 actors,entertainers

3414 dancersandChoreographers

3415 musicians

3416 artsofficers,producersanddirectors

publishing 3431 journalists,newspaperandperiodicaleditors

5421 Originators,Compositorsandprintpreparers

5422 printers

5423 Bookbindersandprintfinishers

5424 screenprinters


1136 informationandCommunicationtechnologymanagers

2131 itstrategyandplanningprofessionals

radio&tv 3432 Broadcastingassociateprofessionals

5244 tv,videoandaudioengineers

notes:1Onlyaproportion(5percent)ofthissOCistaken.source:tablea2,dCms,CreativeindustriesstatisticalBulletin,january2009.



gross Value added

grossvalueadded(gva)isameasureofthetotalvalueofgoodsandservicesproducedbyaneconomyoverthecourseofayear.itisabasicmeasureoftheeconomicimpactofanindustrysector.

FortheuKasawhole,dCmsusesannualBusinessinquiry(aBi)datatogenerateanestimateofthegvaproducedbythecreativesector.

thenorthernirelandestimatesshowninthisdigestwerefurnishedbydetiresearchandstatisticsBranchbasedontheresultsofthenorthernirelandannualBusinessinquiry33.

enterPrIses

theinterdepartmentalBusinessregister(idBr)containsdetailedinformationonallbusinessesthatareregisteredforvatand/orpaye,includingtheself-employedandsoletraders.Forthatreason,theregisterisusedbydCmstoprovideanestimateofthenumberofbusinessesinthecreativesectorintheuK.

therelevantdataarepublishedannuallybytheOfficefornationalstatisticsasuKBusinessactivity,sizeandlocation34.thedatacontainedintheuKBusinesspublicationareproducedfromasnapshotoftheinterdepartmentalBusinessregister(idBr)takenon21marcheachyear.theidBrisbasedonvattraderandpayeemployerinformationpassedtotheOnsbyhmrevenue&Customs.itdoesnotthereforeincludethose,suchassomesoletraders,whoarenotregisteredforeithervatorpaye.

priorto2008,theactivity,sizeandlocationreportonlyincludedvat-basedenterprises.however,in2008,thescopeofthepublicationwasexpandedtoincludeenterprisesbasedonpayeemployersthatarenotalsoregisteredforvat.theextensioninthescopeoftheactivity,sizeandlocationreportmeansthatthe2008figurescannotbecomparedwithearlieryears.itisnotthereforepossibletopresentatrendanalysisbasedonaconsistentdefinitionofenterprises.

theactivity,sizeandlocationreportpresentstwomeasuresofthenumbersofbusinessesineachoftheuKregions,asfollows:

• uKvatand/orpayebasedenterprises.

• localunitsinuKvatand/orpayebasedenterprises.

thelocalunitisausefulmeasureinaregionalcontextsinceitgivesthenumberofbusinessesoperatingwithinaregion(andthatsatisfythecriteriaforinclusionintheactivity,sizeandlocationreport).Forexample,thelocalofficeofacompanywithheadquarters–andvatregistration–outsideofnorthernirelandisincludedinthelocalunitsmeasure,butnottheenterprisesmeasure.

thetablesusedfortheestimatespresentedinsection10ofthedigestareasfollows:

• tableB3.4,showingthenumberofvatand/orpaye basedenterprisesbystandardindustrialclassification andgovernmentOfficeregion.

• tablea3.4,showingthenumberoflocalunitsinvat and/orpayebasedenterprisesbystandardindustrial classificationandgovernmentOfficeregion.

thedCmsmappingfromcreativeindustriestothe2003siCwasappliedtotheforegoingtablestoderivetheestimatesfor2008asshownintable10.6ofthedigest.however,in2009,theBusinessactivitypublicationchangedtothesiC2007.asnotedearlier,arevisedmappingwillberequiredtoconvertfromthe2007siCtothecreativeindustries.

34availableat http://www.statistics.gov.uk/statbase/product.asp?vlnk=933.

33ForadescriptionoftheniaBi,seehttp://www.detini.gov.uk/stats-pubs-21.



socIo-economIc trends

unemPloyment

theunemploymentfiguresinFigure1.1arebasedontheclaimantcountmeasure.monthlyunemploymentclaimantcounts,seasonallyadjusted,weredownloadedfromnOmis,anonlinestatisticalserviceprovidedbynationalstatistics,providinginformationonlabourmarketindicatorsforvariousgeographicalareaws,includingnorthernireland37.

themonthlycountswereconvertedtoquarterlyaveragesforthepurposeofFigure1.1.

emPloyment

theemployeejobsshowninFigure1.1weretakenfromdeti’squarterlyemploymentsurvey(qes).aseasonallyadjustedhistoricalseriescanbedownloadedfromhttp://www.detini.gov.uk/deti-stats-index/stats-labour-market/stats-labour-market-employment.htm.

demograPhy

thepopulationchangefiguresshowninFigure1.2weretakenfromthenorthernirelandmid-yearpopulationestimates,producedbynisra.the2008estimates,alongwithhistoricaldata,canbefoundathttp://www.nisra.gov.uk/demography/default.asp17.htm.thenisrareportonthe2008mid-yearestimatescanbefoundathttp://www.nisra.gov.uk/archive/demography/population/midyear/mye_report_2008.pdf.

nisra’smid-yearpopulationestimatesalsoservedasthedatasourcefortheinternationalmigrationestimatesshowninFigure4.2.the2008figurescanbefoundinthenicomponentsofpopulationchangetableathttp://www.nisra.gov.uk/demography/default.asp17.htm.

thepopulationprojectionsusedinFigure14.1weretakenfromthe2008-basedprojectionsreleasedbynisrainOctober2009.thepressrelease,andtheprojectiontables,canbefoundathttp://www.nisra.gov.uk/demography/default.asp20.htm.

Internet access

theinternetaccessstatisticsshowninFigures1.3and4.1weresourcedfromnisra’sContinuoushouseholdsurvey(Chs).thedatacanbelocatedintable4.4oftheChsresultsshownforhouseholddurablesandinternetaccessathttp://www.csu.nisra.gov.uk/survey.asp135.htm.

PublIc exPendIture

thepublicexpendituredatashowninFigures14.3and14.4havebeensourcedfromhmtreasury’spublicexpenditurestatisticalanalysis(pesa)tables,whichcanbefoundathttp://www.hm-treasury.gov.uk/pespub_pesa09.htm.thetrendinuKpublicexpenditureinrealterms(table14.3)wasderivedfrompesatable4.3.eachofthetablesinpesaChapter10wasusedforFigure14.4,showingpublicspendingonculturalservicesasapercentoftotalexpenditure,excludingsocialprotection.

enrolments

thesourcesforthesection11inthedigestarethefollowingstatisticalBulletins,bothofwhichwerepublishedbydel.

• professionalandtechnicalenrolmentsinthenorthern irelandFurthereducationsectorfor2007/08and 2008/0935.publishedinjanuary2010,theBulletingives detailsoffullyearstudentenrolmentsonprofessional andtechnicalcoursesatFurthereducationinstitutions innorthernirelandfor2007/08and2008/09.thedigest datawereextractedfromtables5,6,11and12.

• enrolmentsatuKhighereducationinstitutions: northernirelandanalysis2008/0936.publishedinmay 2010,theBulletinfocusesonstudentsenrolledathigher educationinstitutions(heis)inniandnidomiciled studentsenrolledatheisintheunitedKingdom(uK)in theacademicyear2008/09.thedigestdatawere extractedfromtables3and8.

36http://www.delni.gov.uk/index/publications/r-and-s-stats/higher-education-enrolments/heenrolments0809.htm.37https://www.nomisweb.co.uk/default.asp.

35http://www.delni.gov.uk/index/publications/r-and-s-stats/further-education-enrolments-2/professional-and-technical-enrolments.htm.

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