INVESTING IN SCOTLAND'S CREATIVE FUTURE - CORPORATE PLAN 2011-2014 - Creative Scotland
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INVESTING IN
SCOTLAND’S
CREATIVE FUTURE
CORPORATE PLAN 2011–2014
Waverley Gate
2–4 Waterloo Place
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Scotland UK
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Scotland UK
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www.creativescotland.com
ISBN: 978 1 85119 197 0
April 2011
© 2011 Creative Scotland
No part of this publication may be
reproduced in any format without prior
written permission of Creative Scotland.
Equal opportunities
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Designed by Katherine Green, Graphic Designer, Creative Scotland
NVA, Speed of Light (photo: Toby Williams) Printed by Allander, www.allander.co.uk
INVESTING IN SCOTLAND’S CREATIVE FUTURE 1
CONTENTS
Background 2
Mission and Objectives 4
Political and Cultural Context 10
Ten Year Vision 20
Three Year Plan 21
Cross Cutting Themes 32
Investment Programmes 35
Explaining our Budget 40
Measuring Outcomes: the Impact of our Work 51
Appendices 55
INVESTING IN SCOTLAND’S CREATIVE FUTURE 3
BACKGROUND
This is the corporate plan for Creative Scotland. economic activity linked to the broader definition Our stakeholders Our role
It sets out a 10 year aspiration and outlines what of creative business activity.
we will do in the first three years. Creative Scotland has a complex range of The general functions of Creative Scotland were
The detailed annual operating plan will present stakeholders including the Government who defined in paragraphs 37 and 38 of the Public
The plan is informed by: a comprehensive picture of our work to inform commission us to carry out various roles, the Services Reform Act 2010. These were arrived at
Government and key stakeholders. It will also public who benefit as audiences and participants, through extensive public consultation about the
• Extensive consultation work on the formation
be a practical working document for tracking and the artists, filmmakers and cultural agencies role of Creative Scotland and its priorities.
of Creative Scotland
progress and reporting back on the results of our who are central to the delivery of our objectives.
• The Public Service Reform Act setting up investment. It will provide the detail of our budget In summary these are:
We also work with many other stakeholders from
Creative Scotland for the year, listing all revenue commitments and local authorities to health agencies, enterprise • Identifying, supporting and developing quality
• Government guidance a clear explanation of each of our investment agencies, universities, broadcasters, trusts and and excellence in the arts and culture
• The National Performance Framework programmes. foundations, and the media.
• Promoting understanding, appreciation and
• Commitments and work streams already Cultural investment agencies have a wide range enjoyment of the arts and culture
We aim to serve the best interests of Scotland by
in progress from Scottish Arts Council and of roles from investing in talent and production investing in Scotland’s creative future. Our primary • Encouraging as many people as possible to
Scottish Screen to access and audience development. The customer is the nation itself. Our objectives reflect access and participate in the arts and culture
• The financial environment and 2011/12 challenge for Creative Scotland is to be focused the fact that we have social and economic (though
Government settlement • Increasing the diversity of people who access
and innovative in our approach whilst ensuring not commercial) responsibilities. and participate in the arts and culture
• Existing policy frameworks e.g. SCIP (Scottish that we deliver to the expectations of our key
Creative Industries Partnership), Education and stakeholders. We inherit some real strengths and If we define the public as those with the potential • Realising the value and benefits nationally and
the Arts, Culture and Creativity Action Plan considerable commitments. We have started to experience or take part in cultural work internationally of arts and culture
to introduce new ways of working that develop produced or presented in Scotland, then we have • Encouraging artistic and creative work that
• The rich heritage of innovation and vision in
our role as a champion and advocate as well as a national and international audience, as well as contributes to an understanding of Scotland’s
Scotland’s cultural sector.
a funder or investor. However it will take two to a global market place, for cultural production. national culture
Creative Scotland sits within the broader context three years to establish a fully integrated suite We will put a major focus on promoting greater
• Promoting and supporting industries and
of cultural provision in Scotland including the of new initiatives and investment programmes. participation in culture by our resident population.
commercial activity based on the application
national companies, national agencies for libraries, This plan shows how we will make that journey. of creative skills
The Scottish Government seeks ‘to focus
museums and galleries and the cultural investment 2011/12 is a year of review and transition, 2012/13
Government and public services on creating a • Providing advice to Scottish Ministers relating
of local authorities and education providers. Our will see the introduction of further new investment
more successful country, with opportunities for to the creative industries specialising in the arts
plan will be an important contribution to the programmes and 2013/14 will see the completion
all of Scotland to flourish, through increasing and culture.
leadership and strategic delivery of a sustainable of our changes.
sustainable economic growth.’ Creative Scotland
ecology for culture and the creative industries in contributes significantly to many of the national Creative Scotland’s brand will put the focus on the
Creative Scotland’s plan is deliberately ambitious
Scotland. It will develop key aspects of Scotland’s outcomes relating to quality of place, economic cultural sector rather than itself as an institution.
with a view to inspiring people to work with us in
cultural landscape. There will be areas where potential, education, innovation, tackling We see Creative Scotland as a rallying call to
promoting Scotland’s cultural strengths. The plan
Creative Scotland provides leadership and helps equalities, strong and resilient communities and engage the culture sector and our partners in
is also flexible enough to adapt to change and
to define national policy and other areas where taking pride in a strong, fair and inclusive national delivering and promoting Scotland’s creative
to the new opportunities and challenges that
we respond to, and interpret, Government policy
INVESTING IN SCOTLAND’S CREATIVE FUTURE 2
will inevitably emerge over the three years. identity (see Appendix 1, page 55). future.
or seek to support the work of others.
The organisation has a remit to work across the
arts, culture, film, TV and the creative industries.
Creative Scotland was born out of the merger of
an arts council and a screen agency but it presents
the opportunity to deliver a new model for cultural
investment and advocacy. The plan uses the words
‘arts and culture’ interchangeably to encompass
film. It uses ‘creative industries’ to define
INVESTING IN SCOTLAND’S CREATIVE FUTURE 5
OUR MISSION OUR VISION
TO INVEST IN That Scotland is recognised
as a leading creative nation –
SCOTLAND’S one that attracts, develops and
CREATIVE FUTURE retains talent, where the arts
and the creative industries are
supported and celebrated and
their economic contribution
fully captured; a nation where
the arts and creativity play
a central part in the lives,
education and well-being
of our population.
INVESTING IN SCOTLAND’S CREATIVE FUTURE 4
INVESTING IN SCOTLAND’S CREATIVE FUTURE 7
OUR OBJECTIVES OUR VALUES
Creative Scotland will use the word ‘invest’1 as the basis for a simple set • Passionate
of memorable objectives.
• Creative
• Proud to be rooted in Scotland with a global perspective
TO INVEST IN TALENT • Determined to be distinctive, bold and to value risk
TO INVEST IN QUALITY ARTISTIC PRODUCTION • Committed to the principles of equality, access and diversity
TO INVEST IN AUDIENCES, ACCESS AND
PARTICIPATION
TO INVEST IN THE CULTURAL ECONOMY
TO INVEST IN PLACES AND THEIR CONTRIBUTION
TO A CREATIVE SCOTLAND OUR OPERATING
Three cross-cutting themes will underpin
all of our objectives:
PRINCIPLES
• Education and a commitment to a generational • We will be driven by a commitment to deliver for the
change in cultural opportunity people of Scotland
• Artists and creative practitioners will be at the heart
• International partnership to reflect Scotland’s
of our thinking
global outlook
• We will be collaborative and work in partnership
• Equalities in all areas of our work
• We will provide leadership
• We will take robust decisions but minimise bureaucracy
• We will invest in our staff and specialist advice to promote
and advocate for Scotland’s cultural development
INVESTING IN SCOTLAND’S CREATIVE FUTURE 6
1
To ‘invest’ is to devote time, effort or resources to a particular undertaking with the expectation of a worthwhile result.
In addition to our role as a funder, we will provide leadership, promotion, advocacy and advice for the development of
the cultural sector.
INVESTING IN SCOTLAND’S CREATIVE FUTURE 9
INVESTING IN SCOTLAND’S CREATIVE FUTURE 8
Peter Mullan on the set of NEDs – courtesy of
Bluelight Neds Ltd. (photo: Graeme Robertson)
INVESTING IN SCOTLAND’S CREATIVE FUTURE 11
POLITICAL AND
CULTURAL CONTEXT
Creative Scotland operates in a broader national Cultural commentary Creative Industries Forsyth to Peter Mullan and Lynne Ramsay, who
and international context. have won critical acclaim for their films, along
This commentary provides a summary of the The Creative Industries Framework Agreement, with a significant number of talented producers in
• We are part of an international network of arts published in February 2009, set out the
cultural context for our plan. Scotland benefits established production companies. Scotland also
councils and cultural agencies complementary roles and responsibilities of
from a rich cultural heritage. We have a wealth has a growing cinema-going audience. However
• We operate within a devolved nation reporting of cultural producers and agencies and an Creative Scotland, Scottish Enterprise, Highlands the competition for ever decreasing film finance in
on our work to the Scottish Government and Islands Enterprise and Scottish Local
international reputation for our festivals. Scotland commercial and public sectors, and the difficulty
• Culture and creativity enjoy all party political has strengths in music, literature, visual art Government. This was then followed by the
in securing favourable terms in pre-sales or
support and have been positioned at the galleries and aspects of theatre. It also has a good Creative Industries Partnership Report, published
distribution deals and in negotiating retention and
heart of national policy, contributing to the in June 2009, which led to the establishment of
range of physical infrastructure including venues, exploitation of IP, threaten the level of production
attractiveness of Scotland as a place to live, the Scottish Creative Industries Partnership (SCIP).
artists’ workspaces and facilities. It has cultural and the returns on investment necessary to
work, learn and visit The coordination group is chaired by Creative
strengths in its universities and colleges, in its maintain sustainable businesses.
• Creative Scotland’s budget represents around Scotland. Other members of the partnership are
innovative work in equalities, areas of cultural Scottish Government, COSLA, Scottish Enterprise,
30% of the Government’s investment in culture education, film locations, cultural tourism, digital In television production, Scotland has talented
Highlands and Islands Enterprise, the Scottish
• The Government also provides direct support production and the games industry. These are independent producers providing local and
Funding Council and Skills Development Scotland.
to EventScotland (a national events agency), complemented by areas that have shown growth network productions who are well practised in
the five National Performing Companies, the and development including design, crafts and Creative Scotland’s role in supporting creative developing co-productions with other nations for
National Galleries of Scotland, National Museums dance. There are sectors where Scotland needs to industries is to provide research, intelligence, broadcast here and abroad. Yet limited access to
Scotland and the National Library of Scotland, be more competitive. These include film and TV advocacy and contribute to policy development. opportunities, budget constraints, lack of available
Museums Galleries Scotland, Architecture and In delivering its remit, Creative Scotland will finance, and distance from London’s finance and
production, public art, cultural export, middle and
Design Scotland and Historic Scotland work in partnership with other bodies delivering production base, are all factors that conspire to
large scale theatre production and some aspects
• The country has valuable national collections support to creative industries. In many areas such challenge independent TV production companies’
of cultural education and training.
and archives, including the National Screen as architecture there are other agencies which will sustainability.
Archive which is now managed by the National Although our work touches the entire geography carry a lead role for the sector.
The sector remains strategically important
Library of Scotland there are places that have yet to
According to the latest data, 64,660 people were because of the potential economic and
• Creative Scotland is one of four lottery realise their full potential in culture and the
employed in the creative industries in Scotland, employment benefits of a vibrant indigenous film
distributors in Scotland, uniquely combining arts creative industries. Our baseline data on cultural an increase of 11% on 2003. Areas in which growth and TV industry, and the potential cultural impact
and screen investment participation is provided through the Taking Part was particularly strong include music and the visual across the country as a whole. For example the
• We work within a UK network of film agencies survey which shows that access and participation and performing arts, architecture and software, BBC’s commitment to increasing the volume and
with the British Film Institute taking a UK lead in cultural activity is high in Scotland with 90% of computer games and electronic publishing. Total value of network production from Scotland to
on aspects of film production and distribution adults living in Scotland attending or participating turnover in the sector in 2007 was £5.2 billion, with at least 9% per annum – which would provide
and the British Film Commission promoting us in arts or cultural activity2. However there are gross value added (GVA) around £2.4 billion. This an additional £50m investment in the Scottish
as a film location sections of the population and places with limited represents growth (in real terms) of 66 per cent in production sector per annum by 2016 – will make
• We collaborate across borders with the Arts access to, and engagement with, the arts and turnover and 54 per cent in GVA between 1998 and a significant difference both to cultural content
Councils of Wales, England and Northern Ireland creative industries. 2007, and compares with growth of 73 per cent in and production company sustainability.
creative industries GVA at the UK level. Similarly,
INVESTING IN SCOTLAND’S CREATIVE FUTURE 10
• Scotland has 32 local authorities who collectively There have been various studies on the economic Creative Scotland and partner organisations need
Scotland’s creative industries exports increased
invest over £210m in culture (CIPFA Survey impact of cultural festivals, events and cities. to find the correct financial models to support the
by 36 per cent, in real terms, between 2002
2008/09: arts, heritage, museums, archives) Whilst comprehensive data does not exist for the industry to grow and strengthen its sustainability,
and 2007 to a total value in excess of £3 billion.
• We work strategically with COSLA, the national cultural sector as a whole, we know that in 2009, (source Scotland’s Creative Economy, Universities but also to support the industry in brokering
umbrella body for local authorities there were 8,915 registered enterprises operating Scotland/Universities UK). relationships with the commercial sector, and to
• We are part of Scotland’s Creative Industries in the creative industries sector, representing explore the opportunities presented by new and
Partnership working with enterprise agencies 6% of all registered businesses in Scotland. The emerging digital technologies.
and other key partners number of enterprises in the sector has increased Film and TV Production
The existence of BBC Scotland, Channel 4, Sky
• Creative Scotland inherits commitments from by 29% over the last decade compared to a Scotland has a strong heritage in film making with Arts, MG Alba and STV provide opportunities
the Scottish Arts Council and Scottish Screen growth of 4% across all industries in Scotland. internationally recognised filmmakers from Bill for partnerships with broadcasters and the
2
Taking Part, Scottish Arts Council, 2008.
INVESTING IN SCOTLAND’S CREATIVE FUTURE 13
proposals for a Scottish Digital Network could be National Companies Eden Court Inverness have significant receiving Scottish Symphony Orchestra, Scottish Opera,
transformational for the production sector theatre programmes and commission occasional Hebrides Ensemble, Scottish Ensemble and
if finance is identified. The Government directly supports the Royal productions. The Edinburgh Festival and Fringe Dunedin Consort demonstrate the wealth of
Scottish National Orchestra, Scottish Chamber attract major international companies and classical music. Scotland has its own National Jazz
Creative Scotland manages the national film Orchestra, the National Theatre of Scotland, Orchestra and National Youth Jazz Orchestra.
innovative new work.
locations service which attracts hundreds of Scottish Ballet and Scottish Opera. Together Red Note Ensemble is one of our latest portfolio
queries a year. There is also a network of regional with the BBC Scottish Symphony Orchestra There is more to be done on the large scale with additions which celebrate Scotland’s wealth of
and local location offices. However Scotland they provide a wealth of performance, touring regard to the availability of high quality work contemporary music.
has limited studio facilities for large-scale film and education work and form an important part and in the middle scale if we are to keep the
production. of the cultural ecology. Creative Scotland will full network of Scottish theatre vibrant. On the Creative Scotland supports the promotion
work closely with the national companies and of Scotland’s musical talent on national and
small scale there is a need to resolve the tension
We compete in a market where other countries national collections on issues such as skills, talent international platforms, including Showcase
between highly progressive experimental work
offer higher tax breaks and incentive finance to development, touring and education. Scotland at Celtic Connections – which in 2011
and ensuring enough diversity to serve the needs
attract the economic budgets of international attracted 180 bookers and promoters from 21
of the broader population and rural venue base.
film production. countries to see work by Scottish musicians
Theatre – and South by South West in Austin, Texas, a
major international platform for up and coming
The theatre sector in Scotland is well established Music
Festivals contemporary bands.
with a good critical mass and a track record Scotland boasts professional strengths across all
Festivals are a major part of the artistic network for encouraging young practitioners in writing, Scotland has benefitted from the vision of the
genres of music – with many well known musicians
and cultural ecology of Scotland. There are over directing, designing and performing. Historically Youth Music Initiative reaching thousands of
enjoying national success and international acclaim.
200 cultural festivals each year, ranging from there has been landmark, and ground-breaking, young people in schools and communities across
high quality local events, such as the sound work but sometimes those in mid-career have felt Not only does Scotland produce many excellent the country. About to enter its ninth year, this
Festival in Aberdeenshire and the Cromarty the need to leave Scotland for opportunities that musicians, it is also a nation of music lovers, initiative has put £77.5m of government funding
Film Festival, to major global events such as will accelerate their careers. There is a good range buying more live music performance tickets into music education in Scotland – a magnificent
the Edinburgh International Festival and and diversity of work amongst small scale theatre per capita than any other UK nation. Scotland’s achievement that has seen many young people
Glasgow International Festival of Visual Arts. companies with innovation coming through audiences have a wealth of concerts to choose flourish through accessing music. The National
The combined impact is a year-round programme strongly. The sector is reasonably well served by from, including T in the Park, Celtic Connections Youth Pipe Band of Scotland and National Youth
of events which promote Scotland’s artists to networks and developmental forums and there (the largest festival of Celtic music in Europe), Brass Band of Scotland, alongside the National
local communities, foster tourism and boost has been sustained progress in some genres such Piping Live, Rockness, the sound Festival and Youth Orchestra of Scotland and National Youth
local economies. In programming Scottish artists as children’s theatre where external observers Belladrum to name but a few. Choirs of Scotland, provide shining examples of
alongside international peers, festivals encourage comment regularly on its excellent reputation what can be achieved through an investment
creative exchange and the sharing of ideas internationally. Glasgow is a UNESCO City of Music, and its in the lives and artistic well-being of Scotland’s
which feeds artistic innovation. Festivals are venues, from the Arches to the Fruitmarket, Royal youth.
In addition to the National Theatre of Scotland’s Concert Halls to SECC and Clyde Auditorium host
fun and celebratory, providing opportunities for
innovative model, Scotland benefits from a range thousands of music events a year. Sistema in Stirling and Drake Music Scotland are
audiences to see and hear established artists and breaking new ground in creating access to music
of producers, including Traverse Theatre, Lyceum,
discover new or previously unheard-of talents. The Fèisean movement has celebrated over a for disadvantaged communities.
Tron, Citizens Theatre, Dundee Rep, Perth Theatre
INVESTING IN SCOTLAND’S CREATIVE FUTURE 12
They encourage audiences and artists to come quarter century of developing traditional music
and the repertory at Pitlochry Festival Theatre.
together and engage in artistic experiences and and dance and reaches over 32k participants a Whilst there is much talent to celebrate and
Companies such as Catherine Wheels, Wee Stories
ideas. Creative Scotland’s partnership working year. Its offspring, Fèis Rois, takes world class promote in Scotland (with an estimated 10,790
and Visible Fictions excel in the area of childrens’
with EventScotland, VisitScotland, Scottish young musicians on tour around the UK. St Magnus people working in music in Scotland, generating
and young peoples’ theatre with the Imaginate
Enterprise, Highlands and Islands Enterprise and Festival providing a valuable platform. Producers Festival, Hebcelt, Shetland Accordion and Fiddle £295m GVA – Creative & Cultural Skills 2010) this
local authorities is key to how we continue to such as Fire Exit Arts, Ankur Productions and Festival and the Lammermuir Festival have built is set against a backdrop of a recorded music
develop Scotland’s festivals. Support for festivals Cryptic are creating innovative work for site enviable reputations for the quality and range of industry which has been declining globally.
and special events such as the Cultural Olympiad, specific and touring venues. their programmes. They join over 150 other music- Creative Scotland, on behalf of the SCIP, has been
Commonwealth Games and themed years such related festivals in Scotland each year. consulting with industry on potential actions and
as the Year of Creative Scotland 2012 will form Glasgow Theatre Royal, Festival Theatre new opportunities to strengthen the sector’s
a major strand of our plan. Edinburgh, His Majesty’s Theatre Aberdeen and The combined talents of the RSNO, SCO, BBC sustainability.
Eden Court, Bodycurrents Dancers at Loch Morlich (photo: Ewen Weatherspoon)
INVESTING IN SCOTLAND’S CREATIVE FUTURE 17
Dance recognition, nationally and internationally, perhaps Crafts Visual Arts
unsurpassed in its long history. Scotland has a
Dance has been through a significant period distinguished position in the pantheon of world Scotland is rich in crafts enterprises, with some Scotland has achieved recognition as a centre of
of growth and development over the past 15 literature through its poets, novelists, short-story 3,000 across the length and breadth of the excellence for the visual arts, a place where artists
years. Scotland now has a vibrant dance sector writers, philosophers, screenwriters, playwrights, country. There are particular strengths in jewellery, can research, develop and produce work that is
of professional companies, organisations and storytellers, song-makers, scientists, historians and metalwork and textiles and, in partnership with the of national and international significance. With a
artists who are creating opportunities for people biographers. It also has an unrivalled asset in its universities, growing expertise in the application growing network of workshops, studios, galleries
to experience dance as audience members or thriving publishing industry, committed readers of new technologies. Additionally North Lands and artist-led initiatives there is a healthy diversity
active participants. Alongside the increasing and listeners. Creative Glass in Caithness is an international of practice from sculpture, painting, printmaking,
profile of Scottish Ballet and Scottish Dance centre of excellence for skill development in drawing and photography through to sound,
Theatre – Scotland’s two full-time dance We have no fewer than 24 organisations in the contemporary practice. The potential of the sector experimental film, live art, installation and new
performance companies – there is now a host Literature Forum for Scotland, including national as a creative industry, however, is not fully realised, media/emerging technologies.
of ambitious choreographers and independent organisations such as the Scottish Poetry Library, with more attention required to business skills,
companies (including Plan B, David Hughes Flagship venues such as the Fruitmarket Gallery in
Scottish Book Trust and the Scottish Storytelling capitalisation, and specialist production facilities.
Dance and Company Chordelia) creating new Edinburgh, DCA (Dundee Contemporary Arts) and
Centre. The Edinburgh International Book Festival
work and receiving international recognition for Among the growing network of organisations more recently Tramway demonstrate world-class
is the largest in the world, attracting over 200,000
their originality. The network of dance centres – which promote and present contemporary crafts programming. Showcases such as the Edinburgh
visitors and over 800 authors a year from
Dance Base, Citymoves and Dance House – are the Dovecot, with its partner Innovative Craft, is a Art Festival and Glasgow International (GI) stage
across the world. Edinburgh is the world’s first
central to the dance infrastructure and their leader in bringing craftwork of the highest calibre ambitious exhibitions and commissions.
designated UNESCO City of Literature, leading
holistic approach encourages a wide range of the development of a growing network of partner to Scottish audiences; and Craft Scotland provides
The Own Art programme aims to increase
participation alongside talent development. an online gateway to crafts-based activities here
and aspirant Cities of Literature across the globe. the number of first-time buyers of arts and to
whilst showcasing leading Scottish makers at
Compared with other artforms, dance in Scotland There are over 40 other literature or book festivals stimulate more adventurous collecting.
national and international events. There is work
is still at a relatively early stage of development ranging from the Borders to Ullapool.
to be done to raise the profile and develop the For historical reasons the publicly funded
and entering and sustaining a career in dance The Creative Scotland/Scottish Mortgage market for crafts, a key target being to establish infrastructure for the visual arts is complex.
can be challenging with limited opportunities a major promotional event in Scotland and to The Scottish Government supports the National
Investment Trust Book Awards are the most
for progression. One of the most significant strengthen the Scottish brand abroad. Galleries in Edinburgh and National Collections,
prestigious, and largest, literary prizes in the
challenges facing dance in Scotland is the limited Museums Galleries Scotland supports museums
country. The Muriel Spark International Fellowship,
teaching of dance in schools. Y-Dance, the and many local authorities have direct or trust
the Scots ‘Makar’ or Poet for Scotland, and other
dance development agency for young people in
prestigious residencies reflect the high profile of Fashion provision including Glasgow’s award-winning
Scotland, plays a critical role enabling thousands museums and galleries. The plans for the V&A
writers and literature in Scotland. Scottish Book The fashion and design sector offers a wealth
of young people throughout Scotland to discover in Dundee provide a further enhancement of
Trust delivers the Live Literature Programme, of creativity. The skills of Scottish designers are
dance each year. Get Scotland Dancing is a huge exhibition space.
opportunity to harness support for an inclusive reaching schools and organisations across as marketable as their products and are often
celebration of dance across Scotland, linking Scotland, and an additional £1m investment by the employed to enhance items manufactured There is a strong network of artist facilities
into the wider UK and marking Scotland’s place Government in their Bookbug scheme, supports elsewhere. The challenges are to retain profits including printmaking facilities in Edinburgh,
in the world. Scotland has a rich and distinctive the distribution of 240,000 free packs of books to and intellectual capital and to keep talented Glasgow, Dundee, Aberdeen and Inverness.
INVESTING IN SCOTLAND’S CREATIVE FUTURE 16
traditional dance culture which informs social young children. individuals in Scotland. Building on our expertise There are sculpture workshops in Edinburgh,
activity and celebrations. This work is supported in co-production and collaborative working within Aberdeenshire and Glasgow, and WASPs house
The Gaelic Book Council and the Association for colleges, universities and creative enterprises,
both commercially, and through the work of over 750 artists and creative workspaces in 19
Scottish Literary Studies provide literary expertise there is potential to lead the way on new design
organisations such as the Royal Scottish Country facilities. Creative Scotland also supports galleries
networks, and Moniack Mhor, Cove Park and Sabhal methodologies. But if Scotland is to compete
Dance Society. such as Inverleith House, Stills and Street Level as
Mòr Ostaig deliver valuable residency and retreat effectively in the world market greater attention is well as network agencies such as VAGA.
opportunities for writers. Publishing Scotland is needed on the calibre of Scotland’s presentation
Literature the development agency and trade organisation of itself at industry and international events such There have been a few significant public arts
for the book publishing industry in Scotland, as Scotland Week, and to improving industry projects in Scotland but this sector is relatively
Literature is one of Scotland’s principal working to promote and protect the interest of its skills, access to finance, market intelligence, and underdeveloped. Innovative work has been done
assets, and is enjoying a scale of success and members, both nationally and internationally. production facilities. on temporary public art by the festivals, artsINVESTING IN SCOTLAND’S CREATIVE FUTURE 19
organisation NVA, and by the National Galleries. Whilst there are many examples of design fund has provided small grants direct to young to local companies for joint projects, work
On a more permanent basis there is the Helix businesses flourishing in Scotland, and there are people to support their creative ambitions. Many experience or job opportunities. In addition, the
project in Falkirk. The Gretna Border Crossing demonstrable opportunities for these businesses of our Foundation Organisations run extensive online resource developed by CCSkills and Skillset,
commission and plans by NVA to develop a public in an increasingly sophisticated and competitive education programmes. ‘Creative Choices’, has assisted students and
art landscape at St Peter’s Seminary in Cardross international market, there are still some issues careers advisers in determining routes to careers.
offer significant prospects for the future. to be addressed in order to fully realise their
potential. Issues raised include finding and Universities and Colleges
retaining talent, public procurement procedures, Cultural Tourism
Digital Technology access to workshop space, micro businesses’ ability Scotland’s colleges and universities have
and the games industry to prepare for manufacturing larger production particular strengths in creative and cultural course Culture is an important part of the tourism
runs, maximising their IP, and accessing capital to provision, such as the Screen Academy Scotland product for Scotland from its year round
Scotland is home to world leading digital realise opportunities for growth. Appreciation of at Edinburgh’s Napier University and Edinburgh programme of festivals to major events such as
technology, games and mobile entertainment design’s link to innovation is being increasingly College of Art, and the Skillset Media Academies T in the Park, the MOBO and MTV awards, and
companies with globally successful products. understood, but more integration of this in public at the University of the West of Scotland, the cultural conferences such as Showcase Scotland
The University of Abertay has led the investment policy is necessary to better support the industry’s University of Abertay in Dundee and Creative at Celtic Connections. Pitlochry Festival Theatre
in education provision and talent development potential. Loop. Scotland has four renowned art schools – is an exemplar in rural cultural tourism attracting
in gaming but is also developing ‘pervasive Glasgow School of Art, Edinburgh College of Art, over 70% of its visitors from outside of Tayside. In
technology’ which has uses in accident simulation Duncan of Jordanstone in Dundee and Grays Art more remote parts of Scotland facilities such as
and medical research. Annually, Scottish games Education School in Aberdeen – and there is also the School Taigh Chearsabhaig in North Uist, An Lanntair in
companies make a direct and indirect contribution of Informatics at University of Edinburgh, whose Stornoway and The Pier in Stromness, Orkney are
of £66.8m to the UK’s Gross Domestic Product, Creativity now permeates Scottish education provision links to innovation, and the University of important to local visitor experiences. Glasgow,
employing 1,841 people. policy through the Curriculum for Excellence St Andrews Institute for Capitalising on Creativity. Edinburgh, Dundee and Perth all use culture
and we will continue to work with partners to In the performing arts we have strengths in music,
However, the sector, both in the UK and in as a major focus of their tourism marketing as
deliver the Government’s Education and the Arts, dance, and drama at Royal Scottish Academy for
Scotland, has declined over the last two years. Culture and Creativity Action Plan. There are do many smaller towns and villages such as St
Music and Drama, musical theatre and dance at Andrews, Ullapool, Melrose and Dumfries. Festivals
Scotland suffered a decline in the development strong partnerships in place with the national Edinburgh’s Telford College, and dance at Dundee
workforce in 2010, mainly due to Realtime organisations responsible for education and young Edinburgh is an umbrella agency for 12 Edinburgh
College’s ‘The Space’. Together they provide an festivals including the Edinburgh International
Worlds, one of the biggest development studios peoples’ policy development and companies excellent range of course choice and research
in Scotland, going into administration. The delivering high quality experiences in the sector. Festival, the Edinburgh Festival Fringe, and the
across the breadth of the sector and develop
industry faces challenges in skills retention, Edinburgh International Film Festival, and Glasgow
Scotland’s talent for the creative and cultural
competition from countries with lower cost bases, For example, in partnership with Learning Life combines direct cultural delivery with overall
industries.
raising finance, the need constantly to innovate, and Teaching Scotland and working with the promotion of Glasgow’s rich cultural tourism
developing sustainable and successful business technological possibilities of Glow, the national Scotland’s universities and colleges have increased product of museums, galleries, music, theatre and
models. Negotiating adequate retention of IP and education intranet, the Creativity Portal has their course provision in disciplines across the events. Artists, studios, commercial galleries and
maximising its exploitation, also remains an issue. recently been launched as a one-stop shop to breadth of the creative and cultural industries craft facilities are another reason to visit Scotland.
illustrate good practice, for cultural organisations over the last decade and have worked closely with The events programmes of Historic Scotland and
to promote their education offer and as a the sector skills councils to ensure curriculum is the National Trust for Scotland also play a part in
INVESTING IN SCOTLAND’S CREATIVE FUTURE 18
Design repository for the latest research. The co-create industry informed. Colleges and universities have the complex mix of culture on offer to tourists.
projects on Glow demonstrate innovative methods invested in industry-standard equipment and Creative Scotland will seek to add value to existing
The design sector has flourished over the last
of teaching and learning across the curriculum software, and employed industry practitioners experts in this field including VisitScotland, the
five years with statistics from Creative & Cultural
Skills (CCSkills) demonstrating a significant rise in using the expertise of arts organisations with the as full time or part time lecturers or visiting national tourism agency, and EventScotland,
the number of people working in the sector from newly available technological tools. Starcatchers speakers to enhance their provision. As industry charged with attracting and developing
11,070 in 2006 to 16,020 in 2010 – making a GVA has provided useful evidence of the value of arts needs, and educational gaps, are identified, many sporting and cultural events. Creative Scotland’s
contribution to Scotland of £500m in 2010. The and culture in early years settings, whilst Creative respond by developing particular units of study, partnership with The List magazine to produce
latest report from CCSkills states that design is Identities projects have provided opportunities for or postgraduate provision for particular areas. the Scottish Festival Guide is an example of how
one of two main drivers of growth in the UK and over 3000 young people to engage with a range Employer engagement officers have developed we can help package cultural tourism products for
Scottish economy. of arts opportunities. The Young Scot Arts Action careers information for students and connections others to promote.INVESTING IN SCOTLAND’S CREATIVE FUTURE 21
Ten Year Vision Three Year Plan
To provide a rallying call for a creative Scotland Objectives translate
we have identified a series of aspirations into actions
based on a ten year horizon to 2020 and
complementing the Government vision for This section outlines the actions under our five
Scotland as a whole. Our three year plan will objectives. The detailed operating plan will
make steps towards these outcomes but we illustrate these in more detail, showing how we
want to use this document to inform discussions plan to introduce specific initiatives across each
on the longer term cultural vision for Scotland. of the next three years. We can achieve a great
deal over this period but limitations on human
and financial resources will mean that we have to
We would like to see: phase the introduction of new programmes and
investment models. We currently have a one year
• Scotland as a year-round festival nation • A cultural economy that exceeds the UK
budget commitment and will need to adjust the
recognised as one of the top ten places in average and contributes to sustainable
plan according to the resources available for years
the world to visit for culture economic growth
two and three.
• A new generation of talent emerging from • Scotland being recognised as one of the world’s
most creative nations. Each high level objective is prefaced with a short
the ladder of career opportunities
commentary outlining how Creative Scotland’s
• Scotland being viewed as an attractive place work sits alongside that of others in the broader
to live, work and learn as an artist ecology of the cultural and creative industries.
The annual operational plans will draw on further
• Culture becoming the calling card for Scotland
work by our Directors of Creative Development
internationally – welcoming the world’s artists
and Portfolio Managers and we will undertake an
and audiences to Scotland
annual road show to test our plans and seek ideas
• Scotland having the highest levels of from the cultural sector. Retaining flexibility to
participation in the arts in the UK with creativity respond to new opportunities and ideas from the
reaching into every home sector will be central to our business model.
• Scotland’s individual places and communities
proudly celebrating and sharing their unique
strengths, identities and contributions to a
creative nation
• A thriving and sustainable film and TV sector
with a digital network and the BBC expanding
its role in Scotland with culture embedded in
national public service broadcasting
INVESTING IN SCOTLAND’S CREATIVE FUTURE 20
• World class cultural facilities being delivered
through a 10 year capital plan
• 2000 alumni from the Creative Scotland artists’
residencies programme acting as champions
and ambassadors for a creative Scotland
• Scotland recognised as an international leader
in the arts for children and young people, giving
every child in Scotland access to the artsINVESTING IN SCOTLAND’S CREATIVE FUTURE 23
INVEST IN TALENT
Investing in talent is central to our role and that Actions
of the organisations we fund. The image right
from Plan B Company shows the career paths for 1. To invest in the futures of our artists and
their writer, director, choreographer and designer creative practitioners through an annual
in the form of an underground map. It highlights residencies programme and support for
the key platforms and stations at which they innovative work.
developed their talent. Creative Scotland’s work
2. To invest in the next generation of cultural
will be to develop a vibrant cultural ecology where
leadership and expertise through creative
talent can move freely across the network of
and technical capacity building, high level
agencies both in Scotland and internationally. We
mentoring and fast track career programmes.
will explore the moments where our investment
can make the most difference in nurturing talent. 3. To develop and support a nationwide
Our role is to help identify talent, get it onto the programme of talent hubs which allow space
tracks and support the organisations which add for creative practitioners to experiment and
value to cultural development of artists, creative develop new skills.
practitioners, producers and managers.
4. To develop and support a nationwide
There are many other partners working in the programme of incubation spaces for
skills arena and it is proposed that our emphasis creative practitioners working in partnership
will be to focus on supporting talent at the start with cultural organisations, universities and
and the peak of careers. We will look at how to other agencies.
introduce talent into a creative Scotland providing
the opportunities for the first key steps in a career. 5. To engage Scotland’s elite artists and creative
We will take pride in spotting, nurturing and practitioners at the peak of their careers to
celebrating Scotland’s cultural talent. We will also maximise their contribution and ambassadorial
respond to our principles of putting artists and role for a creative Scotland.
creative practitioners at the heart of our thinking.
6. To invest in the capacity for critical debate
One of the key aspects of our plan is to identify
and reflection – particularly making use of new
and resource a series of talent hubs. These will be
technologies.
organisations that provide the platforms for talent
to be recruited, trained or showcased. 7. To invest in international training, research
and personal development for creative
practitioners.
INVESTING IN SCOTLAND’S CREATIVE FUTURE 22
Plan B Company, performer biographies, taken
from the programme for A Wee home from home,
2010 (concept by Siobhan Cain at 16k Design)INVEST IN QUALITY
ARTISTIC PRODUCTION
Our emphasis will be on supporting quality Actions
content for both local and international audiences.
This will represent the most significant area of 1. To invest in a range and diversity of
our investment and whether it be in theatre, organisations and activities that will make up
films, publishing or exhibitions our quality a healthy ecology for cultural production and
framework will inform choices. We will reinvest presentation
in and strengthen our programme of Foundation
2. To invest in the creative programming of a
Organisations. Given the scale of this investment
national calendar of festivals and events
we will engage with them in making a greater
contribution to all of our objectives and to the 3. To invest in visual arts and crafts production
Government’s National Performance Framework. for touring and on line exhibition
We will build on our strengths and address some 4. To invest in the quality production of film,
of our weaknesses in cultural production through a TV and digital media content
series of sectoral reviews. These will lead to a new
set of investments in strategically commissioned 5. To review the cultural ecology of key sectors
franchises to replace the previous flexible funding to inform future strategic commissioning of
programme. production and touring franchises
We will devolve funds where appropriate to take • 2010/11 – Traditional Arts, Audience
decisions as close to the cultural producers as Development, Touring, International
possible. • 2011/12 – Performing Arts (Theatre, Dance,
Music), Visual Arts and Crafts
We will support a small number of strategic
forums that add practical value to the ambition • 2012/13 – Festivals, Film and Digital Media
for constantly improving the quality of work but • 2013/14 – Literature and Publishing,
our priority will be to maximise the resources into Equalities
frontline cultural production.
6. To review, develop and support appropriate
We will work closely with national companies, networks and forums to share good practice
national galleries and the BBC Scottish Symphony and encourage collaboration in key sectors
Orchestra who all contribute important roles in
7. To invest in high quality inspirational events
the ecology of cultural production.
for the Cultural Olympiad, Year of Creative
Scotland (2012) and the 2014 Commonwealth
Games
INVESTING IN SCOTLAND’S CREATIVE FUTURE 24
Jung-A-Jung, Toby Fitzgibbons and Michael King in
Adam Benjamin’s Angels of Incidence Scottish Dance
Theatre (photo: Kenny Bean)INVEST IN AUDIENCES
ACCESS & PARTICIPATION
There are many partners working in the Actions
areas of education, access and community
development. Creative Scotland’s programmes 1. To deliver a national youth arts strategy for
will seek to focus on mass participation and Scotland and maximise the potential of our
targeting communities with lower than average national youth arts companies
attendance or participation in the cultural
2. To deliver the Education and the Arts Creativity
sector. We will use the opportunities of 2012
Action Plan and maximise engagement of
and 2014 as catalysts for much of our work in
cultural producers and schools with the Glow
the next three years. The implementation of the
creativity portal
Education and Arts Creativity Action Plan and
the development of Youth Music Initiative and 3. To establish creative learning networks and
CashBack for Communities will also be major support strategic delivery of education
drivers of our strategic engagement across partnerships in early years, schools sector
the whole of Scotland. A key role for Creative and further and higher education
Scotland is to inform and influence national
policy and to work with local authorities. Our 4. To invest in a series of mass participation
Foundation Organisations and Flexibly Funded projects that inspire communities and
Organisations will also contribute significantly contribute local input to a creative Scotland
to this objective, many of them have access and
5. To target communities with lower arts
audience development at the heart of their own
engagement (from Taking Part survey)
objectives and others have developed innovative
particularly older people and geographic areas
participation programmes.
with high levels of social disadvantage
6. To work with audience development agencies
FOs, FXOs and national companies to
increase attendance and develop new cultural
audiences in Scotland
7. To engage communities from every local
authority across Scotland in the Year of
Creative Scotland 2012
8. To target engagement by disadvantaged
sectors of the population through cultural
programmes such as CashBack for
Communities
INVESTING IN SCOTLAND’S CREATIVE FUTURE 26
Storytelling workshop organised by
Edinburgh Creative Links, City of Edinburgh
Council (photo: Brendan MacNeill)INVEST IN THE
CULTURAL ECONOMY
As well as social objectives Creative Scotland 3. To invest in partnerships with the BBC, STV
has a responsibility to stimulate growth in the and Channel 4, Sky Arts and MG Alba
economy of culture and the creative industries.
Creative Scotland has been given the role of 4. To deliver partnerships which exploit the
coordinating support for the creative industries potential of digital media and games
through SCIP. Creative Scotland has limited production
flexible funds of its own for creative industries but 5. To undertake a benchmarking economic
does invest through various means in the growth impact study on the contribution of the
of the creative economy. We will work closely cultural sector to Scotland with a view to
with enterprise agencies, skills agencies, funding identifying areas for economic growth in the
councils, local authorities and business gateways cultural sector
whose investment decisions are based on criteria
for economic growth, business expansion and job 6. To test new initiatives and investment models
creation. A key delivery partner will be the Cultural that enable the cultural and creative industries
Enterprise Office who provide specialist advice sectors to maximise the benefits of intellectual
and referrals for creative businesses. property
Creative Scotland will invest in partnership 7. To support cultural organisations to deliver
with broadcasters and others in the area of film environmental sustainability and to maximise
and TV production. Our decisions will be on the use of new technology
economic as well as cultural grounds with a view
to building a sustainable industry and levering 8. To work in partnership with VisitScotland,
more resources into Scotland. We also have a role EventScotland and heritage agencies to
with the Government in stimulating cultural export maximise the potential of cultural tourism,
through initiatives such as the Made in Scotland festivals and events
programme. 9. To work with enterprise agencies and local
We will work to develop a cultural sector which is authorities to ensure the best possible advice
more financially and environmentally sustainable to creative businesses through Business
and one which maximises the potential of new Gateway and the Cultural Enterprise Office
technology. 10. To work with Arts & Business Scotland and
other partners on a range of measures to
Actions engage the private sector and maximise
sponsorship, business advice and philanthropic
1. To lead the coordination of the SCIP creative support for the arts in Scotland
industries group and implement an agreed
INVESTING IN SCOTLAND’S CREATIVE FUTURE 28
list of priority actions from reports in music, 11. To examine the potential for an agency
film, design, publishing, product design and to develop international engagement and
performing arts manage cultural export as part of our strategic
commissioning process
2. To expand the Made in Scotland programme
and increase the range and volume of work 12. To deliver more resilient cultural organisations
sold and exported from Scotland through greater collaboration, new sources
of income, improved governance and social
enterprise models
Tommy Reilly performing at the South by
SouthWest Festival in Austin, Texas, 2010
(photo: Ken Haddock)INVEST IN PLACES AND
THEIR CONTRIBUTION TO
A CREATIVE SCOTLAND
A central part of our work will be to embrace Actions
the contribution that places make to a
creative Scotland. This work cuts across all our 1. To work with COSLA, VOCAL and the
objectives but we aim to deliver a more strategic Scottish Government to take forward the
engagement with the geography of Scotland and recommendations from the National Cultural
to work closely with local authorities and others Summit (March 2010)
to realise the potential of all parts of Scotland.
2. To develop single conversations which identify
The current economic climate will make this a
joint plans with the major city authorities
particularly challenging period for work with local
authorities. It is therefore even more important 3. To establish four or five place partnerships
that we have partnerships which identify shared each year beginning with Perth and Kinross,
priorities and encourage leverage and continued Fife, the Highlands, Dumfries and Galloway,
investment in culture. and Aberdeen
We will work with COSLA, VOCAL and the 4. To develop a capital strategy to further
Scottish Government to take forward the improve the physical infrastructure for the
recommendations from the National Cultural arts, addressing key gaps and opportunities
Summit in March 2010 by focussing on agreed
outcomes. We are developing ‘Place’ partnerships 5. To develop partnerships that promote the
and will develop mechanisms for working with all contribution of place to Scotland with
32 local authorities with specific senior staff taking VisitScotland, broadcasters and the media
responsibility for areas of Scotland alongside
6. To work with local authorities to promote the
their own specialism. We have further work to
contribution of culture in priorities for health,
do in improving the capital facilities for the arts,
learning and equalities
addressing gaps and building on the success
of programmes such as WASPs development 7. To invest in a programme of public art projects
of artists’ workspace. We will work closely with that help define places
other agencies such as Historic Scotland, Heritage
Lottery Fund, the Theatres Trust and Scotland’s 8. To produce Gaelic and Scots language
Independent Regeneration Network to realise plans and support projects that further our
the potential of culture in promoting places and traditional arts
developing communities.
9. To maximise the potential of UNESCO Cities of
Literature and Music in Edinburgh and Glasgow
INVESTING IN SCOTLAND’S CREATIVE FUTURE 30
Striding Arches, Dumfries & Galloway, by
Andy Goldsworthy (photo: Mike Bolam)You can also read
