Scottish Exec Response to Cultural Review

8/14/2019 Scottish Exec Response to Cultural Review

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Scotlands Culture

Cultar na h-Alba


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i

Scotlands Culture

Cultar na h-Alba


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Crown copyright 2006

ISBN: 0-7559-4961-7

Scottish Executive

St Andrews House

EdinburghEH1 3DG

Produced for the Scottish Executive by Astron B44171 01/06

Published by the Scottish Executive, January, 2006

Further copies are available from

Blackwells Bookshop

53 South BridgeEdinburgh

EH1 1YS

The text pages of this document are printed on recycled paper and are 100% recyclable


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iii

Contents

The vision 2

Our approach 6

Key principles 12

The roles of national and local government 15 Planning for culture 18 Local cultural entitlements 19 Delivery of local entitlements 21

Advancing cultures availability 24

Role of the private sector 25 Role of the voluntary sector 26

The new cultural infrastructure 27

1 Developing Scotlands cultural and creative talent 29

2 National Collections 36

3 National performing arts companies 40

Other infrastructure matters 42

Access to languages 44

Next steps 50

Acknowledgements 55


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1

This paper is a response to the cultural review,which constitutes the report of the CulturalCommission and the subsequent dialogue whichit provoked. It sets out Scottish Ministers vision

for the strategic direction of future cultural policy,and identifies key initiatives, legislation, investmentand infrastructure changes needed to implementthose decisions. It is the start, not the end, of anew journey towards achieving our ambitiousaspirations for Scotlands cultural life.


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The Vision


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Since devolution, a new focus on Scotlands cultural life has seen an amazing

host of achievements world-class architecture and exhibition spaces; new

festivals springing up across the country; record audience numbers at major

events; lots of community-based activity in all artforms. These have been

made possible by Scottish Governments record investment levels, and a newdrive to bring culture into a diverse range of sites and scenarios, all of which

benefit from it. Today, there are many more opportunities for the people of

Scotland to make culture part of their lives.

The Scottish Government believes that culture is a vital ingredient in Scotlands

success, both here and overseas. Culture is also central to the well-being of

Scotlands citizens. Its inspirational qualities defy measurement just as there is

no adequate way to define the confidence and pride that cultures myriad

works stir up in those who participate and in those who look on in admiration.

Government recognises the imperative of freedom of expression. Artisticactivity can challenge authority and can carry uncomfortable messages.

Creativity is seldom diffident, and the independent conviction found in much

of Scotlands art happily contradicts the lack of confidence to which Scots

can be disposed.

Scotlands culture sits at the very heart of thenations life and identity. The country has anenviable reputation reaching far beyond itsshores for innovation, skill, and as an authentic

source of inspiration. It is essential that theseattributes in their full 21st-century diversity should be celebrated and cherished.


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The Playfair project,

refurbishing the Royal

Scottish Academy in

Edinburgh, was completedin August 2004, funded to

the tune of 10 million by

the Executive, 7 million

from the Heritage Lottery

Fund, and 13 million from

private donors a truly

international-classexhibition space

Individuals with talent, who nurture the ambition to

develop their cultural skill to the point of excellence,

deserve our wholehearted backing. Individuals whose

wish it is to access and enjoy the work and skill of

Scotlands creative community must have every chance

to do so. While our indigenous artforms should be

celebrated and helped to attain the peak of achievement

in each tradition and artform, the excellence we cherish

must also represent the vast diversity of culture

produced and showcased in Scotland. That way we

demonstrate to all residents of Scotland, and to the

world community, how warmly we welcome and value

the rich heritage of each nation.

Culture is a resource available to all. How and if to be

involved must remain matters of personal choice, and

the fact that personal views vary considerably regarding

what is good art must also be respected.1

Respect for the wide range of responses to cultural

activity and decisions about choice are self-evident facts

which inhabited the landscape within which the Cultural

Commission was asked to consider what role a cultural

rights agenda could play in drawing people into the

world of culture. The Commissions study was based on

the premise that each person in Scotland has rights of

access to high quality cultural activity. The right to

choose from options that can be provided locally and

nationally is paramount; but if marketing, education and

interpretation are not present too, the rate of take up is

likely to be impaired.

The First Minister, Jack McConnell, chose to make his

2003 St Andrews Day speech on the subject of Cultural

Policy in Devolved Scotland, putting on record that

culture was one of Scotlands principal assets and a

source of immense delight and pride. The First Minister

identified the need for a new focus, to place culture at

the heart of Scotlands policy making agenda. Culture

cuts across all portfolios of Government, it can make a

difference to the success of each, and portfolio Ministers

have committed to using arts and culture to achieve their

policy objectives more effectively. This recognises their

role and responsibility to help strengthen, support, and in

some cases provide for, Scotlands cultural activity.

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Thought provoking

which is all that shouldever be asked.

Personally, Id like to

ignore everything this

exhibition represents

but I cant. So I supposeits worked then.

Beautiful in the worst

of situations. The

honesty and reflections

on such a hard to

believe subject touchme deeply.

Vivid, powerful andabout time!

1 Quotes from the Elbowroom visitors book. Elbowroom was an award winning project in the engage Scotland Visual Arts Education

Awards 2005 Creativity and Well-being. Working through strong community connections, experienced artists and committed

participants gave expressive shape to shared and personal issues, negotiating strong, instinctive responses to a big public issue

violence against women


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Our Approach


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The First Minister declared in his 2003 speech, to a positive response, that

raised levels of ambition were needed for these cultural assets to exert theirmaximum power to change lives. Accordingly, he announced that the

promised review was on its way, and to be based on a radically new approach

to cultural provision. In April 2004, a Cultural Commission was established,

with a bold remit to review the cultural sector and make recommendations to

Ministers.

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The decision to undertake a cultural review wasannounced in the Scottish Executives PartnershipAgreement of 2003. Quinquennial reviews of theScottish Arts Council and Scottish Screen had

identified a lack of strategic, coherent delivery ofculture. It was also clear that several of thedelivery bodies were set up some years back,pre-devolution, for a different age and differentpriorities.

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The Commission was asked specifically to explore the

notion of cultural rights for the Scottish citizen, and those

of its creative community; and to redefine the institutional

infrastructure and governance of Scotlands cultural

sector, so that it would be equipped to help accomplish

the Executives long-term vision for the sector.

The Commission took seriously Ministers encouragement

to adopt a highly inclusive approach to its consultations.

Comments and suggestions flooded in over the next

year from all parts of the country, and beyond, and

representing every branch of cultural endeavour.

On 23 June 2005, the Commission delivered its report to

Ministers. The Executive welcomed its completion, and

the prospect of examining the 131 recommendations to

see how they could help to realise our ambitions. The

Scottish Parliament was given an opportunity to discuss

its views on the report at a debate on 22 September. It

was clear that Members endorsed the Governments

wish to reduce bureaucracy in the cultural sector, and

several looked to see service providers from other

sectors investing to deliver their respective objectives

through culture.

The Executive has now considered Parliaments

comments carefully. It has also reflected on subsequent

discussions with the Convention of Scottish Local

Authorities and national cultural agencies. This document

contains the outcome of those deliberations. After setting

out the Executives future vision for culture and the

direction of its cultural policy, the paper outlines

Ministers views of the role of Government in delivering

that vision, along with new initiatives that the Executive

will back to achieve its goals. An explanation is provided

of the organisational infrastructure model proposed by

Ministers; and finally, the paper defines the next steps

towards implementation and the timescales envisaged.

Our response to each individual recommendation by the

Cultural Commission will be published on the Scottish

Executive website in due course.

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2 The latest published local authority statistics, for 2003-04, show relevant total investment of 226 million.

The cultural policy landscape is broad, covering both

reserved and devolved issues. This formal response

by the Scottish Executive deals with matters that are the

responsibility of Government in Scotland at national

and local levels. In view of the wide range of material in

the Commissions report, it will provide a resource for

policymakers for years to come. It is easy to be up-beat

about Scotlands creative achievements. But the arts and

culture are far too important for complacency, while there

is more to be done to promote their central role, right

across the policy agenda.

The need for change to deliver improvement is clear. The

Cultural Commission rightly identified that Scotland has a

confusing cultural infrastructure; there is a lack of clarity

in funding responsibilities, leading to inconsistent levels of

commitment by key stakeholders; and frequent financial

crises at major arts organisations; there is no clear

pathway to success for talented young people; and

limited sharing of national provision across Scotland.

We need to turn those things around and create the

conditions that make the nations cultural riches as

accessible as possible to as many people as possible.

People who do engage with culture do so because they

are stimulated, entertained and challenged by it. One of

the most important things about cultural activity is simply

that it is enjoyable and the opportunities it unlocks are

quite unique.

Why does the Scottish Government invest in culture

is it necessary, or simply good to do so? As the

Government of a civilised and progressive society, it is

imperative that we invest, building on our past record

and proven commitment to advance the development of

Scotlands cultural life. The Executive currently dedicates

1% of its total budget to culture 187 million in the

current financial year. This figure increases significantly

when local authority revenue and capital cultural spend,

in excess of 200 million, is included, of which around

80% is provided by central Government.2


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By 2007-08, the Executives annual cultural spend was

due to increase to 214 million. But in order to

implement the decisions laid out in this paper, Scottish

Ministers have pledged an immediate additional

20 million per annum from 2007-08 an increase of

almost 10% in the Executives annual cultural budget.

This will produce a total annual spend of 234 million from

2007-08. In addition to this, there will be continued

expenditure on culture by local authorities, of a similar

order. Scottish Executive Departments also contribute

over 200 million per year to cultural objectives.

There are many views across the cultural sector and

from the ranks of external commentators about what the

Scottish Government should buy through its investment.

The Commission made a large number of suggestions

which could progress cultures influence and

development in Scotland. It is important to be clear first,

however, about national governments strategic role in

relation to culture.

The Executive has decided that the proper functions of

Government are: to ensure that cultural talent in Scotland

is recognised and nurtured, and that excellence is

developed as a national resource; to promote the best of

Scotlands rich cultural treasure-store; and to make the

best of the nations performing activity available to be

accessed right across the country. Having considered

the host of suggestions elicited by the Commission from

a large field of stakeholders, as reflected in its report, the

Executive has chosen to focus its investment initiatives

that will make the biggest contribution to national

priorities.

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The Executives 750k per

year Cultural Co-ordinators

in Schools programme,

administered by the Scottish

Arts Council, explores waysto maximise the contribution

of culture, providing

experiences and developing

skills that are of lasting value

to young people

Others also have investment choices. Government is just

one player where our responsibilities stop, other

cultural providers must play their part. As the First

Ministers 2003 St Andrews Day speech made very clear,

other service providers need to commit too, in order for

culture to support their wider objectives. Since 2003, the

Scottish Cabinet has responded with a programme to

bring cultures beneficial impact to the range of

Government actions, such as supporting regeneration;

promoting health; providing transport; boosting

enterprise; enabling development; advancing justice and,

of course, enriching education.

While the Commissions report said most about

educations links with culture, the contribution by all

portfolios to culture will be developed further in light of

the cultural review. Local cultural planning is advocated

increasingly as an effective way to maximise cultures

contribution to wider priorities and its impact for

Scotlands citizens, in virtually every important aspect of

their lives. For example, it will be mentioned explicitly in

the Executives forthcoming Regeneration Policy

Statement, which will promote the key part played by

culture in creating vibrant communities, and driving and

enlivening economic and social regeneration. Such

approaches enable cultural resources to be integrated

into policy making and new developments.

All those with a role in the provision of culture need to

work together across the public, private and voluntary

sectors. There will be a need to increase the

commitment of these sectors to partnership working and

joined-up delivery. Equally, the Scottish Government

cannot, and should not, extend its ambit to areas best

served by others, whose expertise and knowledge is

better suited to the task.

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Key Principles


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Apart from the Executive, the other major deliverysector for culture in Scotland is, of course, the localauthorities. The contribution they make to culturalprovision within their areas is vital and cannot be

overstated. Published statistics

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show that, in2003-04, local authorities across Scotland invested226 million in the arts, heritage/museums/galleries, libraries, archives, and communityrecreation. However, the current arrangements thatdetermine what cultural provision authorities

support and what falls to the Executive and itsagencies, are inconsistent and patchy. While therehave been impressive achievements, a far morestrategic understanding of who does whatwould help to focus purpose and investment.

The Executive believes that there should be aclear delineation of responsibilities between localand national government provision.3 CIPFAs Scotlands Cultural Statistics 2003-04.


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As mentioned above, the Executive is clear that central

Government has three key responsibilities that define its

role, and into which it will channel national investment for

cultural provision. They are to:

1 ensure that cultural talent in Scotland is recognised and

nurtured, and that excellence is developed as a national

resource, recognising and advancing Scotlands

outstandingly talented artists and their achievements;

2 promote the best of Scotlands rich cultural

treasure-store, maintaining and presenting, as openly

and accessibly as possible, Scotlands superb national

galleries, museums and library collections; and

3 make the best of the nations performing activity

available to be accessed right across the country,

providing national performing arts companies

produced and producing the best in and for Scotland.

Having acknowledged the need for a clear distinction of

future delivery roles, the essential first step is to clarify

the respective remits of the two arms of government.

4

In 2003, a retired Concorde

aircraft was gifted to the

National Museums of Scotland

for the Museum of Flight in

East Lothian. The Executive

helped the Museum of

Flight development with

2 million


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The Roles of National

and Local Government


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The role of Scottish Government focuses onsupporting the development of excellence andthe artistic product, up to what might be calledthe national standard. How that will affect

practice will depend on the nature of each activity.The Executive will fund directly national bodiesresponsible for building and/or showcasingcultural excellence. That includes the nationalperforming companies, removing the uncertaintyinherent in current funding arrangements throughthe Scottish Arts Council. Government hasresponsibility, and a major stake, in supportingtop flight performing bodies, to be a source ofnational pride and enjoyment, and to kindle theambition of talented young aspirants in every

branch of the performing arts.


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As mentioned, all portfolios of Government recognise that

they have a role to play in the supply of culture to advance

their business objectives, and all will take culture into

account in their future planning activity, in light of the

cultural review. Since the First Ministers St Andrews Day

speech in 2003 there have been regular meetings

between the Minister for Tourism, Culture and Sport with

other Cabinet Ministers to achieve this objective. These

discussions have produced a programme of joint actions.

This action programme has been published on the

Scottish Executive website. These Ministerial discussions

will continue and the actions resulting will be published

periodically on the website. Scottish Executive

Departments make a strong contribution, collectively

investing over 200 million annually a similar order of

investment to the Executives main budget for culture

and to investment through local authorities.

Local government has a key role to ensure cultural

provision in their respective areas. The Executive

proposes to promote the development of this

responsibility by local authorities, building on their

substantial current contribution to achieve more

consistent delivery approaches and standards across

Scotland.

In recent years, the

Executive has increased its

focus on international

activity, promoting Scotland

and its culture through a

series of initiatives in places

including Washington DC,

Venice, Catalonia, France

and the Netherlands


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Planning for culture

To discharge the local authority planning role effectively

requires strategy that ensures the wide-ranging benefits

of culture are identified across the range of policy areas.

Cultural planning is an effective way of discharging that

role, identifying the nature of demand by means of inviting,

and responding to, local aspirations. The cultural planning

process should feed directly into Community Planning

the system advocated for developing cultural provision

and advancing community well-being in the 2003

Implementation of the National Cultural Strategy: Guidance

for Scottish Local Authorities, published jointly by the

Executive and the Convention of Scottish Local Authorities.

Like national government, many of local governments

top priorities can benefit from using cultural provision as

a delivery agent, funded by the relevant non-arts

budgets, such as education and regeneration. There are

many good examples where this is happening already.

The Executive considers that many more benefits can be

released by means of this approach if cultural planning

develops as an integral part of the citizen-first

Community Planning process.

To promote the activity of planning for cultural provision

across the local authority sector, the Executive will

introduce a new legislative provision that asks authorities

to produce evidence of cultural planning as part of the

strategic planning activity of Community Planning

Partnerships. It will be important for this planning activity

to link with other relevant plans, such as Community

Learning and Development Strategies, and for adjoining

Community Planning Partnerships to exploit economies

of scale and strategic interests by working collaboratively

and traversing boundaries.

Since the joint publication by the Executive and the

Convention of Scottish Local Authorities in March 2003,4

setting out strategic advice on good practice for local

authorities in their implementation of the National Cultural

Strategy, we have acknowledged that more specific

guidance was needed. We shall establish a group including

the local authority bodies and cultural agencies to produce

practical guidance on the development of local cultural

policies and strategies within Community Planning and

between Community Planning Partnerships, supported by

a new quality assurance tool. The aim will be to help local

authorities and their Community Planning Partnerships to

plan and monitor their cultural provision as part of a

pan-policy process that ensures cultures contribution is

harnessed in all departments of local government. It is also

intended that this should lead to a greater consistency of

approach to cultural provision across Scotland.

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4 Implementation of the National Cultural Strategy: Guidance for Scottish Local Authorities.


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National guidance will also be developed collaboratively

to help authorities discharge their responsibilities in key

policy areas such as access, provision in schools,

growing cultural diversity and audience development.

Other local partners, including arts venues, galleries,

theatres and libraries, clearly have a key role also in

promoting audience development and opportunities

to collaborate should be exploited. Guidance will also be

provided to the national cultural bodies, requiring them to

engage with this local planning activity.

Local cultural entitlements

The Commission was asked to explore and define the

subject of cultural rights and entitlements. The

Commission stated correctly that entitlements should be

developed in each local authority area, in response to the

wishes of local people. Its report proposed a raft of

legislation for implementing its ideas making local

authorities responsible for developing, and operating the

majority of these arrangements, at the critical local level.

The Executive has considered this whole area carefully,

and is resolutely committed to the principle. It is

important that those fortunate enough to have been

encouraged to sample and enjoy culture should ensure

that the same good fortune is available to others.

The Executive considers that the Commissions

recommendation advocating Scottish legislation to

endorse international and European rights would do

nothing to improve upon the existing position. Similarly,

the proposals for entitlements would not readily translate

into legislation in ways that would confer any real

advantage for the intended beneficiaries. The Executive

will not adopt that route.

However we remain wholeheartedly committed to the

principle of entitlements to cultural provision for local

people, in the spirit of the rights already in place at

international and European levels. While we endorse fully

those existing rights, we also regard them as a minimum

requirement. The Commissions report sets out the main

international provisions which apply.

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The United Nations Universal Declaration of Human

Rights (1948)

everyone has the right freely to participate in the

cultural life of the community, to enjoy the arts

(Article 27 which also affords the right to

protection of artistic production)

everyone, as a member of society is entitled to

realisation of the economic, social and cultural

rights indispensable for his dignity and the free

development of his personality (Article 22)

everyone has duties to the community in which alone

the free and full development of his personality is

possible (Article 29)

The Declaration of the Principles of International

Cultural Co-operation by the United Nations

Educational, Scientific and Cultural Organisation

(UNESCO, 1966)

each culture has a dignity and value which must be

respected and preserved (Article 1)

every people has the right and the duty to develop its

culture (Article 1)

in their rich variety and diversity, and in the reciprocal

influences they exert on one another, all cultures form

part of the common heritage belonging to all mankind

(Article 1)

The United Nations Convention on the Rights of the

Child (1989)

the right to freedom of expression freedom to

seek, receive and impart information and ideas of all

kinds either orally, in writing or in print, in the form

of art, or through any other media of the childs

choice (Article 13)

the education of the child shall be directed to: the

development of the childs personality, talents and

mental and physical abilities to their fullest potential

(Article 29)

the right of the child to rest and leisure, to engage in

play and recreational activities and to participate

freely in cultural life and the arts (Article 31 which

also states that States Parties shall respect and

promote the childs right to participate fully in cultural

and artistic life, and shall encourage the provision of

appropriate and equal opportunities for cultural,

artistic, recreational and leisure activity)


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Taking these existing rights as a starting point, the

Executive will seek to put in place arrangements that will

ensure cultural rights and entitlements can impact on the

lives of citizens and communities right across Scotland.

We propose that the Culture Bill through which we plan

to implement relevant key provisions of our future policy

would create a legislative framework for delivering rights

and entitlements. At national level, relevant cultural bodies

which are part of the new infrastructure described below,

will be required to develop minimum standards for the

various sectors such as museums, theatre, libraries,

dance, literature reflecting guidance from Scottish

Ministers, and in consultation with the sectors in question

and other stakeholders. Those national bodies will also be

expected to contribute to the development of cultural

entitlements. We shall consider the question of how the new

provisions should affect the existing duty of adequate

provision in the Local Government (Scotland) Act 1994

(arising from the Local Government and Planning Act

(Scotland) 1982).

At local level, the local authorities will have a duty to

develop minimum cultural entitlements to apply in their

areas. As with direct support to non-national cultural

organisations and venues, the Executive believes that

cultural entitlements are best, and most appropriately,

delivered locally for the benefit of communities. The

cultural planning activity of local authorities, mentioned

above integrated within the framework of Community

Planning should include entitlements that address

identified need in each authority area. The Executive

anticipates this approach should open up a range of

choices for local people, and a menu of cultural options

which they have helped to develop. The principle of free

access to cultural activity for young people should be

every providers goal and should underpin the

entitlements and pledges now being explored.

Delivery of local entitlements

Many local authorities have a record of commitment to

meeting identified demand which is well demonstrated

by actions such as, improvements in the museums sector,

and recognition of the need to strengthen their joint

working activities. The Executive has been considering,

in the light of discussions with local authority bodies,

what approaches would help local authorities in their

delivery functions to maximise cultural opportunities for

people across Scotland.

In setting entitlements, local authorities will want to have

regard to what will be effective and practical. To inform that

aspect, pilot projects are proposed exploring approaches

to entitlement-setting in different scenarios. One such is

the Cultural Pledge for young people, being introduced

by The Highland Council as part of the legacy programme

for Scotlands Year of Highland Culture in 2007. The

Executive is looking to fund a number of pilots and initiatives

to inform the development of standards and entitlements,

and will examine incentives to local authorities to help

build on their extensive existing activities in ways that

promote consistent provision throughout Scotland. One

of these initiatives is the Public Library Improvement

Matrix, being piloted in ten local authorities with support

from the Executive and the Scottish Library and

Information Council to develop standards and evaluation

criteria. Details of other pilots will be announced shortly.


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Some authorities, like Glasgow, have been considering

the implications of the review agenda in advance of this

response. Glasgow is developing its own set of citizens

entitlements, including some for cultural provision. This is

a very welcome development, setting an example for

others to follow.

The proposed new cultural planning and self-monitoring

guidance, mentioned above, is intended to help local

authorities take necessary action. That guidance will

provide examples of good practice, and cover the practical

development and monitoring of entitlements by each local

authority, discussing approaches such as capacity building,

and collaboration between Community Planning

Partnerships and with neighbouring authorities for

example, to provide touring exhibitions. While entitlements

should be the product of local decision-making, it is

envisaged that they will promote access in a range of

practical ways, such as providing transport to cultural

venues in the authority area, or that of a neighbouring

authority or making exhibits available electronically. As

well as entitlements to visit collections and be part of the

audience, active participation in cultural activity and

creative processes should also be promoted.

Once the new arrangements are in place, we shall take

soundings at local level, to discover how cultural provision

is being implemented in light of these arrangements, and

the existing international and European cultural rights.

The Commissions proposal to make culture a specific

theme in Community Planning would not be compatible

with the 2003 legislation, which does not specify which

policy themes should be promoted. The Executive is

aware, however, of the powerful role that Community

22

In 2007, Scotland will

celebrate Highland culture in

an exciting year-long festival

including a range of

international, regional and

community events, as well as

capital projects and cultural

activities specifically for

young people. The project is

a partnership between three

principal funding agencies:

The Highland Council, the

Scottish Executive, andHighlands and Islands

Enterprise and aims to

promote the Highlands as a

great place to live and to visit

by showcasing the unique

nature of Highland culture

past, present and future


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Planning can play in opening up cultural opportunities

locally, and intends to ask the Chairs of all Community

Planning Partnerships, periodically, to advise on how

citizen-first cultural planning activity and local entitlements

are impacting. That should identify how consistently and

effectively local planning is meeting local peoples wishes.

We shall review how these arrangements can in due

course be developed as part of the debate on future

public service reform.

Action is also needed regarding what we might call the

contact points between national and local endeavour.

The thrust of public service reform is to establish a

relationship between the Executive and local authorities

based on achieving high level national priorities and those

set locally. The features that should characterise future

public sector service delivery centre on meeting the needs

of citizens and service users (rather than service providers),

quality, efficiency and productivity, accountability, achieving

outcomes and more joined-up partnership activity. This

will need to inform the delivery of cultural services as with

any other area of provision. As well as exploring

opportunities to incentivise local provision, we shall

consider the possible devolution of funding via specific

grant for initiatives best delivered locally but which could

not reasonably be resourced out of normal funding

arrangements for example, certain venue provision

currently funded by the Scottish Arts Council to its core

funded organisations; schools-based programmes

(discussed below); and a possible extension of the

proposed museums national significance recognition

scheme to other sectors. A cultural policy-based pilot

initiative might also be explored, to test new approaches

allied to public service reform.


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This review has focused principally on the meansof extending access, to bring more people intocontact with the remarkable world of culture andits creations. The Commissions remit highlighted

the need to examine the role of the private andvoluntary sectors, and the relationship betweenthem. The Executive wished to explore whetherand how their already crucial contributions mightbe developed further.

Role of the private sector

The Executive applauds the sponsorship investment of Scotlands private

sector and the work of Arts and Business, administering schemes that

encourage the commitment of funding and expertise to bring arts and culture

to audiences and into the workplace. We shall make available 400k per

annum over the next two years to enable a new match-funding sponsorship

initiative proposed by Arts and Business. Arts and Business will use our

support to incentivise private sector sponsorship. That way, we aim to deliver

over 700k in additional support for the arts each year, through a mix of public

and private sector finance.


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Role of the voluntary sector

Volunteering is a vital part of Scotlands cultural delivery

infrastructure; and the Executive recognises that practice

and endeavour which is inspired voluntarily is a key

resource to be valued. At the Executives request, the

Commission procured research into the work of the

voluntary cultural sector in Scotland and the problems it

faces. The findings provide a comprehensive account of

issues affecting that important sector and will helpfully

inform new national guidance. That guidance will be

produced by the new cultural development agency,

mentioned later in this paper, and will be linked to the

Scottish Executives Volunteering Strategy which is aimed

at embedding a robust culture of volunteering in

Scotland.

The new guidance will be specifically geared to

promoting cultural volunteers, and those who can help

support local voluntary and community bodies and the

conditions that sustain their activities. Specific outcomes

would be around dismantling the barriers to volunteering,

the development of volunteers experiences with

special regard to the needs, aspirations and lifestyles of

volunteers and a higher proportion of organisations

operating an inclusive practice. This is one of several

areas where solutions for culture should be consistent

with those relating to sport. sportscotland already has a

volunteering strategy, and a similar response is needed

from the arts and heritage sectors, to recognise and

bolster support for the volunteers who are so crucial to

delivery across the sector.

The Executive currently is undertaking work to support

the voluntary sector, including work on the Strategic

Funding Review, aimed at ensuring the sustainability of

the sector as a whole. Work is also being undertaken to

establish a vision for the Scottish Executives relationship

with the voluntary sector as it develops over the next

fifteen years. Our intention is that through that vision

strategic links will be built between the Executive and the

voluntary sector on a whole range of joint priorities and

joint agendas including the promotion of cultural

volunteering.

The Executive looks forward to a host of enjoyable and

interesting new volunteering opportunities coming to

Scotland through the 2012 London Olympics and it is

hoped, through a successful bid by Glasgow to host the

2014 Commonwealth Games. Both arts and sporting

programmes will be featured, and the Executive will liaise

with the London Organising Committee for the 2012

Olympic Games, and relevant Whitehall Departments, on

their delivery.


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The Commission presented its preferred option in its report. Its remit was to

consider how to achieve Best Value from existing resources; Ministers are

determined that funding committed to culture should be focused on delivery

and not on unnecessary administration and bureaucracy. For those reasons,Ministers do not favour the Commissions recommendation, noting also that

few cultural bodies and commentators appear to support that model.

Having reviewed the opportunities and mindful of the strategic objectives for

the review, the Executive has chosen a new infrastructure model. We believe it

delivers a less cluttered, more transparent and efficient institutional landscape,

capable of delivering Scotlands cultural ambitions, now and in the years ahead.

28

From the start of the cultural review, Ministerssignalled that they were looking for imaginativesolutions that would be effective in deliveringtheir vision for a more vibrant cultural life for the

whole of Scotland. They also made it clear, interms of the cultural infrastructure, that thestatus quo was not an option.


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29

The new infrastructure is focused on function and the

delivery of national Governments three core

responsibilities for cultural provision. These are: to

recognise and nurture Scotlands cultural talent; to

promote the best of Scotlands Cultural treasures in the

care of the National Collections; and to make the best of

the nations performing activity available through the work

of the national performing arts companies. A model of

the new infrastructure appears at the end of this section

1 Developing Scotlands cultural and

creative talent

The first plank of central government support for culture

holds the key to success in the business of developing

and nurturing Scotlands cultural talent. Here we propose

to create a new Scottish cultural development agency, to

be called Creative Scotland, amalgamating the Scottish

Arts Council and Scottish Screen but transferring

support for the national performing companies to the

Executive and transferring the Screen Archive to the

National Library of Scotland. The Executive will provide

some new funding to the agency, to boost its capacity to

develop excellence in Scotlands cultural sectors.

The new agency will have a vital role in delivering a new

approach for recognising and growing talent, which we

believe will open up a host of opportunities for Scotlands

creative development.

Mentioned already is the Executives commitment to

those with talent and the ambition to develop it, to take

their cultural skills to the highest levels of achievement.

Their progress in that endeavour should be a journey of

discovery for the whole nation, as we follow their

successes with pride and great enjoyment. Taking part in

culture inspires confidence, and it grows confidence and

motivation in those who enjoy it.

The Executive believes in supporting the culturally

talented people of this country. Our aim should be to

identify, encourage, nurture and showcase nationally

and internationally the best that Scotland can produce,

including all our unique, indigenous art forms.

While Scotland has world-class facilities for those in our

schools and those embarking on extended cultural

education and training, currently there is no route

provided to assist the progress of their cultural talent

through the system. The Executive proposes an

escalator model, to help Scotlands talented young

people move from school into work, either directly or

through further and higher education.

The prime principle of the escalator philosophy requires

children and young people to have the maximum

opportunity to try and experience the full range of cultural

activity, being helped to discover their own creativity and

to develop their gifts. An example of how the Executive

currently is addressing this is the Youth Music Initiative.


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The first practical step in the process is provided by

parents and guardians, reading to children, playing

music, introducing them to shows, heritage sites and so

much more. Governments role in those early stages is

limited; but, as a way to endorse the value of culture to

children and those who care for them, the Executive

plans to explore how best to grow and develop the

popular Bookstart programme run by the Scottish Book

Trust. This might involve extending its reach or perhaps

its focus, so that all youngsters entering nursery school

receive access to arts resources, storytelling tapes or

visual e-archive material.

The Executive proposes that the delivery of all stages of

the escalator from pre-school to school leavers

should become the responsibility of Creative Links,

Cultural Co-ordinators and Active Schools Co-ordinator

teams, which we plan to bring together within schools.

They will work closely with teachers and early years

centres in undertaking and co-ordinating this function for

culture, including sport, and in helping young people with

their progression in learning through cultural and related

activities. Once talent is identified, younger and older

people alike, need pathways to develop that talent and

to perform. Again, choice will be paramount not all

careers are forged taking the conventional route; that is

not always appropriate, but the system should be

sufficiently flexible to accommodate the needs of those

who wish to use it.

There is potential for other schools co-ordinator

programmes to join the proposed initiative, which will

benefit from a combined budget and the mutual support

available from co-ordinators working together in dynamic

teams, alongside teachers, across groups of schools.

According to the principles of public service reform,

enabling local authorities to deliver strategic national and

local priorities wherever these are best delivered locally,

once the teams are established, we shall discuss with

the Convention of Scottish Local Authorities the

possibility of transferring to local authorities the

responsibility and budget for running the new combined

co-ordinator programme.

30

February 2003 saw the launch

of the Executives Youth

Music initiative, committing

17.5 million over three years

towards ensuring by 2006

that all school children should

have had access to one years

free music tuition, by the,

time they reach Primary 6.

A further 10 million per year

has been invested to develop

this important initiative


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31

The development of A Curriculum for Excellence over

the coming months and years will add greater weight to

the place of culture as a context for learning across the

whole curriculum. A Curriculum for Excellence aims to

provide a curricular framework within which cultural

engagement and creativity will have an important role to

play in learning and teaching, enabling young people to

become successful learners, confident individuals,

responsible citizens, able to participate in political,

economic, social and cultural life.

As teachers develop a new approach to teaching and

learning, the contribution of cultural engagement and

creativity to achieving those outcomes for our children

will be a high priority. The curriculum which young people

experience should be about both challenge and

enjoyment. It is intended that culture will be, not just a

context for learning, but increasingly also a vehicle for

learning. Early work in the first half of 2006 will see all

areas of the curriculum examined thoroughly as part of

this, the Executive will aim to ensure that links to culture

and creativity are made at all stages.

Community access to schools arts and sports facilities

could also play a big part in promoting participation in

culture; and maximum use must be made of these

resources, particularly in remote areas where facilities are

scarce. The Commission proposed a review to consider

possible improvements in the status quo. The Executive

does not plan to take that forward, in light of the fact that

a study was recently undertaken. We shall ensure that

the massive investment going into the schools estate is

effective in enhancing cultural, including sports, facilities

and in taking wider community needs into account. We

shall also promote the sharing of good practice amongst

stakeholders and will ensure that the developing Youthwork

Strategy recognises the importance of wider access to

cultural facilities within schools. Cultural and Community

Planning should also take account of these needs.

While the school co-ordinators focus on their

responsibilities for the escalator, attention must also be

given to what comes next. An important role is also

envisaged for further and higher educational institutions

such as the Royal Scottish Academy for Music and

Drama, the Screen Academy and Scotlands art colleges.

It is essential that these bodies should establish links

with schools, the creative industries sector, national arts

bodies like the national performing companies, and

national initiatives such as the Writers Factory that

enable students to progress between them, getting

tuition and creative opportunities best suited to their

development needs. Ministers plan to discuss the detail

of this with relevant partners.


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Celebrating and demonstrating the national contribution

and role fulfilled by our best creative artists is of key

importance. There has been debate about whether

Scotland should have a similar arrangement to the

Aosdana, the Irish Cultural Academy. We already have

the Dewar Arts Awards and the Creative Scotland

Awards, which are well regarded by the cultural

community. However, Ministers consider that there

should be more recognition for Scotlands outstanding

artists and other creative individuals, particularly for

achievements over a long period. We shall develop and

invest in a scheme that celebrates their contribution to

national life. The relationship between this and the other

existing schemes must be examined, to create a rational

framework of accolades. We have asked the Scottish

Arts Council to develop such a scheme and would

anticipate making the first awards later in 2006. There is

a role for a scheme of scholarships and bursaries as part

of the Executives plans to develop Scotlands creative

industries sector. Such a scheme could assist the

transition from further and higher education into

employment and self-employment, building on current

successful schemes, such as Ideasmart.

Culture makes an important contribution to the

Executives top priority of growing the economy, through

the creative industries. The first significant step towards

more meaningful support for the creative industries

sector is being taken now, through changes to the

cultural infrastructure supporting these industries. The

new infrastructure does not, however, address ways to

secure more effective enterprise sector support, which

clearly will be essential if the creative industries are to

achieve their potential for economic growth. A number of

Cultural Enterprise Offices have recently been established

to provide business support to those in the creative

sector. We will evaluate their operation before

considering further investment to extend their role.

32

The Scottish Screen Academy

to be hosted at Napier

University and Edinburgh

College of Art was launched

in August 2005 and is one of

the seven UK screen

academies which will providethe best film education and

skills development at a

further, higher and

postgraduate level


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The new agency, Creative Scotland, will have a pivotal

role in developing talent and to link the life stages of the

escalator. The body will require Non-Departmental Public

Body status providing the appropriate relationship to the

Executive to allow it to act as Arts, Screen and Awards

for All Lottery distributor. It will have a remit that includes:

development of talent and excellence in all branches

of the arts and screen industries;

promoting effective sector networks of nationally-

important bodies to enhance the role and

prominence of Scotlands literature and publishing,

developing that sectors links into schools;

supporting nationally-important arts bodies (see below);

supporting the creative industries, developing a new

strategy to guide that function (see below);

offering business advice and investment services

(such as soft loans for activities like publishing);

drafting and dissemination of national advice on such

matters as national standards (produced in

consultation with relevant sectors), building the

voluntary sector, private sector sponsorship

approaches, skills for arts organisations, promoting

diversity, access and inclusive audience development

practice (focused on all sections of the population,

including older people), and the role of the arts in

wider policy settings such as regeneration,

communities, health, justice and development;

links with education other than administration of the

schools co-ordinator programmes which, once the

new teams are established, will be the subject of

discussion with the Convention of Scottish Local

Authorities regarding a possible transfer of

responsibility to local authorities;

evaluation and monitoring;

research;

international engagement liaising on strategy and

programming with the Executives cultural and

international policy teams, the National Collections

bodies, the national performing arts companies and

organisations like the British Council-Scotland, in

order to maximise impact;

promoting national and international recognition of

Scotlands talented artists; and

development and administration of schemes to

recognise/reward excellence, as mentioned above.

The Cultural Enterprise

Offices were rolled-out from

Glasgow to Aberdeen,

Dundee and Edinburgh in

April 2005, to recognise the

particular needs of creative

individuals and micro-

businesses and provide

support and business advice

tailored more appropriately

to the needs of this important

sector of the economy


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Creative bodies working in all artforms, and significant

initiatives and events such as festivals, could continue to

have their core costs, venues and qualifying projects

supported from national funds at the discretion of the

agency. The agency will exercise its judgement about

whether organisations merit national funding, based on

their record for delivering high quality artistic standards,

developing talent and their national impact. That is

compatible with the agencys responsibility for supporting

and developing artistic excellence. The Scottish Arts

Councils work to develop performance criteria for the

sector, based on skills development and sustainability,

should provide a good template for handling

applications. The scope of the agencys funding role will

therefore contribute towards ensuring that a network of

centres of excellence is maintained as a pan-Scotland

resource. Nationally-important arts bodies supported by

the agency will be expected to provide outreach activity

to demonstrate their national credentials.

The Executive agrees with the Commissions view that

creative industries is a broad and not always helpful

term covering an enormously wide range of sectors and

one which does not properly reflect the large proportion

of self-employed individuals and micro-businesses in

these sectors. The Commission recognised some of the

recent work undertaken by the Enterprise Networks, the

Scottish Arts Council, Scottish Screen and others to

support the creative industries in Scotland, such as the

roll-out of the Creative Enterprise Offices from Glasgow

to Edinburgh, Dundee and Aberdeen. However, the

Commission did not seem to be aware of the full range

of existing activity, such as the work of Skillset the

sector skills council for the audio-visual sector and

Creative and Cultural Skills the sector skills council for

advertising, crafts, cultural heritage, design, music,

performing, literary and visual arts.

By amalgamating relevant support functions delivered by

the Scottish Arts Council and Scottish Screen, the new

infrastructure is intended to strengthen national

assistance to the creative industries sector. The

Executive does not, however, think that some of the

Commissions recommendations focusing on the creation

of new organisations, such as a National Creative

Industries Sectoral Council or a new body to provide

financial advice and services, are necessary given the

existing range of players. But we do agree that the

Commission was right to highlight the current lack of

clarity about the roles that central Government, Scottish

Enterprise, Highlands and Islands Enterprise, the cultural

organisations, local government, schools, the higher and

further education sectors, the sector skills councils and

industry bodies have, in relation to assisting the creative

industries in Scotland to thrive.

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2 National Collections

The National Collections have a crucial role to celebrate

and showcase the talent of Scots and international

artists, artisans and writers over the centuries. Principal

amongst these are the National Galleries of Scotland, the

National Museums of Scotland and the National Library

of Scotland. The Executives ambition for this part of the

infrastructure is to enable the National Institutions and

other identified National Collections (see below) to do

what they do now maintaining their discrete functions,

prestige and identities as centres of excellence but

even more effectively and efficiently.

The resource known as the National Collections will in

future be expanded to include other collections of

national status: the Royal Commission on the Ancient

and Historical Monuments of Scotland, the National

Archives of Scotland, and the Scottish Screen Archive

(passing from Scottish Screen to the National Library of

Scotland). While most of those organisations can expect

to remain as independent bodies, they will be asked to

develop a closer operational relationship. That will enable

better co-ordination of strategy and policy, and far more

joint activity than happens at present with some

exhibitions combining a mix of holdings from different

collections (as seen to good effect in the 2004 Titian

exhibition, when the Institutions combined their Venetian

artefacts). We shall review the governance arrangements

of each of the five Collections bodies and consult on any

legislation required to bring about reforms to streamline

their administration.

The opportunity will also be taken to rationalise the

common functions that service the collections bodies

such as human resources, IT and digitisation, estates,

exhibition touring, marketing and press. How the

collections bodies do this is a matter for them; it is

envisaged that they might create a new unit to

co-ordinate, harmonise and deliver these operations on

their behalf. Single strategies for the respective combined

functions will also be appropriate, helping to deliver

increased efficiency and a coherent approach to policy.

For example, the benefits of a single estates strategy for

national bodies would be to steer the commitment of

future funding in ways that secure Best Value and invite

creative approaches for the use of the estate.

36

The Scottish Executive

committed 8.3 million

towards the National Library

of Scotlands purchase of the

John Murray Archive. TheMurray Archive contains over

150,000 letters and

manuscripts by Byron, Scott,

Darwin, Livingstone and other

figures of global significance


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37

While we would not envisage this resulting in governance

changes to any other organisations, we would expect

the collections bodies to encourage other relevant

museums and heritage bodies to join them in capitalising

on the advantages of effective co-ordination of relevant

services. We will also seek to adopt a similar approach

for all parts of the new national cultural infrastructure.

Uniting the institutions common functions will underpin

their activities with a sense of collective purpose, adding

strength and strategic flexibility to the operations that

result, and their ability to develop and present the best

of the combined collections. The objective is to improve

the interpretation of the collections and exhibitions, and

consequently their appeal to a broader public. The

Executive is committed to the principle that what is

identified as of national significance should indeed be

presented nationally exploiting new technology and

through increased emphasis on physical touring of

exhibitions and exhibits across Scotland and

internationally. It would therefore be desirable if more

efficient collections administration permitted greater

touring opportunities and exchanges with other galleries

of (inter)national importance.

To capitalise on the benefits of joined-up strategy and

delivery for the collections education and access functions,

shared education and outreach activities will be co-ordinated

with Learning and Teaching Scotland. This would ensure

education projects reach the maximum audience and

complement formal education priorities more directly. We

will seek to adopt a similar approach for the other two

strands of the cultural infrastructure: the national performing

companies and Creative Scotland.

The Executive believes there may be a place for a forum

that brings together the collections bodies and other

leading keepers of the nations cultural treasures,

including built heritage interests. The forum would share

good practice and consider joint working. We shall

discuss the option with the relevant bodies.

An excellent recent example

of joint working is the BurnsFestival, Burns and a That,

inspired by Ayrshire and

Arran Tourist Board. It brings

together co-sponsors

the Scottish Executive,

South Ayrshire Council,

VisitScotland, the ScottishArts Council and Scottish

Enterprise Ayrshire. Over

four years, the Festival has

gone from strength to

strength and the funding

bodies are committed to its

continuation


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The Executive is also committed to the development of

its support for collections of national significance in the

care of local authorities and other organisations. Future

funding for non-national museums, including Scotlands

industrial museums, will focus on supporting significant

national standard collections. We shall make available

additional funding of 500k per annum over the next two

years to continue to support our non-national museums

and to enable the launch of the museums recognition

scheme on which the Scottish Museums Council has

consulted on our behalf. This will bring the total to be

disbursed through the new scheme up to 940k per year.

The Executive attaches high national priority to the

maintenance and improvement of standards in both

non-national museums and in libraries. Alongside the

support of 1 million, which we make available for

non-national museums through the Scottish Museums

Council, we shall also make available an additional 500k

per annum over the next two years to help the public

library service to improve its standards of provision and

facilitate co-operation. We shall also expect our National

Institutions to provide advice and assistance where

appropriate.

Our policy in terms of the entire new cultural

infrastructure is to strengthen and clarify our relationship

with, and expectations of, the bodies which we fund. In

order to drive through our policies for the collections

bodies, we propose to develop how we support and

direct those organisations. The Executive proposes to

explore with the Scottish Museums Council the most

effective and efficient solution for providing support from

national funds to non-national museums containing

collections of truly national significance, through our

museums recognition scheme. The Scottish Museums

Council acts as the channel for the Executives support

for the non-national museums sector; as mentioned, we

plan to increase our direct grant aid for non-national

collections. Our ambitions for the museums sector

include achieving a combination of efficiency savings and

reinforcing our support and direction of the National

Collections. The national collections bodies, in

consultation with other stakeholders as appropriate, will

be responsible for developing standards for their

respective sectors and will contribute to the development

of cultural entitlements.

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The Executives support for collections of national

significance, including those held by the cultural Non-

Departmental Public Bodies and agencies, will continue.

We shall channel funds both to the collections which the

nation owns, and to the support of collections of national

significance held and managed by bodies independent of

Government. We shall also seek to incentivise the

improvement of standards in museums and libraries

throughout Scotland. As we seek to achieve greater

efficiencies in delivery, we shall allocate future resources

to best achieve national priorities for the conservation of

collections and the improvement of public access to them.

The Executive sees scope in principle for other,

locally-held, collections which are holdings of truly

national significance to achieve status as national

collections bodies, subject to negotiation.

As part of the legislation needed to implement its

proposals for the National Collections, the Executive will

modernise the National Library legislation of 1925, making

it responsible for the Scottish Screen Archive; and will

modernise the governance arrangements of the Royal

Commission on the Ancient and Historical Monuments of

Scotland established by Royal Prerogative in 1908.

The Executive has considered the position of the

collections in the care of Historic Scotland and the Royal

Botanic Garden in Edinburgh. As the Commission

identified, greater operational commonality exists

between Historic Scotland and the National Trust for

Scotland. Those organisations are building upon their

positive working arrangements, in response to the

review, by examining specifically new ways in which they

might manage their respective estates in a more

joined-up manner and maximise benefits for visitors and

members. Following the outcome of those discussions,

we invite Historic Scotland to consider how it might

share the benefits of the co-ordination arrangements

proposed above, for the National Collections. We believe

that the Executives Environment and Rural Affairs

Department is the most suitable to fund and support the

Royal Botanic Garden in Edinburgh. However, we intend

that where common services supporting the operation of

the Royal Botanic Garden are sufficiently similar to those

involved in running the National Collections mentioned

above, opportunities to secure efficiencies from sharing

services should be explored.

The heritage sector welcomed the recent Ministerial

decision to invite Historic Scotland to lead an exercise to

establish an ongoing audit of the historic environment.

This work is an important opportunity to develop the

evidence base for the historic environment sector; to

promote collaboration and joint working among heritage

organisations; and to increase public awareness of

Scotlands rich heritage.

Historic Scotland is taking forward its plans to review and

revise strategic and operational policies concerning the

historic environment, including the launch of a new,

updated Scottish Historic Environment Policy series.

Historic Scotland is conscious that some of its current

policies were developed a while ago, without the benefit

of consultation, and intends to consult with the public

and stakeholders as it updates this key series of policy

documents.


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The Executive has for some time been considering the

best ways to make national resources available on-line,

to promote Scotlands culture and boost access in ways

that exploit new technology and overcome geographical

barriers. The Commissions recommendations in this area

echo some of these issues. We believe that a brand new

strategic approach is required for the electronic delivery

of cultural material building on the Cultural Portal and

the work of Scotlands Cultural Resources Access

Network. Digitisation can be extremely effective where

there is a clear purpose and end-user in view there is

need for co-ordinated research to clarify those practical

issues; and a project to promote the digitisation of

Scotlands culture will be explored as a pathfinder within

the Executives overarching digitisation strategy.

Enhanced electronic access by young people will be

explored within the Scottish Schools Digital Network

scheme, including e-archive albums.

3 National performing arts companiesThe national performing arts companies have a unique

function, bringing work of an international standard to

their audiences, and showcasing some of the best

performing arts activity produced in Scotland.

The national performing arts companies are: Scottish

Opera, Scottish Ballet, the Royal Scottish National

Orchestra, the Scottish Chamber Orchestra and the

National Theatre of Scotland a product of the National

Cultural Strategy which received an enthusiastic welcome

for the recent announcement of its first programme.

Consistent with its approach to all activities receiving

national support, the Executive wants to see these

companies flourish exhibiting and maintaining the

highest standards as they showcase Scotlands best

performing talent across the country and overseas. To

promote that aim, we have decided to redefine the

national arts companies according to criteria for the

highest artistic performing standards, borrowing from the

model operating successfully in Australia. Festivals,

however significant, are not national performing companies;

as appropriate, some festivals will be supported in other

ways such as through EventScotland, Creative Scotland

or by local authorities.

Any companies aspiring to win the status of a national

performing arts company will require to meet a set of

operating criteria in order to gain and retain membership

of the national performing companies. Those elite bodies

that qualify will need to fulfil a funded contract that

requires them to deliver a superior standard of

performance, touring, education and outreach

programmes, while ensuring consistent performance in

terms of governance and financial sustainability. We shall

also expect them to co-operate with each other on joint

projects and productions, and to seek efficiencies from

their collaborative activity. To underline our commitment

to those national bodies entering the new arrangement,

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41

the Executive plans to increase their funding. Nothing in

these new arrangements will affect the artistic

independence of these companies that must not, and

will not, be compromised.

A new and exciting feature of the plan is that the national

youth companies will be eligible for inclusion. This would

contribute to the new goal of an escalator of talent leading

from school to the highest levels of international performing

excellence. The national performing companies both

youth and adult companies should be the target to which

Scotlands ambitious and talented young performers aspire.

A variety of arrangements are in place at present for the

funding of the national performing companies. Whereas

the longer established companies are independent

entities in receipt of core grant, the National Theatre of

Scotland is presently in public ownership. In future, the

funding of all the national performing companies will be

undertaken directly by the Executive, using the resources

currently committed to this function through the Scottish

Arts Council. We consider there is a case for consistency

of treatment with the National Institutions, which receive

funding direct from the Executive. This change will assist

in clarifying roles and responsibilities. As mentioned, the

companies artistic decisions in delivering their programmes

will remain strictly a matter for their boards, who will

remain responsible for the management of the companies.

We shall review the governance arrangements of the

national performing companies and consult them on any

steps required to streamline their administration. We shall

aim both to secure efficiencies and to strengthen

accountability for the companies use of public funds.

We expect the national performing bodies to contribute

to the development of standards and cultural

entitlements for their respective sectors.

To discharge its new role, appropriate expertise will be

required by the Executives funding team; relevant

Scottish Arts Council staff will transfer to the Executive

under the relevant employment protection arrangements

in force. Consistent with the approach planned for the

Collections, the national performing companies will also

be encouraged to adopt a common services arrangement

to discharge their supporting functions such as

marketing, press, and estates strategy (mentioned above).

Also consistent with the treatment of the National

Collections, it will be open to those performing

companies adult and youth alike that are not

presently counted amongst Scotlands national

performing companies, to qualify for national status if

they meet the criteria.

According to the proposed split of roles between national

and local levels, support for the performance venues

visited by the national performing companies would fall

to local venue operators. This would not apply to core

rehearsal facilities, which are properly part of the core

funding package provided in future direct from the

Executive. Provision of local venues will secure for local

communities greater opportunity to enjoy touring and

outreach activity, which will become a regular feature in

the national performing companies programmes.


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Other InfrastructureMatters


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The Cultural Commission has recommended that Ministers should consider

how a separate TV channel for Scotland might be financed and set up. The

Commission was unable to estimate a budget for the channel, but cited as

examples channels with a budget of 35 million and 50 million.

The Executive is not attracted to this recommendation. Broadcasting is a

reserved matter and is the responsibility of the Department for Culture, Media

and Sport. It would also be a costly way of increasing opportunities for Scottish

broadcasting and creative talent. We consider that our efforts and resources

would be better spent on securing the future of Gaelic broadcasting,continuing to work to increase TV production in Scotland and encouraging

broadcasters to improve coverage of Scottish issues on existing channels

rather than trying to set up a new one. There may be opportunities to use new

technologies for providing streamed coverage on the Internet of an increasing

number of cultural performances. The Executive will be looking into these

possibilities.

43

The recently created Brd na Gidhlig andArchitecture and Design Scotland will not beaffected by the infrastructure changes. TheExecutive plans to launch a new architecture

policy statement in 2006, taking account of theCommissions recommendations and commentsabout the strengthening of the role of that policystatement, in view of the acknowledged culturalimportance of the built environment, design andthe creative industries.


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Access To Languages


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The Executives Partnership Agreement of 2003

announced there would be a National Languages

Strategy to celebrate and promote the rich diversity of

languages spoken in Scotland, including Gaelic and

Scots. The National Strategy, which is currently under

development, will be able to guide strategies prepared

locally, and by national bodies, to ensure this rich and

growing heritage is identified as a national resource. It will

consider current provision for both heritage and

community languages, and how best to meet our

obligations for their development in the light of the

European Charter for Regional or Minority Languages.

As mentioned, we intend that the new cultural

infrastructure will seek to offer opportunities for

enhancing the role of Scottish literature and publishing;

and this is a specific task for the new cultural

development body, Creative Scotland. The Scottish Arts

Council at present has responsibility for literature and

publishing in Scotland through its Literature Department.

That Department works with a range of literary and

publishing organisations and offers support to initiatives

in this sector. The focus on literature and publishing is

welcome. There are many small groups that operate in

this area and they would benefit from increased

recognition. The national role to promote literature and

publishing should encompass both Gaelic and Scots

projects (for example, Itchy Coo or Ur Sgeul). Ministers

46

The Scottish Executive has

made good progress with its

Partnership commitments to

the Gaelic language,

resulting in the successful

passage of the Gaelic

Language (Scotland) Act

2005 through the Scottish

Parliament, the

establishment of Brd na

Gidhlig and the ongoing

support for the development

of Gaelic medium educationat all levels. These measures

have all been supported

with funding and have the

aim of creating a sustainable

future for the Gaelic language

in Scotland


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will be looking to see an increased role for Scottish

publishing and literature, in its distinctive forms,

promoted through the new infrastructure. Scotland has

an excellent literary tradition and the present surge of

world-class contemporary writing deserves help to

maximise its profile.

Many bodies act as national resources already in this area,

such as the Scottish Book Trust, Scottish Poetry Library,

the Scottish Storytelling Centre, the Scottish Publishers

Association, and a number of Gaelic and Scots projects.

They will be well placed to assist in the promotion of

literature and publishing, and links into schools. Scotlands

literary heritage receives world-wide acclaim, but more

should be done to ensure our young people are able to

enjoy it. Opportunities for everyone to develop their

awareness of Scottish writing will be exploited in 2009,

which the Executive has designated Scotlands Year of

Homecoming, to include a national celebration of the

250th anniversary of Robert Burnss birth.

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Model of the New Cultural Infrastructure cont

LINK ZONE

Connection

between

national andlocal levels

LOCAL

Scottish Cultural

Development Agency

Consulting on national standards

and guidance

Offering advice on pilots to develop

entitlements as element of

cultural/Community Planning: localauthority pilots testing different

approaches in different areas,

including The Highland Councils

Cultural Pledge

Local authorities responsible for

local premises, facilities, and events

New funding sources, delivered

through: cultural planning, local

entitlements, quality assurance and

collaboration incentivised by theExecutive

National Collections of Scotland

New funding mechanism to deliver:

national and international status

and recognition

outreach, education and touring

of items in the Collections

Consulting on national standards

Local authorities, universities and

other bodies to look after their own

collections and provide premises

accommodating works on tour

Delivered through: cultural planning,

local entitlements, quality assuranceand collaboration incentivised by the

Executive

Scottish Performing National

Companies

New pathway model through

education to top flight performance.

Building on current Creative Links,

Cultural Co-ordinators and Active

Schools Co-ordinators activity andworking closely with further and

higher education

Outreach, education and touring

activity

Local authorities and other local

operators responsible for their

premises, performing/touring

venues, local acti

Documents

Scottish Exec Response to Cultural Review