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National Portfolio Organisations Annual Submission 2012/13

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National Portfolio Organisations and

Major Partner Museums:

Key data from the 2012/13 annual submission

March 2014


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Contents

1 Introduction 4

1.1 About the annual submission 4

1.2 Report layout 6

2 Overview of the portfolio of regularly funded organisations 8

2.1 Organisations by region 8

2.2 Organisations by artform 9

3 Data overview 11

3.1 Regional overview 11

3.2 Artform overview 12

4 Staff and diversity 13

4.1 Staff total numbers 13

4.2 Ethnic diversity of staff 14

4.3 Disability breakdown 17

4.4 Gender breakdown 18

4.5 Black and minority ethnic-led organisations and Black and minority ethnic-focused programmes of work

20

4.6 Disability-led organisations and disability-focused programmes of work 22

5 Financial statements 24

5.1 Income 24

5.2 Expenditure 30

6 Activities and audiences 35

6.1 Headline results: total arts activities and audiences 35

6.2 New work commissioned 41

6.3 Performances, productions and presentations 43

6.4 Exhibitions and film screenings 50

6.5 Publications 53

6.6 Education, learning and participation 55

7 Analysis of income by attendance 57

7.1 Subsidy per attendance 57

7.2 Earned income per attendance 62

8 Touring data 64

8.1 Regional and artform distribution of touring organisations 64

8.2 Reach of touring activities 67


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9 Major Partner Museums annual submission topline tables 69 Appendix 1: Glossary of definitions 76

Appendix 2: List of tables and figures 81


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1 Introduction

1.1 About the annual submission

Each year arts organisations that receive annual funding from Arts Council England, as part of the national portfolio, are invited to provide information on organisation profile, financial statements, number of performances, exhibitions, film screenings and educational activities, known and estimated attendance figures for these activities and touring activity (where relevant). This is known as an annual submission.

An online submission form was made available to all National Portfolio Organisations from May 2013 to June 2013. Guidance notes were provided and the Arts Council provided further support while organisations were completing their submissions.

The 690 National Portfolio Organisations were requested to complete the annual survey and 689 responses were analysed. This release is therefore based on information provided by 689 arts organisations in receipt of national portfolio funding from Arts Council England in 2012/13.

Arts Council England distributed approximately £338 million of regular funding to these 689 National Portfolio Organisations.

1.1.1 Why the Arts Council collects data from its National Portfolio Organisations

The annual submission shows how Arts Council England’s National Portfolio Organisation funding is used. The evidence is used in:

· reporting to government and key stakeholders

· informing our monitoring of the whole national portfolio, as this is a major strand of our funding

· informing our policies, aims and ambitions

1.1.2 What the Arts Council does with the data

The annual submission is used to monitor:

· Arts Council England’s stated objectives and government targets

· National Portfolio Organisation activity compared with their funding agreements


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1.1.3 Official statistics

On 1 April 2009 Arts Council England became a provider of official statistics under the extended scope of the Statistics and Registration Act of 2008. This means that when we produce, manage and disseminate official statistics we strive to abide by the Code of Practice for Official Statistics published by the UK Statistics Authority in January 2009.

In accordance with the code, since 1 April 2009 the aggregate data collected by Arts Council England during the 2012/13 submission process has only been seen by researchers and analysts for production, publication and quality assurance purposes. Relationship managers have used individual annual submissions for annual review monitoring with individual organisations.

On 10 October 2013 Arts Council England released headline tables detailing the work of National Portfolio Organisations from the 2012/13 annual submission. The headline tables were released as official statistics according to the arrangements approved by the UK Statistics Authority. They are contained in a single Excel spreadsheet with filters to select regional, artform and sub artform breakdowns of the data and can also be filtered by organisation size. The spreadsheet can be downloaded from the Arts Council England website: http://www.artscouncil.org.uk/funding/our-investment/funding-programmes/regular-funding-for-organisations/outcomes-and-evaluations/regularly-funded-organisations-statistics-201213/

More information on the Arts Council’s official statistics, including a publication timetable for 2012/13, is available on the Arts Council England website: http://www.artscouncil.org.uk/what-we-do/research-and-data/arts-council-official-statistics/. The publication timetable provides a list of individuals who have had access to aggregate data before its release as official statistics. For more information on the Code of Practice for Official Statistics see www.statisticsauthority.gov.uk.

The Arts Council’s lead contact for official statistics is Andrew Mowlah, Senior Manager, Policy and Research. Any queries about our official statistics should be directed to Andrew on 0161 934 4347 or [email protected]

1.1.4 National Portfolio Organisation data

The annual submission asks National Portfolio Organisations to submit financial data based on Arts Council England’s financial year, which runs from 1 April 2012 to 31

March 2013. National portfolio data was taken from Arts Council England’s own records rather than the data submitted by the organisations in order to ensure consistent assumptions were being used. Total Arts Council subsidy and total income were recalculated accordingly.


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1.1.5 Data verification

We check organisations’ data to ensure that it is as accurate as possible. The verification process involves cross-checking an organisation’s responses in related fields and comparing it with data from last year’s submission in order to identify any large or unexpected year-on-year changes.

Estimated attendance is the section of the submission with the greatest potential for error. Organisations employ different methods in assessing and reporting their estimated attendances and their methods can change on a year-by-year basis. It is particularly difficult to estimate attendances at non-ticketed events such as carnivals. This report includes data provided by a number of carnival organisations which make a substantial contribution to total estimated attendances. Subsidy per attendance is calculated using actual and estimated attendances combined.

1.1.6 Excluded records

Occasionally it has been necessary to exclude extreme responses in order to ensure that the trend displayed in the tables is an accurate reflection of the portfolio. Sometimes these were responses to particular questions that were considered unlikely to be accurate. In other cases, they were responses that were verified as correct by analysis but were extreme enough to obscure the trends for the portfolio as a whole. In the report these excluded figures will be referred to as ‘outliers’.

1.1.7 Constant sample

In order to compare data between the 2010/11, 2011/12 and 2012/13 annual submissions, a constant sample of National Portfolio Organisations that had responded to the annual submission in all three years was compiled. There are 573 organisations in the constant sample.

1.2 Report layout

This report gives an overview of the National Portfolio Organisations in section 2 and an overview of the key data in section 3. The analysis then follows the sequence of questions in the annual submission for 2012/13 for sections 4 (staff and diversity), 5 (financial statements) and 6 (activities and audiences). Income per attendance data is presented in section 7 and touring activities are analysed in section 8. The topline tables for the Major Partner Museums annual submission are presented in section 9.


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1.2.1 About the charts

In charts that show results as ages, the ages have been rounded to the nearest one percent. Therefore age breakdowns may not always total 100 percent.

It was necessary to use short forms of region and artform categories for some of the graphs in this report. The following tables give details of the abbreviations used. In some parts of the report an asterisk (*) has been used to indicate data where the six national companies have been excluded.

Table 1: Regional Table 2: Artform abbreviations list abbreviations list

Abbreviation Full title

E East

EM East Midlands

L London

NE North East

NW North West

SE South East

SW South West

WM West Midlands

Y Yorkshire

Abbreviation Full title

CA Combined arts

DAN Dance

LIT Literature

MUS Music

NAS Not artform specific

TH Theatre

VA Visual arts


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2 Overview of the portfolio

2.1 Organisations by region

In this year’s analysis there were 689 National Portfolio Organisations. These are classified under nine different regions throughout England. ‘Region’ refers to the area covered by Arts Council England and its regional offices. An organisation’s region is determined according to the postcode of its ‘home base’, which refers to the premises owned by a particular organisation or where that organisation holds a long-term lease.

The regions are as shown in the map in Figure 1 (L indicates London).

Figure 1: Regional map of England

Table 3 shows the breakdown of National Portfolio Organisations that responded to the annual submission by region, and the breakdown of regular funding by region. London, with 249 organisations, has the highest number of National Portfolio Organisations, making up 36 percent of the total portfolio, while the North West and Yorkshire regions follow with 84 and 79 organisations respectively. The East region has the fewest National Portfolio Organisations at 30, representing four percent of the annual submission sample.


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Table 3: Breakdown of National Portfolio Organisations by region, 2012/13 (N=689)

2.2 Organisations by artform

National Portfolio Organisations are classified under one of seven different artform categories:

· Combined arts

· Dance

· Literature

· Music

· Theatre

· Visual arts

· Not artform specific

The artform assigned to a particular organisation relates to the principal area of work that the Arts Council England’s funding supports.

For example, if Arts Council England funds an organisation that engages in dance, music and theatre, it will be classified under the artform towards which the Arts Council’s funding is primarily directed. If Arts Council funding is distributed to more than one artform in a particular organisation then this organisation’s artform will be classified as combined arts. Combined arts also include organisations and practices that do not fit within one arts genre and organisations serving particular cultural or geographical communities. Combined arts are multidisciplinary and include arts centres, rural touring, carnival arts, festivals and participatory organisations ‘Not artform specific’ describes those organisations that cannot be specifically categorised into the six other artforms. These include organisations whose work includes service, umbrella and networking functions (SUN) and other organisations that do not have a specific artform.

RegionNumber of NPOs

Percentage of

regular funding

Percentage of

organisations

East 30 4% 4%

East Midlands 42 3% 6%

London 249 49% 36%

North East 42 5% 6%

North West 84 7% 12%

South East 43 5% 6%

South West 72 5% 10%

West Midlands 48 13% 7%

Yorkshire 79 9% 11%

All regions 689 100% 100%


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Table 4 shows the breakdown of National Portfolio Organisations by artform and the breakdown of regular funding by artform. The most highly represented artform in the sample is theatre making up 26 percent of the portfolio with 179 organisations. This is followed by combined arts and visual arts, with 154 and 143 organisations respectively. Not artform specific organisations have the lowest representation in the sample with 19 National Portfolio Organisations (three percent).

Table 4: Breakdown of National Portfolio Organisations by artform, 2012/13 (N=689)

ArtformNumber of NPOs

Percentage of

NPO funding

Percentage of

organisations

Combined arts 154 22% 22%

Dance 57 11% 8%

Literature 51 2% 7%

Music 86 21% 12%

Not artform specific 19 2% 3%

Theatre 179 30% 26%

Visual arts 143 13% 21%

All artforms 689 100% 100%


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3 Data overview

This section presents an ‘at a glance’ overview of three key statistics from the 2012/13 annual submission compared by region and by artform. The statistics compared in this section are the total Arts Council England subsidy, the total number of activities taking place in England (which includes performances, exhibition days and film screenings) and the total audience for these activities. Each of these statistics is then discussed in more detail in the subsequent sections of this report, along with other data from the annual submission.

3.1 Regional overview

An organisation’s region is determined by the postcode of its home location or host venue [1]. For each of the key statistics, Figure 2 presents a percentage breakdown of the total number for the portfolio as a whole that is ascribed to each region in order to provide a direct comparison.

Figure 2 shows that London accounts for the highest proportion of the total for each statistic. It received 45 percent of the total Arts Council England subsidy. In terms of activities and audiences, organisations based in London put on 35 percent of the total number of activities and reached 55 percent of the total audience for these activities.

The North East region received the lowest proportion of Arts Council subsidy and the lowest proportion of audiences with three percent attendance and two percent subsidy. Organisations based in the East region had the lowest proportion of activities with three percent of the total activities.

Figure 2: Key statistics comparison by region, 2012/13 (N=689)

10%

3%

45%

3%

8%

5%

6%

11%

9%

3%

8%

35%

5%

11%

6%

11%

11%

10%

2%

4%

55%

4%

9%

5%

7%

7%

6%

East

East Midlands

London

North East

North West

South East

South West

West Midlands

Yorkshire

Total Arts Council subsidy Total activities Total attendance


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3.2 Artform overview

As in the regional overview, Figure 3 presents a percentage breakdown of the total for each statistic separated by artform [2]. Visual arts organisations received the highest proportion of Arts Council subsidy at 27 percent of the total. Visual arts organisations also put on the highest proportion of the portfolio’s total performances, exhibition days and film screenings, with 38 percent of the total.

The highest proportion of attendances at performances, exhibition days and film screenings was seen at combined arts organisations, representing 37 percent of the total across the portfolio. The lowest proportion of activities is seen in literature organisations with three percent. The lowest proportion of total attendances is in dance organisations, with two percent and the lowest amount of Arts Council subsidy was for literature and not artform specific organisations, with two percent each.

Figure 3: Key statistics comparison by artform, 2012/13 (N=689)

Notes:

[1] See section 2 for details of regional classifications.

[2] See section 2 for details of artform classifications.

24%

5%

5%

12%

1%

25%

27%

27%

3%

3%

4%

3%

23%

38%

37%

4%

1%

7%

2%

18%

30%

Combined arts

Dance

Literature

Music

Not artform specific

Theatre

Visual arts

Total Arts Council subsidy Total activities Total attendance


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4 Staff and diversity

4.1 Staff total numbers

Annual submission respondents employed a total of 75,509 staff in 2012/13 – 17,309 were permanent staff and 58,200 were contractual staff. This is in addition to 33,532 volunteers who gave their time to support the work of National Portfolio Organisations. This represents three percent increase in permanent staff, a 13 percent increase in contractual staff and a nine percent increase in volunteers from the previous year’s figures [3], as shown in Figure 4.

Figure 4: Comparison of staff numbers between 2010/11, 2011/12 and 2012/13 constant sample (N=573)

Of the permanent staff employed in 2012-13, a total of 10,104 (58 percent) worked full time while the remaining 7,205 (42 percent) worked part time.

Figure 5: Breakdown of permanent staff in 2010/11, 2011/12 and 2012/13 constant sample (N=573)

Of the 689 annual submission respondents, 679 (99 percent) reported having a board in place and reported a total of 6,274 board members.

.

15,521

43,771

28,572

15,465

46,068

26,171

15,939

53,061

28,825

Permanent Contract Volunteers

2010/11 2011/12 2012/13

59%

60%

59%

41%

40%

41%

2010/11

2011/12

2012/13

Permanent full time Permanent Part Time


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4.2 Ethnic diversity of staff

In the 2012/13 annual submission 67 percent of total staff were classified as white, while 13 percent of total staff were from Black and minority ethnic groups [4].

Figure 6 shows the breakdown of ethnic diversity of staff. Nine percent of permanent staff were from Black and minority ethnic groups compared to 14 percent of contractual staff.

Figure 6: Ethnic diversity of staff in National Portfolio Organisations, 2012/13 (N=689)

Figure 7 shows the proportion of permanent/contractual staff by ethnicity of staff. The lowest proportion of permanent staff is found in the staff classified as Black or Black British with 12 percent, while the highest proportion of permanent staff is found in the staff classified as white with 29 percent.

Figure 7: Proportion of permanent/contractual staff by ethnicity group, 2012/13 (N=689)

84%

2% 3% <1% 2% 1% 7%

61%

4% 6% 0% 2% 2%

25%

White Asian orAsian British

Black orBlack British

Chinese Mixedheritage

Any otherethnic group

Ethnicityunknown

Permanent staff Contractual staff

29%

17%

12%

24%

18%

17%

71%

83%

88%

76%

82%

83%

White

Asian or Asian British

Black or Black British

Chinese

Mixed heritage

Any other ethnic group

Permanent staff Contractual staff


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Table 5 presents the percentage change in ethnic diversity of staff among the organisations that completed the annual submission in the three consecutive years 2010/11, 2011/12 and 2012/13. There has been a substantial increase in non-reporting of staff ethnicity (or reporting as ‘not known’); in 2012/13 ‘Staff ethnicity not known’ accounted 20 percent of total permanent and contractual staff compared to eight percent in 2010/11.

Table 5: Percentage change of ethnic diversity of staff 2010/11, 2011/12 and 2012/13 constant sample (N=573) [5]

Among the constant sample, in 2010/11, Black and minority ethnic staff represented 16 percent of total staff (17 percent of staff whose ethnicity was known/reported), and in 2012/13 the comparable percentage was 13 percent (16 percent of staff whose ethnicity was known/reported), as shown in Figure 8.

Figure 8: Breakdown of staff by ethnicity in 2010/11, 2011/12 and 2012/13 constant sample (N=573)

Figure 9 shows the breakdown of ethnic diversity of staff by position held. Artistic staff and Board members have the largest representation of Black and minority ethnic staff with 14 percent, and managers and other staff have the smallest representation with 10 percent from Black and minority ethnic groups.


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Figure 9: Breakdown of ethnic diversity of staff by position, 2012/13 (N=689)

Figure 10 shows the proportion of Black and minority ethnic groups by positions held within the organisation in each of the last three years. This proportion has increased for Managers (10 percent) and All managerial and above (13 percent) but decreased across all other positions

Figure 10: Proportion of Black and minority ethnic groups by position held in 2010/11, 2011/12 and 2012/13 constant sample (N=573)

19%

9%

11%

15%

12%

15%

17%

8%

10%

15%

12%

14%

14%

10%

10%

14%

13%

13%

Artistic staff Managers Other Staff Board Members All managerialand above

Total

2010/11 2011/12 2012/13

62%

84%

74%

83% 83%

68%

14% 10% 10%

14% 12% 13%

24%

6%

16%

3% 4%

19%

Artistic staff Managers Other staff Boardmembers

All managerialand above

Total

White staff Black and minority ethnic staff Ethnicity unknown


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4.3 Disability breakdown

In 2012/13, two percent of total staff in all National Portfolio Organisations that completed the annual submission were reported as being disabled. When split by contract type, two percent of permanent staff were disabled as were one percent of contractual or freelance staff, as shown in Figure 11.

Figure 11: Disabled and non-disabled permanent and contractual staff, 2012/13 (N=689)

Table 6 shows the number of disabled staff in the constant sample of organisations responding to the annual submission in 2010/11, 2011/12 and 2012/13. Between 2011/12 and 2012/13 there was an increase in the number of disabled staff of six percent and since 2010/11 there has been an increase in the number of disabled staff of 11 percent. However, the overall proportion of disabled staff has remained constant at two percent.

Table 6: Disabled and non-disabled staff 2010/11, 2011/12 and 2012/13 constant sample (N=573)

Figure 12 shows how the proportion of disabled staff members differs by their position within the organisation. The highest proportion is among board members (four percent) and the lowest among artistic staff (two percent).

2%

2%

1%

98%

98%

99%

Total staff

Permanent staff

Contractual staff

Disabled Not disabled


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Figure 12: Disability status of staff by position, 2012/13 (N=689)

Figure 13 shows the proportion of disabled staff by position held within the organisation in each of the last three years. This proportion has remained generally stable for all positions during this period.

Figure 13: Proportion of disabled staff by position held in 2010/11, 2011/12 and 2012/13 constant sample (N=573)

4.4 Gender breakdown

2%

3%

2%

4%

4%

2%

98%

97%

98%

96%

96%

98%

Artistic staff

Managers

Other staff

Board members

All managerial and above

Total

Disabled Not disabled


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Figure 14 shows the gender breakdown of permanent and contractual staff in 2012/13. More permanent staff (59 percent) were female and more contractual staff (53 percent) were male.

Figure 14: Gender balance for permanent and contractual staff, 2012/13 (N=689)

There were more men on Boards than women (56 percent) but more women were managers (58 percent), and the same proportion of men and women held management positions or above. This category includes board members and managers. Figure 15 shows the gender breakdown of staff by position.

Figure 15: Gender breakdown by staff position, 2012/13 (N=689)

Figure 16 shows the gender proportion by staff position in the constant sample of organisations responding to the annual submission in 2010/11, 2011/12 and 2012/13.

51%

41%

53%

49%

59%

47%

Total staff

Permanent staff

Contractual staff

Male Female

54%

42%

45%

56%

50%

46%

58%

55%

44%

50%

Artistic staff

Managers

Other staff

Board members

All managerial and above

Male Female


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Figure 16: Gender proportion by staff position 2010/11, 2011/12 and 2012/13 constant sample (N=573)

4.5 Black and minority ethnic-led organisations and Black and minority ethnic-focused programmes of work

Arts Council England defines a National Portfolio Organisation as Black and minority ethnic-led where that organisation self-defines as such and where more than 50 percent of the organisation's board and senior management are from Black or minority ethnic backgrounds. In the 2012/13 annual submission, 38 National Portfolio Organisations were defined as Black and minority ethnic-led, representing six percent of the portfolio. Of the Black and minority ethnic-led organisations, 50 percent were based in London.

Organisations were asked to estimate the percentage of their programme that is Black and minority ethnic-focused. For 77 National Portfolio Organisations (11 percent), Black and minority ethnic-focused work represented more than 50 percent of their programme, described as a Black and minority ethnic-focused programme.

Of the 77 organisations with a Black and minority ethnic-focused programme, 44 percent were defined as Black and minority ethnic-led.


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Figure 17 shows the ratio of Black and minority ethnic-led organisations and organisations with more than 50 percent of Black and minority ethnic-focused programmes in each region. London has the highest ratio, with eight percent of all organisations being Black and minority ethnic-led. 17 percent of London organisations have a black or minority ethnic-focused programme.

Figure 17: Black and minority ethnic-led & Black and minority ethnic focused organisations by region, 2012/13 (N=689)

Figure 18 shows Black and minority ethnic-led organisations and organisations with more than 50 percent Black and minority ethnic-focused programmes, broken down by artform. Music organisations have the highest percentage of Black and minority ethnic-led organisations, with 12 percent. Music organisations (20 percent) have the highest proportion of 50 percent black and minority ethnic-focused programmes.

Figure 18: Black and minority ethnic-led & Black and minority ethnic focused organisations by artform, 2012/13 (N=689)

7% 7% 8%

2%

6%

2% 1%

6%

4%

6%

10%

5%

17%

5%

14%

2%

6%

8% 9%

11%

EastEast

Midlands

LondonNorthEast

NorthWest South

East

SouthWest West

Midlands

YorkshireAll

regions

Black and minority ethnic-led Black and minority ethnic-focused

9%

4% 4%

12%

0%

3% 3%

6%

13%

18%

10%

20%

0%

9%

6%

11%

Combinedarts

Dance Literature Music Not artformspecific

Theatre Visual arts All artforms

Black and minority ethnic-led Black and minority ethnic-focussed


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4.6 Disability-led organisations and disability-focused programmes of work

Arts Council England defines a National Portfolio Organisation as disability-led where that organisation self-defines as such and where more than 50 percent of the organisation’s board and senior management are disabled. In the 2012/13 annual submission, seven National Portfolio Organisations were defined as disability-led, accounting for one percent of the portfolio.

Organisations are also asked to estimate the percentage of their work that is disability-focused. For 38 National Portfolio Organisations, disability-focused programmes occupied more than 50 percent of their work. This represents six percent of the portfolio.

Figure 19 shows the percentage of organisations in each region that are disability-led as well as organisations where disability-focused programmes represent more than half of their work. The South East has the highest proportion of disability-led organisations with five percent. 10 percent of organisations with more than 50 percent of disability-focused programmes are based in the East Midlands.

Figure 19: Disability-led & disability-focused organisations by region, 2012/13 (N=689)

<1% <1%

1%

<1%

2%

5%

<1%

2%

<1%

1%

3%

10%

7%

5% 5%

9%

3% 2%

4%

6%

EastEast

Midlands

LondonNorthEast

NorthWest South

East

SouthWest West

Midlands

YorkshireAll

regions

Disability-led Disability-focused


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Figure 20 shows the percentage of organisations in each artform that are disability-led as well as organisations where disability-focused programmes represent more than half of their work. Not artform specific had the highest proportion of disability-led (11 percent) and disability-focused programmes (21 percent).

Figure 20: Disability-led & disability-focused organisations by artform, 2012/13 (N=689)

Notes:

[3] Based on the constant sample for 2010/11, 2011/12 and 2012/13 of 573 organisations that responded to the survey each year.

[4] The remaining 21 percent of staff have recorded ethnicity as ‘unknown/prefer not to say’.

[5] Staff with unknown ethnicity are not included in this data.

1% <1%

2% <1%

11%

1% 1% 1%

6%

4%

6%

2%

21%

7%

3%

6%

Combinedarts



Disability-led Disability-focussed


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5 Financial statements

Arts Council England collected financial information from the National Portfolio Organisations for the 2012/13 financial year 1 April 2012 to 31 March 2013. All data presented in this section comes from each organisation’s actual or provisional accounts for 2012/13. National Portfolio Organisations were required to report financial information for this period, irrespective of their own financial year. Estimates were accepted where precise financial data was not yet available.

Data relating to Arts Council funding was taken from Arts Council England’s own records rather than the data submitted by the organisations in order to ensure consistent assumptions were being used. Total Arts Council subsidy and total income were recalculated accordingly.

5.1 Income

The largest source of revenue for the National Portfolio Organisations was from earned income. Earned income includes revenue from core activity, which includes ticket sales, workshop fees, merchandising and membership fees. Earned income also includes sales generated from educational activity as well as from supplementary activity, such as funds generated from catering, bank interest and any other earned income.

Earned income represented 51 percent of total income for the 2012/13 portfolio. Arts Council subsidy represented 28 percent, funding from local authorities six percent and subsidy from other public bodies constituted three percent of the portfolio’s total income. Contributed income, which includes sponsorship, trusts, and donations, made up the remaining 12 percent of the portfolio’s total income.

5.1.1 Breakdown of total income by region and artform

Figure 21 shows the breakdown of total income by region. Earned income makes up the largest proportion of total income for all regions except for the East at 35 percent. The highest is the South West with 60 percent.

The largest proportion of Arts Council subsidy can be seen in the East (39 percent) and the least reliance on Arts Council subsidy is seen in the South West with 23 percent. London received the highest percentage of income as contributed income, representing 15 percent of the region’s total income.

The proportion of income coming from local authorities was six percent across the portfolio on average. The highest proportion of local authority income was seen in the West Midlands* and the lowest was in London.


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Figure 21: Breakdown of total income by region, 2012/13 (N=689)

Figure 22 shows the breakdown of total income by artform. Compared to the overall portfolio, not artform specific organisations relied most heavily on Arts Council subsidy compared to other artforms, with 51 percent of income coming from Arts Council subsidy. Literature organisations were the least reliant on Arts Council funding, receiving 16 percent of their income from Arts Council subsidy.

Not artform specific, combined arts and visual arts organisations all secured the highest proportion of contributed income at 14 percent and dance* organisations relied the least on contributed income, with seven percent.

Literature organisations acquired most of their revenue from earned income, making up 73 percent of their total income. In contrast, not artform specific organisations are least reliant on earned income, with 11 percent.

The proportion of income from local authorities is highest for music* and combined arts* organisations with 12 percent of total income from local authorities. Literature and not artform specific organisations are least reliant on local authority subsidy, with one percent.

35%

53% 53% 53%

38%

52% 49%

60%

48% 41% 42%

39%

28% 26% 24%

36%

26% 27%

23%

31%

29%

38%

11% 4%

15% 14%

9% 10% 9%

8% 7%

7%

8% 6%

12%

4% 6%

12% 11% 12%

7% 8%

13%

10% 9%

3% 2%

3% 6%

2% 3% 2% 6% 9%

2%

EastEast

Midlands

LondonLondon*

NorthEast North

West

SouthEast South

West

WestMidlands West

Midlands*

Yorkshire

Earned income Arts Council subsidy Contributed income Local authority subsidy Other public subsidy

* excluding national companies


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Figure 22: Breakdown of total income by artform, 2012/13 (N=689)

5.1.2 Income changes since 2010/11 Table 7 shows that among the 573 organisations that completed the annual submission in 2010/11, 2011/12 and 2012/13. Total income has increased by seven percent since 2010/11. The biggest increase since 2010/11 was seen in contributed income with 36 percent and other public subsidy saw the biggest decrease with 21 percent less in 2012/13 than in 2010/11

Arts Council subsidy decreased by six percent between 2010/11 and 2012/13, while earned income increased by 17 percent during the same period.

52% 52% 47% 50%

73%

46% 47%

11%

58% 55%

34%

26% 21%

39% 37%

16%

27% 23%

51%

26% 28%

38%

14%

10%

8% 7% 9%

13% 13%

14%

10% 9%

14%

6%

12%

3% 3% 1%

10% 12%

1%

4% 6%

11%

2% 5% 3% 3% 1% 4% 5%

23%

2% 2% 4%

Combinedarts Combined

arts*

DanceDance*

LiteratureMusic

Music*Not artform

specific

TheatreTheatre*

Visual arts

Earned income Arts Council subsidy Contributed income Local authority subsidy Other public subsidy



- 27 -

Table 7: Percentage change in breakdown of total income, 2010/11, 2011/12 and 2012/13 constant sample (N=573)

5.1.3 Arts Council subsidy

Table 8 shows the breakdown of Arts Council subsidy by region. London received the largest share of Arts Council funding, with 48 percent. The West Midlands received the second highest amount with a 13 percent share of Arts Council subsidy. Organisations in the East Midlands had the lowest share of Arts Council subsidy, with three percent.

Table 8: Breakdown of Arts Council subsidy by region, 2012/13 (N=689)

Table 9 shows the breakdown of Arts Council subsidy by artform. Theatre organisations had the highest share of Arts Council subsidy, with 30 percent. Not artform specific and Literature organisations had the lowest amount with two percent.

Region 2012/13 Percentage of total

London 183,843,718£ 48%

West Midlands 49,684,602£ 13%

Yorkshire 32,387,123£ 9%

North West 27,654,681£ 7%

South West 19,475,813£ 5%

South East 19,263,206£ 5%

North East 17,963,886£ 5%

East 16,607,785£ 4%

East Midlands 12,608,768£ 3%

All regions 379,489,582£ 100%

2010/11 2011/12 2012/13

%

change

2010/11-

2011/12

%

change

2011/12-

2012/13

%

change

2010/11-

2012/13

Earned income £541.3m £576.3m £633.9m 6% 10% 17%

Arts Council subsidy £365.1m £334.1m £342.0m -8% 2% -6%

Contributed income £106.7m £129.7m £145.1m 21% 12% 36%

Local authority subsidy £89.8m £81.6m £72.7m -9% -11% -19%

Other public subsidy £42.3m £28.0m £33.4m -34% 19% -21%

Total £1,145.3m £1,149.8m £1,227.0m 0% 7% 7%


- 28 -

Table 9: Breakdown of Arts Council subsidy by artform, 2012/13 (N=689)

5.1.4 Contributed income

Table 10 shows the breakdown of contributed income by region. London received the largest share of contributed income, with 66 percent. The West Midlands received the second highest amount with an eight percent share of contributed income. Organisations in the East Midlands had the lowest share of contributed income, with one percent.

Table 10: Breakdown of contributed income by region (in £000s), 2012/13 (N=689)

Table 11 shows the breakdown of contributed income by artform. Combined arts and theatre organisations had the highest share of contributed income, with 27 percent. Not artform specific organisations had the lowest amount with two percent.

Artform 2012/13 Percentage of total

Theatre 112,111,569£ 30%

Combined arts 80,065,734£ 21%

Music 77,092,485£ 20%

Visual arts 50,615,578£ 13%

Dance 42,140,469£ 11%

Literature 8,929,774£ 2%

Not artform specific 8,533,973£ 2%

All artforms 379,489,582£ 100%

Region Sponsorships Trusts Donations Total

Percentage

of total

East 529.7k£ 2,128.7k£ 2,047.4k£ 4,705.9k£ 3%

East Midlands 481.4k£ 753.2k£ 650.6k£ 1,885.2k£ 1%

London 20,181.8k£ 33,371.2k£ 51,158.9k£ 104,711.9k£ 66%

North East 1,246.7k£ 1,951.3k£ 1,158.9k£ 4,356.9k£ 3%

North West 2,878.5k£ 4,688.7k£ 2,920.4k£ 10,487.6k£ 7%

South East 1,265.8k£ 1,961.7k£ 3,121.8k£ 6,349.4k£ 4%

South West 2,618.1k£ 2,828.9k£ 1,394.9k£ 6,841.8k£ 4%

West Midlands 1,324.4k£ 3,900.2k£ 6,656.7k£ 11,881.2k£ 8%

Yorkshire 854.9k£ 4,163.7k£ 2,133.7k£ 7,152.2k£ 5%

All regions 31,381.2k£ 55,747.7k£ 71,243.2k£ 158,372.1k£ 100%


- 29 -

Table 11: Breakdown of contributed income by artform (in £000s), 2012/13 (N=689)

As shown in Table 7, 2012/13 saw a 36 percent increase in income from sponsorships, trusts and donations compared to 2010/11. Figure 23 looks in more detail at the levels of different types of contributed income among the portfolio in the constant sample for 2010/11, 2011/12 and 2012/13.

Contributed income from sponsorships has increased by 14 percent since 2011/12 and there is an overall increase of 22 percent since 2010/11. Income from trusts has increased by eight percent since 2011/12 and by 43 percent since 2010/11. Donations have increased by 14 percent since 2011/12 and by 37 percent since 2010/11.

Figure 23: Breakdown of contributed income in 2010/11, 2011/12 and 2012/13 constant sample (N=573)

Artform Sponsorships Trusts Donations Total

Percentage

of total

Combined arts 8,515.5k£ 11,269.5k£ 23,564.2k£ 43,349.2k£ 27%

Dance 949.4k£ 4,232.6k£ 3,037.5k£ 8,219.6k£ 5%

Literature 575.1k£ 3,243.9k£ 1,138.2k£ 4,957.2k£ 3%

Music 8,106.4k£ 12,482.0k£ 17,440.6k£ 38,028.9k£ 24%

Not artform specific 438.4k£ 861.9k£ 1,078.1k£ 2,378.3k£ 2%

Theatre 7,781.2k£ 16,979.4k£ 18,264.9k£ 43,025.5k£ 27%

Visual arts 5,015.2k£ 6,678.4k£ 6,719.7k£ 18,413.3k£ 12%

All artforms 31,381.2k£ 55,747.7k£ 71,243.2k£ 158,372.1k£ 100%

22

35

49

24

46

59

27

50

68

£-

£10

£20

£30

£40

£50

£60

£70

£80

Sponsorships Trusts Donations

Millions

2010/11 2011/12 2012/13


- 30 -

5.2 Expenditure

The organisations in the portfolio received slightly more total income than they spent in 2012/13. Total income exceeded expenditure by one percent. Total expenditure is broken down into seven categories of costs:

• artistic programmes • marketing • education programmes • overheads • costs of generating funds • governance • other costs

Artistic programme expenditure means any spending related to an organisation’s main programme of activity, whether or not that activity involves the direct production or creation of artistic product. Costs for artistic programme include production costs and exhibition and venue hire. Marketing costs include both production-specific marketing and generic marketing. Education programme expenditure deals with any costs related to an organisation’s education programme. Expenditure for generating funds includes costs that are associated with generating incoming resources from all sources other than from undertaking charitable activities. Primarily, this is costs of fundraising and generating voluntary income, but also of managing investments.

Governance costs include items such as internal and external audits, legal advice and costs associated with constitutional and statutory requirements. Finally, ‘other costs’ expenditure includes all costs not included in the other cost categories, including irrecoverable VAT.

Most of the total expenditure (59 percent) was directed to artistic programme costs. Overheads represented the second largest category of cost, making up 16 percent of total spending. The remaining 25 percent was divided between marketing costs, educational programme costs, costs of generating funds, governance costs and other costs.

Total expenditure can also be broken down into staff expenditure and non-staff expenditure. The cost of staff amounted to 40 percent of total spend in 2012/13; non-staff expenditure accounted for the remaining 60 percent.

5.2.1 Breakdown of total expenditure by region and artform

Table 12 shows the breakdown of total expenditure by region for the 2012/13 annual survey. Organisations based in London had the largest expenditure of all the regions, representing 51 percent of the total. Organisations based in the East and the East Midlands had the lowest levels of expenditure with three percent of total expenditure each in 2012/13.


- 31 -

Table 12: Breakdown of total expenditure by region, 2012/13 (N=689)

Table 13 shows the breakdown of total expenditure by artform for the 2012/13 annual submission. Theatre accounted for the largest share of all the artforms with 32 percent and not artform specific organisations had the lowest expenditure with one percent of the total.

Table 13: Breakdown of total expenditure by artform, 2012/13 (N=689)

Figure 24 presents a breakdown of total expenditure by region. In all regions, spending on artistic programme and/or core programme costs constituted the bulk of expenditure in 2012/13. The second largest proportion of expenditure was spent on overheads. The highest proportion of total expenditure spent on artistic programmes was seen in the West Midlands (64 percent) and the lowest in the North East (44 percent). Organisations in the North East spent the highest proportion on their education programme with 14 percent, while organisations in the South East had the lowest proportion of education expenditure with four percent.

2012/13 Percentage of total

London 680,883,844£ 51%

West Midlands 161,099,670£ 12%

North West 108,738,906£ 8%

Yorkshire 85,951,893£ 6%

South West 85,360,323£ 6%

South East 68,584,769£ 5%

North East 48,369,276£ 4%

East Midlands 44,762,701£ 3%

East 43,090,543£ 3%

All regions 1,326,841,925£ 100%

2012/13 Percentage of total

Theatre 420,449,586£ 32%

Combined arts 316,141,335£ 24%

Music 286,174,361£ 22%

Visual arts 132,611,104£ 10%

Dance 104,297,020£ 8%

Literature 52,164,713£ 4%

Not artform specific 15,003,806£ 1%

All artforms 1,326,841,925£ 100%


- 32 -

Figure 24: Breakdown of total expenditure (staff and non-staff) by region, 2012/13 (N=689)

Figure 25 shows that music organisations spent the highest proportion of expenditure on artistic programming with 65 percent. Literature organisations spent the lowest proportion on artistic programming with 36 percent. Dance* organisations spent the highest proportion of total expenditure on their education programme with 10 percent, and the lowest proportion of education expenditure was seen in not artform specific organisations with two percent.

46%

56% 62%

56%

44%

55% 57% 49%

64% 60% 60%

8%

8%

5%

7%

14%

5% 4%

6%

5%

6% 6% 10%

4%

6% 7%

4% 4% 7%

10%

6% 4% 4%

1% 2%

1% 1%

2% 2%

2% 1%

1%

1% 1% 7%

8% 5%

6%

8% 7%

7% 7%

7%

7% 7% 5%

3% 6%

5%

4% 10%

6% 8%

3% 6% 4%

22% 19% 14%

18% 24%

18% 17% 18% 14% 16% 18%

East EastMidlands

London London* North East North West South East South West WestMidlands

WestMidlands*

Yorkshire

Artistic programme Education programme Generating funds GovernanceMarketing Other costs Overheads

*excluding national companies


- 33 -

Figure 25: Breakdown of total expenditure by artform, 2012/13 (N=689)

5.2.2 Changes in expenditure since 2010/11

Table 14 presents the percentage change in breakdown of total expenditure for the 573 organisations that completed the annual submission in 2010/11, 2011/12 and 2012/13. Since 2010/11, expenditure on artistic programme, generating funds, marketing, overheads and other costs has increased, while expenditure on education programme and governance has decreased.

63%

51%

63% 60%

36%

65% 63%

49%

60% 57%

45%

5%

7%

9% 10%

7%

6% 7%

2%

4% 6%

7%

6%

7%

4% 4%

21%

4% 4%

20%

5% 5%

7%

1%

1%

1% 1%

1%

1% 1% 2%

1% 1%

2%

6%

7%

7% 8%

3%

6% 6%

3% 6% 7%

6%

4%

7%

1% 2%

9%

5% 6%

3% 8% 5%

8%

16% 20%

14% 15%

23%

13% 12%

22% 15%

19% 25%

Combinedarts

Combinedarts*

Dance Dance* Literature Music Music* Not artformspecific

Theatre Theatre* Visual arts

Artistic programme Education programme Generating funds Governance

Marketing Other costs Overheads



- 34 -

Table 14: Percentage change in breakdown of total expenditure 2010/11, 2011/12 and 2012/13 constant sample (N=573)

Figure 26 shows that the proportion of spending for each of the expenditure categories has remained relatively stable over the last three years.

Figure 26: Breakdown of expenditure by type for 2010/11, 2011/12 and 2012/13 constant sample (N=573)

58% 57% 59%

7% 7% 6%

5% 6% 6% 1% 1% 1% 7% 6% 6% 4% 6% 5%

18% 17% 16%

2010/11 2011/12 2012/13

Artistic programme Education programme Generating fundsGovernance Marketing Other costsOverheads

Expenditure 2010/11 2011/12 2012/13

%

change

2010/11-

2011/12

%

change

2011/12-

2012/13

%

change

2010/11-

2012/13

Artistic programme £650.9m £675.2m £716.0m 4% 6% 10%

Marketing £73.7m £72.4m £75.8m -2% 5% 3%

Overheads £187.5m £183.8m £198.2m -2% 8% 6%

Education programme £69.5m £65.6m £67.5m -6% 3% -3%

Generating funds £66.2m £75.3m £71.9m 14% -4% 9%

Governance £11.9m £12.6m £11.2m 6% -11% -5%

Other costs £65.0m £51.9m £68.9m -20% 33% 6%

Total £1,124.6m £1,136.8m £1,209.5m 1% 6% 8%


- 35 -

6 Activities and audiences

This section presents data about arts activities and audiences in 2012/13. For activities that directly present artistic content to their audience, such as performances, exhibition days, film screenings and education activities, the numbers of activities and audience numbers are broken down by region and by artform classifications. When activities by National Portfolio Organisations cannot be measured in terms of numbers of activities and audience data (such as publications) these are presented as numbers available and numbers sold/distributed, broken down by artform.

The attendance figures have, in most cases, been presented as known attendance (an actual audience count measured by a precise method such as the sale of tickets) and estimated attendance (applies to non-ticketed events such as festivals, carnivals, etc) minus any attendance for events outside England.

6.1 Headline results: total arts activities and audiences

This section looks at the total number of arts activities across the portfolio. National Portfolio Organisations responding to the annual submission in 2012/13 put on 290,905 performances, exhibition days and film screening days. Of these, 264,658 took place in England. These arts activities included 6,419 schools performances which were presented to students aged 4–19 in full-time education. This is in addition to any formal education sessions provided. The region of each organisation is based on their main premises so does not necessarily reflect the region in which all their activities took place. As the six national companies may skew data for the individual regions in which they are located, data has been presented with and without the national companies included.

National Portfolio Organisations responding to the annual submission in 2012/13 generated 83,307,618 (known plus estimated) attendances to performances, exhibition days and film screening days held in England over the year. This is the headline attendance figure for the portfolio’s arts activities; other activities, such as education work, may generate additional attendances.

6.1.1 Total activities and audiences by region

Figure 27 shows the breakdown of performances, exhibition days and film screening days per region alongside the attendance figures for these activities. Organisations based in London put on 35 percent of the total performances, exhibition days and film screening days. The smallest number of activities was put on by organisations based in the East, representing just 3 percent of the total. .


- 36 -

Over half (55 percent) of the attendance at performances, exhibition days and film screening days held in England was at activities put on by organisations based in London (44 percent when national companies were excluded), followed by 9 percent of attendance by organisations based in the North West. Organisations based in the East had the lowest levels of attendance with 2 percent of the total attendance.

Figure 27: Regional breakdown of performances, exhibition days and film screening days by region, 2012/13 (N=689)

Figure 28 compares the number of performances, exhibitions days and film screening days put on in England in 2010/11, 2011/12 and 2012/13 among the constant sample of 573 organisations that answered the submission in each year. Overall, activities have increased by 34 percent since 2010/11. East Midlands saw the highest increase in activities since 2010/11 with 76 percent and organisations in the North East showed a decrease of five percent.

8.8

20.3

16.0

29.2

14.0

29.4

29.4

26.2

29.2

81.1

91.4

Thousands

Activities

2.0

3.3

4.5

6.0

3.3

6.2

7.2

4.9

6.2

36.3

45.7

E

EM

SE

WM*

NE

WM

NW

Y

SW

L*

L

Millions

Audiences

Known Estimated



- 37 -

Figure 28: Change in number of performances, exhibition days and film screening days per region, 2010/11, 2011/12 and 2012/13 constant sample (N=573)

Figure 29 shows the total levels of attendance (known plus estimated) grouped by region for the constant sample of organisations that completed the annual submission in 2010/11, 2011/12 and 2012/13. West Midlands saw the highest increase in attendance figures with an increase of 94 percent since 2010/11. A decrease was seen in the South West with -15 percent.

6 11

59

13

19

14

24 19 19

7 12

76

14

24

16

25

17

22

9

19

83

13

28

16

26 29

23

East EastMidlands

London NorthEast

NorthWest

SouthEast

SouthWest

WestMidlands

Yorkshire

Th

ou

san

ds

2010/11 2011/12 2012/13


- 38 -

Figure 29: Change in the number of attendances at performances, exhibition days and film screening days per region 2010/11, 2011/12 and 2012/13 constant sample (N=573)

6.1.2 Total activities and audiences by artform

Figure 30 shows the percentage breakdown of performances, exhibition days and film screening days in 2012/13 by artform. An organisation’s artform classifier is given to them by the Arts Council and reflects the artistic activity for which they primarily receive funding and it may not cover all their artistic output.

Visual arts organisations put on the highest number of activities, with 38 percent of the total. The lowest numbers of arts activities were put on by literature organisations (three percent of the total).

Figure 30 also shows that the highest proportion of audiences attended arts activities at organisations within the combined arts portfolio. Combined arts accounted for 37 percent of total attendances in 2012/13. Literature organisations had the lowest attendances with one percent.

1.6 1.8

28.1

1.9

4.7 2.3

5.0 2.8 2.2

4.3 2.2

46.1

2.2

6.9 5.6 5.6

4.3 2.8 1.9

3.0

43.6

2.4

6.6 4.4 4.3

5.4 3.5

EastEast Midlands

LondonNorth East

North WestSouth East

South WestWest Midlands

Yorkshire

Millio

ns

2010/11 2011/12 2012/13

The bar and number represent total

attendance; known (full colour) +

estimated (shaded colour


- 39 -

Figure 30: Breakdown of performances, exhibition days and film screening days per artform, 2012/13 (N=689)


Figure 31 compares the number of arts activities by artform for the organisations that completed the annual submission in 2010/11, 2011/12 and 2012/13. The biggest change was for not artform specific organisations, with an increase of 967 percent. Music organisations saw a 12 percent increase in activities since 2010/11.

Figure 31: Change in activities by artform 2010/11, 2011/12 and 2012/13 constant sample (N=573)

7.1

7.3

7.5

8.4

11.4

11.6

57.4

60.4

63.3

70.3

99.4

Thousands

Activities

1.1

3.0

3.1

1.6

5.9

6.2

12.7

15.1

24.2

31.0

25.2

LIT

DAN*

DAN

NAS

MUS*

MUS

TH*

TH

CA*

CA

VA

Millions

Audiences

Known Estimated

54

6 4 9

1

43

66 64

5 4 9 7

51

71 67

7 5 10 8

58

90

Combinedarts


Theatre Visual arts

Th

ou

san

ds

2010/11 2011/12 2012/13


- 40 -

Figure 32 shows the change in audiences for artforms since 2010/11 across the constant sample from the portfolio. Visual arts organisations had the highest increase with a 32 percent increase on attendances since 2010/11. Attendance at literature organisations saw a decrease of 90 percent.

Figure 32: Change in the number of attendances at performances, exhibitions and film screening days 2010/11, 2011/12 and 2012/13 constant sample (N=573)

6.1.3 Cultural Olympiad

In the 2012/13 annual submission we asked National Portfolio Organisations if they had led on or contributed to any project or activity specifically created to celebrate the 2012 Olympic and Paralympic Games. Of the 689 organisations that completed the submission, 247 (36 percent) said that they led on such a project (i.e. took full responsibility for developing and delivering the activity). In addition, 421 organisations (61 percent) said that they had contributed to such a project, by which we mean collaborating or partnering in the development and/or delivery.

23.6

6.2

8.3

5.2

0.1

11.5

17.5

30.3

2.5

5.6 4.7

0.2

14.0

23.0

27.9

3.0

0.9

5.9

0.1

14.3

23.1

Combined artsDance

LiteratureMusic

Not artform specificTheatre

Visual arts

Millio

ns

2010/11 2011/12 2012/13

The bar and number represent total attendance; known (full colour) + estimated (shaded colour).


- 41 -

6.2 New work commissioned

By new work we mean works commissioned and paid for by a National Portfolio Organisation. In the case of performing, producing and presenting organisations, it excludes new productions of established repertoire, new translations and adaptations. These types of productions are discussed in section 6.3.2.

Of the 689 regularly funded organisations that responded to the annual submission in 2012/13, 532 organisations (77 percent) commissioned at least one new work. Across the portfolio a total of 29,408 new works were commissioned, involving 15,517 artists from the UK and 2,737 non-UK artists. These commissions vary considerably in size, including everything from individual poems to large-scale public artworks.

There were 366 organisations (69 percent of the sample that commissioned new work) that commissioned fewer than 10 new works, 151 organisations (28 percent) that commissioned between 10 and 100 new works and 15 organisations (three percent) commissioned 100 or more new works in 2012/13. The percentage of work that is made up by new commissions is shown later in Figure 36 and Figure 37.

Table 15 shows the percentage of total new works commissioned by each region. Organisations based in London commissioned the highest proportion (85 percent) of new works. London also commissioned the highest proportion of both UK and non-UK artists.

Table 15: Breakdown of new commissioned work by region, 2012/13 (N=689)

Table 16 shows how new work commissions are spread across the artforms. Literature organisations commissioned the most new works with 62 percent of the total and also commissioned the most UK artists and non-UK artists.

Region

New work

commissions

UK artists

commissioned

Non-UK artists

commissioned

East 2% 2% 2%

East Midlands 2% 2% 3%

London 85% 64% 72%

North East 1% 2% 2%

North West 4% 8% 11%

South East 1% 1% 1%

South West 2% 12% 4%

West Midlands 1% 3% 2%

Yorkshire 2% 5% 2%


- 42 -

Table 16: Breakdown of new commissioned work by artform, 2012/13 (N=689)

Figure 33 shows the change in the number of new works and the number of UK artists and non-UK artists commissioned in 2010/11, 2011/12 and 2012/13 by the organisations that completed the submission in all three years. Since 2010/11 the number of new works commissioned has increased by 16 percent. The number of UK artists commissioned has increased by 23 percent and the number of non-UK artists commissioned has increased by 29 percent.

Figure 33: Change in number of new works commissioned 2010/11, 2011/12 and 2012/13 constant sample (N=573)

24.3

11.6

2.0

25.9

13.2

2.7

28.2

14.2

2.5

New work commissions UK artists commissioned Non-UK artists commissioned

Th

ou

san

ds

2010/11 2011/12 2012/13

Artform

New work

commissions

UK artists

commissioned

Non-UK artists

commissioned

Combined arts 4% 18% 13%

Dance 1% 5% 3%

Literature 62% 46% 51%

Music 2% 6% 7%

Not artform specific 1% 1% 1%

Theatre 4% 10% 4%

Visual arts 26% 14% 21%


- 43 -

6.3 Performances, productions and presentations

In 2012/13, 571 organisations (83 percent) said that they had put on performances, productions and presentations, including readings and storytelling. This category is a subset of the total arts activities detailed in section 6.1. For the purposes of this section, all these activities are referred to as ‘performances’ unless otherwise specified.

6.3.1 Performances

A total of 132,209 performances had been put on, of which 126,470 were in England. Performances attracted a total audience of 83,072,501 of which 78,593,171 were for performances in England.

As shown in Figure 34, the highest numbers of performances (52 percent of the total) were by organisations based in London, followed by nine percent in the West Midlands. Organisations based in the East put on the lowest number of performances, with three percent of the total. Figure 34 also shows the breakdown of attendances at performances by region. London had the highest number of attendances at performances, with 61 percent of the total, followed by the East with 16 percent. Organisations in the North East attracted the lowest attendances, with one percent of total attendance.

Figure 34: Performances by region, 2012/13 (N=689)

Analysed by artform (Figure 35), we can see that most of the total performances (40 percent) were put on by theatre organisations, followed by combined arts organisations with 22 percent. The lowest proportion of performances was put on by not artform specific organisations, with one percent of the total performances. Figure 35 also shows how performance attendance breaks down by artform; 53 percent of attendances were for performances by combined arts organisations, followed by 22 percent in music organisations. Visual arts organisations had the lowest attendances at performances with less than one percent of the total attendance.

4.2

4.4

7.2

7.5

11.4

8.1

7.6

10.3

65.7

Thousands

Activities

12.5

1.0

1.6

1.7

3.5

3.4

2.6

4.1

E

NE

EM

SE

WM

NW

Y

SW

L

Millions

Audiences

Known Estimated

48.2


- 44 -

Figure 35: Performances by artform, 2012/13 (N=689)

6.3.2 Performances by types of production

Organisations that put on performances were asked how these break down into new commissions, new work, established repertoire, revivals and productions by visiting companies.

Figure 36 shows the breakdown of production type by region. Productions by visiting companies make up most of the performances in each region, the North East region having the highest proportion with 79 percent, except for in London where most of the productions were classified as established repertoire. The lowest represented production type for each region is revivals, except for in the West Midlands, where there are fewer established repertoire productions.

0.9

2.5

18.1

17.3

9.5

27.6

50.5

NAS

VA

LIT

DAN

MUS

CA

TH

Thousands

Activities

1.5

0.7

0.7

2.6

17.1

13.9

Millions

Audiences

Known Estimated

42


- 45 -

Figure 36: Production type by region, 2012/13 (N=689)

Figure 37 shows the same production types broken down by artform. The results are less consistent. Combined arts and literature organisations produced more new work than any other types of work. For music organisations established repertoire represented the largest portion of work and most productions for dance, theatre and visual arts organisations were by visiting companies. Not artform specific organisations had the greatest amount of new work.

Figure 37: Production type by artform, 2012/13 (N=689)

22%

15%

11%

11%

19%

10%

15%

5%

10%

19%

15%

7%

9%

17%

5%

21%

12%

9%

9%

6%

19%

6%

22%

6%

40%

7%

9%

1%

7%

3%

2%

4%

0%

4%

1%

1%

50%

56%

60%

71%

38%

79%

21%

75%

72%

Yorkshire

WestMidlands

SouthWest

South East

North West

North East

London

EastMidlands

East

New commissions New work Established repertoire Revivals Visiting companies

8%

31%

10%

16%

69%

20%

40%

8%

10%

61%

27%

8%

11%

26%

28%

4%

15%

45%

0%

8%

7%

3%

6%

<1%

6%

8%

2%

1%

53%

49%

14%

6%

15%

59%

25%

Visual arts

Theatre

Notartform…

Music

Literature

Dance

Combinedarts

New commissions New work Established repertoire Revivals Visiting companies


- 46 -

6.3.3 Tickets for performances

The data in this section relate only to organisations that sold tickets for their performances. A total of 426 organisations (62 percent) that put on performance activities sold tickets and had 30,042,231 tickets available during 2012/13, of which 21,273,311 (71 percent) were sold. This generated a total ticket yield of £385 million.

As shown in Figure 38, the highest numbers of tickets available (37 percent) were at organisations based in London, as were 41 percent of the tickets sold. Organisations in Yorkshire also sold the most in relation to their capacity (80 percent). London had the highest ticket yield with 50 percent of the total.

Figure 38: Ticket sales for performances by region, 2012/13 (N=689)

When compared by artform (Figure 39), the most tickets available and sold were in theatre organisations (51 percent for each). Not artform specific organisations had the highest proportion of ticket sales to those available, with 90 percent, and theatre organisations had the highest total ticket yield, with 52 percent of the total.

0.8

0.6

1.2

1.5

1.8

1.8

2.4

2.4

8.6

1.2

0.9

2.0

3.4

2.7

2.3

3.3

3.2

11.0

E

NE

EM

SE

NW

Y

SW

WM

L

Millions

Tickets available Tickets sold

8.1

6.7

15.6

22.9

25.2

25.9

28.7

59.1

193.5

Millions

Total ticket yield (£)


- 47 -

Figure 39: Ticket sales for performances by artform, 2012/13 (N=689)

Figure 40 compares the tickets available and sold in each region in 2010/11, 2011/12 and 2012/13. The biggest increase in ticket sales was seen in the West Midlands, where ticket sales increased by 34 percent since 2010/11. The biggest decline was seen in the North East (a decrease of 15 percent), however the number of tickets available also decreased by 11 percent since 2010/11.

Figure 40: Change in tickets available and sold per region 2010/11, 2011/12 and 2012/13 constant sample (N=573)

0.0

0.1

0.2

1.5

3.3

5.6

10.5

0.0

0.1

0.3

2.1

4.4

7.8

15.4

NAS

LIT

VA

DAN

MUS

CA

TH

Millions

Tickets available Tickets sold

0.0

0.4

1.5

31.2

53.0

99.5

200.1

Millions

Total ticket yield (£)

1.1 1.6

10.0

0.9

2.2 1.6

3.0 2.4 2.3

0.7 1.0

7.4

0.7 1.4 1.2 2.0 1.8 1.7

1.2 1.6

9.9

1.0

2.5 2.0

2.7 2.5 2.3

0.8 1.0

7.9

0.7 1.6 1.5 2.0 2.0

1.6

1.2 1.8

11.0

0.9

2.7 3.3 3.1 3.2

2.2

0.8 1.1

8.6

0.6 1.8

1.4

2.3 2.4 1.8

EastEast Midlands

LondonNorth East

North WestSouth East

South WestWest Midlands

Yorkshire

Millio

ns

Tickets available 2010/11 Tickets sold 2010/11




- 48 -

Figure 41 shows the change in ticket sales by artform. Theatre organisations had the

highest increase of tickets sold since 2010/11.

Figure 41: Change in tickets available and sold per artform 2010/11, 2011/12 and 2012/13 constant sample (N=573)

6.3.4 School performances

Of the 100,389 performances that had been put on in England in 2012/13, 6,419 were specifically for young people in the 4–19 age range in full-time education. In 2012/13, 238 organisations (35 percent) had put on school performances. These school performances are in addition to the education and learning sessions detailed in section 6.6.

Figure 42 shows that London had the highest share of school performances with 35 percent of the total activities.

7.0

1.9 0.1

3.9

0.0

12.1

0.2

4.7

1.4 0.1

3.0

0.0

8.7

0.1

6.7

2.1 0.1

4.0

0.0

12.5

0.2

5.0

1.5 0.1

3.0

<0.1

9.4

0.1

7.5

2.1

0.1

4.2

0.0

15.2

0.3

5.5

1.5

0.1 3.2

0.0

10.3

0.2

Combined artsDance

LiteratureMusic

Not artform specificTheatre

Visual arts

Millio

ns





- 49 -

Figure 42: School performances by region, 2012/13 (N=689)

Figure 43 shows how the school performances break down by artform. Theatre

organisations put on the highest number with 56 percent of the school performances.

Figure 43: School performances by artform, 2012/13 (N=689)

0.1

0.2

0.4

1.0

0.4

0.7

0.5

0.7

2.3

E

SE

NE

EM

WM

NW

SW

Y

L

Thousands

Activities

0.1

<0.1

0.7

0.5

0.3

1.2

3.6

NAS

VA

DAN

MUS

LIT

CA

TH

Thousands

Activities


- 50 -

6.4 Exhibitions and film screenings

Exhibition days and film screening days were also counted within the headline arts activities discussed in section 6.1. This section looks more closely at exhibition and film screening days and their audiences, separated by region and artform.

6.4.1 Exhibitions

In 2012/13, 377 organisations (55 percent of the organisations that completed the survey) said they had put on exhibitions and/or film screenings as part of their work. They had put on 3,868 exhibitions for a total of 144,121 days. Of these, 130,687 exhibition days took place in England. These exhibition days attracted a total known attendance of 12,676,524 and a further 22,256,371 estimated attendance: 34,932,895 in total.

As shown in Figure 44, London had the highest share of exhibition days with 32 percent, followed by Yorkshire with 14 percent. Organisations in the East had the lowest number of exhibition days with three percent. London had the highest share of attendances at exhibitions with 53 percent, followed by the North West with ten percent. Organisations in the East had the lowest attendances at exhibition days with two percent in 2012/13.

Figure 44: Exhibition days by region, 2012/13 (N=689)

3.9

8.3

7.2

15.3

8.2

13.6

14.9

17.7

41.5

E

EM

SE

WM

NE

SW

NW

Y

L

Thousands

Activities

0.7

1.4

2.6

2.5

2.1

1.8

3.4

2.1

18.3

Millions

Audiences

Known Estimated


- 51 -

When compared by artform, visual arts organisations put on the highest number of exhibition days with 58 percent. They also had the highest number of attendances for exhibition days with 66 percent of the total attendance. Combined arts organisations had the second highest level of activities and attendance with 25 and 28 percent respectively.

Figure 45: Exhibition days by artform, 2012/13 (N=689)

6.4.2 Film screening days

The organisations that had put on exhibitions and film screenings screened 11,462 films over 40,656 screening days, of which 33,582 were in England. The film screening days in England attracted a known audience of 1,749,701 and an additional 1,231,901 estimated attendance: 2,981,602 in total.

Figure 46 shows the regional breakdown of film screening days in England in 2012/13. London has the highest share with 31 percent of film screening days, followed by the North West with 19 percent. The lowest number of film screening days took place in the East, with two percent. The highest level of attendance at film screening days was seen in London (36 percent) followed by the North West (14 percent) and the lowest attendances were recorded in the East, with one percent.

1.6

2.6

2.2

7.3

8.3

33.1

75.5

Thousands

Activities

0.3

0.4

0.4

0.1

1.0

9.7

23.0

MUS

LIT

DAN

NAS

TH

CA

VA

Millions

Audiences

Known Estimated


- 52 -

Figure 46: Film screening days by region, 2012/13 (N=689)

When compared by artform (as shown in Figure 47), visual arts organisations put on more than half (64 percent) of film screening days during 2012/13, followed by combined arts organisations who put on 29 percent. The same pattern can be seen with attendance at film screening days, as combined arts and visual arts organisations had 39 and 51 percent of the attendances, respectively.

Figure 47: Film screening days by artform, 2012/13 (N=689)

0.8

0.8

4.8

1.3

1.4

2.7

6.4

5.3

10.2

Thousands

Activities

47.8

168.4

282.1

136.1

247.1

253.6

430.2

351.4

1,064.8

E

Y

EM

SE

NE

WM

NW

SW

L

Thousands

Audiences

Known Estimated

0.1

0.2

0.3

0.4

1.6

9.6

Thousands

Activities

21.4

2.9

2.6

115.5

38.3

121.2

1,171.1

LIT

NAS

DAN

MUS

TH

VA

CA

Thousands

Audiences

Known Estimated

1530.0


- 53 -

6.5 Publications

A total of 419 organisations said that they had produced publications during 2012/13. Publications include books, directories, magazines, educational resource packs, DVDs and CDs. These organisations were asked for further details of the number of titles they had published and the sales and distribution figures for these publications. Sales and distribution was measured as the number of copies rather than as a monetary value.

The total sales and distribution for all organisations’ publications was 10,058,570.

Publications have been broken down into books, DVDs and CDs and other publications for each artform. As publication is not restricted by geographical or regional boundaries, there are no regional breakdowns of these figures.

6.5.1 Books

Organisations had published a total of 1,368 new book titles over 2012/13, as well as maintaining 12,182 backlist book titles. Sales and distribution of new book titles totalled 475,925 and sales and distribution of backlist titles totalled 366,000.

Figure 48 shows the publication of new and backlist title book publications by artform. Literature organisations had the highest share of new titles available, with 55 percent of the total. Literature organisations also had the highest proportion of backlist titles available, with 65 percent, and the highest sales and distribution of new and backlist titles, with 47 and 60 percent respectively.

Figure 48: Publications of new and backlist titles by artform, 2012/13 (N=689)

6.5.2 Other publications

<0.1

<0.1

<0.1

0.1

0.5

0.1

0.8

<0.1

<0.1

<0.1

0.1

4.0

0.2

7.9

Thousands

Books

Backlist titles New titles

29.2

0.5

0.0

42.9

107.3

73.1

222.9

0.2

0.1

0.6

16.1

109.1

20.5

219.3

NAS

MUS

DAN

CA

VA

TH

LIT

Thousands

Sales / distribution

Backlist titles New titles


- 54 -

Organisations were also asked if they had produced any other publications such as directories, newsletters, journals, catalogues, exhibition publications or educational resource packs. These are referred to as paper-based publications in the section below. Organisations were also asked about the publication of DVDs or CDs.

A total of 2,097 paper-based publications had been published in 2012/13 with a total sales/distribution of 8,803,392.

The highest number of paper-based publications was produced by literature organisations, as shown in Figure 49. The highest sales / distribution of paper-based publications was seen in visual arts organisations.

Figure 49: Paper-based publications by artform, (N=689)

6.5.3 DVDs and CDs

In 2012/13 National Portfolio Organisations produced 60,945 DVDs or CDs, with a total sales and distribution figure of 413,253.

As shown in Figure 50, music organisations published the most DVDs and CDs (79 percent of the total) and also had the highest share of sales/distribution for DVDs and CDs. Not artform specific organisations produced the lowest number of DVDs and CDs and had the lowest proportion of sales and distribution, with less than one percent of the total for both.

0.1

0.2

0.1

0.2

0.2

0.6

0.7

Thousands

Publications♯

0.7

0.9

2.2

0.6

0.2

3.1

1.1

DAN

TH

CA

MUS

NAS

VA

LIT

Millions


♯outliers have been removed from this chart


- 55 -

Figure 50: DVDs and CDs by artform, 2012/13 (N=689)

6.6 Education, learning and participation

There were 400 National Portfolio Organisations (58 percent) that employed someone specifically to deliver education and learning work for all ages, 432 organisations (63 percent) had a written education policy and strategy and 356 organisations (52 percent) had both. Programmes of education involved 22,922 artists and 4,403,180 attendances in 2012/13.

Among the constant sample, the number of artists involved in an educational programme has increased since 2010/11. The total attendance at these sessions has also increased. Data is no longer collected for the number of sessions offered. It should be noted that the questions were altered in the 2012/13 survey and so these comparative figures are indicative.

Table 17: Changes in educational programme 2010/11, 2011/12 and 2012/13 constant sample (N=573)

6.6.1 Formal education sessions for 0-19 years

Formal education sessions are those which are connected to the school curriculum for early years (0-5) and students aged 5–19. In 2012/13 sessions were attended by 3,395,077 people.

<0.1

3.2

0.5

2.3

0.3

48.1

6.4

Thousands

DVDs and CDs

1.1

1.1

2.9

42.8

5.9

215.8

143.7

NAS

LIT

DAN

TH

VA

MUS

CA

Thousands


Column1 2010/11 2011/12 2012/13

% change

2010/11 -

2012/13

Number of artists 20,963 25,007 21,338 1.8%

Total attendance 5,610,793 6,079,560 4,029,888 -28%


- 56 -

Figure 51 shows the regional distribution of known attendance at formal education sessions for the 0–19 year-old age group. Organisations based in London have a higher attendance than those in any other region with 53 percent, followed by the West Midlands with 10 percent. The East has the lowest attendance with three percent.

Figure 51: Formal education sessions by region, 2012/13 (N=689)

Figure 52 shows the artform distribution of known attendance at formal education sessions for the 0-19 year-old age group. Theatre organisations have a higher attendance with 34 percent, followed by music with 20 percent. Not artform specific organisations have the lowest attendance with one percent.

Figure 52: Formal education sessions by artform, 2012/13 (N=689)

144.7

167.2

159.7

378.1

258.1

415.5

494.5

317.6

1,059.6

E

EM

SE

SW

NE

NW

WM

Y

L

Thousands

Audiences

Known

30.3

117.3

480.8

326.3

577.9

692.4

1,170.2

NAS

LIT

DAN

VA

CA

MUS

TH

Thousands

Audiences

Known


- 57 -

7 Analysis of income by attendance

Income and subsidy per attendance are calculated using income data for 2012/13 as presented in section 5.1 and total attendance data for activities in England as presented in section 6.1. Total attendance used to calculate income and subsidy per attendance includes known and estimated attendances for performances, productions and presentations, exhibition days, film screening days and education, learning and participation activities.

The average earned income per attendance for all regions and artforms in the 2012/13 portfolio was £8.24 per attendance. The average total subsidy per attendance, which includes Arts Council subsidy, local authority and other public subsidy, for the same sample was £6.05 per attendance.

Calculations are likely to be skewed by the large income and attendance figures for the six national companies, so the data has been presented both with and without their income and attendance figures included. This affects figures for the West Midlands and London in regional breakdowns and combined arts, music, theatre and dance figures in artform breakdowns.

7.1 Subsidy per attendance

Subsidy per attendance represents how much subsidy our National Portfolio Organisations receive in order to generate one attendance.

The total subsidy per attendance for all artforms and regions of £6.05 breaks down into £4.65 per attendance coming from Arts Council subsidy, £1.02 from local authority funding and 47p per attendance from other public subsidy.

7.1.1 Regional analysis

Regional breakdown of subsidy per attendance in Figure 53 shows that the East had the highest levels of subsidy per attendance in 2012/13 with £11.82 received per attendance. The London* region had the lowest subsidy per attendance with £3.74 per attendance.

A detailed analysis of subsidy per attendance by subsidy category is given in Figure 54.


- 58 -

Figure 53: Breakdown of total subsidy per attendance by region, 2012/13 (N=689)

Figure 54: Detailed breakdown of subsidy per attendance by region, 2012/13 (N=689)

£11.60

£8.85 £8.01

£8.65

£5.73 £5.84 £6.66

£4.84

£11.82

£4.43 £3.74

£6.05

WestMidlands West

Midlands*

NorthEast Yorkshire

EastMidlands North

West

SouthEast London

EastSouthWest

London*All

regions


£7.96

£5.95 £5.38

£6.66

£3.78 £3.89 £4.33

£4.02

£8.49

£3.13 £2.71

£4.56

£2.00

£1.92

£1.72

£1.66

£1.61 £1.58

£1.83

£0.54

£1.29

£1.01 £0.68

£1.02

£1.63

£0.98

£0.91

£0.33

£0.34 £0.38

£0.50

£0.27

£2.04

£0.29

£0.35

£0.47

£11.60

£8.85

£8.01

£8.65

£5.73 £5.84

£6.66

£4.84

£11.82

£4.43 £3.74

£6.05

West MidlandsWest Midlands*

North EastYorkshire

East MidlandsNorth West

South EastLondon

EastSouth West

London*All regions

Arts Council subsidy per attendance Local authority subsidy per attendance

Other public subsidy per attendance * excluding national companies


- 59 -

7.1.2 Artform analysis

Figure 55 shows the breakdown of total subsidy per attendance by artform. Music organisations

have the highest subsidy per attendance (£19.30 per attendance with national companies and

£15.59 without). Combined arts* organisations have the lowest subsidy per attendance with £2.43

per attendance.

A more detailed breakdown of subsidy per attendance by subsidy category is given in Figure 56.

Figure 55: Breakdown of total subsidy per attendance by artform, 2012/13 (N=689)

£19.30

£15.31

£7.96

£15.59

£13.32

£8.97 £9.16

£3.42 £2.84 £2.43

£9.56

£6.05

MusicMusic*

Notartformspecific

DanceDance*

TheatreTheatre*

Combinedarts

Visual artsCombined

arts*

LiteratureAll artforms



- 60 -

Figure 56: Detailed breakdown of subsidy per attendance by artform, 2012/13 (N=689)

7.1.3 Changes since 2010/11

When data for the constant sample of organisations for 2010/11, 2011/12 and 2012/13 are compared (as in Figure 57), Arts Council subsidy per attendance has risen overall from £4.08 to £4.79, an increase of 17 percent.

Figure 57 also shows that Arts Council subsidy per attendance increased in all regions (the largest in the North East with an increase of 119 percent), except for in the East Midlands, West Midlands and Yorkshire, where Arts Council subsidy per attendance decreased (the largest decrease in the East Midlands, with a decrease of 17 percent )

£12.51

£8.91

£5.38

£13.47 £11.44

£7.43 £7.33

£2.58 £2.01 £1.36

£8.39 £4.56

£4.93

£5.18

£0.13

£1.08

£0.82

£1.07 £1.27

£0.61 £0.60

£0.77

£0.52

£1.02

£1.86

£1.21

£2.45

£1.04

£1.07

£0.47 £0.56

£0.23 £0.23 £0.30

£0.65

£0.47

£15.31

£7.96

£15.59

£13.32

£8.97 £9.16

£3.42 £2.84 £2.43

£9.56

£6.05

MusicMusic*

Notartformspecific

DanceDance*

TheatreTheatre*

Combinedarts

Visual artsCombined

arts*

LiteratureAll artforms

Arts Council subsidy per attendance Local authority subsidy per attendance

Other public subsidy per attendance


£19.30


- 61 -

Figure 57: Changes in Arts Council subsidy per attendance by region 2010/11, 2011/12 and 2012/13 constant sample (N=573)

Figure 58 shows the changes in Arts Council subsidy per attendance in each artform since 2010/11. Arts Council subsidy per attendance decreased in combined arts, music, theatre and visual arts organisations (the largest decrease in theatre organisations at 17 percent) and increased in dance, literature and not artform specific organisations, the largest in literature organisations with an increase of 112 percent).

Figure 58: Changes in Arts Council subsidy per attendance by artform 2010/11, 2011/12 and 2012/13 constant sample (N=573)

£7.4

0

£4.9

2

£3.9

9

£6.8

9

£3.5

1

£3.0

1

£3.0

2

£10.7

0

£11.5

9

£4.4

2

£2.9

2

£4.2

6

£3.6

8 £

5.8

2

£3.3

1

£2.7

5

£2.7

6

£1

1.1

0

£9.7

7

£4.1

7

£7.7

8

£3.6

7

£4.1

1

£6.8

9

£3.7

0

£4.1

7

£3

.95

£8.9

3

£8.5

8

£4.7

9

EastEast

Midlands

LondonNorthEast

NorthWest South

East

SouthWest West

Midlands

YorkshireAll

regions

2010/11 2011/12 2012/13

£2.9

3

£6.3

8

£0.7

3

£1

4.9

7

£13.2

3

£9

.19

£2

.40

£4.4

2

£2.3

8

£14.9

2

£1.0

8

£14.8

9

£10.1

6

£7.3

4

£1.9

4

£4.1

7

£2.7

2 £

13.7

8

£8.9

7

£12.8

1

£51.1

2

£7.6

1

£2.0

5

£4.7

9

Combinedarts



2010/11 2011/12 2012/13


- 62 -

7.2 Earned income per attendance

Earned income per attendance represents how much (in £s) our National Portfolio Organisations earn from each attendance.

7.2.1 Regional analysis

Overall, the earned income per attendance for all organisations was £8.24 per attendance. Figure 59 shows the earned income per attendance in each region. Organisations in the West Midlands had the highest earned income with £12.58 per attendance and £11.786 per attendance when national companies are excluded. Organisations in the North East had the lowest earned income per attendance with £5.60.

Figure 59: Earned income per attendance by region, 2012/13 (N=689)

7.2.2 Artform analysis

Figure 60 shows that literature organisations have the highest earned income per attendance (£37.62 per attendance). Not artform specific organisations had the lowest earned income per attendance in 2012/13, with £1.12 per attendance.

£12.58

£7.12

£11.86

£5.60

£8.14 £7.88 £7.80 £8.19

£7.36

£5.85

£7.68 £8.24

WestMidlands East

Midlands

WestMidlands* North

East

LondonNorthWest

SouthEast South

West

YorkshireLondon*

EastAll

regions



- 63 -

Figure 60: Earned income per attendance by artform, 2012/13 (N=689)

£21.74

£19.72

£16.61 £15.96 £15.44 £14.87

£1.12

£5.27

£37.62

£3.35 £1.83

£8.24

MusicMusic*

TheatreDance

Dance*Theatre*

Notartformspecific

Combinedarts

LiteratureCombined

arts*

Visual artsAll artforms



- 64 -

8 Touring data

By touring activities we mean work presented away from the home base or host venue of an organisation. Touring activities that are measured by the annual submission include performances, productions, readings, exhibition days and film screening days, but exclude education workshop sessions. Organisations that toured were asked for details of each touring activity including the number of times it had been presented, the postcode of the venue (if in the UK), the country (if overseas) and the total audience at each venue.

There were 310 organisations that reported on touring activities in 2012/13. We refer to these as ‘touring organisations’. Touring organisations represent 45 percent of the total number of organisations responding to the annual submission in 2012/13, compared to 39 percent in 2010/11.

Some organisations were unable to provide full details of all their toured activity and therefore the data in this section can only give a partial picture of toured activities and audiences. It should also be recognised that organisations vary considerably in the amount of touring that they do. Some touring organisations will only do a few touring activities in a year, but for others, touring is a significant part of their work and the primary reason why they receive Arts Council funding.

8.1 Regional and artform distribution of touring organisations

Table 18 shows the number of touring organisations based in each region and the age that this represents of the total organisations based in that region. In numerical terms, London has the highest number of touring organisations (131) which represents 53 percent of the organisations based in London. A higher percentage of organisations from the West Midlands did touring activities in 2012/13, 58 percent of the organisations based in the region. The North East has the smallest number of touring organisations, with just 11 touring organisations, representing 26 percent of the organisations based in the region.


- 65 -

Table 18: Number and proportion of touring organisations by region, 2012/13 (N=310)

Figure 61 shows the proportion of touring organisations per region over the last three years. The proportion of touring organisations has increased over time in all regions. The biggest percentage increase happened in the South East (20 percent)

Figure 61: Proportion of touring organisations by region 2010/11, 2011/12 and 2012/13 constant sample (N=213)

Region

Number of

touring

organisations

Number of

organisations

in sample

% Touring

organisations

East 16 30 53%

East Midlands 14 42 33%

London 131 249 53%

North East 11 42 26%

North West 34 84 40%

South East 20 46 43%

South West 27 69 39%

West Midlands 28 48 58%

Yorkshire 29 79 37%

All regions 310 689 45%

42

%

27

%

48

%

16

%

35

%

20

%

35

%

56

%

31

%

39

%

38

%

27

%

48

%

16

%

33

%

28

%

37

%

56

%

32

%

39

%

50

%

39

%

54

%

25

%

43

%

40

% 44

%

61

%

41

% 4

7%

EastEast

Midlands

LondonNorthEast

NorthWest South

East

SouthWest West

Midlands

YorkshireAll

regions

2010/11 2011/12 2012/13


- 66 -

The artform distribution of touring organisations is presented in Table 19. Theatre has the highest number of organisations (125) that have undertaken touring activities in 2012/13. This represents 70 percent of the theatre organisations in the portfolio. The proportion of dance organisations undertaking touring activity in 2012/13 was only slightly lower at 63 percent. Only one of the not artform specific organisations that answered the submission in 2012/13 reported touring activity and just five literature organisations, representing 10 percent of the artform.

Table 19: Number and proportion of touring organisations by artform, 2012/13 (N=310)

Figure 62 shows the proportion of touring organisations per artform over the last three years. The proportion of touring organisations has increased over time. The biggest percentage increases were seen in Combined arts, Visual arts and Not artform specific organisations. Figure 62: Proportion of touring organisations by artform 2010/11, 2011/12 and 2012/13 constant sample (N=213)

Artform

Number of

touring

organisations

Number of

organisations

in sample

% Touring

organisations

Combined arts 52 154 34%

Dance 36 57 63%

Literature 5 51 10%

Music 44 86 51%

Not artform specific 1 19 5%

Theatre 125 179 70%

Visual arts 47 143 33%

All artforms 310 689 45%

24%

62%

5%

48%

0%

62%

22%

39%

25%

62%

5%

45%

0%

64%

24%

39%

35%

64%

10%

51%

10%

70%

36%

47%

Combinedarts Dance

LiteratureMusic

Not artformspecific Theatre

Visual artsAll artforms

2010/11 2011/12 2012/13


- 67 -

8.2 Reach of touring activities This section considers the national and international reach of toured activities by National Portfolio Organisations. Table 20 presents a breakdown of the locations of the toured activities by National Portfolio Organisations, separated by the home region of the organisation. The numbers in red represent organisations doing touring activity within their home region, but away from their home base or host venue. So, for example, organisations based in the East did 38 percent of their toured activity within the East region (but away from their home base or host venue). Touring within an organisation’s home region is the most common form of touring activity in all regions (except for the North East) but the proportion of toured activity taking place in the home region varies – from 56 percent of all toured activity for organisations based in the North West to 12 percent of all toured activity for organisations based in the North East. Organisations based in the South West are the most likely to tour outside the UK, with 25 percent of their toured activity located outside the UK.

Table 20: Location of toured activity by region of organisation, 2012/13 (N=310)

Table 21 shows the breakdown of the locations of the touring activities by artform. Visual arts have the highest proportion of touring that took part outside the UK, with 32 percent. Literature organisations are most likely to take their touring activities to the South East, with 40 percent of touring activity based there.

Table 21: Location of toured activity by artform of organisation, 2012/13 (N=310)

Location of

organisationE EM L NE NW SE SW WM Y

Other

UK

Non-

UK

East 38% 3% 27% 0% 2% 3% 6% 1% 1% 11% 8%

East Midlands 1% 49% 5% 0% 7% 5% 4% 4% 2% 3% 20%

London 5% 4% 22% 3% 6% 11% 4% 8% 4% 8% 22%

North East 1% 0% 6% 12% 12% 34% 0% 6% 3% 12% 14%

North West 2% 2% 5% 8% 56% 2% 2% 3% 4% 4% 12%

South East 7% 3% 8% 1% 0% 30% 22% 2% 1% 2% 23%

South West 2% 2% 11% 3% 3% 6% 41% 3% 2% 3% 25%

West Midlands 1% 7% 8% 3% 14% 4% 4% 36% 10% 4% 8%

Yorkshire 8% 8% 10% 6% 12% 9% 5% 5% 25% 7% 5%

Total 5% 6% 16% 4% 9% 10% 7% 11% 6% 6% 18%

Location of toured activity

Artform of

organisationE EM L NE NW SE SW WM Y

Other

UK

Non-

UK

Combined arts 6% 12% 12% 3% 8% 10% 12% 7% 4% 6% 18%

Dance 5% 2% 21% 3% 6% 10% 5% 8% 8% 8% 24%

Literature 1% 0% 6% 0% 8% 40% 2% 13% 1% 29% 0%

Music 5% 5% 27% 2% 14% 10% 6% 5% 8% 4% 13%

Theatre 5% 5% 24% 3% 11% 7% 8% 13% 9% 4% 11%

Visual arts 3% 7% 11% 2% 9% 4% 6% 10% 6% 8% 32%

Total 5% 6% 16% 4% 9% 10% 7% 11% 6% 6% 18%

Location of toured activity


- 68 -

Table 22 shows the top 20 local authorities in England, ranked in order of the number of touring activities that took place there.

Table 22: Top 20 England local authorities in terms of number of toured activities, 2012/13 (N=310)

Ranking Local authority

Number of

toured

activities

% of total

toured

activities

1 Westminster 1,978 3.66%

2 Birmingham 1,461 2.70%

3 Lambeth 1,007 1.86%

4 Liverpool 849 1.57%

=5 Camden 832 1.54%

=5 Southwark 832 1.54%

7 Manchester 779 1.44%

8 Worcester 737 1.36%

=9 Cornwall 700 1.30%

=9 Leeds 700 1.30%

11 Exeter 660 1.22%

12 Preston 621 1.15%

13 Craven 597 1.11%

14 Shropshire 580 1.07%

15 Tower Hamlets 540 1.00%

16 Leicester 535 0.99%

17 Nottingham 533 0.99%

18 Lincoln 523 0.97%

19 Lancaster 507 0.94%

20 Norwich 489 0.91%


- 69 -

9 Major Partner Museums Topline Tables

Data collected from Major Partner Museums is presented in the form of headline tables.

Major Partner Museums were new to the Arts Council, and this is the first year they have

been required to complete the survey.

Table 23: Breakdown of Major Partner Muesums by income 2012/13 (N=16)

Income £ %

Earned Income £37.1M 26%

Arts Council England Subsidy £23.5M 16%

Local Authority Subsidy £37.7M 26%

Other Public Subsidy £27.9M 19%

Contributed Income £17.6M 12%

Total Income £143.8M 100%

Figure 63: Breakdown of Major Partner Muesums income by source 2012/13 (N=16)

Table 24: Breakdown of Major Partner Museums by expenditure (N=16)

Staff Non-Staff Total

Expenditure £ % £ % £ %

Artistic programme £39.9M 64% £36.8M 50% £76.6M 57%

Education programme £7.1M 11% £4.6M 6% £11.7M 9%

Marketing £1.2M 2% £2.1M 3% £3.3M 2%

Cost of generating funds £1.6M 3% £1.6M 2% £3.2M 2%

Governance £0.5M 1% £1.2M 2% £1.7M 1%

Overheads £9.8M 16% £20.4M 28% £30.2M 22%

Other costs £2.3M 4% £6.3M 9% £8.6M 6%

Total expenditure £62.3M 100% £72.9M 100% £135.3M 100%

26% 16% 26% 19% 12%

Earned Income Arts Council England Subsidy Local Authority Subsidy

Other Public Subsidy Contributed Income


- 70 -

Figure 64: Proportion of Major Partner Museums by expenditure 2012/13 (N=16)

Table 25: Breakdown of Major Partner Muesums by activities 2012/13 (N=16)

Activities

Activities Held

Actual Attendance / Participation

Estimated Attendance / Participation

Performances 625 22,827 135,688

Exhibition days 22,263 4,127,175

4,141,976

Film screening days 1,967 4,037

236,490

Outreach Activities(**) (CYP) 2,683 187,707

n/a

Outreach Activities (Adults) 2,011 97,612

n/a

On-Site Activities (CYP) 15,850 639,956

n/a

On-Site Activities (Adults) 12,474 584,558

n/a

Total 2,059,930 5,663,872 4,514,154

School performances only (*) 17

Publications Sales and distribution 252,772

64%

50%

57%

11%

6%

9%

2%

3%

2%

3%

2%

2%

1%

2%

1%

16%

28%

22%

4%

9%

6%

Staff

Non-Staff

Total

Artistic programme Education programme Marketing Cost of generating funds

Governance Overheads Other costs

♯outliers have been removed from this chart


- 71 -

Table 26: Breakdown of Major Partner Museums by average amount of subsidy per

attendance (N=16)

Average amount (£) per attendance (***)

Arts Council subsidy per attendance £ 2.31

Local authority subsidy per attendance £ 3.70

Other subsidy per attendance £ 2.74

Total subsidy per attendance £ 8.75

Earned income per attendance £ 3.65

Total income per attendance £ 14.13

Total expenditure per attendance £ 13.29

Figure 65: Breakdown of Major Partner Museums by average amount of subsidy per

attendance (N=16)

Notes

*The number of schools performances is also included in the total number of performances **Outreach and On-Site Activities for Children & Young People includes both school/college and non-school/college activities. ***Attendance includes both actual and estimated attendance where available – Outreach and Onsite activities recorded only

Arts Councilsubsidy per attn

Local authoritysubsidy per attn

Other subsidy perattn

Total subsidy perattn

Earned income perattn

£2.31

£3.70 £2.74

£8.75

£3.65

Average amounts per attendance


- 72 -

actual attendance.

Table 27: Breakdown of Major partner Museums by self-directed visitors, 2012/13

(N=16)

Self-Directed Visitors

On Site

Off Site

Total

# % # % # %

Children & Young People 1,746,316 14% 65,147 29% 1,811,463 14%

Adults 4,251,371 34% 71,071 31% 4,322,442 34%

Age Unknown 6,396,374 52% 91,945 40% 6,488,319 51%

Total Visitors 12,394,061 100% 228,163 100% 12,622,224 100%

Figure 66: Proportion of Major Partner Museums by self-directed visitors 2012/13

(N=16)

Table 28: Breakdown of Major Partner Museums by self-directed school visits,

2012/13 (N=16)

14%

29%

14%

34%

31%

34%

52%

40%

51%

On Site

Off Site

Total

Self-Directed Visitors

Children & Young People Adults Age Unknown

Self-Directed School Visits

Children Teachers Total Visitors Number of

Visits

# % # % # % # %

Preschool 11,072 4% 2,500 7% 13,572 4% 1,842 15%

Key Stage 1 29,984 11% 4,289 13% 34,273 11% 1,902 16%

Key Stage 2 109,377 40% 13,731 40% 123,108 40% 4,345 36%

Key Stage 3 57,424 21% 6,492 19% 63,916 21% 1,979 16%

Key Stage 4 34,769 13% 4,360 13% 39,129 13% 1,106 9%

Key Stage 5 34,073 12% 2,664 8% 36,737 12% 975 8%

Totals 276,699 100% 34,036 100% 310,735 100% 12,149 100%


- 73 -

Figure 67: Proportion of Major Partner Museums by self-directed school visits,

2012/13 (N=16)

Table 29: Breakdown of Major Partner Museums by facilitated school visits, 2012/13

(N=16)

Facilitated School Visits

Children Teachers Total Visitors Number of Visits

# % # % # % # %

Preschool 19,870 4% 2,999 5% 22,869 5% 2466 7%

Key Stage 1 90,495 20% 13,707 24% 104,202 21% 9531 28%

Key Stage 2 257,207 58% 28,375 50% 285,582 57% 17139 51%

Key Stage 3 50,458 11% 5,336 9% 55,794 11% 2106 6%

Key Stage 4 18,155 4% 3,308 6% 21,463 4% 1423 4%

Key Stage 5 10,484 2% 2,596 5% 13,080 3% 1037 3%

Totals 446,669 100% 56,321 100% 502,990 100% 33,702 100%

Figure 68: Proportion of Major Partner Museums by facilitated school visits, 2012/13

(N=16)

15% 16% 36% 16% 9% 8%

Self-Directed School Visits

Preschool Key Stage 1 Key Stage 2 Key Stage 3 Key Stage 4 Key Stage 5

7% 28% 51% 6% 4% 3%

Facilitated School Visits

Preschool Key Stage 1 Key Stage 2 Key Stage 3 Key Stage 4 Key Stage 5


- 74 -

Table 30: Breakdown of Major Partner Museums by higher education visits, 2012/13

(N=16)

Higher Education Visits

Number of Visits

Total Visitors

# % # %

England 2,362 82% 43,169 79%

Overseas 482 17% 10,290 19%

Rest of UK 47 2% 902 2%

Totals 2,891 100% 54,361 100%

Figure 69: Proportion of Major Partner Museums by higher education visits, 2012/13

(N=16)

Table 31: Breakdown of Major Partner Museums by average amounts of subsidy per

visitor, 2012/13 (N=16)

Average amounts (£) per visitor

Arts Council subsidy per visitor £ 1.74

Local authority subsidy per visitor £ 2.79

Other subsidy per visitor £ 2.07

Total subsidy per visitor £ 6.60

Earned income per visitor £ 2.75

Total income per visitor £ 10.66

Total expenditure per visitor £ 10.03

82%

79%

17%

19%

2%

2%

Number ofVisits

TotalVisitors

Higher Education Visits

England Overseas


- 75 -

Figure 70: Breakdown of Major Partner Museums by average amounts of subsidy per

visitor, 2012/13 (N=16)

Arts Councilsubsidy per visitor

Local authoritysubsidy per visitor

Other subsidy pervisitor

Total subsidy pervisitor

Earned income pervisitor

£1.74

£2.79 £2.07

£6.60

£2.75

Average amounts per visitor


- 76 -

Appendix 1: Glossary of definitions

Activities: The number of opportunities an organisation provides for audiences to

attend or participate. The numbers given refer to all activities taking place between 1

April 2012 and 31 March 2013.

Artform: The main artform that the organisation is funded for by the Arts Council.

Regularly funded organisations are classified under one of seven different artforms:

combined arts, dance, literature, music, theatre, visual arts, and ‘not artform specific’.

The artform assigned to a particular organisation relates to the principal area of work

that Arts Council England’s funding supports.

If Arts Council funding is distributed to more than one artform in a particular

organisation, then this organisation’s artform will be classified as combined arts.

Combined arts categorises organisations and practices that do not fit within one arts

genre. It includes organisations serving particular cultural or geographical

communities. Combined arts are multidisciplinary, and include arts centres, rural

touring, carnival arts, festivals and participatory organisations.

‘Not artform specific’ describes those organisations which cannot be specifically

categorised into the six other artforms. These include organisations that are service,

network, umbrella and other organisations.

Artistic programme costs: Expenditure on staff involved in an organisation’s artistic

programme or main activity and on non-staff costs such as production costs and

venue hire.

Artistic staff: This category refers to artists, dancers, actors, singers, musicians,

curators, directors, choreographers, producers, programmers, writers, composers,

designers etc, and includes the artistic director. This category also includes

educational, marketing and audience development staff.

Arts Council England subsidy: All subsidies received from Arts Council England,

both grant-in-aid (government) funding and lottery funding. Capital funding is

excluded.

Attendance: The number of people attending activities. Attendance can be Known

(an actual audience count which has been calculated using a precise method such as

ticket sales) or Estimated (any estimated attendance over and above the known

attendance that cannot be precisely measured, such as audiences for festivals or

carnivals).


- 77 -

Black or minority ethnic-focused activity: Any activity that is directed at enhancing

Black or minority ethnic peoples’ participation in the arts through specific activities.

Contractual/freelance: This includes all staff hired for a particular programme on a

contract of less than 52 weeks. It also includes those hired on short-term contracts

such as consultants and self-employed people and artists. Such staff may be hired

more than once in a year but are counted once only.

Contributed income: All sponsorships from business organisations, income from

corporate membership schemes, money from trusts or foundations and money

received from the general public for which no benefit is received in return.

Cost of generating funds: Expenditure associated with generating incoming

resources from all sources other than from undertaking charitable activities. This is

primarily the costs associated with fundraising and generating voluntary income, but

also the cost of managing investments.

Disability Discrimination Act: This defines a disabled person as someone who has

a physical or mental impairment that has a substantial and long-term adverse effect

on his or her ability to carry out normal day-to-day activities.

Disability-focused activity: Any activity that is directed at enhancing disabled peoples’

participation in the arts through specific activities.

Earned income: All income generated by an organisation’s artistic activity, its

educational activity and any supplementary activity, including trading income and

bank interest. This includes box office receipts, engagement and other fees; entrance

charges, sales of books and magazines, workshop fees, individual membership fees,

etc.

Education programme costs: Expenditure on staff and non-staff costs associated

with an organisation’s education programme. For some organisations, this may be

their main or only activity. Educational activity is about learning in the arts (skills and

techniques), about the arts (knowledge and appreciation) or through the arts (using

the arts to develop in other areas, such as personal and social skills or history).

Exhibition days: This refers to the number of days an exhibition is open to public

view. Exhibition days are calculated for each separate exhibition then totalled;

therefore where two (or more) exhibitions are presented on the same day, this will

contribute two (or more) to the exhibition day’s total.


- 78 -

Film screening days: This refers to the number of days a film is exhibited. Film

screening days are calculated for each separate film then totalled, therefore where

two (or more) films are presented on the same day, this will contribute two (or more)

to the film screening days total. Where a number of short films are shown in one

programme at one session, this is counted this as one film screening.

Governance costs: Expenditure on costs of governance for running the organisation:

items such as internal and external audit, legal advice and costs associated with

constitutional and statutory requirements.

Home base or host venue: These are the central premises owned or leased (long-

term) by an organisation, which are the usual premises for the organisation’s

activities. If an organisation works from several premises, its head office will be

classed as its home base.

Local authority subsidy: All subsidies received from local authorities.

Managers: This category includes executive or senior management staff, for

example, executive director, finance director, chief accountant, general manager,

human resources manager and legal advisers.

Marketing costs: Expenditure for marketing and promotion, including staff costs. This

includes both production-specific and generic organisation marketing.

National company: National companies are six large organisations whose work has a

geographical reach beyond the region in which they are located.

Other costs: Expenditure on all other costs apart from artistic programme, education

programme, marketing costs, costs of generating funds and overheads

Other public subsidy: All subsidies from sources other than Arts Council England

and local authorities, including that received from other funding bodies, other

government departments and EU funding sources.

Other staff: These are administrative and technical staff not counted as artistic staff

or managers, for example finances, reception, box-office staff and sound technicians.

Outliers: If one or more organisations provide figures that are extremely high or low,

they can sometimes skew the data and misrepresent the overall figures. In these

cases the extreme numbers are removed.


- 79 -

Overheads: This includes all overheads, such as administration costs (post,

telephone, insurance, etc) and premises costs (rent, heating, lighting, etc). It also

includes expenditure on staff directly involved in the area of overheads, such as

administrators and operations staff.

Performances: This is the total number of performances, productions, presentations,

concerts and readings taking place in England. This covers all performances,

including school performances and broadcast (live or recorded) performances.

Permanent staff: All staff on fixed-term contracts of 52 weeks or more count as

permanent. If they work 35 hours or more a week they are classed as full-time, if less

than 35 hours a week they are classed as part-time.

Publications: This refers to the production and distribution of books, directories,

journals, catalogues, magazines, DVDs and CDs.

Region: The region where the organisation is located or where its ‘home base’ or

head office is if it has more than one base. All regional classifications in this report

use this definition, with the exception of touring data, which can be precisely

geographically located as well.

Sales and distribution: This is the total figure for sales and distribution figures of

publications. This includes any complimentary/free publicity distribution. This is the

number of publications that were sold or distributed, not a money (£) figure.

Schools performances: This is the number of performances, productions,

presentations, concerts and readings etc, for young people in the age range 4–19 in

full-time education. This is a subset of the total number of performances put on by an

organisation.

Touring activity: This refers to all work that was presented away from an

organisation’s home base or host venue (temporary or permanent). The term ‘home

base’ refers to premises owned by the organisation or premises on which the

organisation holds a long-term lease. Touring activity may include productions,

exhibitions, readings, screenings etc. These figures include any schools

performances specifically for young people in full-time education (4–19 age group),

but do not include workshops, seminars, talks, lectures, residencies or courses.

Volunteers: Any staff member who receives no wages or salary or who receives no

more than basic expenses, for example, travel costs. This refers to volunteers who

actually helped between 1 April 2012 and 31 March 2013, and not those available to


- 80 -

help. Members of an organisation’s board or governing body are not included as

volunteers as they are counted separately.

Workshop sessions: This refers to all forms of learning or participatory activity,

including formal and informal education sessions for people of all ages and

professional training sessions.


- 81 -

Appendix 2: List of tables and figures

Table 1: Regional abbreviations list 7

Table 2: Artform abbreviations list 7

Table 3: Breakdown of national portfolio organisations by region, 2012/13 (N=689) 9

Table 4: Breakdown of national portfolio organisations by artform, 2012/13 (N=689) 10

Table 5: Percentage change of ethnic diversity of staff 2010/11, 2011/12 and 2012/13 constant sample (N=573) 15

Table 6: Disabled and non-disabled staff 2010/11, 2011/12 and 2012/13 constant sample (N=573) 17

Table 7: Percentage change in breakdown of total income, 2010/11, 2011/12 and 2012/13 constant sample (N=573) 27

Table 8: Breakdown of Arts Council subsidy by region, 2012/13 (N=689) 27

Table 9: Breakdown of Arts Council subsidy by artform, 2012/13 (N=689) 28

Table 10: Breakdown of contributed income by region (in £000s), 2012/13 (N=689) 28

Table 11: Breakdown of contributed income by artform (in £000s), 2012/13 (N=689) 29

Table 12: Breakdown of total expenditure by region, 2012/13 (N=689) 31

Table 13: Breakdown of total expenditure by artform, 2012/13 (N=689) 31

Table 14: Percentage change in breakdown of total expenditure 2010/11, 2011/12 and 2012/13 constant sample (N=573) 34

Table 15: Breakdown of new commissioned work by region, 2012/13 (N=689) 41

Table 16: Breakdown of new commissioned work by artform, 2012/13 (N=689) 42

Table 17: Changes in educational programme 2010/11, 2011/12 and 2012/13 constant sample (N=573) 55 Table 18: Number and proportion of touring organisations by region, 2012/13 (N=310) 65 Table 19: Number and proportion of touring organisations by artform, 2012/13 (N=310) 66

Table 20: Location of toured activity by region of organisation, 2012/13 (N=310) 67

Table 21: Location of toured activity by artform of organisation, 2012/13 (N=310) 67

Table 22: Top 20 England local authorities in terms of number of toured activities, 2012/13 (N=320) 68

Table 23: Breakdown of Major Partner Muesums by income 2012/13 (N=16) 69

Table 24: Breakdown of Major Partner Muesums by expenditure 2012/13 (N=16) 69

Table 25: Breakdown of Major Partner Muesums by activities 2012/13 (N=16) 70 Table 26: Breakdown of Major Partner Museums by average amount of subsidy per attendance, 2012/13 (N=16) 71 Table 27: Breakdown of Major Partner Museums by self-directed visitors, 2012/13 (N=16) 72 Table 28: Breakdown of Major Partner Museums by self-directed school visits, 2012/13 (N=16) 72 Table 29: Breakdown of Major Partner Museums by facilitated school visits, 2012/13 (N=16) 73


- 82 -

Table 30: Breakdown of Major Partner Museums by higher education visits, 2012/13 (N=16)

74

Table 31: Breakdown of Major Partner Museums by average amounts of subsidy per visitor, 2012/13 (N=16) 74

Figures

Figure 1: Regional map of England 8

Figure 2: Key statistics comparison by region, 2012/13 (N=689) 11

Figure 3: Key statistics comparison by artform, 2012/13 (N=689) 12

Figure 4: Comparison of staff numbers between 2010/11, 2011/12 and 2012/13 constant sample (N=573) 13

Figure 5: Breakdown of permanent staff in 2010/11, 2011/12 and 2012/13 constant sample (N=573) 13

Figure 6: Ethnic diversity of staff in regularly funded organisations, 2012/13 (N=689) 14 Figure 7: Proportion of permanent/contractual staff by ethnicity group, 2012/13 (N=689) 14

Figure 8: Breakdown of staff by ethnicity in 2010/11, 2011/12 and 2012/13 constant sample (N=573) 15

Figure 9: Breakdown of ethnic diversity of staff by position, 2012/13 (N=689) 16

Figure 10: Proportion of black and minority ethnic groups by position held in 2010/11, 2011/12 and 2012/13 constant sample (N=573) 16 Figure 11: Disabled and non-disabled permanent and contractual staff, 2012/13 (N=689) 17

Figure 12: Disability status of staff by position, 2012/13 (N=689) 18

Figure 13: Proportion of disabled staff by position held in 2010/11, 2011/12 and 2012/13 constant sample (N=573) 18

Figure 14: Gender balance for permanent and contractual staff, 2012/13 (N=689) 19

Figure 15: Gender breakdown by staff position, 2012/13 (N=689) 19

Figure 16: Gender proportion by staff position 2010/11, 2011/12 and 2012/13 constant sample (N=573) 20

Figure 17: Black and minority ethnic-led & Black and minority ethnic focused organisations by region, 2012/13 (N=689) 21

Figure 18: Black and minority ethnic-led & Black and minority ethnic focused organisations by artform, 2012/13 (N=689) 21 Figure 19: Disability-led & disability focused organisations by region, 2012/13 (N=689) 22 Figure 20: Disability-led & disability focused organisations by artform, 2012/13 (N=689) 23

Figure 21: Breakdown of total income by region, 2012/13 (N=689) 25

Figure 22: Breakdown of total income by artform, 2012/13 (N=689) 26

Figure 23: Breakdown of contributed income in 2010/11, 2011/12 and 2012/13 constant sample (N=573) 29 Figure 24: Breakdown of total expenditure (staff and non-staff) by region, 2012/13 (N=689) 32


- 83 -

Figure 25: Breakdown of total expenditure by artform, 2012/13 (N=689) 33

Figure 26: Breakdown of expenditure by type for 2010/11, 2011/12 and 2012/13 constant sample (N=573)

34

Figure 27: Regional breakdown of performances, exhibition days and film screening days by region, 2012/13 (N=689) 36

Figure 28: Change in number of performances, exhibition days and film screening days per region, 2010/11, 2011/12 and 2012/13 constant sample (N=573) 37 Figure 29: Change in the number of attendances at performances, exhibition days and film screening days per region 2010/11, 2011/12 and 2012/13 constant sample (N=573) 38

Figure 30: Breakdown of performances, exhibition days and film screening days per artform, 2012/13 (N=689) 39

Figure 31: Change in activities by artform 2010/11, 2011/12 and 2012/13 constant sample (N=573) 39

Figure 32: Change in the number of attendances at performances, exhibitions and film screening days 2010/11, 2011/12 and 2012/13 constant sample (N=573) 40

Figure 33: Change in number of new works commissioned 2010/11, 2011/12 and 2012/13 constant sample (N=573) 42

Figure 34: Performances by region, 2012/13 (N=689) 43

Figure 35: Performances by artform, 2012/13 (N=689) 44

Figure 36: Production type by region, 2012/13 (N=689) 45

Figure 37: Production type by artform, 2012/13 (N=689) 45

Figure 38: Ticket sales for performances by region, 2012/13 (N=689) 46

Figure 39: Ticket sales for performances by artform, 2012/13 (N=689) 47

Figure 40: Change in tickets available and sold per region 2010/11, 2011/12 and 2012/13 constant sample (N=573) 47

Figure 41: Change in tickets available and sold per artform 2010/11, 2011/12 and 2012/13 constant sample (N=573) 48

Figure 42: School performances by region, 2012/13 (N=689) 49

Figure 43: School performances by artform, 2012/13 (N=689) 50

Figure 44: Exhibition days by region, 2012/13 (N=689) 50

Figure 45: Exhibition days by artform, 2012/13 (N=689) 51

Figure 46: Film screening days by region, 2012/13 (N=689) 52

Figure 47: Film screening days by artform, 2012/13 (N=689) 52

Figure 48: Publications of new and backlist titles by artform, 2012/13 (N=689) 53

Figure 49: Paper-based publications by artform, 2012/13 (N=689) 54

Figure 50: DVDs and CDs by artform, 2012/13 (N=689) 55

Figure 51: Formal education sessions by region, 2012/13 (N=689) 56

Figure 52: Formal education sessions by artform, 2012/13 (N=689) 56

Figure 53: Breakdown of total subsidy per attendance by region, 2012/13 (N=689) 58 Figure 54: Detailed breakdown of subsidy per attendance by region, 2012/13 (N=689) 58

Figure 55: Breakdown of total subsidy per attendance by artform, 2012/13 (N=689) 59


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Figure 56: Detailed breakdown of subsidy per attendance by artform 2012/13 (N=689) 60 Figure 57: Changes in Arts Council subsidy per attendance by region, 2010/11, 2011/12 and 2012/13 constant sample (N=573) 61 Figure 58: Changes in Arts Council subsidy per attendance by artform, 2010/11, 2011/12 and 2012/13 constant sample (N=573) 61

Figure 59: Earned income per attendance by region, 2012/13 (N=689) 62

Figure 60: Earned income per attendance by artform, 2012/13 (N=689) 63 Figure 61: Proportion of touring organisations by region, 2010/11, 2011/12 and 2012/13 constant sample (N=310) 65 Figure 62: Proportion of touring organisations by artform, 2012/11, 2011/12 and 2012/13 constant sample (N=310) 66

Figure 63: Proportion of Major Partner Museums by income, 2012/13 (N=16) 69

Figure 64: Proportion of Major Partner Museums by expenditure, 2012/13 (N=16) 70 Figure 65: Breakdown of Major Partner Museums by average amount of subsidy per attendance, 2012/13 (N=16) 71 Figure 66: Proportion of Major Partner Museums by self-directed visitors, 2012/13 (N=16) 72 Figure 67: Proportion of Major Partner Museums by self-directed school visits, 2012/13 (N=16) 73 Figure 68: Proportion of Major Partner Museums by facilitated school visits, 2012/13 (N=16) 73 Figure 69: Proportion of Major Partner Museums by higher education visits, 2012/13 (N=16) 74 Figure 70: Breakdown of Major Partner Museums by average amounts of subsidy per visitor, 2012/13 (N=16) 75

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