Arts Index 2007 – 2018

The Arts Index is a snapshot report of the wellness of England's arts and civilisation provision.

The Index is a collation of twenty indicators from publicly available sources, measuring a range of indices from investment to audition sizes, Westward Stop revenues to attitudes to public funding of the arts. Originally planned for publication in November 2019 the Arts Index was delayed by the Autumn Full general Election then past the unfolding COVID Covid-19 crisis.

Watch Samuel West's total introduction to the Arts Index

Chair of the National Campaign for the Arts, Samuel West, introduces the latest Arts Index. The printed publication went to press in February, and in this video introduction Samuel West discusses what it ways to be launching the delayed Index now, during the Coronavirus pandemic.

He raises grave concerns about the potentially devastating long-term impact on the arts sector of COVID-19.

The latest Alphabetize reveals how the sector's entrepreneurial response to x years of decline in public funding, philanthropy and business support is now the very thing that threatens its future.

On the publication of the Arts Index in June 2020, the NCA hosted an Open Space issue for arts leaders and activists to discuss the hereafter of the arts in the UK.

Read the total report from the event hither

Welcome to the new edition of the Arts Index, produced past the National Campaign for the Arts.

In Boris Johnson'southward first spoken language as Prime Minster, he put the arts front end and centre:

"We know the enormous strengths of this economic system in life science, in tech, in academia, in music, the arts, culture…"

The NCA was delighted. The arts trigger so many economic multipliers. Our creative industries are the UK'southward second fastest growing sector, increasing at twice the charge per unit of the wider economy. Their GVA has just hit £111 billion.

But it's not just about money. It's widely acknowledged at present that creative creativity makes people physically and mentally amend, fighting isolation, low and addiction. The arts don't just alter lives, they save them.

Since the EU Plebiscite, the UK has become a disunited Kingdom. An empathy deficit threatens to divide the country downwards the middle. The worldview that produced the Olympic opening ceremony, the concluding decade's all-time piece of theatre, is turning inward and parochial. Nosotros demand more places for imagination, self-expression and condom dissent. In a divided land, the arts can be social gum. Through them nosotros can get happier, healthier, more ourselves. We can get a nation.

It's no secret that the great bulk of creative people want to stay in the European Union. Our food and drink is collaboration, our currency ideas, which cross borders less easily when the people that have them tin't easily travel. The need to motility people fast, at curt detect, in big numbers, for brief periods, is essential for a world leader in the creative industries. In our sector, high levels of skill don't ever equal high salaries. We demand a flexible, points-based immigration organization. The bacon-based model proposed past the authorities is not the broad outward-facing one we need to concenter international artistic talent.

At that place are other clouds on the horizon. The number of children studying an instrument is lower than at any time since records began. The Times recently reported that the number taking English 'A' Level fell 8.4% in 2019. 'A' Level Drama and Theatre

entries went down past nearly a quarter last twelvemonth; all figures which have still to be reflected in the Index. It remains to be seen how these problems will affect futurity editions.

The Figures

Nosotros publish the Arts Index equally a wellness check of the arts. Of course the arts can never be reduced but to a set of figures – assessing the wellness of any organism is complex. But policymakers need independent, objective analysis. The Arts Index provides it. The overall Index this year has hitting a record high. Cautious cheers. We should celebrate arts organisations' efforts to survive and conform in extremely challenging circumstances.

Since nosotros began producing the Arts Alphabetize ten years ago, the funding mural has changed beyond recognition. Overall funding has fallen more than than a third since 2010. Organisations are working relentlessly to increment their earned income but there is now no more fat to cut.

Local regime funding is down 43% from its 2008 tiptop, the biggest fall in the Alphabetize. Historically, local regime was a major arts funder, councils ran venues and employed arts development teams who made amazing things happen. Following huge central regime cuts, many councils accept cut their arts budgets to nil, and Arts Evolution Officers are now so rare that since the last edition of the Index, their professional clan has been forced to close.

Business organization contributions too have dropped, downward more than than a third since 2012, and philanthropic giving has fallen ten% in the last 3 years; a detail worry given the Authorities's stated policy of increasing philanthropy.

Trusts and foundations do great work to support the sector. Their rise in contributions is the largest in the Index, but goes but a small style towards plugging the gaps caused by the decline in government grants and philanthropy. And while we continue to be grateful to the millions of Lottery players for their back up, in this edition of the Index, Lottery funding has too fallen drastically.

So it's not just country funding that's crashed, about all giving and investment is down. And still the Index is upward. What's going on?

The answer is that, in addition to dramatically cutting their costs, arts organisations are coping with the bear on of austerity by increasing their earned income. They're doing so mainly past raising average ticket prices; the just quick prepare at that place is. While information technology'southward great that some people can pay more, the NCA believes that everyone deserves affordable access to the arts, no matter how much coin they have.

The arts have taken a bigger hit than most sectors in the drive for austerity. Government tax relief is welcome but it's no substitute for sustained investment, of the kind that made possible the Prime Minster's pride in our world-leading creativity. We're in danger of sliding towards a grade of cultural apartheid, where thousands of ordinary people this government pledged to back up will lose out.

At that place are other drivers behind the overall increment in the Index. 2017 was a great twelvemonth for W End revenues, and (although not part of this report), 2018 was even better. And at that place'southward other practiced news. Since our last edition, creative and cultural GVA has risen by 15% and cultural employment past 21%. In the circumstances, why this Government does not recommend a STEAM-based teaching remains a mystery to united states of america.

Our creative industries volition not maintain their extraordinary level of success if they do not have access to a diverse mix of talented people. The proportion of Black and minority ethnic adults taking function in the arts hasn't grown since 2008, and with new definitions in place has probably even fallen. Confronting this backdrop, where are the adjacent generation of British world-beating creatives going to come from?

Two thank you, and so, for a resilient and growing sector, continually artistic adults and children, and the wonderful piece of work of trusts and foundations. Things are looking okay – only for how much longer? Like many, nosotros are doing more with less. We've got much improve at the things authorities asked us to do. But it can't become on; information technology isn't sustainable. Equally a world-leading sector, the creative industries are then often the canary in the coalmine – leading the way, taking risks, making the country healthier and wealthier. In 2020, the canary is showtime to wait a chip queasy.

Samuel West
Chair of the National Campaign for the Arts
forthearts.org.uk/back up-us

The NCA Board

The National Campaign for the Arts is run by a board of unpaid trustees:

Samuel Westward (Chair), Thespian and manager

Cassie Chadderton, Main Executive, World Book Mean solar day

Sarah Gee, Managing Partner, Indigo-Ltd & Chief Executive, Spitalfields Music

Kim Grant (Company Secretary), Theatre consultant

Rosie Luff, Authorities Diplomacy and Public Policy Managing director, Google

Peter Manning, Conductor and violinist

Julia Payne, Director, the hub

Michael Smith, Director, Cog Blueprint

Leonora Thomson, Interim Primary Executive, Anthem – Music Fund Wales

The National Campaign for the Arts is supported past a circle of glory Champions. These agreeing individuals lend their presence to our piece of work and then more people sit up and listen. In this edition of the Index, some of our Champions accept contributed a reflection on one of the indicators, an expression of their hopes and fears for the arts over the next few years. The comments are personal to them and practise non necessarily reflect the views of the NCA Lath or of the organisations we work for.

Information analysis for this edition of the Arts Index has been donated to the National Campaign for the Arts (Registered Charity number 1079313) by Brownlee Consulting.

Nearly the Alphabetize

What is an alphabetize?

'A measure of the value of a variable relative to its value at some base of operations appointment or state' – The Oxford Dictionary of Statistics.

An index allows us to empathize how something being observed has changed. In the Arts Index, this change has now been measured over an xi-yr flow.

An alphabetize also allows people to compare a number of different sources of information on the same calibration, ofttimes set then that its base value is 100. That is the approach used here.

If a particular figure increases over time then the corresponding index will increment, and if a figure decreases the index volition driblet. From the index you can gauge the extent of change. For example, if the index increases from 100 to 125 then this represents a 25% increment; if information technology drops to 75, this represents a driblet of 25%.

Building an index about our arts sector

The first Uk Arts Index covered three financial years from 2007/08 to 2009/x. It brought together a number of different sources of information, in a fashion that allowed comparisons to be made between these years beyond the English regions, beyond the 4 nations and across the UK as a whole.

In that location are xx separate indicators that feed into the Index, each of which has been chosen because information technology gives the states insight into the wellness and vitality of the arts sector. The indicators are grouped together into vii categories. The diagram on the reverse folio shows the relationship betwixt these dissimilar financial, economic, cultural and community inputs and outputs.

How these indicators are used in the NCA Arts Index

To arrive at the score for each indicator, the figures behind them take been compared to the base figures for 2007/08.

Where this data wasn't available, two rules have been applied:

1. The earliest year available for the data is the base year. In about cases this is 2007/08.

ii. If data is available from an earlier year just gaps exist in later years and then the data has been brought forrad to fill the gaps. This keeps the Index as comparable as possible beyond the years.

Where either of the to a higher place rules has been applied, we note and elaborate on this. This arroyo means that the Index has been built using all-time do, while acknowledging that the information is not complete in every area.

We aspire to use the most authentic and advisable data possible in the Index. This ways that when new datasets are available or when data providers revise their figures we volition update the Index with the improved figures. This means that some of the figures in this Alphabetize practise not exactly match those in previous editions and it is highly likely that the figures in this publication will be refined still farther in future editions.

Weighting the Index

We have considered the following specific variables when creating the Alphabetize:

Population at each geographical level has been taken into account then that areas can be compared 'similar for like'.

Financial figures across the years take been adjusted to have account of inflation using the Consumer Price Index (CPI).

There is no weighting applied to the data in terms of how the 20 indicators are combined to create the overall Index; each of the indicators contributes an equal i/20 of the input.

The 2019 Index

The original Alphabetize was published in 2011 after a twelvemonth of circuitous enquiry and assay across the four United kingdom nations by the NCA, Audiences UK and, in the latter stages, Audiences London.

An anecdotal indicator of the changes in the arts sector in contempo years is the changes in these organisations: Audiences UK has closed, the NCA's team is much reduced in size and Audiences London is now part of The Audience Agency.

The inquiry for this updated English edition of the Alphabetize has been produced by David Brownlee of Brownlee Consulting, who as the former Chief Executive of Audiences UK led the work on the original Alphabetize.

NCA Board members have provided boosted editorial input and pattern services, and we are very grateful to our partners, King'south College London and the Creative Industries Federation, for their back up in producing the 2019 Arts Alphabetize and associated launch events.

The original Index reported across the four UK nations as well as at a regional level in England. The NCA aspires to produce the Alphabetize in this level of detail in the future, but requires additional financial resources to do so.

Glossary

We are enlightened that interest in this Index won't be express to people who are embedded in the world of arts and culture funding and policy, so on page 70 we have included a glossary of some of the terms and acronyms used in the Alphabetize.

Read our how-to guide on the Arts Index to observe out how you lot tin can use the Alphabetize to exist your own advocate for the arts.

The overall index for England

While overall changes beyond the twenty indicators have been slight, there accept been major fluctuations in many private indicators.

Summary of changes in England since the previous edition was published

  • +44 Trusts and foundations contributions to the arts per person
  • +22 Combined reserves of revenue funded organisations per person
  • +16 Adults participating in an arts activity equally a percentage of the population
  • +14 Earned income by revenue funded arts organisations per person
  • +viii Proportion of Black and minority ethnic adult population taking part in the arts
  • +6 Income from West End theatre
  • +5 Higher education students studying creative arts as a percentage of population
  • +4 Proportion of artistic arts GCSEs being entered equally a proportion of all GCSEs
  • +3 Combined expenditure of revenue funded organisations per person
  • +three Gross Value Added (GVA) of creative industries and cultural sector (UK figures)
  • +three Adults attention an arts activity as a percentage of the population
  • +1 Proportion of adult population with a long-standing illness or a disability taking function in the arts
  • +1 Cultural sector employment (UK figures)
  • -3 Business contributions to the arts per person
  • -v Local government funding for the arts per person
  • -5 Treasury funding to Arts Council England per person
  • -9 Proportion of the public supporting funding of arts and culture from taxes
  • -10 Proportion of the public supporting funding of arts and culture from the National Lottery
  • -18 Individual giving to the arts per person
  • -31 Arts funding from the National Lottery per person

National Entrada for the Arts- Arts Index England 2007-2018

Financial inputs - Public funding

This category contains three indicators:

  • 1. Treasury funding to Arts Quango England per person
  • 2. Arts funding from the National Lottery per person
  • 3. Local regime funding for the arts per person

Combined score for this category

The combined score is worked out by calculation together the funding per head for each year across the three indicators and comparing information technology to the 2007/08 figure.

In England the cumulative corporeality per person invested from these three sources continued to grow until 2009/ten, when it reached an inflation adjusted effigy of £twenty.67. It then savage by £1 to £19.51 in 2010/11 and then more than £2 to £17.48 in 2011/12. The combined figure stabilized for a twelvemonth in 2012/13 before five farther years of decline. In real terms the combined public figure has fallen 35% from 2009/10.

1

Treasury funding to Arts Quango England per person

What the indicator tells the states

After remaining relatively constant for the start three years, inflation adapted 'core revenue' funding of Arts Council England has fallen near every twelvemonth from 2010/11 onwards. From a high of £8.14 per person in 2009/10, the inflation adjusted figure dropped to £5.61 in 2012/13: a 31% reject, despite the addition of Museums and Libraries to Arts Council England's core responsibilities. Afterward stabilising in 2013/14 and 2014/15, annual declines recommenced in 2015/xvi. The 2017/18 figure fell to £4.78, a 41% decline from the 2009/x elevation.

Calculating the score

The score is based on money per person per year. For this and the final edition of the Index the 2007/08 baseline was calculated by taking 'cadre revenue' Grant in Aid figures from Arts Quango England'south annual report and accounts, divided by the English population that year (based on UK National Statistics). Financial values stated are adjusted then that they are comparable with 2007/08 prices, using the Consumer Cost Alphabetize. It should be noted that this does not represent the entirety of national government investment in the arts in England equally the Section for Digital, Culture, Media & Sport makes direct grants to a number of institutions and Arts Council England also received other restricted funding in improver to its 'cadre revenue' grant.

It should also be noted that Arts Quango England's remit expanded during 2010/11 to also cover Museums and Libraries. Its 'core acquirement' grant was increased (or rather decreased less) to let information technology to embrace these increased areas of responsibleness.

Has any country in the world seen national cuts to arts funding on this scale in the last ten years? Time for a new government to follow the example of enlightened nations like Canada and brand the increase in investment in our cultural wellbeing a priority.

ii

Arts funding from the National Lottery per person

What the indicator tells the states

There are various ways to track Lottery funding of the arts, all of which requite a fractional picture of the health of this central element of the arts ecology. For this edition of the Index we take tracked the amount of Lottery funding fatigued down from the Adept Causes distribution fund by Arts Council England for distribution and to cover its own administration costs each yr.

This mensurate of Lottery funding saw steady and significant rises in the early on years of this written report, with a sharp peak in 2012/thirteen (Olympic year). 2016/17 saw a sharp turn down back to pre-Olympic levels and there was a further reduction in 2017/18.

Calculating the score

The score is based on money per person per yr. For this and the terminal edition of the Index the 2007/08 baseline was calculated by taking 'Share of gain from the National Lottery Distribution Fund' from Arts Council England'southward almanac report and accounts, divided past the English language population that year (based on United kingdom National Statistics). Financial values stated are adjusted so that they are comparable with 2007/08 prices, using the Consumer Price Index. It should be noted that this does not represent the entirety of Lottery investment in the arts in England equally other Lottery distributers as well make arts grants.

The sustainability of the arts sector in England is now dependent on the popularity of lottery assurance and scratch cards. We know that if the economy improves, the popularity of the National Lottery falls. Surely in that location must exist a way to ensure that the arts and audiences don't lose out if there is an economic upturn?

Les Dennis, Role player, Comedian, TV Presenter

3

Local regime funding for the arts per person

What the indicator tells us

At its peak in 2008/09, the inflation adapted corporeality invested in the arts by local government amounted to £ix.59 per person. In 2017/18 this had dropped to £5.43. This is a 43% reduction; this indicator has fallen the near of all twenty in the Arts Index.

Calculating the score

The types of funding that were used to create the 2007/08 UK baseline were: arts evolution and support / museums and galleries / theatres and public entertainment.

We used Acquirement Outturn data published past the Department of Communities and Local Government for cyberspace expenditure, excluding capital charges to calculate the baseline and annual changes, dividing this by the population numbers in that twelvemonth.

The NCA'southward Hearts for the Arts Awards highlight the amazing work that is beingness led past councils that really sympathize the value of civilisation in their community. It chimes with our core conventionalities that as a society we will merely grow if we value pedagogy, creativity and lifelong learning. Despite financial pressures, these councils are proving that investing in the arts delivers a whole host of cultural, educational and health benefits for their communities. It is a hopeful and beautiful thing.

Carys Nelkon, Head of Programmes, Arts Emergency

Financial inputs - other

This category contains four indicators:

  • 4. Earned income by revenue funded arts organisations per person
  • 5. Business contributions to the arts per person
  • 6. Trusts and foundations contributions to the arts per person
  • seven. Individual giving to the arts per person

Combined score for this category

The combined score is worked out by adding together the income in England per head for each year across indicators five, 6 and 7 and comparing information technology to the 2007/08 effigy for the UK. (We do non include indicator four in this summary as it relates merely to Arts Council England revenue funded clients.)

During the baseline year (2007/08) there was a combined total of £12.09 per person. This roughshod sharply the post-obit year and so varied little for the adjacent 3 years.

Every bit explained on page 28, changes to the methodology for collection of data led the states to reset the Index for these indicators in 2012/13. The increase in 2014/xv was almost entirely thanks to a major increase reported in the corporeality of individual giving. No data was collected in 2015/xvi or 2016/17. The increase in 2017/18 from 2014/15 was due to a substantial increase in reported funding from trusts and foundations.

4

Earned income by revenue funded arts organisations per person

What the indicator tells u.s.a.

'Earned income' represents box function sales and venue hires forth with secondary income from confined, catering, merchandising etc. Despite the challenging financial climate, the Index has risen for the concluding six years. Using inflation adjusted figures, in 2017/18 the amount of earned income per person for acquirement funded organisations in England was £xiii.72, compared to £9.34 in the baseline yr; a ascent of 47%.

Computing the score

Arts Council England releases the aggregated totals of a survey of its revenue funded clients every twelvemonth. We used the published combined figure for full earned income for the entire portfolio and and then divided this past national population for each year.

In 2017/18, the level of earned income amongst Arts Council England'due south revenue funded arts organisations outstripped the funding they received via the National Lottery, Treasury and Local Authorities combined. While this is testimony to the resourcefulness of our arts managers, it coincides with a big increment in average ticket prices. How long can nosotros expect this growth to continue if the arts are to remain affordable and attainable to all?

Chi-chi Nwanoku, Founder and Creative Director, Chineke!, Double Bassist, Broadcaster

v

Business contributions to the arts per person

What the indicator tells us

Until 2011/12 Arts & Business conducted an annual survey on private giving to arts and culture. No robust data was after gathered until 2016 when Arts Council England commissioned a new survey from MTM. While largely following the Arts & Business methodology, some data was excluded from the new survey that meant the results from the two surveys are not comparable (e.k. removal of National Trust data).

We have taken the businesslike conclusion non to remove the historic data from this section of the study but instead reset the Alphabetize to 100 in 2012/thirteen..

Both surveys reported substantial declines in concern support for the arts. The new MTM survey highlighted a drop of over a third in just 2 years to 2014/15. There was a farther reject when the survey was repeated for 2017/xviii.

Calculating the score

The data for establishing this benchmark came from Arts & Business concern' Benchmarking Tool for the United kingdom, dividing the overall figure by the UK population. This data refers to contributions made not just to the arts, but also to heritage, libraries and athenaeum. Data from 2012/13 onwards comes from MTM's Private Giving Survey, dividing the overall effigy past the English population.

Arts organisations take become more business organisation-like but fewer businesses are supporting the arts. Authorities could assist to reverse the tendency by introducing a tax incentive for corporate sponsorship.

Rufus Hound, Turn

6

Trusts and foundations contributions to the arts per person

What the indicator tells u.s.

As explained on page 28, we have reset the Index to 100 in 2012/13 due to changes in the methodology of collecting this data. In the early years of the Index there was substantial real term growth in arts funding from trusts and foundations. There was too growth in 2013/14 and 2014/15 and a abrupt increase in 2017/eighteen subsequently a two year gap in information collection.

Both surveys reported meaning growth in funding from trusts and foundations over time. Using the previous methodology, trusts and foundations accounted for 21% of all private giving in 2007/08. In 2017/xviii, using the new methodology, trusts and foundations accounted for 38% of all individual giving.

Calculating the score

The data for establishing this criterion came from Arts & Business organization' Benchmarking Tool for the UK, dividing the overall figure by the Great britain population. This data refers to contributions made not but to the arts, but also to heritage, libraries and archives. Data from 2012/13 to 2014/15 comes from MTM'due south Private Giving Survey, dividing the overall figure by the English population.

The Arts Index makes clear the importance of trusts and foundations in the arts' funding mural and shows that giving in this surface area has nearly doubled in a decade. This investment is not just a welcome and valued contribution to art - it is also farsighted in that it channels resource into the places and communities those organisations serve.

Baroness Bull, Vice President & Vice-Principal (London) King's College London

7

Individual giving to the arts per person

What the indicator tells us

As explained on page 28, we reset the Index to 100 in 2012/thirteen due to changes in the methodology of collecting this information. In the early years of the Alphabetize there was a decline in individual giving in England.

The new information collected by MTM in 2016 showed substantial growth in 2014/15, with the contribution per capita rising by 67%. This increase was not sustained in the 2017/18 survey, although the figure remains substantially higher than in 2013/14.

Using the previous methodology, private giving accounted for 57% of all individual giving in 2007/08. In 2014/15, using the new methodology, individual giving accounted for 43% of all private giving.

Calculating the score

The data for establishing this benchmark came from Arts & Business organization' Benchmarking Tool for the Britain, dividing the overall figure by the UK population. This data refers to contributions made non merely to the arts, but also to heritage, libraries and archives. Data from 2012/13 to 2014/15 and 2017/18 comes from MTM'southward Private Giving Survey, dividing the overall figure by the English population.

Political leaders, funders and arts organisations have made individual giving a priority in the final 10 years; philanthropy is clearly more important to many organisations than it was. Despite this back up being a preferred model for the Regime, the big growth in giving of 2014/15 has non been sustained. It volition take many more years of difficult work and investment to lucifer levels of philanthropy nosotros see in the U.s.a..

Dame Hilary Mantel, Writer

Non-financial inputs

This category contains two indicators:

  • eight. College didactics students studying artistic arts as a percentage of population
  • 9. Proportion of creative arts GCSEs existence entered as a proportion of all GCSEs

Combined score for this category

The combined score is worked out by adding the Index for both indicators together and dividing by two.

eight

Higher educational activity students studying artistic arts as a percentage of population

What the indicator tells u.s.

The popularity of creative arts subjects at U.k. universities was hit hard by increased tuition fees and is just slowly recovering.

Our indicator tracks the proportion of the English population equally a whole studying artistic arts subjects. The decline in the Index for this measure since 2011/12 reflects the overall decline in numbers studying in College Education Institutions. In 2011/12, 4.5% of those studying had chosen creative arts subjects. In 2017/xviii this had actually risen slightly to four.viii%.

Calculating the score

These figures come from the Higher Education Statistics Authority and include student numbers for the following subjects: programmes broadly-based within the creative arts and design / fine art / design studies / music / drama / dance / film and photography / crafts / imaginative writing.

Figures include all full-time and role-time postgraduate, outset degree and other undergraduate students.

The creative sector outperforms the economy as a whole in GDP and employment growth. Young people should be encouraged to study high quality artistic arts courses at academy. They're enjoyable, they offer swell career prospects and they help create the imaginative and well-rounded individuals this land needs.

Riz Ahmed, Player, Writer, Musician, Activist

ix

Proportion of creative arts GCSEs existence entered as a proportion of all GCSEs

What the indicator tells united states of america

Changes in education policy in contempo years have led to a widespread belief in the arts sector that creative subjects are existence categorised as less of import than the 'core' curriculum of science, engineering, English and maths.

In 2007/08, 6.7% of entries to GCSEs were for creative arts subjects. In 2013/14 this had reduced to just five.2%. The rapid reject recorded in 2013/14 did not prove to be the first of a standing trend, only it should be noted that the growth reported in 2017/18 is based on provisional data.

Calculating the score

This information comes from the Section for Pedagogy.

Should we exist encouraged by the ascension in the proportion of artistic arts GCSEs beingness taken in 2017/18? The Regime's figures are provisional; fifty-fifty if the increase is confirmed, it's from the 2nd worst twelvemonth on record. While government policy continues to care for artistic arts subjects as 2d rate, we risk no longer being earth leaders in civilization and creativity.

Juno Dawson, YA Writer

Financial Input/Output (Reserves)

There is but i indicator in this category:

  • ten. Combined reserves of revenue funded arts organisations per person

10

Combined reserves of revenue funded arts organisations per person

What the indicator tells the states

Reserves are a good way of measuring arts sustainability. Thanks to the publication of more than granular data by Arts Council England we tin at present isolate the true amount of unrestricted, undesignated 'greenbacks' funds held by revenue funded arts organisations since 2011/12. Prior to this our figures were based on the balance sail of organisations and therefore included capital assets as part of the reserve.

We have included the historic data using the previous methodology for 2007/08 to 2010/11 for information with this indicator only it is not used to calculate the overall Index for those years.

Arts Council England publishes these figures twice: beginning every bit provisional figures reported by funded organisations and then a year later on every bit certified figures. In the last Index nosotros used the provisional aggregate figure for 2014/xv. The certified figure was over £23 million amend, which increased the Alphabetize for this indicator by xiv points. Reserves continued to grow for the following iii years.

Calculating the score

For 2011/12 to 2014/15 nosotros have calculated the total 'unrestricted undesignated' funds for all National Portfolio Organisations (provided to Arts Council England in their Annual Submissions) so divided the overall figure by the English language population.

It's proficient to come across that across the sector, reserves are non falling. Merely these emergency funds are not spread evenly. In 2017/xviii, 29% of ACE's National Portfolio reported they had no reserves at all. Many arts organisations must be operating with considerable risk to their longterm viability.

Sheku Kanneh-Mason, Cellist, BBC Immature Musician Of The Year

Cultural/community outputs - Attendance & Participation

This category contains 4 indicators:

  • eleven. Adults attending an arts activity equally a percentage of population
  • 12. Adults participating in an arts activeness as a percentage of population
  • 13. Proportion of Black and minority ethnic developed population taking office in the arts
  • 14. Proportion of adult population with a long-standing disease or a disability taking office in the arts

Combined score for this category

The combined score is calculated by calculation together and averaging the individual indicator scores for each twelvemonth. The record high for the combined score is likely in part to be due to changes in the definition of arts attendance and participation.

11

Adults attending an arts activity as a per centum of population

What the indicator tells united states

Between 67% and 69% of adults in England reported attention an arts event in every one of the last eleven years. The scores for the last two years may have been mildly inflated by a change in the manner the data is gathered (come across below).

Calculating the score

The figures used to constitute the 2007/08 baseline were from the Section for Digital, Culture, Media & Sport's Taking Part Survey. Attendance figures for 2013/xiv were not publicly published then an guess has been made based on the combined figure for adult omnipresence and participation ('arts engagement'). In April 2016, "A screening of a live arts event, such as a theatre show or opera, in a cinema or other venue" was added as response selection in the arts attendance questions.

Of all the indicators in the Index, attendance at arts events has varied less than whatsoever other over the eleven years the NCA has tracked. Given the fiscal challenges facing the nation and many households over the last decade, it's great to see that people continue to value the arts as an inspiring and enjoyable role of their lives - as I do.

Gary Lineker, Tv set Presenter, Ex-England Footballer

12

Adults participating in an arts activity as a percentage of population

What the indicator tells united states of america

The proportion of adults participating in an arts activity in England ranged from 45% to 49% for every year of the Index, until 2017/18. The record figures in 2017/eighteen (53%) are likely to the result of changing the survey response options (come across below).

Calculating the score

The figures used to establish the 2007/08 baseline were from the Department for Digital, Civilization, Media & Sport'southward Taking Part Survey. In Apr 2016, "Sang as part of a group or taken singing lessons" was added every bit response option in the arts omnipresence questions.

Tape-breaking figures for arts participation may be driven more past a change in definition than by a massive rise in ballet, but the increase is still worth celebrating. Singing clearly reaches parts of the population that some art forms don't and brings a sense of wellbeing and joy to many thousands.

Joan, Baroness Bakewell, Journalist, Television receiver Presenter

thirteen

Proportion of Blackness and minority ethnic developed population taking part

What the indicator tells us

Changes to the definition of arts appointment in 2016/17 (see beneath) may be at least in function responsible for the increment in score that year. While the 2017/18 score now matches the score in 2007/08, with a broader definition now in place it still suggests the proportion of the developed BAME population taking role in the arts has fallen.

Computing the score

Data comes from the Department for Digital, Culture, Media & Sport's Taking Office Survey in England. In April 2016, "Sang equally part of a group or taken singing lessons" and "A screening of a alive arts effect, such equally a theatre show or opera, in a picture palace or other venue" were added as response options in the arts engagement questions.

Even with the inclusion of new categories, Black and minority ethnic engagement in the arts in England is still beneath average and shows no signs of growth. It's crucial that our arts organisations reflect and dilate the voices of the diverse communities they serve. This representation may have been a priority for the sector for years, but clearly much more needs to be done.

Noma Dumezweni, Extra and Managing director

14

Proportion of developed population with a long-standing illness or a disability taking part in the arts

What the indicator tells us

In 2007/08, 79.5% of the non-disabled developed population attended or participated in the arts compared to 69.eight% of the adults with a long-standing illness or disability. By the terminate of 2015/16 the Section for Digital, Culture, Media & Sport reported that this gap had halved (77.v% compared to 72.9%). The sudden dip reported in 2016/17 seems surprising, particularly given the changes to the definition of arts engagement in 2016/17 (come across below).

Computing the score

Information comes from the Department for Digital, Culture, Media & Sport'due south Taking Part Survey in England. In April 2016, "Sang equally part of a grouping or taken singing lessons" and "A screening of a alive arts event, such as a theatre testify or opera, in a movie theater or other venue" were added as response options in the arts engagement questions.

With changes to definitions of arts attendance and participation, we might expect a rise in this indicator, simply in fact the 2017/18 figure is virtually the same as that the NCA reported in 2015/sixteen. Ensuring that people with disabilities are better-represented in our audiences and as participants must be a priority for the next ten years.

Stephen Fry, Comedian, Actor, Writer, Presenter, Activist

Attitudes to Arts funding

This category contains ii indicators:

  • fifteen. Proportion of the public supporting funding of arts and civilisation from taxes
  • 16. Proportion of the public supporting funding of arts and culture from the National Lottery

The public attitude to arts funding reflects a diverseness of factors including the strength of the economy and the perceived importance of investing in the arts compared to other public services.

Combined score for this category

The combined score is worked out by adding the Alphabetize for both indicators together and dividing by two.

15

Proportion of the public supporting funding of arts and culture from taxes

What the indicator tells the states

In 2009/x, 52% of respondents were in favour of funding the arts through public taxation. This dropped to 44% in 2011/12 before rising to 55% in the year after the Olympics (2013/fourteen). Polling data from 2014/15 has proved unreliable (see below for caption). In the final 3 years effectually sixty% of respondents take expressed back up for funding of the arts from taxes.

Calculating the score

The data comes from Stakeholder surveys commissioned past Arts Council England.

A large autumn in 2014/fifteen prompted a hypothesis that it was to do with changing the ordering of the questions. In 2015 two polls were conducted both of which included the aforementioned questions, i of which copied the order from 2014 and ane which replicated the pre-2014 polls. The results supported the hypothesis.

In the last edition of the Alphabetize nosotros used the results of the 2014 methodology for 2015/16. We accept replaced the figure with the poll results that used the pre-2014 order.

It is apparent that how and when y'all ask the question effects how probable someone is to express support for the arts being funded from taxes. In many other countries such a question would be unthinkable: ensuring that all have access to a wide range arts and civilization is just what 'civilised' societies do. Arts funding in England probably delivers more cultural, social, educational and economic render on the investment than anywhere else in the world. We need to exist doing far more to tell the public about the value and impact of their support.

Phill Jupitus, Comedian, Histrion, Poet, Cartoonist

sixteen

Proportion of the public supporting funding of arts and culture from the National Lottery

What the indicator tells us

This information was starting time collected in 2012/13 when just under half the respondents (49%) supported Lottery funding of the arts. This grew in 2013/14, rising to 66%. Polling data from 2014/fifteen has proved unreliable (meet below for explanation). In the last three years around 70% of respondents have expressed support for funding of the arts from the National Lottery.

Computing the score

The data comes from Stakeholder surveys commissioned by Arts Council England.

A large fall in the 2014/15 poll for support for taxes prompted a hypothesis that it was to do with changing the ordering of the questions. In 2015 two polls were conducted both of which included the aforementioned questions, one of which copied the order from 2014 and i which replicated the pre-2014 polls. The results supported the hypothesis.

In the last edition of the Alphabetize we used the results of the 2014 methodology for 2015/xvi. We take replaced the effigy with the poll that results that used the pre-2014 order. This order was likewise used in subsequent years' polling.

It'south good to see levels of back up for Lottery funding of the arts belongings steady. The National Lottery was created to provide additional funds for the arts (every bit well equally other expert causes); 2 thirds of people believe the National Lottery should support the arts and this has helped to transform the cultural sector over the last 25 years.

Lee Hall, Dramatist

Financial Outputs

This category contains four indicators:

  • 17. Income from Westward Stop theatre
  • 18. Combined expenditure of revenue funded arts organisations per person
  • xix. Gross Value Added (GVA) of artistic industries and cultural sector every bit a proportion of the economy equally a whole
  • 20. Cultural sector employment (Uk figures)

Combined score for this category

The combined score is worked out by adding together and calculating the average indicator scores for each yr. There has been a steady upwards trend in the score for combined fiscal outputs since 2011/12.

This set of indicators reflects some of the ways in which the arts contribute dorsum into the economy. The gear up is not exhaustive, simply provides a counterbalanced mix of indicators to monitor ongoing changes.

17

Income from West Finish theatre

What the indicator tells u.s.a.

While Due west End theatre does not represent all the commercial arts, it is a skilful proxy in a sector that is generally considered to be sensitive to changes in the fiscal climate. Data about the West Terminate has also been nerveless for a considerable period.

The data suggests that the health of the Westward End was relatively unaffected by economical downturn, although it did non see significant growth above inflation until 2013. Large increases in revenue in 2013 and 2014 were sustained in 2015 and 2016. 2017 was another year of significant growth.

Computing the score

Figures come from the Social club of London Theatre, and refer to total revenue (including VAT) across all West End theatres. Figures are published by calendar year, and then 2007/08 relates to 2007, 2008/09 relates to 2008, etc.

The West End weathered the fiscal storm of 2008 remarkably well and since 2013 has seen revenue grow in real terms practically every year. The astounding success of our commercial theatre feeds from and dorsum to artists and stories that have grown and developed in the funded sector. No other nation benefits to the aforementioned degree from this symbiotic human relationship. Long may it continue.

Meera Syal, Actress, Novelist, Screenwriter

eighteen

Combined expenditure of acquirement funded arts organisations per person

What the indicator tells us

As levels of public funding fall we might await funded organisations to spend less and for the sector to contract and contribute less to the economy. This is not what we have seen in England, where the combined expenditure of revenue funded organisations has grown, from just over £1 billion in 2007/08 to £one.8 billion in 2017/eighteen. Our calculations have into account inflation and growth in population, but even allowing for this the Index rose 28 points across the report catamenia.

Calculating the score

The data to establish the 2007/08 baseline came from Arts Quango England'southward Annual Submission. The figure used is the entire expenditure reported by all revenue funded organisations in each year divided by the population in that twelvemonth.

In 2007/08, earned income made upward 47% of the total income of regularly funded arts organisations. X years later information technology had risen to 54%. Arts organisations accept had to go entrepreneurial, and managed to drive growth in the sector despite massive cuts to local and national funding. Our arts organisations are now lean and fit and could deliver far more for the nation if merely they were given increased resources.

Grayson Perry, Artist

nineteen

Gross Value Added (GVA) of creative industries and cultural sector every bit a proportion of the economic system as a whole

What the indicator tells u.s.

GVA tells united states of america most the net profit generated by the sector. In 2010, the creative industries and cultural sector (including everything from art to compages to advertising) deemed for half-dozen.8% of all of England'southward GVA.

The creative industries and cultural sector proportion of GVA has grown every year and in 2017 stood at 7.eight%.

Calculating the score

For this edition of the Alphabetize we have used the Department for Digital, Civilization, Media & Sport's Sectors Economic Estimates – Regional Gross Value Added (GVA). Nosotros have totalled the GVA in the nine English regions for the sector titles Creative Industries and Cultural Sector and totalled the published figure for All Sectors. Figures are published past calendar yr, and so 2007/08 relates to 2007, 2008/09 relates to 2008, etc.

These figures from the DCMS evidence the increasing importance of the Artistic Industries and Cultural Sector to our overall economy since 2009. They do not take account of the impact of the roles played by skilled creatives across our all other sectors of our economy. Creativity is a cardinal part of our national USP and will exist crucial for our national success in the years ahead.

Caroline Norbury, Chief Executive, Creative Industries Federation

twenty

Cultural sector employment (United kingdom figure)

What the indicator tells us

Employment in the cultural sector (in the UK) has grown every year since 2011, until 2017 when a small decrease was reported.

The cultural sector's growth in employment of 21% compares well to DCMS' sector boilerplate (13%) and the economy as a whole (10%).

Computing the score

For this edition of Arts Index we accept used the DCMS Employment Index which it publishes annually as role of its Sector Employment Estimates. The Index covers the whole of the UK, non just England.

Figures are published by agenda yr and then 2007/08 relates to 2007, 2008/09 relates to 2008, etc. Figures have yet to exist released for 2018.

Employment in the cultural sector is then important for our identity and success equally a nation. Since 2011, the charge per unit of growth is triple the average for all sectors and now accounts for 6.2% of all jobs in the United kingdom of great britain and northern ireland. Let'southward hope the small-scale drib in the 2017 figures is only a blip.

Sir Michael Palin, Histrion and Broadcaster

Glossary

Almanac Business organization Survey

Survey conducted by the Office for National Statistics (ONS) collecting fiscal information, include turnover, purchases and approximate gross value added (GVA).

Arts & Business organization

Not-for-profit organisation that works to connect companies, communities and individuals to cultural organisations. Now part of Business organization in the Customs.

Arts councils

The public bodies funded past government, with responsibilities towards the funding, development and promotion of the arts. These comprise: Arts Council England (ACE), Arts Council Northern Ireland (ACNI), Arts Council of Wales (ACW) and Creative Scotland.

Audiences London

An agency helping the arts sector to understand and develop audiences in London. Now part of The Audience Agency.

Audiences UK

Not-for-profit organisation supporting a national network of agencies helping the arts sector to understand and develop audiences. At present airtight.

Capital letter charges

The mode local authorities accounts for the toll of fixed assets including buildings.

Capital funding

Funding for buildings and equipment rather than running costs and funding performances or other activity.

Consumer Price Index (CPI)

The official measure of inflation of consumer prices of the United kingdom of great britain and northern ireland.

Core portfolio

Commonage of arts organisations that expect to receive acquirement funding on an on-going basis.

Creative Arts and Design

Subject coding used by HESA that includes all visual and performing arts subjects.

Department for Digital, Culture, Media & Sport (DCMS)

United kingdom Authorities Section with responsibleness for the arts and culture in England.

Grant in Aid

Money coming from central government for a specific project.

Gross Value Added (GVA)

A measure in economic science of the value of appurtenances and services produced in an area, industry or sector of an economy.

College Education Statistics Agency (HESA)

The official agency for the drove, analysis and dissemination of quantitative data well-nigh higher teaching in the United Kingdom.

Inflation adjusted

Figures that have been adjusted to reflect the changes in value caused by inflation (as measured by the CPI).

Local authorities funding

Funding by local regime (as opposed to central government) for services and grants to external bodies.

Lottery funding

Proportion of the national lottery Good Causes fund that is apportioned for the arts (currently 20% of all the funds distributed to good causes).

National lottery

State-franchised national lottery in the United Kingdom and the Isle of man operated past Camelot Group.

National Portfolio Organisation (NPO)

Arts Council England'south electric current term for organisations in their core portfolio.

Net expenditure

Money spent by an organisation less any income from external grants, sales to the public, etc.

Regularly Funded Organisation (RFO)

Arts Council England'due south previous term for organisations in their core portfolio.

Revenue funding

Funding to back up core and overheads costs, non additional projects or activities.

Spending Review

The procedure past which the UK regime decides how to allocate time to come funds and sets fixed limits for expenditure.

Standard Industrial Classification (SIC) codes

A way of classifying different types of businesses for statistical purposes, first established in the U.k. in 1948.

Sustain

Sustain was an Arts Council England initiative. Funding was available for arts organisations afflicted by the recession. The fund is at present closed.

Taking Part Survey

A major, continuous survey of cultural and sport participation in England, deputed by the DCMS.

The Audience Agency (TAA)

Not-for-turn a profit organisation helping the arts sector to empathise and develop audiences across England.

Treasury funding

Money coming directly from central government.

About the National Campaign for the Arts

We are the National Campaign for the Arts, a charity that campaigns for more public funding and investment in the arts because life is better for having the arts and culture equally part of it. We are non complaining nay-sayers, we are positively For The Arts.

Our aims

To promote and celebrate the arts equally essential in themselves and important to improving mental and physical health, happiness, empathy and educational achievement.

To campaign for greater public investment in club to give everyone affordable access to the arts, regardless of who they are, where they were born and how much money they have.

Underpinning all our piece of work is a fix of core beliefs and values:

i. The arts benefit anybody: from pre-school development to a longer, healthier, happier erstwhile age. The United kingdom of great britain and northern ireland is a richer place in every sense when the arts are funded and supported.

2. Everyone should do good from and be able to enjoy the arts, so we advocate for both opportunity and affordability.

3. The arts are valuable, financially and socially; artists and crafts people should be recognised and valued for their contribution.

4. The arts can be multifaceted and contradictory – accessible and obtuse, entertaining and educational, uplifting and heartbreaking, superficial and cognitive, free to offend and disturb.

5. The arts require long-term investment. The cultural eco-system is circuitous and fragile; it needs to be protected and nurtured.

What we do and how we practise it

We currently have three principal areas of activeness:

Hearts for the Arts

Since 2017, our annual Hearts for the Arts Awards have shone a spotlight on and celebrated the unsung heroes of Local Authorities and Cultural Trusts who champion the arts, often within a climate of severe fiscal challenges. Anyone tin can nominate someone they know and respect for a Hearts for the Arts Accolade. They're awarded annually on Valentine'due south Day, with winners being selected by a panel of artists and other arts professionals. You can find out more at: forthearts.org.uk/ campaigns/hearts-for-the-arts/

Arts Index

The Arts Index is a snapshot report of the wellness of England'due south arts and culture provision. The Index pulls together data from a multitude of sources and compares twelvemonth on year figures for twenty key indicators (from public participation to W End revenues). We've published the Arts Index roughly every two years, since 2011, and this edition is the 5th edition we've produced.

The Arts public campaign

We are scoping a large-scale, public facing campaign designed to encourage and enable the public at large to demonstrate their support for the arts. When the NHS is under threat patient power can make a real deviation. We want to empower the public to make their vox heard in back up of the arts.

Like what y'all've seen?

And so help u.s. produce the next Arts Alphabetize by donating now…

The NCA is a small clemency (Registered Clemency no. 1079313), run near entirely by a volunteer board who donate huge amounts of time and expertise because they believe in our piece of work. Together, they do all of the NCA's fundraising, design work, fiscal direction and a lot of the project management – all for free.

Nosotros accept to pay for some expenses that come with running a charity – accountant'southward fees for instance – merely nearly of our spending goes on direct campaigning costs.

We're a actually lean organization, simply all the same, to keep our campaigning piece of work going we rely on donations from people who care most the arts. People like you, or the people around you.

So if you think that public investment in the arts is a proficient matter, and want to help protect information technology, please recollect about donating to the NCA.

• With a small monthly donation of just £3 you tin become a Registered Supporter, helping us spread the message that the arts are worth funding and fighting for.

• For a little more – from £7 per calendar month – y'all can join one of our Supporter tiers to help united states shout louder. You'll exist supporting specific campaigns that provoke action from those who make up one's mind where our taxes are invested.

And because our overheads are so small y'all tin can exist sure that your support will become directly towards project costs, and not be swallowed up into some big corporate machine.

Want to make a deviation, and help us shout more loudly about the arts? That's bright. Thank yous! Head to our support usa page (forthearts.org.uk/support-the states/) now to seal the deal.

Thank you.