Annual Report

Image: Merchant City Festival

Contents

4 Contents

06/ Chairman & Director Reports 08/ Projects 14/ Stories 20/The Source 22/GGA Conference 23/ The GaGAs 24/ Innovation Award 25/Events 26/Annual Accounts 28/ Members 29/The Team

5 Contents

GGA 08/09

Welcome to GGA’s 2008/09 Annual Report. It is published at a time when we are engaged in a wide ranging discussion about the future of the arts in Scotland. The need to discover, share, interrogate (and yes, defend) the impact the arts makes on the lives of artists and audiences has never been greater. Our role in this debate, both now and in the future, will be to ensure that you as arts organisations have access to the powerful information you need to realise your aspirations. This sits at the heart of our job at GGA.

We don’t however simply provide data on audiences. Through our practical support and specialist knowledge about audience participation and attendance, we also help you to stimulate new ideas and a readiness to engage.

So how have we done this year?

Our starting point is always measured against what you think. We positively welcome feedback through our member focus groups and ongoing project evaluations. This is essential so that you continue to have access to appropriate, sustained and dedicated grassroots expertise.

While I believe that, thanks to the efforts of GGA’s talented staff and your loyalty, we are moving in the right direction, there is still more we can do to ensure that GGA is properly shaped to respond to the changing marketplace that is Creative Scotland. That challenge will be our focus in the coming year.

Roy McEwan - GGA Ltd.

Chairman’s Report

Director’s Report

Looking back, 2008/09 has been a red-letter ‘year’ in determining GGA’s future. This year we were invited to apply for Scottish Arts Council 2009/11 Flexible Funding – a significant step forward in status from our previous annual project funding. We believe that this is in recognition of audience development’s important role in Scotland and of GGA’s wider impact within the arts sector to support our members and clients to build new audiences in the long term.

Our annual conference, ‘Cultural Connections’, formed part of a wide ranging programme of training, workshops and networking events. We tailored our membership services to incorporate work with both local and national organisations outside Glasgow and across the cultural sector.

We were also successful in raising the visibility of Glasgow’s arts scene when two GGA team members, Dianne Greig and Nina Honeyman, took part in a national competition to find the ‘rising stars’ of Scottish tourism. Their team gained first place with a marketing strategy tailored to the promotion of arts and cultural tours for audiences in both Edinburgh and Glasgow.

We created formal links with other national organisations, such as ‘Network’ – the consortium of audience development agencies. In a partnership project with Audience Data UK (ADUK) we became accredited trainers to ensure that the needs of their members and clients are represented in Scotland and across the UK. None of this would have been possible without the strong commitment and expertise of our team.

Planning and leading collaborative programmes has always been a GGA vocation. It was particularly apparent this year in our work with the national touring companies and performing arts venues. Issues raised by them were analysed in a feasibility study, which helped GGA secure additional investment to manage a national consortium project called ‘The Source’. Involving the Federation of Scottish Theatre and The Audience Business in Edinburgh, ‘The Source’ will enable Scottish performing arts organisations to benchmark their audiences against a wider national profile as well as provide training and opportunities for staff development. This unique support infrastructure will present universal market intelligence to inform collaborations, help target new audiences and evaluate impact.

In doing so, we continue to expand our horizons, re-position ourselves in the changing arts scene and support your keen ambitions for growth.

Julie L. Tait - GGA Ltd.

6 Chairman & Director Reports

Image: Platform © Katy Dove

8 Projects

Projects

Audit Of Trends & Practice Cryptic An audit of marketing activity and ticket sales data relating to the company’s performances between 2002 and 2006 provided a basis on which to establish key recommendations to enhance communications with current and potential audiences.

Communications Support Dance HouseGGA provided tactical communications support to Dance House in the lead up to ‘Moving On’, an international dance and disability conference, which took place at the end of March 2009.

Facilitation - Board Development Catherine WheelsBusiness development sessions with Catherine Wheels’ board members.

Facilitation - Exploring Aspirations Glasgow Film TheatreA series of workshops with the GFT team to explore the thinking behind their audience development practice.

Family Workshops Scottish EnsembleResearch consultancy informing the creation of communication materials specifically tailored to the family audience.

Economic Impact - Comet Festival 2008 Inverclyde CouncilMeasuring the economic impact of the 2008 ‘Comet Festival’ on behalf of Inverclyde Council.

Our assignments this year have again been many and varied.Research has included highlighting the aficionados from the novices at the BBC SSO’s free ‘Listen Here!’ concerts, assessing Scottish Ballet’s Scottish audiences over the last three years, surveying the Glasgow Concert Hall’s jazz fans and comparing the RSNO’s bookers at ‘Concerto for Turntables’, ‘Video Games Live’ and ‘Elvis Costello’ with ‘Proms’ and regular season audiences. The National Theatre of Scotland’s Glasgow attenders were also mapped against the city’s population profile, Tramway’s visitor trends between 2006 and 2009 were established, audience crossover at Dundee and Perth venues was interrogated and we looked at who was most likely to choose drama, music and comedy events at the Tron. Over the coming pages you can read more about this year’s projects and the events we have presented.

Image: Scottish Ensemble © Joanne Green

Projects

Economic Impact - Celtic Connections 2009 Glasgow’s Concert HallsA third visitor economic study was completed to assess the impact of ‘Celtic Connections’ in 2009.

‘The real value of GGA’s ongoing research for ‘Celtic Connections’ is that it provides us with longitudinal data on our economic impact. Charlotte provides comparative statistics that are beneficial both in discussions with our stakeholders and that assist us with our audience development planning.’— Jane Donald, Head of Sales & Marketing, Glasgow’s Concert Halls

Economic Impact - Glasgow Film Festival 2009 Glasgow Film Festival (GFT)The ‘Glasgow Film Festival’ is now in it’s fifth year and considered one of the largest and most influential in the UK. A visitor economic impact study and media analysis was completed by GGA in February.

Economic Impact – Merchant City Festival 2008 UZ EventsCommissioned by UZ Events, this was the third visitor impact study completed for the ‘Merchant City Festival’.

Framing the Future Solar BearWorking with ‘Solar Bear’ to interrogate and plan audience development activity for the next few years gave a fascinating insight into the company’s Deaf Youth Theatre (the first in Scotland) as well as the creative learning, education, outreach and training programmes taking place all over the country.

Gourock Highland Games 2008 – Economic ImpactInverclyde CouncilThe Gourock Highland Games, organised by Inverclyde Council’s Events Team, has developed a successful programme of traditional events, which includes the Gourock Pipe Band Championship and the West of Scotland Highland Dance Championship. GGA assessed the impact of the 2008 Games.

Inspiring Ideas West Lothian CouncilBrainstorming sessions

took place with the Arts Development team to generate new and creative ways to increase arts participation in West Lothian.

Interpreting The Facts Suspect Culture GGA provided in-depth analysis of Suspect Culture’s ‘Interpretation Activities’, undertaken to increase the organisation’s understanding of existing and potential audiences in terms of their needs, levels of engagement, confidence and enjoyment. The project involved rationalising associated data to provide options aimed at increasing audience share.

On The Move: Trongate 103 Street Level PhotoworksAudience development support relating to Street Level Photoworks’ move to Trongate 103.

10 Projects

Image: Merchant City Festival © McAteer Photograph

Projects

Open Studios Visitor Profiling: ScotlandWASPS Artists’ StudiosA mosaic analysis of

‘Open Studios Weekend’ attenders was produced to feed into the organisation’s marketing and web strategy.

Market Of Optimism – On Tour Mischief La-BasSupporting the Mischief La-Bas team with their endeavours to buoy our spirits through their street theatre extravaganza – ‘Market of Optimism’.

‘It’s not every show that sends you home with a duster, a cuddly rat and a certificate promising extreme optimism for the year ahead.’ — The Guardian

Strategic Development East Neuk Festival 2008 Svend Brown and the

Festival team bring world class performances to the East Coast of Scotland – taking music out of concert halls and into some of the East Neuk’s most beautiful and unusual venues.

To support development strategies, GGA reviewed all aspects of marketing practice and researched historical ticket sales data, informing target setting and tactical activity for future festivals.

The Source FST, GGA & TABImplementation of the Scotland-wide project created to increase the combined capacity of arts organisations, venues and touring companies.

Teamwork (NYOS)National Youth Orchestras of ScotlandGGA has been working closely with the NYOS team over the past year as part of a strategic business planning project. Predicated on the company’s national growth ambitions and research previously completed by GGA, a series of workshops provided a platform for discussion and collective decision-making.

‘Stepping Up’ A Gear Audience Data UK / Federation of Scottish TheatreGGA’s Head of Market Research is completing the ADUK’s ‘Train the Trainer’ programme in preparation for workshop delivery across the UK. The company’s Head of Audience Development has embarked on the FST’s ‘Step Up’ Mentoring Programme – supporting mentees within junior and middle management to increase their capacity and skills over the course of twelve months.

Welcome To Touchbase Sense ScotlandGGA has devised audience development recommendations based on desk research and discussion with key contacts for Sense Scotland’s Glasgow resource centre – ‘TouchBase’ in Kinning Park.

The Greenhouse – Audience Development Intern Programme Scottish Arts Council / GGAYear two of Scotland’s internship programme sees Rosemary James join the GGA team to receive training in all areas of audience development before embarking into arts organisations to offer practical support while benefiting from on the job learning.

‘GGA has instilled me with such great enthusiasm and belief in what they do. I have learnt more, made more contacts, and gained more useable skills than in the previous six years in university. I actually feel like my work has a practical impact on what happens in the sector.’ — Rosemary James, GGA intern 08/09

12 Projects

Image: NYOS © Ian Watson, Studio Scotland

14 Platform

Story 1.Platform Ambassadors

Platform, at the hub of the cultural campus known as The Bridge in Easterhouse, is the first dedicated arts venue of it kind in the locale, an area where the majority of the population experience a high level of hardship and have historically low levels of arts engagement. The team at Platform invited GGA to create a project framework designed to encourage the local community to build connections with the venue.

Discussions with a range of groups, in tandem with detailed demographic analysis of the area, helped us to shape a bespoke ‘Arts Ambassadors’ programme that centred on enrolling the services of keen locals (within G33/34 postcode districts) who could spread the word about Platform and represent the views and aspirations of family and friends in their extended networks.

A recruitment session in July 2007 brought together the first eight ‘Young Ambassadors’, who eagerly signed up. An opportunity then arose to recruit locals over the age of fifty – it generated great interest but reluctance by some to take part formally. Positively however, informal promotion is taking place by a number of ‘Older Ambassadors’.

The Ambassadors are collectively knowledgeable about the venue’s facilities and events. They match elements of the programme to target audiences and pro-actively gather feedback to pass to the management team. Conversations with some of them reveal a level of activity that far exceeds original expectations.

Creating Affinity

Box Office ticket sales results are indicative of the efforts being made to encourage the local population to engage with the venue and achieve repeat attendance. The data shows that audiences are coming predominately from the local area (G33/34), attend events more frequently than people who attend other venues in Glasgow and, through the promotion of the venue’s Local Links discount card, are also widening appeal to G32 and G69 postcode districts and beyond. The Local Links card is a key promotional tool for the Ambassadors and its uptake has doubled since they began to endorse it.

There are now more than thirty Ambassadors of varying ages. Initially supported by the Scottish Arts Council, the funding for the project has come to an end but the Ambassadors are still a growing and crucial part of the Platform team. They are strongly embedded within the overall promotion and personality of the venue.

Image: Platform © Elaine Fisher

15 Platform

Platform Ambassadors - Second Nature

Young Ambassador – Isla

Offering a friendly welcome at performances, Isla (who recently became an event steward at Platform) has been an Ambassador since day one. She’s extremely enthusiastic and works proactively to promote the venue. Her favourite focus is the music strand, which involves making her peer group, and their extended network of friends, aware of band nights (e.g. metal, rock). She uses major social networking sites through which to post messages and gauge interest. With other Ambassadors she will seek out local events to promote Platform and The Bridge partners – this has included setting up stalls at Gala Days in Garrowhill Park and Calton where they spoke to attendees about the venue, gathered mailing contacts and discussed the Local Links discount that is available to everyone living within a specific catchment. Isla also focuses her efforts on other target groups including young audiences. She raises awareness about forthcoming kid’s shows in nurseries and gives older audiences season brochures where she will emphasise aspects that might be of particular interest. Isla’s experiences at Platform have not only built her confidence but also helped her to decide on a career in hospitality management.

Young Ambassador – Patrick

Like Isla, Patrick has been an Ambassador from the beginning. His promotional activity includes providing Platform brochures to his extended network of school colleagues. He is closely involved in highlighting specific events including ‘Dance NRG’ – raves for under-16s. Patrick makes a point of finding out what’s in the performance schedule and identifies selling points, estimating that he regularly encourages around thirty or forty people to attend the venue. As a former youth drama group member he now supports the drama team to organise sessions. He also undertakes stewarding duties and is planning a career in music, administration and business management as he is aiming to become a music/lighting technician – again in response to working at Platform.

Older Ambassador – Joyce

As someone over sixty with a very busy social life, it has become second nature for Joyce to talk about Platform’s work. On local bus journeys she will have conversations with those she thinks might be interested to hear about the venue. Being extremely aware of the territorial issues in Easterhouse she is passionate about letting people know there is more to do in the area than “hang around street corners” and receives great satisfaction when a young person crosses Platform’s doorstep. Joyce selects specific shows for her friends, their family and particularly their grandchildren and speaks with great knowledge about presenting companies. She provides feedback on travel issues, timings of performances and organises payment of tickets on behalf of her friends – knowing that they might not attend without her taking the lead. Joyce and her network know the Platform team by first name and will approach staff members if they appear to be new.

It was particularly fascinating to work with Jackie, James, Linda and the Ambassadors at Platform. From the early research stage through to final evaluation, the enthusiasm generated by everyone was phenomenal. I was truly part of a whirlwind of passion for a destination that means a lot to so many.’

— Dianne Greig, Head of Audience Development, GGA

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16 Sense Scotland

Story 2.Sense Scotland

Touchbase

Image: Sense Scotland © Andy Crossan

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Sense Scotland, part of the UK National Deafblind and Rubella Association, is engaged in policy development for children and adults with complex support needs because of deafblindness or sensory impairment, learning disability or physical disability.The organisation also offers support services for people who are marginalised because of challenging behaviour, health care issues and the complexity of their support needs.

Created by Sense Scotland, Touchbase (Kinning Park, Glasgow) is a recently opened innovative community resource building for disabled people, carers, families and the local community. (It is also home to the central office for Sense Scotland). Facilities and services include: a day centre base for children and families, drop-in resources for adults, music, visual and performing arts spaces, community offices, training and meeting rooms for hire and a community cafe.

Her life has been rejuvenated by coming here, to the extent that she is now sitting up, taking notice and communicating to the best of her ability.’ — Parent

To enable the development of strategies aimed at encouraging regular attendance at the facility by target groups, GGA devised audience development recommendations based on desk research and discussions with key contacts and Touchbase users, which included parents.

The honesty and realistic approach of GGA staff supported me to refocus and the team were passionate about our project. It really felt like a strong example of joint working as opposed to a contractual arrangement. I really learnt a lot through the process, which I think challenged GGA through the complex needs of the people and audiences we support. GGA is an extremely professional and committed team, who were focused with their time and generous with their open approach and communication.’

— Kevin Harrison, Sense Scotland

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Image: Sense Scotland © Andy Crossan

18 Mischief La-Bas

Story 3.Mischief La-Bas

Market of Optimism

Image: © Mischief La-Bas

The team at Mischief La-Bas have been ‘gently warping the underlay of the fabric of society’ since their creation in 1992, presenting interactive walkabout theatre, where performers improvise directly with the public. They perform up to two hundred gigs each year for a variety of clients including arts festivals, event agencies, corporate clients and individuals.

Mischief’s most recent production – ‘Market of Optimism’ – is an interactive street- long experience designed to amuse, uplift and inspire all ages. It incorporates around thirty ‘ridiculous’ market stalls, specially invented street musicians, rooftop hawkers, singers and vendors of every description.

In their endeavours to ‘reach the parts that other arts don’t reach’ Mischief La-Bas assigned GGA to scope potential audiences and venues for the Scotland-wide tour before offering six

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towns in Scotland the chance to host their own street theatre experience. The first market will be open for business in Aviemore in July 2009.

We’re also working on the marketing campaign for the ‘Market of Optimism’, the results of which will feed into the final project evaluation due in 2010.

It’s not every show that sends you home with a duster, a cuddly rat and a certificate promising extreme optimism for the year ahead.’

— The Guardian

In the light of the current economic meltdown and general sense of universal misery, Mischief La-Bas is bucking the trend and leading the way towards a bright and glorious future. Firstly by printing and freely distributing their own currency (Neuros) and secondly by touring the ‘Market of Optimism’ for the downtrodden populace to spend it in.

Image: Mischief La-Bas © Gillian McCarrey

20 The Source

The Source is the biggest ever benchmarking and ongoing measure of audience behaviours and demographics across Scotland. It brings together over 40 arts organisations, including major venues and the national touring companies, to share data, provide training and guidance and use collated information strategically to inform programming, marketing and operational planning.

The SourcePioneering Collaboration

Project managed by GGA, The Source was officially launched at the FST Emporium in February 2009.

Planned activity includes a training needs analysis and an in-depth systems health check with participation venues, which will give valuable insight on everything from the quality of ticketing systems to improving audience feedback and customer service.

A series of forums will also provide opportunities for the project partners to share information and be kept up-to-date with progress.

For the first time, this two year joint project between the Federation of Scottish Theatre (FST), Glasgow Grows Audiences (GGA) and The Audience Business (TAB), supported by the Scottish Arts Council (SAC), uses the latest technology to extract and manipulate audience data from box offices around the country to provide a clear picture of Scotland’s audiences.

The Source will absolutely make a difference to the Scottish arts scene, I really believe that.’ — David Stark, Director of Marketing & Communications, RSNO

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21 The Source

The Source Partners

Aberdeen Music Hall

Adam Smith Theatre, Kirkcaldy

Brunton Theatre, Musselburgh

Caird Hall, Dundee

Carnegie Hall, Dunfermline

Citizens’ Theatre, Glasgow

City Halls, Glasgow

Cumbernauld Theatre

Dance Base, Edinburgh

Dundee Rep Theatre

Eden Court, Inverness

Edinburgh Festival Fringe

Edinburgh Festival Theatre

Edinburgh International Book Festival

Edinburgh Playhouse, Edinburgh

Filmhouse/Edinburgh International -

Film Festival

Glasgow Royal Concert Hall

His Majesty’s Theatre, Aberdeen

Horsecross, Perth

Howden Park Centre, Livingston

King’s Theatre, Edinburgh

King’s Theatre, Glasgow

Macrobert, Stirling

National Theatre of Scotland

Old Fruitmarket, Glasgow

Pitlochry Festival Theatre

Platform, Glasgow

Rothes Hall, Glenrothes

Royal Lyceum Theatre, Edinburgh

Royal Scottish National Orchestra

Scottish Ballet

Scottish Chamber Orchestra

Scottish Opera

The Arches, Glasgow

The Byre Theatre, St Andrews

The Hub, Edinburgh

The Lemon Tree, Aberdeen

The Queen’s Hall, Edinburgh

The Tron, Glasgow

Theatre Royal, Glasgow

Traverse Theatre, Edinburgh

Usher Hall, Edinburgh

GGA Conference ‘Cultural Connections’

The Piping Centre, Glasgow June 2008

22 Conference

What’s in a Name?

Educationalists offer participation; Marketers refer to sales; Artistic Directors and Curators talk of excellence. For Tourism Chiefs there is a focus on economic impact, to the Heritage sector visitors are key while Community workers strive for access. We all share a unique advantage in that we enjoy some form of direct access to the ‘audiences’ we seek. Yet the challenge of how to attract more people and find new ways to nurture their curiosity about arts and culture remains an issue for us all.

‘Cultural Connections’, hosted by Janice Forsyth, looked at what could happen to public interest in arts and culture if we extended our influence by enhancing the integration of existing networks.

Delegates and speakers from the arts, tourism, design, politics, heritage and education sectors participated to identify ways of working together to excite and engage more of Scotland’s public in cultural activity. Representatives from the Scottish Government, local councils, Napier and Strathclyde Universities, the Scottish Arts Council, Glasgow City Marketing Bureau and VisitScotland debated the potential to exploit our combined impact.

Image: GGA Conference © Alastair White Photography

One of the few chances to devote a day to a wide range of topics to assist with improving my marketing & communications strategy, spending it with people who face similar challenges in a friendly, informal atmosphere.’

It was great to meet people in other industries and I especially enjoyed the chit chat part - we all need a good laugh sometimes!’

The ‘Question Time’ style session was hugely interesting and provoked ideas and themes in my mind which I am still contemplating a week on.’

— Conference Delegates

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23 The GaGAs

The GaGAs

Audience Development Awards

Winners and Nominees

Audience Insight AwardGlasgow Museums Advisory Panels ‘Listening to our Audiences’

The Byre ‘Developing Student Audiences’

Glasgow Museums (winner) Exhibition: ‘Lives in Motion’ (Museum of Transport)

Audience Development Pioneer AwardDance House ‘Dance House’s Class, Professional and Outreach Programme Development’

Pitlochry Festival Theatre (winner) ‘www.ladacam.com’

Citizens’ Theatre Ltd ‘Family Audiences’

The awards, designed by Glasgow based sculptural designer Andy Scott, were presented at the

end of the 2008 conference as part of a glittering ceremony by Bailie Elizabeth Cameron.

Audience Development Initiative of the Year Award

Young Audiences Scotland ‘Children and Young People - Six Company Collaboration’

Glasgow’s Concert Halls (winner) ‘It all fits together beautifully: creating and selling Glasgow’s Concert Halls’

Horsecross Arts Ltd ‘No Boundaries’

Audience Development Leadership Award

Alison Martin, Citizens’ Theatre Ltd (joint winner)

Jane Donald, Glasgow’s Concert Halls (joint winner)

GGA’s annual awards ceremony celebrates audience development in Scotland – the people, the ideas, the activity and creativity. The GaGAs have created a unique platform for a much wider creative community to hear how individuals and organisations are building audiences in the cultural sector.

Image: GGA Conference © Alastair White Photography

21 Image & Quotes? 1/1

Launched at the Glasgow Science Centre in February 2008, ‘Innovation eg,’ a project created by the ‘Glasgow - Edinburgh Collaborating to Compete’ initiative team, sought to develop exciting and innovative ideas that would encourage more people to visit both cities and ultimately make the visitor experience something to remember!

GGA Wins Innovation Award

Collaborating to Compete

Recognising the chance to enhance collaboration between the arts and tourism and develop new partnerships, Julie, Dianne and Nina of GGA signed up to take part. With ‘Dragon’s Den’ style competitiveness, forty industry professionals divided into teams to develop a business proposal, which fitted with Scotland’s tourism strategy and the destination plans for Glasgow and Edinburgh. The rival teams collaborated with partners from food, whisky, culture, retail and adventure sectors in both cities to pool their collective skills and expertise.

Following their concept presentation to a packed audience of decision makers at ‘Our Dynamic Earth’ in Edinburgh in May 2008, the top award went to Dianne and Nina’s team, followed closely in second place by the team mentored by Julie.

24 Innovation Award

Edinburgh Glasgow

25 Events

In Conversation with Alan Brown

Articulating Value and Measuring Impact July 2008

GGA invited leading US researcher, and much sought after management consultant, Alan Brown to lead a session with senior managers from within the cultural sector. Exploring his research on how people value the arts, Alan described new approaches to measuring the impact of cultural engagement in this practical session, prompting discussion on the key issues surrounding evaluation and impact measurement.

GGA and The List joined forces to present a Digital Audience Development event, giving a valuable opportunity to hear how colleagues in the arts are using new media. Delegates also considered the advantages and challenges involved in bringing on and off-line activity together.

Digital Audience Development

Thank you for a really useful and quite inspiring morning. I’d love to be using digital platforms much more in what I do and any help that’s on offer is much appreciated.’

— Nadia Lucchesi, Assistant Marketing Officer, Glasgow Museums

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An Update for the Arts March 2009

Image: © CCA

26 Annual Accounts

GGA Summary Of Annual Accounts

For year ended 31st March 2009

The charity has net reserves at the year end of £121,128. This includes revenues which will be used in meeting the increased demand for arts consultancy, delivery of national grant funded projects and training services for which GGA has commitments in 2009/10.

These financial statements have been prepared in accordance with the special provisions of Part VII of the Companies Act 1985 relating to small charitable companies and with the Financial Reporting Standard for Smaller Entities (effective January 2007).

The summary accounts have been extracted from the audited statutory accounts for the year ending 31 March 2009. The full accounts and report are available from Glasgow Grows Audiences Ltd registered office. The financial statements were approved by the Board of Directors on 28 October 2009.

60% Salaries and Employers Costs

24% Operating Overheads

15% Projects

1% Depreciation

GGA Expenditure 08/09

17% Grants - Public Bodies

17% Grants - Local Authourities

22% Membership

39% Projects

3% Other

2% Bank Interest

GGA Income 08/09

Reserves:

Statement of Financial Activities

£50,000 £50,000 £64,668

£112,415 £6,649 £7,128

£290,860

£171,268

£42,034 £68,599

£1,586

£283,487

£7,373

£113,755

£121,128

IncomeGrants - public bodiesGrants - local authorities MembershipProjects Other Earned IncomeBank Interest Received

TOTAL INCOME

ExpenditureSalaries & Employers CostsOperating OverheadsProjectsDepreciation

TOTAL EXPENDITURE

Net Income

Funds Brought Forward

RETAINED FUNDS CARRIED FORWARD

Balance Sheet FIXED ASSETS: Tangible Assets

CURRENT ASSETS:DebtorsCash at Bank

CREDITORSAmounts falling due within one year

NET CURRENT ASSETS:

TOTAL ASSETS LESS CURRENT LIABILITIES:

TOTAL FUNDS:

£394

£36,231£210,813

£126,310

£120,734

£121,128

£121,128

27 Annual Accounts

GGA Members

28 GGA Members

29 The Team

GGA TeamJulie Tait - Director

Charlotte Wilson - Head of Market Research

Dianne Greig - Head of Audience Development

Kirsty McKenzie - Finance & Administration Manager

Nina Honeyman - Audience Development Manager

Rosemary James - Audience Development Intern

Lauren Duffy - Insight Analyst

GGA Board

Roy McEwan (Chairman) Managing Director, Scottish Chamber Orchestra

Janette Harkess Deputy Editor, The Herald

David Hunter Senior Partner, Campbell Dallas Chartered Accountancy

Jackie Killeen Head of Policy & Development, Big Lottery Fund Scotland

Guy Robertson Managing Partner, GRP

Ronnie Somerville Director, 5pm.com

Prof. Alan Wilson Head of the Department of Marketing, University of Strathclyde

Julie Tait (Secretary) Director, GGA

Glasgow Grows Audiences Ltd Suite 1/1, 6 Dixon Street, Glasgow G1 4AX

T. 0141 248 6864F. 0141 248 4090E. info@gga4arts.co.uk

GGA is supported by the Scottish Arts Council and Glasgow City Council.

Registered as a Company in Scotland: SC270865

Registered Scottish Charity: SC035796

www.gga4arts.co.uk

Image: Tramway

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