Creative Scotland

Annual Review of Performance 2016/17

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Contents

Introduction from our Interim Chair, Ben ThomsonIntroduction from our Chief Executive, Janet ArcherThe Arts, Screen and Creative Industries Understanding our performanceMonitoring our performanceProgress against our priorities for 2015/16Our income and expenditure

Performance against our Ambitions:

1. Excellence and ExperimentationRegular FundingOpen Project FundingTargeted FundingOutputs of our fundingSummary of progress against Performance Indicators

2. Access and EnjoymentIncreasing cultural engagementCreative learningDigital engagementTouringGaelic, Scots and Traditional ArtsSummary of progress against Performance Indicators

3. Places and Quality of LifeGeographical funding profilePlace PartnershipsCultural infrastructureEnvironmentLocal creativity and wellbeingSummary of progress against Performance Indicators

4. Leadership and WorkforceWorkforce and professional development Diversity of IncomeSummary of progress against Performance Indicators

5. InternationalInternational engagementSummary of progress against Performance Indicators

6. Our Service and How We Deliver our WorkSummary of progress against Performance Indicators

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Introduction from our Interim Chair, Ben Thomson

Scotland’s creativity is central to our identity, our relationships and how we present ourselves to the world. Through culture, creativity shapes the ideas, philosophies, inspiration and ethics of the society we live in. Creative businesses are a vital part of ensuring we adapt to a changing global environment and deliver a thriving economy for the next generation. I strongly believe that investment in culture should not be seen as a luxury or an added extra but at the heart of how we sustain ourselves and grow as a nation.

Creative Scotland is continuing to develop its business model to improve its support for the creative sector both financially and through providing direction and services to organisations. During last year, 2016/17, we set out our strategic approach for the Arts and Creative Industries. Since the end of the year we have continued this work and aim to have a new Strategic Plan in place by Spring 2018. This will look at the potential for each of the creative sectors and see how best we can work to maximise their cultural, social and economic benefit to Scotland both at home and internationally.

Our approach for creative sectors is being modelled on the insights learnt from the creation of the new Screen Unit, work on which started in 2016/17 and was completed in November 2017. Led by Creative Scotland and building on our extensive support for Screen so far, it brings together the expertise of creative, enterprise, and skills agencies working in partnership with the sector. The plan sets out joint ambitions including doubling screen production in Scotland over the next five years and how partner agencies of government will work best to help the screen sector to achieve these goals.

The process for determining the Regular Funded Organisations (RFOs) for the next three years has happened over the last year and the RFO program is due to be announced at the end of January 2018. We have sought to build a Regular Funding program that best develops a core and diverse platform across different art forms to deliver the arts across Scotland and enhance its international reputation.

The Scottish Government recognises the importance of creativity and the cultural, social and economic value of the arts, screen and the creative industries. The board of Creative Scotland welcomes and thanks the continued understanding, support and grant that Scottish Government gives the creative sectors. This was underpinned by the increase in core grant for 2018/19 to replace the income lost from falling National Lottery revenue as well as the extra £10m Creative Scotland has been allocated for the Screen Unit.

The board of Trustees would like to thank all our stakeholders including the National Lottery, partner agencies and all those organisations in art, screen and creative industries who we work with to enhance creativity in Scotland. None of this would be possible, however, without the dedication and passion of the

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Creative Scotland team, which in difficult times continue to work to help create a more creative Scotland. Thank you.

Ben ThomsonChair

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Introduction from our Chief Executive, Janet Archer

Reviewing 2016/17 we can see that it has been another important and positive year for the arts, screen and creative industries in Scotland, and for the artists, individual creative practitioners and organisations working in these sectors. We have worked hard to support people and organisations working across the arts, screen and creative industries and the sub-sectors that sit within them, which often span across our three areas of function in complex, but exciting ways.

In this year we published our Creative Industries, and Arts Strategies that now sit alongside the Screen Strategy published in 2014. These cohesive and ambitious strategies set out both the priorities and challenges for our work to support each sector and how we will work in partnership with others to deliver our ambitions.

Our 10-year plan, Unlocking Potential, Embracing Ambition, continues to provide the foundation of our work. The 10-year plan is supported by our Annual Plan for 2016/17, and sets out our budgets and priority areas of work for the year and how we measure successful delivery of this work. We report on our plan through this report, our Annual Review of Performance, which illustrates the impact of our funding on Scotland’s creative sectors each year.

Creativity is at the centre of what drives changes in society, and builds thriving communities. Culture and creativity enable Scotland to deliver its goals of being a progressive, flourishing and inclusive society, with a strong, growing and inclusive economy. Creativity is also intrinsically valuable bringing beauty, ideas and imagination to our lives. It fosters individual talent, and inspires the innovation essential to growing our society culturally, socially and economically. It is our calling card to the world, opening doors, building relationships and cultural connections through shared stories and experiences. Creativity is increasingly an important part of what attracts ever larger numbers of visitors to Scotland, and others to live, work or study here.

The National Culture Strategy for Scotland, which is currently in development by the Scottish Government, is an exciting opportunity to demonstrate how culture contributes to a wide range of government priorities including community empowerment, health, education and inclusive growth.

We have been working with the Scottish Government and other partners to help develop an enhanced Screen Unit within Creative Scotland, reflecting one of the Government’s manifesto commitments. The new Screen Unit will be led by Creative Scotland and combine expertise from creative, skills and enterprise partners to deliver a shared ambitious vision for cultural, social and economic development of the sector. Film and TV producers spent a record £69.4m shooting in Scotland in 2016 – the highest figures since records began, and a £16.7m increase on 2015. A shared strategy across public agencies and the sector will further increase production and inward investment, and boost audience, company and skills development, prioritising advice and input from the sector itself.

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Looking forward to 2017/18, we are planning a strategy refresh to explain the connection between a strong, publicly funded arts, screen, and creative industries sector and the cultural, social and economic value that they deliver to all our lives. This refresh will also clearly articulate our development role and strengthen how we deliver it.

Creative Scotland receives its funding from two principal sources: Grant-in-Aid funding from the Scottish Government, and UK National Lottery funding. Income from the National Lottery came under pressure in 2016/17, resulting in lower proceeds and reducing income projections going forward. In 2016/17, our income was £74.3m. Of this £44.5m was allocated to Creative Scotland from Scottish Government Grant-in-Aid and £29.1m was received from UK National Lottery proceeds (other income of £700k was received, including third party funding and sales proceeds). Our total expenditure in 2016/17 was £73.4m, we committed £66.2m to funding the arts, screen and creative industries in Scotland.

2016/17 was an important year in the preparation of our next Regular Funding phase. The guidance and forms for Regular Funding 2018-21 were published in October 2016. We opened for receipt of applications in January 2017, with a deadline in April 2017, and we have been assessing these applications throughout the summer. We expect to be able to announce the new network of funded organisations in January 2018 following the Scottish Government’s draft budget in December 2017.

At the point of publication of his report, the Scottish Government announced their draft budget for 2018/19 which, includes an additional £6.6m to support Regularly Funded Organisations, addressing the fall in National Lottery income. This is particularly welcome and underlines the Scottish Government’s commitment to the pivotal role that culture and creativity plays in people’s lives across Scotland and the cultural, social and economic value delivered through creative endeavour.

We continue to work to address challenges in the arts, screen and creative industries. While levels of attendance and participation remain high, we recognise the complex reasons for uneven cultural engagement by different groups. In 2016/17 our work across Equalities, Diversity and Inclusion (EDI) included the completion of Phase Two of our EDI Action Plan focused on the wider sector, including supporting our RFOs in the implementation and delivery of their own EDI action plans and improved EDI monitoring of our funding programmes. The first comprehensive Review of Equalities, Diversity and Inclusion within Scotland’s Screen Sector, Equality Matters, was published in January 2017. Alongside this, in October 2016, people working across the arts were asked to contribute to a survey about diversity in the arts workforce for a review published in 2017/18.

There has been much to celebrate in Scotland’s arts, screen and creative industries, but it is with great sadness that we mark the passing of Richard Findlay CBE, Creative Scotland’s Chair from 2015-17, who died at home in July

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2017 after a short illness. Richard played a hugely significant role for the arts and media industries in Scotland through his many and wide ranging public and private roles. Creative Scotland has benefitted from his vast pool of knowledge, he has taught us a great deal too, all of which will remain with us as we navigate the next stage of development as an organisation. Richard stays with us in memory as a generous, principled Chair and dear colleague who we will greatly miss. His special combination of friendship, wisdom and determination will stay with us for a very long time.

The Scottish Government has appointed Ben Thomson as Interim Chair, for a period of six months while an open recruitment process takes place for a permanent Chair. I welcome his appointment, and he brings a wealth of cultural experience and business acumen to this post, including from his time as Chair of the National Galleries of Scotland and the Edinburgh Science Festival.

I’d like to thank all our staff and Board for all their hard work across our funding, development, advocacy and influencing roles. Creative Scotland’s workforce has continued to develop with new people taking up posts across the organisation, broadening our knowledge base and bringing fresh thinking into everything we do.

Janet ArcherChief Executive

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Arts and Engagement Overview

Published in October 2016, the Visual Arts Sector Review draws on evidence gathered from more than 1000 individual artists and organisations through open session discussions and online surveys. This evidence describes the people, places, resources and relationships that underpin the sector's achievements as well as identifying some of the challenges that lie ahead, and ideas for future development.

Building on the strong foundations created through these many dialogues, and the research, analysis and consultations associated with all the preceding Arts Sector Reviews, 2016/17 saw publication of our Arts Strategy. The Strategy is an important framework that informs how we deliver as a funder, development body, advocate and influencer, and crucially, considers the longer-term opportunities and challenges for the arts at a time when resources are constrained across the public sector. The Arts Strategy aims to stimulate and broaden this debate and help shape a shared and progressive approach to supporting the arts, with the current and next generation of artists and audiences in mind. A strong commitment to making visible the role and impact of the artist in society frames Creative Scotland’s advocacy role, as well as building alliances across art forms, sectors and society to extend the reach, relevance and contribution of the arts in Scotland.

The Equalities Diversity and Inclusion Survey of the Arts explored the working conditions and barriers to career progression of those working in the arts. It draws focus to many issues which have been in constant debate: the economic challenges of pursuing a career in the arts, the role and representation of women within the sector, and the specific challenges faced by minority ethnic and disabled people.

One of the key commitments of the Arts Strategy was to build on the evaluations of Youth Music Initiative, Time to Shine, CashBack for Creativity, Artworks Scotland and the Creative Learning Plan to undertake a Creative Learning Review, published in February 2017.

The findings of our Review of Touring Theatre and Dance were shared at the Federation of Scottish Theatre Emporium meeting in March 2017 and two working groups - funded by Creative Scotland and facilitated by the Federation of Scottish Theatre - are continuing to work to develop solutions to some of the issues the report highlighted.

The new Artistic and Creative Review Framework was rolled out with throughout 2016/17, with RFOs engaging with Creative Scotland lead officers and external peer reviewers to create meaningful dialogue around excellence and experimentation within their programming.

Underpinning all of this activity, the day-to-day work of the team was very much centred on monitoring and supporting the programmes of activity delivered by RFOs and facilitating the assessment processes for Targeted and Open Project Funding. The end of the year saw another major milestone with the opening of applications for the next round of Regular Funding 2018-21 and the complex and in-depth preparations to deliver the assessment process for this programme.

Claire Byers, Director Arts and Engagement

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Screen Overview

Following the publication of Creative Scotland: On Screen, our three-year Screen Strategy in October 2014, we have continued to implement a significant number of positive measures to grow and support Scotland’s Screen sector. A detailed update on Creative Scotland’s Screen activity in 2016/7 was published on our website in December 2017.

In line with the Scottish Parliament’s Economy, Energy and Tourism Committee’s report on the Economic Impact of the Creative Industries, a Screen Sector Leadership Group (SSLG) was established with a core group of 14 Sector representatives to review the issues facing the sector in Scotland and make recommendations to support its future growth at the end of an initial one-year period. John McCormick presented the group’s Report to the Culture, Tourism, Europe and External Relations Committee in Jan 2017, including an analysis of the issues affecting the sector, its conclusions and recommendations.

In the Scottish Ministers’ 2017 Programme for Government the following commitment was made:

“We will strengthen and coordinate support for our film and television sector to drive its growth by creating a dedicated Screen Unit within Creative Scotland, to coordinate existing and new public sector investment and resources more effectively.”

The new Screen Unit will be led by Creative Scotland and combine expertise from creative, skills and enterprise partners to deliver the ambitious vision for the cultural, social and economic development of the sector. A shared strategy will increase production and inward investment, and boost audience, company and skills development, prioritising advice and input from the sector itself.

We have continued to operate funding through our Screen Fund and the Production Growth Fund. Through our Regular Funding we supported access to cinema and programme development for key exhibitors like Glasgow Film Theatre, the Centre for the Moving Image, and Regional Screen Scotland; for multi-arts organisations, like North East Arts Touring and Dundee Contemporary Arts; and for the audience development organisation, Film Hub Scotland. Through Open Project Funding, we supported a significant number of smaller and diverse festivals, small capital developments and the professional development of screen professionals, and we deployed further Targeted funds to address some of the priorities as set out in our Screen Strategy, such as and moving image education.

In 2016/17, we supported 15 features and feature documentaries, made 12 awards through the Production Growth Fund and, through the Scottish Film Talent Network, commissioned 12 first features (in addition to the 15 live feature film projects) and the development and production of 15 new and emerging talent short films, including 5 commissions for women filmmakers through the Five@5 Programme. 86 filmmakers received support to attend talent labs at national and international film festivals, training programmes and workshops.Film and TV producers spent a record £69.4m shooting in Scotland in 2016 – the highest figures since records began, and a £16.7m increase on 2015. Since 2007, spend has increased more than 300% from £23m. This record production spend figure - an increase of almost demonstrates the continuing

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interest and appetite from major film and high-end TV producers to use Scotland as a backdrop for their productions and take advantage of our highly skilled crews, talent and production incentives.

In January 2016, we embarked on a Screen Equalities, Diversity and Inclusion Review over three stages: a practitioner survey; consultations; and extensive research. This led to the publication of Equality Matters, a review drawing on evidence gathered from individuals and organisations working in film and TV in Scotland, set against a backdrop of national and international research. The Review highlights evidence of the numerous and complex barriers to access, progression and representation and incorporates a series of recommendations for positive and collaborative action to support a more inclusive and representative Screen sector in Scotland.

Natalie Usher

Director, Screen

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Creative Industries overview

In May 2016, we published our first strategy for the creative industries, one that sits alongside our strategies for arts and screen. This Creative Industries Strategy set out a series of actions that we have been working to develop and deliver throughout 16/17 to fulfil our remit in this dynamic and complex sector. Our strategy has a single high-level ambition: for Scotland to be the most positive environment globally, for innovative creative businesses of all scales. We know we are setting the bar high, but we are doing this with our partners in enterprise, skills and education to ensure an ambitious and joined-up approach across all the national and local agencies of public policy. We view partnership between agencies, Governments and industry as fundamental to success in this area and this is reflected in our own strategy and the work we have done with Scotland’s Creative Industries Partnership (SCIP) and the Creative Industries Advisory Group (CIAG).

However, we can only meet the challenge of supporting the needs of the 15,000+ businesses in this sector through working smartly. Focusing on the Scottish Government-defined role as providing research, intelligence, advocacy and coordination, we have provided targeted infrastructure development support for both sectoral and place-based activities, using our resources to develop understanding and ambition in many areas: new investment models; seeding of new partnerships; testing sector-specific skills solutions; and piloting business growth processes that are versed in the language of the creative businesses themselves. Operating within the principles of the ‘triple bottom line’ in which we acknowledge that many creative businesses seek to grow economic value, social value and cultural value simultaneously, we have set ourselves the goal of building and maintaining a successful creative economy for Scotland. Through 2016/17 the team worked to support the initiation of over 40 projects, some of which were completed within the year, others continuing into 2017/18. Examples include:

Working with Social Investment Scotland and Creative Edinburgh, our More Than Money event addressed the challenge of access to finance. It was designed to build knowledge and understanding of alternative financing and financial models for Scotland’s creative and cultural organisations, creating space for debate, critical thinking and helping to build confidence.

During May 2016, Mass Assembly brought together creative hubs, collectives, networks and clusters from a range of international locations, both rural and urban. The forum, led by Creative Dundee, aimed to build stronger connections across Scotland and beyond, and took place during the inaugural four day Dundee Design Festival.

Creating Care, a one-day forum exploring the opportunities of collaboration between healthcare and the creative industries. The day featured exemplar case studies and practical sessions to establish high level engagement in both sectors.

These three examples illustrate the approach that was taken to build ambition and cohesion across our creative communities, but they are a small snapshot of a wide portfolio of interventions that have all helped to grow a sustainable sector of creative businesses.

Clive GillmanDirector, Creative Industries

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Understanding our Performance

Creative Scotland is the national body that supports the development of Scotland’s arts, screen and creative industries.

Our work is based on a set of ambitions and priorities that provide a focus for our work and reflects what we want to achieve. We have five shared ambitions for the arts, screen and creative industries over the next 10 years:

Excellence and experimentation across the arts, screen and creative industries is recognised and valued

Everyone can access and enjoy artistic and creative experiences

Places and quality of life are transformed through imagination, ambition and an understanding of the potential of creativity

Ideas are brought to life by a diverse, skilled and connected leadership and workforce

Scotland is a distinctive creative nation connected to the world.

As well as our ambitions, there are four connecting themes that run through all aspects of our work:

Creative learning

Equalities and diversity

Digital, and

Environment

Monitoring our performance

Under each of our five ambitions we have identified priorities to inform our work over a three-year period, of which 2016/17 is the third year. These priorities inform our funding guidelines and decisions, as well as our own development, advocacy and influencing activity. Each year we publish an Annual Plan, which sets out how we will achieve our ambitions and priorities for that year and summarises our planned income and expenditure.

In order to show the difference that we make, we monitor a range of measures that help us to understand our own work and the health of the arts, screen and creative industries in Scotland. Our Annual Plan for 2016/17 includes a detailed performance management framework comprising 27 performance indicators. We are committed to reporting against this framework and presenting historical data where appropriate in order to identify change from previous years.

This review, for the financial year 1 April 2016 to 31 March 2017, accompanies our Annual Report, Accounts and UK National Lottery Accounts for the same period. It describes key activity undertaken against our five ambitions, including how our funding is being used, and sets out quantitative and qualitative evidence against our Performance Indicators (PIs).

We review our Performance Indicators annually and amend them if necessary as our operating context changes and as we become more sophisticated in our approach to gathering qualitative as well as quantitative data.

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We aim to achieve success across all our ambitions and priorities over the course of the 10-year plan, subject to any necessary adjustments should our overall levels of funding vary over this period.

Progress against our priorities for 2016/17

A key focus of 2016/17 was strategic development and sector consultation, with the publication of both the Arts and Creative Industries strategies to sit alongside the Screen Strategy, which was published in 2014.

All three strategies explain how we will work with the sector and public partners within the context of the ambitions set out in our 10-year plan, Unlocking Potential, Embracing Ambition. Following their publication, we worked with our Board to complete a process of review of our priorities to ensure that they remain relevant and in 2017/18 the strategies will be aligned to better understand and maximise the strategic connections and potential across all three. In this context, we continue to work on other areas of strategic development, including our international strategy, developing a framework for public engagement and our approach to capital funding.

The Arts Strategy was published in August 2016 and provides an important framework informing how we deliver as a funder, advocate and influencer and, crucially, considers the longer-term development of the arts across Scotland at a time of constrained public sector resources.

The Arts Strategy is directly informed by our Sector Reviews for dance, literature and publishing, music, theatre, creative learning, equalities, diversity and inclusion, and visual arts. The last of these, the Visual Arts Sector Review was published in October 2016, following extensive research, consultation and dialogue with the sector, including a sector-wide survey and working groups which took place across the country.

We responded to sector concerns around the effectiveness of touring of theatre and dance with a major research project which involved both focus groups from the sector and in-depth mapping and analysis of our funded touring activity. The findings were shared at the Federation of Scottish Theatre (FST) Annual Emporium in March 2017 and are currently informing the work of a sector-led touring working group.

The Creative Industries Strategy, published in May 2016, was developed in close consultation with key industry figures and included an open public consultation phase. The Strategy presents the overall ambition for Scotland to be the most positive environment globally for innovative creative businesses of all scales and introduces four headline aims:

Investing together to grow sustainable creative businesses through collaboration and partnership working.

Innovating for the wider economy across all areas of business including the public sector. Increasing inclusivity; creating opportunity for emergent creative forms and recognising the

value of local trading and place-based partnerships. Increasing international profile and status; opening pathways to global marketplaces.

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In 2016/17, we continued to deliver our Screen Sector Strategy, including publishing the Animation Sector Review in March 2017. This was identified as a priority in the strategy, which called for closer engagement with the animation sector and the need to develop support for animation productions and encourage collaboration within the sector to further develop Scotland’s wider screen sector.

Our Screen Commission (who help film and TV productions source crew, facilities and locations in Scotland) have been working to source thousands of high quality images and associated data to populate a new online database and locations website which is scheduled to be launched in 2018. We have conducted user research and scoped the requirements for the new website, which will provide a comprehensive data store of stunning and unique film locations and create a world leading resource for the global screen market.

Creative Learning is a connecting theme across everything we do. Over the last 10 years we have seen definitions and approaches evolve in this dynamic sector, with implications for learning across the arts, screen and creative industries. It was therefore timely that we undertook a review of creative learning to establish clarity in this area of our work. The Creative Learning Review was published in early 2017 and drew on the expertise of an advisory group of sector representatives and included extensive consultation through network meetings and an online survey.

The review committed Creative Scotland to the further development of Creative Learning as a connecting theme while also highlighting the important work of the specific Creative Learning strands of work, including Time to Shine, the national Youth Arts Strategy which completed its current three-year programme in 2016/17.

We continued to collaborate with Education Scotland, Skills Development Scotland and other key education agencies to deliver the Creative Learning Plan, working principally through the Creative Learning Networks, who work across the education, culture and communities sectors in Local Authorities across Scotland to champion creativity, the arts and culture in schools and communities.

This year also saw us publish our first Corporate Parenting Plan as part of our new duties under the Children and Young People (Scotland) Act (2014) to uphold the rights and safeguard the wellbeing of looked after children and care leavers.

Our work across Equalities, Diversity and Inclusion (EDI) included the completion of Phase Two of our EDI Action Plan which focussed on the wider sector, including supporting our RFOs in the implementation and delivery of their EDI action plans and improved EDI monitoring of our funding programmes. The first comprehensive Review of Equalities, Diversity and Inclusion within Scotland’s Screen Sector, Equality Matters, was published in January 2017. Alongside this, in October 2016, people working across the arts were asked to contribute to a survey about diversity in the arts workforce for a review published in 2017/18.

Phase three of the EDI review is ongoing and designed to embed learning, raise visibility of equality issues, and further influence mainstreaming in the sector. A number of events and training sessions

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– Creative Conversations – have been organised to highlight identified EDI issues. The review process concluded with the publication of EDI outcomes for 2017 to 2021.

Following a successful pilot stage in 2015/16 we fully implemented our Creative and Artistic Review Framework with RFOs, and between April 2016 and March 2017, reviews of 270 pieces of artistic or creative work were completed, across all relevant art forms. Reviews were carried out for 115 of the 118 RFOs.

We have sought to provide an open and transparent application process for Open Project Funding (OPF) and the application-based elements of our Targeted funding, reporting regularly on funding awards and the impact of the work we support. We have continued to monitor demand, success rates and levels of request and award through OPF. We have now begun a wider review of OPF which will considered the viability of the planned process for under £5k applications within this funding route.

2016/17 was also an important year in the preparation of our next Regular Funding phase. The guidance and forms for the 2018-21 round of Regular Funding were published in October 2016. We opened for receipt of applications to Regular Funding on 16 January 2017, with a closing date in April 2017.

During 2016/17 we completed the implementation of our People Strategy for 2014-16 and have worked to review its impact and develop the next phase of work to develop staff skills and expertise. We took steps to improve our awareness of environmental impact of both ourselves as an organisation and the wider sector. We have worked closely with Creative Carbon Scotland to develop awareness and training and have made carbon usage reporting a mandatory requirement for RFOs through the Annual Statistical Survey.

Creativity Matters

Underpinning all our work is a strong commitment to the importance of creativity to the lives of the people of Scotland and this is supported through communications activity under the banner of #CreativityMatters. We have used our communications activities to celebrate the work of artists and creative practitioners in Scotland and demonstrate the cultural, social and economic impact of creativity on Scotland’s society.

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Figure 1: Progress to date against our priorities for 2016/17

Activity Timeline Progress

Publish Creative Industries Strategy

Quarter 1 Published in May 2016

Publish Visual Arts Sector Review

Quarter 1 Published in October 2016

Publish Arts Strategy Quarter 1 Published in August 2016

Complete an analysis of touring and theatre provision

Quarter 1Published in May 2017. Key findings presented at FST Emporium in March 2017

Animation Sector Review Quarter 1Undertaken in 2016 and early 2017. Published in May 2017

Creative Learning Review Quarters 1-2 Published in March 2016

Complete current programme of Time to Shine activities

Quarters 1-3 Completed

Review implementation of the People Strategy 2014-16 and develop next phase

Quarter 2 Completed. Development of next phase in progress.

Complete International Strategy

Quarter 2

We have developed a framework for international engagement across the breadth of our work, encompassing incoming international work, developing Scotland’s presence in international markets, strengthening international collaboration, and cultural diplomacy. The international framework is integrated into the strategic review happening over 2017/18

Develop our Environmental Plan

Quarter 2 Ongoing

Review and open the process for Under £5k applications to Open Project Funding

Quarter 2

We have not opened a process for under £5k applications. We have now begun a wider review of Open Project Fund which will consider the viability of the planned process for under £5k applications within this funding route

Review and revise three- Quarter 3 Completed

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year priorities for the period 2017-20

Open applications for the next round of Regular Funding 2018-21

Quarter 3 Completed

Refresh Creative Scotland Locations website

Quarter 3In progress. Refreshed Locations website to be launched in 2018.

Develop framework for public engagement

Quarter 3

Work on this framework was begun in 2017 and a review of our approach to public engagement is in progress as part of wider strategic development work.

Continue to deliver the Screen Strategy

OngoingIn progress, including a review of Equalities, Diversity and Inclusion (EDI) in the Screen sector and the development of Screen Unit proposals

Deliver Creative Industries Strategy

OngoingIn progress, including work delivered through Scotland’s Creative Industries Partnership (SCIP) and the Creative Industries Advisory Group (CIAG)

Deliver Arts Strategy OngoingIn progress, including publication of Creative Learning Plan and reviewing provision for touring Theatre and Dance

Continue the Artistic and Creative Review Framework

OngoingIn 2016/17, 270 reviews of RFOs’ artistic or creative work were completed, across all relevant art forms. Reviews were carried out for 115 of the 118 RFOs.

Review Large Capital programme

Ongoing

We have deferred this work, given there are currently no Creative Scotland Capital funding streams open. Our approach to Capital funding continues to be considered as part of wider strategic development work.

Complete Phases 2 and 3 of our Equalities, Diversity and Inclusion review

Ongoing Completed

Improve environmental data collection and analysis

Ongoing

Almost all RFOS have now undergone training with Creative Carbon Scotland (CCS) in sustainability and environmental management and better measures have been introduced internally to record carbon usage and behavioural change.

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Deliver communications plan, including continued development of Creativity Matters communications activity

Ongoing In progress

Monitor and support the programmes of activity delivered by our Regularly Funded Organisations

Ongoing In progress

Continue to deliver and monitor Open Project Funding

Ongoing In progress

Deliver ICT business plan Ongoing In progress

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Our income and expenditure

Creative Scotland receives its funding from two principal sources: grant-in-aid funding from the Scottish Government, and UK National Lottery funding. We also receive restricted grant-in-aid funding from the Scottish Government - money that is ring-fenced for specific activity such as the Youth Music Initiative and the Made in Scotland programme at the Edinburgh Festival Fringe - and some funding from partner organisations with whom we collaborate on specific projects.

In 2016/17, our income was £74.3m. Of this £44.5m was allocated to Creative Scotland from Scottish Government grant-in-aid and £29.1m was received from UK National Lottery proceeds. Other income of £700k was received, including third party funding and sales proceeds.

Our total expenditure in 2016/17 was £73.4m (Figure 2). Of this:

£44.7m was allocated from Scottish Government grant-in-aid and £28.7m from National Lottery funds

In 2016/17, we committed £66.2m to funding the arts, screen and creative industries in Scotland. This includes grant funding of £65.5m, and project expenses of £700k

Our operating costs in 2016/17 were £7.1m, or 9.7% of our total expenditure.

Figure 2: Summary Expenditure 2016/17

Total BudgetNational Lottery £28,669,022 £33,370,456*Grant in Aid £44,746,722 £44,315,871**Total Expenditure £73,415,744 £77,686,327Total expenditure was allocated as follows:Funding £66,158,025 £69,981,872Operating Costs £7,144,720 £7,408,455Capital £113,000 £296,000

* £3.7m of targeted funding and large-scale capital programme grants were deferred to 2017/18 financial year to better fit with the financial profile and requirements of the applicants.

** The difference between expenditure and budget results from in-year funds received from the Scottish Government and deferrals made to better reflect the revised timings of a small number of capital projects.

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Performance against our Ambitions

1. Excellence and Experimentation

We support individuals and organisations across Scotland to develop and produce high quality work, both through funding and by helping them to create time and space to develop their practice. The first of our 10-year Ambitions is that excellence and experimentation across the arts, screen and creative industries are recognised and valued. As part of our Performance Management Framework we currently measure our progress against the following outcome:

OUTCOME 1More diverse high quality artistic and creative work is produced and developed across Scotland.

Regular Funding

We are committed to providing long-term, sustainable funding for as many organisations as possible within the context of the overall budgets available to us. In October 2014 we announced an expanded portfolio of Regularly Funded Organisations (RFOs) to receive three-year funding for the period April 2015 to March 2018. In 2016/17, we supported 118 Regularly Funded Organisations (RFOs) 1 to support core running costs, deliver work programmes, deepen engagement with the public and broaden professional networks. In total, RFOs received £32.7m of funding in 2016/17 with awards ranging from £50k to £2.3m (Figure 3).

Figure 3: Awards to Regularly Funded Organisations 2016/17

Number GIA National Lottery TotalTotal Regular Funding 118 £26,911,577 £5,820,130 £32,731,707

RFOs are based in 21 Local Authority areas and more than three-quarters operate beyond their base location, reaching audiences across the country. They include a mix of organisational scale as well as reflecting Scotland’s social diversity. The organisations work across craft, dance, film, literature, music, theatre and visual art (Figure 4) and include strong representation for youth arts and Gaelic language. A full list of the RFOs for 2015-18 and their funding is available in our Annual Plan 2016/17.

Following a successful pilot period, we introduced an Artistic and Creative Review Framework in April 2016 and, through an openly advertised opportunity, recruited 45 Peer Reviewers with extensive, relevant expertise. The Framework responds to a need to better understand, consider, and discuss quality and the common characteristics that contribute to it. It is helping Creative Scotland and the sectors we work with to adopt more of a common language around artistic and creative quality, in order to support a culture of continuous improvement.

1 The Arches ceased operation in June 2015 and the RFO portfolio now comprises 118 organisations20

Figure 4: Art form specialism of organisations in receipt of Regular Funding 2016/17

Principal Art Form CountCrafts 3Dance 11Film 4Literature / Publishing 9Multi Art Form 30Music 16Theatre 21Visual Arts 24Total 118

The process enables three perspectives on the work of the RFOs:

Self-review (by the RFO); Creative Scotland review (by the RFO’s Lead Officer); and Peer review (by a reviewer from the pool representing the sector).

Between April 2016 and the end of March 2017, reviews of 270 pieces of artistic or creative work were completed, across all art form areas. Reviews were carried out for 115 of the 118 RFOs.

Explore more onlineIf it doesn’t exist yet, invent it!

Read about how RFO Red Note Ensemble, and the Open Project Funded sound festival commissioned a new piece of music from artist François Sarhan – that also involved inventing new instruments for the performers.

Open Project Funding

Open Project Funding was introduced in November 2014 replacing most of the project based funding programmes. There are no deadlines for Open Project Funding; applications are reviewed on a weekly basis and decisions provided within eight weeks for applications less than £15k and 12 weeks for applications for more than £15k.

Open Project Funding supports a broad spectrum of activity including: creative and professional development; research and development; production; small capital requirements; touring and collaborations; festivals; arts programming; and audience development. Support is available for projects of different scale for a period of award of up to two years. Awards are in the range of £1k to £100k (or up to £150k by exception).

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Explore more online404 Ink - Defying expectation

Find out more about how Open Project Funding from the National Lottery helped support the launch of this new, independent and alternative Scottish publisher

We received 1,655 eligible applications to Open Project Funding between 1 April 2016 and 31 March 2017 and made 518 awards through this route, distributing a total of £11.4m (Figure 5). Of these awards 38% were made to individuals (195) and 62% to organisations (323).

The overall success rate for the Open Project Fund in 2016/17 was 31%:

The success rate for applications was 26% for under £15k, and 48% for over 15k The success rate for applications was 25% for individuals, and 37% for organisations.

Figure 5: Open Project Funding from 1 April 2016 to 31 March 2017

Number of awards GIA National Lottery TotalOpen Project Funding 518 £375,045 £11,045,169 £11,420,214

Awards were made to applicants based in all of Scotland’s 32 Local Authority areas and active across a range of art form specialisms (Figure 6). Details of all individual funding awards made during 2016/17 are published on our website.

Both the funding level and number of awards made through the Open Project Fund has decreased slightly on 2015/16. In 2015/16, we made 567 awards through the Open Project Fund to the value of £11.7m. Our average award through this route has increased to more than £22k in 2016/17 (from just over £20k in 2015/16).

Explore more onlineA new movement in Scottish designLocal Heroes, supported by Open Project Funding, popped up at Edinburgh Airport in 2016 – showcasing leading Scottish design and presenting items designed specifically for a travelling audience

While £11.4m represents the commitment from Creative Scotland, the total predicted budget for the project activity we funded through these programmes was £32.9m. Successful applicants drew on partnership funding from a range of sources including Local Authorities, Trusts and Foundations and the Private Sector, as well as earned income. In 2015/16 the total predicted budget for projects funded through the Open Project Fund was £40.2m.

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Figure 6: Principal art form specialism of Open Project Funding programmes 2016/17

Principal Art Form Awards through Open Project Fund

Value of Awards made

Crafts 14 £157,751

Dance 39 £991,796Design 10 £267,281Digital 8 £138,351Film 27 £668,192Literature/Publishing 77 £1,288,024Multi Art form 42 £1,394,278Music 123 £2,417,404Theatre* 92 £2,159,781Visual Arts 86 £1,937,356Grand Total 518 £11,420,214

*A high number of theatre-based awards are also captured in the multi-art form category, particularly those to multi-art form venues with theatre facilities.

Targeted Funding

In 2016/17, we operated 43 Targeted Funding programmes focussed on delivering shared strategic goals with partners. These were a combination of both application-based and ring-fenced funding and included funds for screen and creative industries development, international partnerships and showcases and support for sector development organisations. A full list of our Targeted funding routes is in our Annual Plan for 2016/17.

Explore more onlineShowcasing Scottish music at the Cambridge Folk Festival

Scottish music once again shone at one of the most established folk festivals in the world – raising the profile - nationally and internationally - of the acts performing.

In total, we made 436 awards through Targeted funding in 2016/17 and distributed £22.7m, including £1.4m of funding as part of ongoing capital funding commitments. Of this £22.7m, over £11.5m was restricted funding from the Scottish Government to deliver programmes including the Youth Music Initiative, Cashback for Creativity and supporting the Edinburgh Festivals (through the EXPO Fund).

In 2015/16, we delivered 45 Targeted Funding programmes and made 443 awards to the value of £31.4m, including £5.4m of funding as part of ongoing capital funding commitments.

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Screen Funding

In 2016/17 our Targeted Screen funding was delivered via the continuation of the Screen Fund and the Production Growth Fund, as well as funding routes to support the Screen Strategy, Film Education and Creative Europe programmes.

We made 122 awards through the Screen Fund, providing nearly £4.5m of support for emerging and established film and television talent to create distinctive and engaging work that promotes Scotland’s creativity. In 2016/17 this fund focussed on:

The development, production and exploitation of feature films, feature documentaries, animation and television drama series including Churchill, You’ve Been Trumped Too, Loch Ness, Time Trial and Anna and the Apocalypse

Attendance at key markets and festivals such as Cannes, Toronto, IDFA (international Documentary Film Festival Amsterdam) and the Berlin Film Festival.

Our Production Growth Fund provided £950k in 2016/17 for qualifying productions in the form of a non-recoupable grant. Its purpose was to help grow the screen production sector, create employment opportunities for Scottish-based crew and encourage the use of Scottish-based production facilities companies.

In addition we dedicated £402,150 towards the delivery of the Screen Strategy, including training and development and work towards developing an equalities strategy.

In total, across all our funding routes our Screen expenditure was £10.7m in 2016/17 (Figure 7). This figure includes the four screen RFOs (Centre for the Moving Image, Film Hub Scotland, Glasgow Film Theatre and Regional Screen Scotland) and a proportion of funding to RF0s that are multi-arts venues with cinema provision.

Figure 7: Total Screen funding 2016/17

Grant-in-Aid National Lottery TotalDevelopment - £1,855,225 £1,855,225Distribution and Exhibition £2,479,233 £1,019,284 £3,498,518Education £100,000 £145,298 £245,298Export, inward investment promotion and business support

- £268,400 £268,400

Production £250,000 £4,038,431 £4,288,431Training £160,000 £342,013 £502,013Total £2,989,233 £7,668,651 £10,657,885

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Breadth of Funding

Overall, in 2016/17 we received 2,283 applications across all our Open Project and Targeted Funding programmes and made a total of 954 funding awards through these two routes, to a total value of £34.2m.

Across Open and Targeted Funding routes we have continued to make awards to all of Scotland’s 32 Local Authority areas and across all the art form areas we support. In 2016/17, 24% of awards were made to individuals and 76% to organisations, compared to 29% of awards to individuals and 71% to organisations in 2015/16.

Explore more onlineFaslane – one womens journey of discovery

Read about Open Project Funded Faslane – Jenna Watt’s show, reflecting on the UK nuclear deterent. From being born in its shadow, via a sell-out Fringe show, and then a UK tour.

Analysis of 2016/17 applications show 13% of applicants were based in the 20% most deprived areas in Scotland, as defined by the Scottish Index of Multiple Deprivation (SIMD)2 and 12% of awards made through these routes were to applicants based in these areas: 117 awards to a value of £4.6m.

In 2015/16, 10% of applicants were based in the 20% most deprived areas in Scotland and 10% of awards made through these routes were to applicants based in these areas: 101 awards to a value of £4.9m.

Outputs of our funding

All organisations in receipt of Regular Funding from Creative Scotland are required to complete an Annual Statistical Survey in October of each year. This return includes information about the organisations and their work with artists as well as financial, environmental, audience and equalities information. Collectively, this data generates shared intelligence about the organisations we support and enables us to advocate on behalf of the arts, screen and creative industries.

Analysis of the Annual Statistical Surveys received in October 2017 (reflecting activity for the year 2016/17) shows that Regularly Funded Organisations:

● Delivered 70,275 performances, 697 exhibitions, 25,610 screenings and 8,242 other public events3

● Produced 2,089 publications (including over 1,839 electronic publications) and over 2,088,681 content downloads or streaming sessions

2 The Scottish Index of Multiple Deprivation (SIMD) is the Scottish Government's official tool to identify areas of multiple deprivation in Scotland.3 Respondents to the Annual Statistical Survey have the option of providing actual or estimates figures. 91% provided actual figures for performances, 97% for exhibitions, 94% for screenings and 82% for other public events.

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In total, these organisations reported that they delivered 104,824 public events in 2016/17 (Figure 8). This is an 8% increase on 2015/16, when 96,653 events were delivered by RFOs.

Figure 8: RFO funding: number of public events 2016/17

2015/16 2016/17Number of performances 63,402 70,275Number of exhibitions 590 697Number of screenings 25,370 25,610Number of other public events 7,291 8,242Total number of events 96,653 104,824

Recipients of Open Project and Targeted Funding awards are required to complete end-of-project monitoring to report on the outcomes of their funding. In total 496 returns have been received against awards made in 2016/17, with much activity still in progress.

Through our targeted funds we have continued to support events of national significance including the presentation of Rachel MacLean’s film commission Spite Your Face at the 57th International Venice Art Biennale and the 14-18 Now Arts Programme to mark the commemoration of the First World War, which included Dazzle Ship Scotland, a commission to “dazzle” the iconic vessel MV Fingal, berthed in the historic port of Leith.

Explore more onlineDazzle Ship

A co-commission between Edinburgh Art Festival and 14-18 NOW, Every Woman from Turner Prize nominated artist Ciara Phillips is the fourth in a series of ‘Dazzle’ ship designs developed by contemporary artists to commemorate the First World War. Hear the artist describe how the project came about.

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Figure 9: Summary of progress against performance indicators for Outcome 1

OUTCOME 1; More diverse high quality artistic and creative work is produced and developed across Scotland.

Three-year Indicator* Measure Source Status1.1 Maintain the breadth of organisations supported through Creative Scotland Regular Funding

The count of organisations in receipt of Creative Scotland Regular Funding and value of funding by type of organisation, core activity, primary art form and geographic location

Creative Scotland funding operations data

118 Organisations currently receive multi-year regular funding for the period 2015-2018. These RFOs cover a geographic spread of 21 Local Authorities and cover all art form areas.

1.2 Extend the breadth of artistic and creative work by individuals and organisations supported through Creative Scotland Targeted and Open Project Funding

The range and type of work by organisations and individual practitioners in receipt of Creative Scotland Targeted and Open Project Funding and value of funding by core activity, primary art form and geographic location

Creative Scotland funding operations data

In 2016/17, we made 518 awards through Open Project funding to the value of £11.4m. In 2015/16 across equivalent funding routes we made 567 awards to the value of £11.7m

In 2016/17, we made 436 awards through targeted funding to the value of £22.7m. In 2015/16, we made 443 awards to the value of £31.4m.

Awards were made across all 32 Local Authority areas.

1.3 Increase in number of events supported through Creative Scotland funding

The count of performances, exhibitions, screenings and publications delivered through Creative Scotland funding

Creative Scotland annual returns and project monitoring forms

Organisations in receipt of Regular Funding reported they delivered 104,824 public events in 2016/17. This is an increase of 8% from 2015/16 (96,653)

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Performance against our Ambitions

2. Access and Enjoyment

We are committed to increasing the quantity and quality of opportunities for people of all ages to experience and learn from the arts, screen and creative industries, wherever they are in Scotland. The second of our 10-year Ambitions is that everyone can access and enjoy artistic and creative experiences. As part of our Performance Management Framework we currently measure our progress against the following outcome:

OUTCOME 2:

Increased public engagement through stronger touring networks, digital distribution and exhibition platforms across Scotland.

Explore more onlineGet Creative Weekend

From guerrilla gardening in the streets to paint by numbers in thelocal library, via nail art, yarn bombing and singing in a choir, Get Creative Weekend aimed to inspire people to try something new or encourage people to share their own examples of everyday creativity.

Increasing cultural engagement

As a Non-Departmental Public Body (NDPB) Creative Scotland is required to align to the Scottish Government’s National Performance Framework (NPF). This framework is a series of measures that collectively report on how Scotland is performing and includes 55 national indicators.

Creative Scotland is a named partner for the delivery of the national indicator for Cultural Engagement. The key source for national level data on cultural participation and attendance is the Scottish Household Survey (SHS), which asks the public about their cultural activity in the previous 12 months.4 The 2016 SHS survey found 92% adults engaged in culture in 2016, either by attending or visiting a cultural event or place, or participating in a cultural activity, a marginal increase from 91.9% in 2015. Specifically:

83% attended a cultural event or place. The most popular activity was watching films at a cinema (59% of adults) and around a third attended live music events (33%) and theatre performances (33%).

Attendance by specific categories of activity has been broadly static or increased by one or two percentage points since 2012. However, there have been more marked increases in some areas: numbers attending the cinema, street arts and cultural festivals have increased by around 5 percentage points since 2012.

4 The Scottish Household Survey is a continuous survey based on a sample of the general population in private residences in Scotland. It is conducted on behalf of the Scottish Government each year and time series data is available from 2012 www.gov.scot/Publications/2017/09/9979

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79% of adults participated in some form of cultural activity. By far the most popular form of cultural participation was reading for pleasure (66%) followed by using a computer or social media to produce creative work (26%).

As in previous years the data presents divergence in cultural engagement according to socio-demographic characteristics: women, younger people, people with degrees or professional qualifications, those with good physical and mental health and people living in less deprived areas are more likely to attend cultural events.

Analysis of the Annual Statistical Survey returns for 2016/17 shows that RFOs reported:

Attendances at performances, exhibitions, screenings and other public events of 7.6m5, rising to a potential audience of over 9.2m when the reach of public sited work is included (Figure 10).

The public participated more than 290,000 times, with participants defined as those actively learning, being trained or taking part in creative activity (Figure 11).6

Working with 4,200 volunteers, who on average contributed over 41 hours of their time.

Figure 10: Regularly Funded Organisations: attendance 2016/17

Attendances 2015/16 Attendances 2016/17Performances 3,200,909 3,008,614Exhibitions 1,579,728 2,561,574Screenings 949,912 888,715Other Public Events 456,450 1,147,231Total 6,186,999 7,606,134

Figure 11: Regularly Funded Organisations: participation 2016/17

Participants 2015/16 Participants 2016/17Performances 215,633 218,502Exhibitions 33,280 26,324Screenings 5,484 4,024Other Public Events 63,915 41,163Total 318,312 290,013

The Scottish Household Survey, which provides annual national-level data on cultural engagement, indicates growing levels of engagement in a range of cultural activities. However, there is considerable variation within Scotland’s demographic profile. Live music and cinema attendance are most popular with younger people and engagement declines with age, while crafts is a more popular activity for older age groups. Cultural engagement remains lowest for those aged over 75, those with long-term physical or mental health conditions and people living in more deprived areas, suggesting that multifaceted barriers to engagement persist. However, attendance by those in living in the most deprived 20% of Scotland’s neighborhoods (as defined by the Scottish Index of Multiple Deprivation) of the SIMD has seen increase over the last two years and the gap between lowest and highest quintiles is now narrowing marginally.

5 Respondents to the Annual Statistical Survey have the option of providing actual or estimated figures. 61% provided actual figures for attendances at performances, 27% for exhibitions, 73% for screenings and 39% for other public events. 6 Respondents to the Annual Statistical Survey have the option of providing actual or estimated figures. 59% provided actual figures for participation at performances, 73% for exhibitions, 79% for screenings and 59% for other public events.

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Explore more onlineGrow Your Own Cinema

Aiming to help voluntary groups set up their own film screening and exhibitions, Grow Your Own Cinema supported new film clubs and community cinemas across Scotland.

To complement the results of the Scottish Household Survey, Creative Scotland places a set of questions in a national omnibus survey in order to better understand public attitudes to arts and creativity, motivations for taking part in arts and culture and any barriers to engagement that individuals face. The 2016 Survey7 found that:

63% of respondents undertook creative activity at least once a week 72% consider themselves to be creative 69% see arts and culture as an important part of their life; and 42% would like to take part in creative activities more often.

Longitudinal analysis of the results shows consistently high levels of engagement in arts and creativity, with time and other commitments identified as key barriers to engagement.

Creative Scotland funds Culture Republic, Scotland’s audience development agency for the creative sector, to drive growth for cultural organisations throughout Scotland. Culture Republic works to ensure that the latest audience research and marketing resources help cultural organisations strengthen connections with audiences, visitors and local communities.

Culture Republic currently collects information from 52 of Creative Scotland's Regularly Funded

Organisations using data collected at point of sale and recorded through Box Offices. We use this

information to better understand the audience base of our RFOs, including monitoring the socio-economic profile of attendees and participants.8

Data for 2016/17 shows that RFOs engaged households across all socio-economic groups but that people from more advantaged groups continue to have disproportionately higher levels of attendance and participation.9 Attendance at events was generally in groups of two or three and 74% of attendees attended once over the course of the year. Overall, 13% of households engaged through this RFO sample lived in the 20% most deprived areas in Scotland.

7 TNS Scottish Opinion Survey, Base: Scottish Adult Population (n= 1030), fieldwork was carried out in September 20168 The analysis presented here is based on audience data from 58,086 performances and workshop events that took place in the financial year 2016/17 at 52 Regularly Funded Organisations. This data set provided based on a sample of 390,449 households with sufficient postcode data captured at point of sale to allow for accurate profiling. 9 The audience segmentation is done using Mosaic Scotland, which classifies Scotland’s consumers by postcode into 57

types aggregated into 14 groups.30

Equalities, Diversity and Inclusion (EDI)

Equalities, Diversity and Inclusion (EDI) is embedded in Creative Scotland through our plans and strategies, our funding and our advocacy for access to arts and creative activity. In 2016/17, we worked towards the completion of our Equalities Mainstreaming Report, published in April 2017.

The report presents the progress being made by Creative Scotland to mainstream equalities and deliver our Equality Outcomes. It is our third biennial report, and it indicates the significant changes we have made since 2013. Key achievements in 2016/17 included an increasing EDI focus of our RFOs, improved monitoring and key strategic interventions to address barriers.

We worked closely with our RFOs in the development of EDI Action Plans which were specific and responsive to the challenges and characteristics of each organisation. Some organisations, such as Birds of Paradise Theatre Company, Solar Bear and Project Ability have a specific focus on EDI themes while others are committed to broadening their reach and relevance.

In 2016/17 our RFOs reported a diverse range of programming and outreach activities. They have supported inclusivity through programming and targeting work for a range of groups in society (Figure 12). In 2016/17 RFOs reported a significant increase in programming of work for minority ethnic groups, LGBTI and work connected with the themes of Health and Wellbeing.

Explore more onlineTramway's Unlimited Festival: 43 Percent

Celebrating extraordinary work by disabled artists, the Unlimited Festival programmed a mx of performance, visual art, discussions and more across 10 days in September. Read more about 43 Percent – a new, unique dance performance looking at what humans are made up of, how we’re defined, and what links us.

In addition, our Open and Targeted funds have also supported excellent and pioneering work which specifically explore the themes of equalities, diversity and inclusion. These included productions such as The Other Side of the Hill by Lyra and Share My Table from the Scottish Refugee Council.

We have made a number of key strategic interventions, including supporting the development of ethnic minority leadership within the sector through a two-year programme in partnership with both Glasgow Life and City of Edinburgh Council. We have responded to Scotland’s British Sign Langusge (BSL) Act by supporting Solar Bear and Deaf Youth Theatre to make connections with the Royal Conservatoire to create routes of progression for young deaf people.

To underpin future EDI work, we have improved our understanding of the barriers faced to career development within the sector through the first comprehensive review of Equalities, Diversity and Inclusion in Scotland’s Screen Sector, Equality Matters, published in January 2017. In October 2016

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people working across the arts were asked to contribute to a workforce diversity survey, the findings of which were published in August 2017.

Figure 12: Regularly Funded Organisations: focus of programming, engagement and marketing work 2016/17– percentage of RFOs with a focus in each area

Has your work had a specific focus on any the following groups?

Through programming

Through targeted engagement or outreach work

Through marketing or audience

development work

Minority Ethnic Groups 52% 37% 43%Children and Young People 80% 90% 79%

Disabled People 61% 68% 63%Faith / Religious Groups 13% 8% 11%Gender Groups 42% 36% 36%Health / Wellbeing 62% 60% 53%LGBTI Groups 42% 24% 37%Looked After Children 14% 26% 13%Older People 62% 68% 55%Refugees / Asylum Seekers 37% 31% 26%

Creative Learning

Analysis of returns to the Annual Statistical Survey 2016/17 received in October 2017 show that Creative Scotland’s 118 RFOs delivered 77,190 education and outreach events, providing over 1.7m opportunities for participation (Figure 13). Over 900,000 of these opportunities were for children aged between 0 and 4 years of age, mainly accounted for by Bookbug sessions run by the Scottish Book Trust in libraries across Scotland. The increase in numbers of children aged 5-12 participating in learning and outreach events is similarly driven by Scottish Book Trust programmes including The First Minister’s Reading Challenge initiative for children in Primaries 1 – 7.

In 2015/16, 125 organisations in receipt of regular and annual funding reported 71,302 education and outreach events, providing over 1.62 million opportunities for participation.

Explore more onlineMusic Education Matters

Enterprise Music Scotland tell us why this unique conference is key in helping those involved in music education come together, network, share their knowledge and continuously approach their work with new ways of thinking.

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Figure 13: RFOs: participation in learning and outreach events 2016/17

2015/16(118 organisations)

2016/17(118 organisations)

Number of early years participants (0 - 4 years old) 1,053,765 903,191Number of children (5 - 12 years old) 340,085 628,044Number of children (13 - 17 years old) 85,353 77,120Number of young people (18 - 25 years old) 17,911 21,425Adult learners (26+) 74,754 64,411Other participants 46,334 31,266Total 1,618,202 1,725,457

Following extensive consultation, the publication of the Creative Learning Review in February 2017 provided the foundations for a shared understanding of creative learning in the arts screen and creative industries. This understanding is closely aligned to and compliments the definitions of creativity developed in partnership with Education Scotland and published in their framework for continuous improvement How Good is Our School?

The creative learning programmes we deliver share many common outcomes; connecting professional practitioners, developing practice, ensuring quality provision for all, encouraging progression opportunities and equalities. A key part of the Creative Learning Team’s work is to develop partnerships, encourage collaboration and peer support with the aim of maximising the reach and impact of the programmes.

Our key strategic partnership with Education Scotland continued to develop with the delivery of a new programme that included Creativity, Culture and Education (CCE) as partners to deliver the Paul Hamlyn Foundation pilot Teacher Development Fund project working with artists in 11 schools piloting a model of artist’s intervention aligned to the Scottish Government’s Attainment Challenge.

Together with Education Scotland, in 2016/17 we supported Creative Learning Networks in 28 Local Authorities across Scotland and through their individual programmes of work they provided 23,140 learning opportunities for a wide range of participants, including teachers, head teachers, pupils, parents and carers. Some of the common themes addressed through the Creative Learning Networks in 2016/17 included developing the young workforce, attainment, STEM, school improvement and learning through the arts.

We continued our successful collaboration with the Paul Hamlyn Foundation (PHF) in the development of ArtWorks Scotland, a national professional development initiative for artists working in participatory settings. In 2016 we published “Is this the best it can be?”, a reflective toolkit for artists, arts organisations, partners and participants to support and encourage partnership working.Also in partnership with PHF we hosted the International Teaching Artists Conference in Edinburgh in August 2016 on the theme of “Next, Best and Radical practice”. Over 220 artists from 17 countries attended the 3-day event sharing their ideas, experience and practice.

Creative Scotland continued to Chair ACEnet, the European network of policy makers in education and culture and held meetings in Cardiff and Stockholm, where main topics included assessing

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quality and the implications of migration. We also continued to sponsor the Creative Learning Award at the Scottish Education Awards, which was won by St Peters Primary in Glasgow.

Creative Scotland leads on three important nationwide initiatives that focus on creative learning opportunities for Scotland’s young people: the Youth Music Initiative, CashBack for Creativity and Time to Shine.

Youth Music Initiative (YMI)

The 2016/17 Impact Report for the Youth Music Initiative10 found that 244,000 young people were engaged through the programme, including those from a range of backgrounds who otherwise wouldn’t have taken part. It also found that the YMI helped raise standards in schools through developing musical skills and skills for life and learning while supporting more than 1,200 jobs and 4,500 people to develop skills and confidence in delivering quality music making for young people.

CashBack for Creativity

In 2016/17 CashBack for Creativity activity was delivered to 5,788 young people, with funding of £656,027. By the close of the three-year CB4 Creativity Phase 3 programme (October 2014 - March 2017) more than 16,000 young people, aged 10-24, had participated in the programme, across 31 Local Authorities. Creative Scotland have been awarded a further £2.6m to deliver creative activity to targeted young people across Scotland in Phase 4 of the Cashback for Communities programme between April 2017 and March 2020.

Explore more onlineFirefly Arts – The Old Lie

Set to a Tom Waits soundtrack (with approval from Waits himself) featuring a cast of all male dancers and created by an all female filmmaking crew, The Old Lie is a powerful and visually striking short film challenging gender stereotypes while exploring themes of war and innocence. Supported by CashBack for Creativity, see the film, and read about how it came about here.

Time to Shine

The implementation of Time to Shine (TTS), the national Youth Arts Strategy, was due to conclude in March 2016 but was extended to March 2017 to allow the youth arts hubs, each providing a multi-partnership approach to youth arts provision, to evolve strategies for legacy. Overall the implementation of TTS engaged 46,543 young people and a key strength has been empowering the voice of young people in decision making.

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TTS continued to work with the national information and citizenship organisation Young Scot to deliver the Youth Arts Voice Scotland (YAVS) national youth arts advisory group. The YAVS played a key role in designing and delivering the TTS Unconvention in October 2016. This event involved over 250 young people and featured a series of performances, screenings, panel discussions and debates from a range of youth arts projects supported through the TTS implementation programme. The event also coincided with the publication of key findings from the evaluation of the implementation of TTS undertaken from April 2014 to September 2016.

Explore more onlineTTS Unconvention – The YAVS view

Young people, artists, creatives, youth workers, teachers, organisations and charities working with children and young people across Scotland came together to celebrate the success of Time to Shine. Here four young people tell us about their experience of being involved.

Digital engagement

The importance of digital communication continues to grow. OFCOM’s Communications Market Report for 2017 found that 78% of households in Scotland now have fixed broadband and people are increasingly engaging with culture through social media and other online platforms. Digital has changed the way organisations operate, and this is keenly felt across the arts, screen and creative industries where it has been able to both disrupt and enable. As a core Connecting Theme in our 10-year plan we have continued to deliver a programme of digital activity.

In 2016/17 we delivered a digital leadership programme to stimulate innovation with creative technology, through a partnership with Creative Edinburgh, Creative Dundee and We Throw Switches. We continued our partnership with The Space, to help artists and organisations make great art and reach new audiences digitally, and worked with The Space and BBC Academy to explore how the arts can exploit the opportunity of emerging technologies as part of the Edinburgh Digital Entertainment Festival.

We supported NEoN to deliver their year-round programme of activities to advance the understanding and accessibility of digital and technology driven art forms. We supported creative technologists to visit Amaze in Berlin, IndieCade in LA and present at the Scratch@MIT conference in Massachusetts and continued our support for Games Sector projects such as Edinburgh Game Symposium and IGDA Scotland.

In 2016/17, we made 90 awards through our Open Project and Targeted Funding programmes with a focus on digital exhibition, distribution or participation, to the value of £4.7m (Figure 14). These awards were made across a range of art forms and 11 of these awards (12%) were made to applicants residing in the 20% most deprived areas in Scotland, with a value of £473,800.

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In 2015/16, by comparison, we made 100 awards through our Open and Targeted Funding programmes to the value of £3.5m. Eleven of these awards (11%) were made to applicants residing in the 20% most deprived areas in Scotland, with a value of £217,065.

Figure 14: Awards with a focus on digital activity 2016/17

Art formNumber of

Awards Value of Awards Dance 1 £14,981Design 5 £94,500Digital 10 £159,351Film / TV 36 £3,047,921Literature / Publishing 8 £135,288Multi-Art Form 14 £451,277Music 2 £150,000Theatre 5 £222,922Visual Arts 9 £397,859Total 90 £4,674,099

Touring

The live cultural experience remains central and the touring of work remains a vital element of delivering access for audiences across Scotland.

Creative Scotland supports the touring of work across art forms and in a variety of ways. The Screen Machine and Travelling Gallery are both on the road throughout the year, performances and exhibitions tour Scotland’s network of venues - both large and small - and site specific and outdoor work has engaged audiences across Scotland.

During 2016/17 we undertook a major review of the effectiveness of touring of theatre and dance in Scotland in response to concerns from the sector. This work involved both focus groups with the sector and in-depth mapping and analysis of our funded touring activity. Findings revealed the broad geographic reach of the work being produced but also highlighted concerns and inefficiencies. The findings were shared at the FST Annual Emporium in March and the issues raised are being addressed by a touring working group supported by Creative Scotland.

Analysis of the Annual Statistical Survey returns from RFOs for the year 2016/17 shows that these organisations undertook:

815 venue visits across Scotland and the wider UK, compared to 829 in 2015/16 Of these, 710 venues were in Scotland, compared to 704 in 2015/16

In 2016/17 Creative Scotland made 121 awards through Open Project and Targeted funding to help facilitate touring, with total funding of £3.1m, compared to 124 awards with a total value of £3.5m in 2015/16.

103 awards through Open Project Funding had a touring element, with total funding of £2.7m, compared to 108 awards with a total value of £3.2m in 2015/16. There awards were made to organisations working across Scotland and in a range of art forms (Figure 15).

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18 awards were made through Targeted funds to the value of £333k compared to 15 awards to the value of £156k in 2015/16

£175k was awarded through the Targeted Cross-Border Touring fund, a partnership with UK Arts Councils to support touring across UK nations.

Nine of the 121 awards (7%) were made to applicants residing in the bottom 20% most deprived areas in Scotland, with a value of £288,718. In 2015/16 we made 15 equivalent awards (12%) with a value of £272,944.

In addition to awards made through these routes we provided multi-year funding to two organisations proving touring infrastructure support, North East Arts Touring and the Touring Network, to the value of £83,333 and £120k respectively.

Figure 15: Open Fund awards to support touring 2016/17, by art form

Art Form Awards Value of AwardCrafts 1 £8,000Dance 16 £487,096Design 2 £62,000Film 3 £89,937Literature 3 £13,077Multi Art Form 5 £285,000Music 31 £714,925Theatre 32 £764,071Visual Arts 10 £310,066Total 103 £2,734,172

Gaelic, Scots and Traditional Arts

Scotland’s linguistic heritage and cultural traditions provide an enormous contribution to the contemporary cultural life of our nation. Scotland is unique in the UK in that it has three indigenous languages: English, Scots and Gaelic. Scotland’s Census in 2011 found that 1.1% of the population (or 58,000 people) aged 3 and over in Scotland spoke Gaelic, and over 1.5 million people indicated that they speak Scots.

To reflect this diversity, we operate Targeted funds for both Gaelic Development and Traditional Arts which complement the wide range of support through our Open Fund and Regularly Funded Organisations.

While all organisations in the RFO portfolio are required, as part of Creative Scotland’s statutory role, to support and promote Gaelic language and culture through their work, there is also strong representation from organisations for whom Gaelic language and culture are core to their activity. This includes Fèis Rois, Fèisean nan Gàidheal, Celtic Connections, Hands up for Trad, the Gaelic Books Council as well as venue-based organisations such as An Lanntair, Atlas Arts and Taigh Chearsabhagh, among others.

Explore more onlineRevisiting traditional Gaelic song

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A collaboration between ambient electronic composer and musician Ross Whyte and Gaelic singer-songwriter Alasdair Whyte, WHɎTE was conceived as a commission by Ceòl is Craic for their Gaelictronica event in February 2016 focused on fusing Gaelic folk and traditional music with electronica. Hear the music and how the pair came together.

In 2016/17, through our Open Project and Targeted Funding programmes, we made:

41 awards with a significant focus on Gaelic 27 awards with a significant focus on Scots 59 awards with a significant focus on Traditional Arts.

These include awards made through our Targeted Gaelic Development fund and through funds devolved to Fèisean nan Gàidheal to deliver Tasgadh, a programme of small grants for traditional arts activity.

Figure 16: Awards with a focus on Gaelic, Scots language and Traditional Arts 2016/17

AwardsAmount Awarded

Gaelic 41 £979,103Scots 27 £650,202Traditional Arts 59 £1,521,311

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Figure 17: Summary of progress against performance indicators for Outcome 2

OUTCOME 2: Increased public engagement through stronger touring networks, digital distribution and exhibition platforms across Scotland.

Three-year Indicator Measure Source Status2.1 Contribute to maintaining high level of adult cultural engagement across the breadth of Scotland through our funded work.

The % of adults engaging in arts and culture across Scotland by type of cultural activity and frequency of participation

Scottish Household Survey (SHS) Annual Report

92% of adults engaged in culture in 2016. This is defined as those adults who have either participated in a cultural activity or who have attended at least one type of cultural event or place in the previous 12 months. This represents a marginal increase from 91.9% on 2015.

2.2 Contribute to increasing children’s cultural engagement across the breadth of Scotland through our funded work

The % of children engaging in arts and culture across Scotland by type of cultural activity

Scottish Household Survey (SHS) Annual Report

In 2016 the SHS found that 26% of young people took part in music or drama (unchanged from 2014) and 8% in other arts activities (up 1 percentage point from 2014).

2.3 Increase in the number of digital opportunities through Creative Scotland funding

The count and value of Creative Scotland funded activities with a focus on digital exhibition, distribution

Creative Scotland funding operations data broken down by postcode, art form and areas of deprivation

In 2016/17, we made 90 awards through our Open Project and Targeted Funding programmes with a focus on digital exhibition, distribution or participation, to the value of £4.7m.

In 2015/16, we made 100 awards through our Open and Targeted Funding programmes to the value of £3.5m.

2.4 Increase in the amount of arts touring and distribution across Scotland

The count and value of Creative Scotland funded activities with a focus on distribution, touring and festivals

Creative Scotland funding operations data broken down by post code, art form and areas of deprivation

In 2016/17 RFOs toured to 815 venues across Scotland and the wider UK, compared to 829 in 2015/16.

In 2016/17 Creative Scotland made 121 awards through Open Project and Targeted funding to help facilitate touring, with a total award of £3.1m, compared to 124 awards with a total value of £3.5m in 2014/15.

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Performance against our Ambitions

3. Places and quality of life

We work in partnership with Local Authorities and others to embed creativity and culture in communities and ensure locally distinctive work is valued and encouraged. The third of our 10-year Ambitions is that places and quality of life are transformed through imagination, ambition and an understanding of the potential of creativity. As part of our Performance Management Framework we currently measure our progress against the following outcome:

Outcome 3

Increase in artists and creative people working with communities and addressing local needs.

Geographical funding profile

In 2016/17 Regularly Funded Organisations (RFOs) were based in 21 of Scotland’s 32 Local Authority areas and the majority (80%) work extensively in areas beyond their home base.

In the Annual Statistical Survey of RFOs for 2016/17 the 51 RFOs operating public venues reported 5.6 million visits to these venues. This compares to 5.2 million visits reported in 2015/16.

Across all organisations in receipt of Regular Funding, 76% delivered their activity in their Local Authority area, 21% in other Scottish Local Authority areas, 1% in the wider UK, and 1% internationally. This compares to 2015/16 when RFOs reported 69% of their activity in their Local Authority area, 25% in other Scottish Local Authority areas, 2% in the wider UK and 4% internationally.

In 2016/17, Open Project and Targeted Funding was awarded to recipients in all 32 of Scotland’s Local Authority areas. Awards are made by postcode of applicant and it should be noted that the base of the applicant does not necessarily indicate where the project or work takes place. We also made 53 awards to recipients outside Scotland to facilitate touring and exchange, showcase Scottish artists internationally and support organisations with a UK-wide remit to deliver programmes of work in Scotland. In total, we made 1,072 awards across all of our funding routes in 2016/17, including the 118 Regular Funding awards to our RFOs (Figure 18). In 2015/16, we made 1,129 awards across all of our funding routes, including to those receiving Regular Funding.

Across the Open Project and Targeted Funding programmes successful applicants indicated a total of £92,919,535 in partnership funding, based on data provided during the application stage (Figure 19). In 2015/16 successful applicants indicated a total of £123m in partnership funding.

Explore more onlineBreaking down barriers in Midlothian

KMAdotcom, an artist collective supported by Artlink Edinburgh, work across the community, encouraging participation in the arts by all looking to realise personal and social change.

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Figure 18: Count and value of all Creative Scotland funding awards Regular, Open and Targeted Funding) by Local Authority 2016/17

Local Authority Area Applications Awards Amount AwardedAberdeen City 38 19 £1,677,971Aberdeenshire 36 18 £745,498Angus 22 8 £1,344,781Argyll and Bute 39 19 £1,070,208City of Edinburgh 644 310 £21,915,989Clackmannanshire 5 2 £56,733Dumfries and Galloway 37 13 £736,259Dundee City 55 26 £3,268,317East Ayrshire 10 6 £183,868East Dunbartonshire 27 8 £312,700East Lothian 44 17 £516,558East Renfrewshire 15 4 £125,967Falkirk 15 2 £157,887Fife 59 18 £869,740Glasgow City 736 357 £19,044,985Highland 99 43 £3,539,665Inverclyde 11 5 £409,716Midlothian 23 7 £184,724Moray 27 7 £323,361Na h-Eileanan Siar 34 13 £869,541North Ayrshire 14 5 £192,239North Lanarkshire 23 10 £828,898Orkney Islands 13 5 £501,077Perth and Kinross 39 10 £1,041,939Renfrewshire 24 7 £446,057Scottish Borders 36 19 £778,613Shetland Islands 10 4 £336,048South Ayrshire 13 6 £233,091South Lanarkshire 50 18 £568,786Stirling 36 14 £1,236,927West Dunbartonshire 17 9 £138,235West Lothian 26 10 £472,717Other* 124 53 £2,756,855Total 2,401 1,072 £66,885,950**

* Other includes applications from those based outside Scotland, where the funding is to support activity that benefits audiences, artists and people in Scotland; to facilitate international touring exchange; to showcase Scottish artists internationally; and to allow organisations with a UK-wide remit to deliver work in Scotland. ** This figure does not include project expenses for Targeted Funding programmes.

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Figure 19: Count and value of partnership funding secured through Open Project and Targeted funding programmes by Local Authority area 2016/17

Local Authority Area Awards Partnership Funding: Revenue

Partnership Funding: Capital

Total Partnership Funding

Aberdeen City 16 £605,197 £605,197Aberdeenshire 14 £293,960 £293,960Angus 7 £228,612 £3,750,000 £3,978,612Argyll and Bute 17 £1,427,741 £1,427,741City of Edinburgh 271 £12,256,666 £12,256,666Clackmannanshire 2 £35,810 £35,810Dumfries and Galloway 11 £980,578 £980,578Dundee City 23 £719,845 £719,845East Ayrshire 6 £250,394 £250,394East Dunbartonshire 7 £48,401 £48,401East Lothian 16 £253,599 £253,599East Renfrewshire 4 £20,972 £20,972Falkirk 2 £12,562 £12,562Fife 17 £452,896 £452,896Glasgow City 317 £16,460,503 £1,185,100 £17,645,603Highland 33 £1,140,509 £1,140,509Inverclyde 4 £181,434 £181,434Midlothian 7 £95,222 £95,222Moray 7 £135,309 £135,309Na h-Eileanan Siar 11 £658,541 £658,541North Ayrshire 5 £259,969 £259,969North Lanarkshire 9 £335,207 £335,207Orkney Islands 3 £192,196 £192,196Perth and Kinross 8 £288,363 £288,363Renfrewshire 7 £379,376 £379,376Scottish Borders 19 £1,996,336 £1,996,336Shetland Islands 3 £230,607 £230,607South Ayrshire 5 £3,389 £3,389South Lanarkshire 18 £416,842 £416,842Stirling 13 £390,577 £390,577West Dunbartonshire 9 £36,885 £36,885West Lothian 10 £299,359 £299,359Other* 53 £46,896,579 £46,896,579Total 954 £87,984,435 £4,935,100 £92,919,535

* Other includes applications from those based outside Scotland, where the funding is to support activity that benefits audiences, artists and people in Scotland; to facilitate international touring exchange; to showcase Scottish artists internationally; and to allow organisations with a UK-wide remit to deliver work in Scotland.

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Place Partnership Programme

The Place Partnership Programme supports collaboration between Creative Scotland, Local Authorities and other regional partners to develop the arts, screen and creative industries across Scotland. It provides targeted funding and in-kind support which brings local creative sectors together to address specific challenges and opportunities in their area. The programme offers space to experiment, develop partnerships, build capacity, and ultimately deliver activity which will help each area to unlock its creative potential.

Since 2011, Creative Scotland has provided £2.7m of funding to the programme, matched by an estimated local investment of £3m in cash and in-kind. In 2016/17 there were 13 Place Partnerships operating across Scotland, each at a different stage in planning or delivery: Aberdeen, Aberdeenshire, Argyll and Bute, Dumfries and Galloway, Dundee, Highland, Inverclyde, Moray, North Ayrshire, Renfrewshire, Scottish Borders, South Ayrshire and Stirling.

Each Place Partnership has its own distinct set of priorities and programme of activity which responds to local need. These are agreed through a process of local consultation and described in delivery plans, which typically span three to four years. Each plan is unique to its place but some common themes recur, including: raising the profile of the arts, screen and creative industries as a key strength in local social and economic development; strengthening leadership within the creative sector; increasing levels of engagement in culture; enabling arts organisations to increase capacity and sustainability; and growing and retaining creative talent.

Examples of activity supported through the Place Partnership Programme include support for establishing artists’ studios, training opportunities for local artists’ and small businesses, joint marketing activity and artist commissions.

Creative Scotland is a supporter of SURF (Scotland’s Regeneration Forum), working with them on cultural and creative regeneration projects, advocacy and research. In recent years, we have been the sponsor of SURF’s Creative Regeneration Award; the 2016 SURF Award to recognise best practice in embedding arts and creativity at the heart of a community regeneration initiative went to The Stove, an artist-led collective based in Dumfries.

Explore more onlineAlchemy in the Scottish Borders

Read about how filmmakers and artists from around the world converge on Hawick for the Alchemy Film and Moving Image Festiva l for a diverse programme of films, world premieres and moving images installations around the town.

Cultural infrastructure

In 2016/17, we made two awards supporting new or enhanced cultural infrastructure through the Large Capital Targeted Funding programme: £536,900 towards the extension and reconfiguration of the Glasgow Film Theatre to provide better access and improve amenities and £900k towards

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development and restoration of Hospitalfield in Arbroath. In addition, we continue to support our ongoing programme of capital infrastructure projects which are still in development.

One of our key priorities is the development of Scotland’s screen studio infrastructure. Wardpark Studios, Cumbernauld is a permanent, converted, fully-integrated studio facility with 4 sound stages, which has been the home of Sony/Starz Outlander since 2012. In 2016/17 Scotland hosted, amongst other productions, Avengers: Infinity War, which established its production base at The Pelamis Building in Leith; T2 Trainspotting at The Pyramids, Bathgate; and Churchill, at Film Services Livingstone; which demonstrates Scotland’s ability to attract and support large-scale, high-profile productions. However, we strongly believe a purpose-built studio facility is essential to drive growth in the sector. We continue to support partners Scottish Government and Scottish Enterprise to encourage private sector investment to make this happen.

In total, we made 3 awards supporting new or enhanced cultural infrastructure, to the value of £1,636,900, including £200k to support the Renfrewshire Place Partnership. In addition, we made 12 awards through the Visual Artist and Craft Makers Awards (VACMA), a programme of small grants schemes with a range of local authorities and art agencies across Scotland to support visual artists and craft makers in their creative and professional development. Local authorities made 128 awards through the VACMA programme in 2016/17.

In 2015/16 we made 13 awards supporting new or enhanced cultural infrastructure, to the value of £6.1m. Funding levels in 2016/17 reflect that there are no Capital programmes currently open for application and that we did not run our Creative Place scheme in 2016/17.

Environment

We continue to support Creative Carbon Scotland to support artists and arts organisations in carbon measurement and reduction and developing their contribution to our Environment Connecting Theme. They do this through promoting debate and behavioural change, running projects connecting the arts and sustainability and advocating for environmental sustainability in the arts, screen and creative industries.

In Autumn 2014, we announced that all Regularly Funded Organisations would be required to report on their waste and emissions for the period from 1 April 2015 onwards. In 2016/17, 97% were able to provide a partial or substantial report on their environmental footprint. Of these 68% provided detail of their carbon emissions and 90% provided data for their levels of waste. In 2015/16, 98% were able to report on their environmental footprint, 65% provided detail of their carbon emissions and 86% provided data for their levels of waste. The challenges for accurately reporting these figures include estimating and disaggregating energy and recycling levels where organisations are tenants in shared building space. The data is analysed and reported on annually by Creative Carbon Scotland.

Creative Scotland is committed to reducing the environmental impact of its own operations in line with the Scottish Government’s target of cutting CO2 emissions by 42% by 2020. In 2016/17, we continued to monitor greenhouse gas emissions for energy consumption in our Glasgow and Edinburgh offices and business travel relating to foreign and domestic air travel, rail, taxi and mileage. Our energy consumption dropped by 7% (however this only reflects the Edinburgh office as electricity in the Glasgow office is provided as part of the lease agreement) and business travel emissions increased slightly (1%).

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Perceptions of local creativity and wellbeing

The 2016 Scottish Household Survey asked respondents about satisfaction with their Local Authority culture and sport and leisure facilities. It found that:

45% were very or fairly satisfied with Local Authority museums and galleries (down slightly from 46% in 2015);

47% were very or fairly satisfied with Local Authority theatres and concert halls (down slightly from 48% in 2015).

Satisfaction levels are considerably higher among those who indicate they have used these facilities in the past year (at 91% and 90% respectively) and are consistent with levels in previous years.

In our 2016 omnibus survey 88% of respondents indicated that they felt Scotland is a creative nation, the data also shows a strong increase in respondents agreeing that their local area is a creative place, up 5 percentage points to 65% and agreeing that people in their local area would lose something of value if the area lost its arts and cultural activities (up 6 percentage points to 77%).

The survey reported that nearly 63% of people in Scotland take part in creative activity every week and report a range of wellbeing, social and learning benefits:

● Relaxation was the most cited benefit of creative activity (42%) followed by ‘feeling good’ (36%), and improvements in health (23%)

● Respondents felt creative activity helped them to be more socially active: getting them out of the house (34%); spending time with friends and family (31%); and meeting new people (26%)

● Other reported benefits included learning something new (32%), broadening horizons (25%) and allowing people to challenge themselves (23%)

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Figure 20: Summary of progress against performance indicators for Outcome 3

Increase in artists and creative people working with communities and addressing local needs.

Three-year Indicator Measure Source Status

3.1 Broader spread of Creative Scotland funding by geographic location

The count and value of Creative Scotland funding awards including supporting new or enhanced cultural infrastructure

Creative Scotland funding operations data

In 2016/17 RFOs were based in 21 of Scotland’s 32 Local Authority areas.

In 2016/17 Open Project and Targeted funding was awarded to recipients in all of Scotland’s 32 Local Authority areas.

In 2016/17, we supported 13 Place Partnerships across Scotland and made 3 awards supporting new or enhanced cultural infrastructure, to the value of £1.6m.

3.2 Increased range of partnership income leveraged through Creative Scotland funding, across Scotland

Value and range of partnership funding secured through Creative Scotland funding across Scotland broken out by Local Authority areas

Creative Scotland funding operations data

In 2016/17 successful applicants to Open Project and Targeted funding indicated a total of £93m in partnership funding. In 2015/16 successful applicants indicated a total of £123m in partnership funding.

3.3 Improved public perceptions of national and local creativity

% difference between agreement that ‘Scotland is a creative nation’ and % agreement that ‘my local area is a creative place’

Creative Scotland omnibus survey

In 2016, 88% of survey respondents felt Scotland was a creative nation, as in 2015. 65% were of the view that their local area is a creative place, up 5 percentage points on 2015.

3.4 Improved public perception of the value of local cultural offer

% agreeing that people in my local area would lose something of value if the area lost its arts and cultural activities

Creative Scotland omnibus survey

In 2016 77% of survey respondents agreed that people in their local area would lose something of value if the area lost its arts and cultural activities, an increase of 6 percentage points on 2015.

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Performance against our Ambitions

4. Leadership and Workforce

4.1 We work to support the development of sustainable business models in the arts, screen and creative industries and strengthen the talent and skills needed to develop sustainable careers through sectoral partnerships. The fourth of our 10-year Ambitions is that ideas are brought to life by a diverse, skilled and connected leadership and workforce. As part of our Performance Management Framework we currently measure our progress against the following outcome:

Outcome 4

Leaders across the sectors are more confident, knowledgeable, connected and developing more sustainable business models.

Explore more onlineCollaboration at the heart of Scotland's creative industries

As part of the aim to support the growth of more sustainable creative businesses, Creative Edinburgh and Creative Dundee produced a series of events exploring opportunities to discuss business models, collective working and collaborative approaches between creative industries and other sectors.

The Creative Industries Strategy, published in May 2016, was developed in close consultation with key industry figures and included an open public consultation phase. The Strategy presents the overall ambition for Scotland to be the most positive environment globally for innovative creative businesses of all scales and introduces four headline aims:

Investing together to grow sustainable creative businesses through collaboration and partnership working.

Innovating for the wider economy across all areas of business including the public sector. Increasing inclusivity; creating opportunity for emergent creative forms and recognising the

value of local trading and place-based partnerships. Increasing international profile and status; opening pathways to global marketplaces.

We actively pursue a collaborative, partnership approach to working with other public sector agencies and in developing the workforce in the creative sector. In particular we support Skills Development Scotland in delivering the Skills Investment Plan.

We lead on the co-ordination of Scotland’s Creative Industries Partnership (SCIP), which brings together Scottish Government, Creative Scotland, Scottish Enterprise, Highlands and Islands Enterprise, Scottish Funding Council, Skills Development Scotland, VOCAL (the national association

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for Local Authority culture and leisure managers), Scottish Local Authorities Economic Development group (SLAED), Scottish Development International and Business Gateway.

The Scottish Government Growth Sector Statistics for the Creative Industries (including Digital) measure the economic footprint of the Creative Industries. Following a period of decline from 2008, in terms of employment, business turnover and Gross Value Added (GVA)11, the Creative Industries have seen a steady increase in employment since 2010. The latest growth sector statistics show

The Creative Industries included 15,420 registered enterprises in 2016, an increase on 2015. The sector is dominated by small enterprises; 59% of registered enterprises have zero

employees (i.e. are sole traders) and 88% in total have less than five employees. In 2016 over 84,000 people worked in the Creative Industries, an increase of 11,000 (15%)

on 2015. This represents 3.3% of all employment in Scotland (up from 2.9% in 2015). The GVA of the creative industries continues to grow and was £4.6bn in 2015 (the most

recent data available). This represents an increase of 24% on 2014 figures when GVA stood at £3.8bn.

Explore more onlineMaking change at Make Works

Make Works help make local manufacturing inspiring and accessible – sharing open information about small-scale manufacturing in your local area. If you want to find factories, makers, material suppliers, and workshops, Make Works is the place to go.

Workforce and professional development

The work of organisations in the RFO network reaches across Scotland and, importantly, supports the individuals working in the arts, screen and creative industries, both as artists and in vital production, presentation and operational roles. These organisations also, in turn, collaborate with and support the work of other organisations across Scotland, the UK and internationally.

Of the 118 RFOs, 72 actively take a national leadership role in their sector and 67 play a key leadership role in their locality. Of these, 33 organisations were performing both roles.

Analysis of the Annual Statistical Survey returns from Regularly Funded Organisations for the year 2016/17 shows that RFOs employed 5,874 full-time-equivalent (FTE) staff members, of whom the equivalent of over 3,400 FTE (59%) were employed on a freelance or contractual basis (Figure 21). This compares to 6,056 FTE staff reported in 2015/16, of whom 63% (3807 FTE) were contractual or freelance staff.

Figure 21: Organisations in receipt of Regular Funding: workforce 2016/17

Full-time (FTE) Part-time (FTE) Number (FTE)Permanent 1,249 1,173 2,422

11 Gross Value Added or GVA is the common measure of aggregate value generated for the economy48

Contractual/Freelance 840 2,613 3,452Total 2,089 3,785 5,874

In returns to our Annual Statistical Survey for 2016/17, RFOs reported that they organised 13,248 events supporting artists, artistic development or professional training, attracting over 43,490 participants. In total, they commissioned 1,296 artists and creative practitioners to create new work, delivered 984 residencies and provided support-in-kind to a further 9,383 artists and creative practitioners. In 2015/16, RFOs reported that they organised 14,331 events supporting artists, artistic development or professional training, attracting over 44,869 participants. They commissioned 1,285 artists and creative practitioners to create new work, delivered 996 residencies and provided support-in-kind to a further 4,242 artists and creative practitioners

In 2016/17 Creative Scotland made 139 awards through Open Project Funding to support leadership training opportunities, professional development and work placements, to the value of £2.2m. A further 38 awards (to the value of £680,000) were made through Targeted routes to support professional development. These awards include Visual Artist and Crafts Makers Awards: devolved funding to local authorities to enable creative development and support in local areas.

Explore more onlineIncubating with Vanilla Ink

Vanilla Ink’ incubator ‘pod’ aims to support new talent in jewellery making. The tailored programme, focused on the development of confidence and business skills, has opened up new opportunities for those involved.

In 2015/16 Creative Scotland made 145 equivalent awards through Open Project Funding, to the value of £1.86m and 25 equivalent awards through Targeted Funding, to the value of £990,000.

Alongside our partner, the British Film Institute, we have supported Scottish Film Talent Network, which in 2016/17 commissioned the development of 12 first features (in addition to the continued development of 15 live feature film projects), development and production of 15 new and emerging talent short films, including 5 commissions for women filmmakers through the Five@5 programme; and 86 filmmakers received support to attend talent labs at national and international film festivals, training programmes and workshops.

We also supported the latest skills development training programme on Season 4 of the award-winning TV production, Outlander. Out of 20 Scotland-based trainees selected, 15 took their first step into the Film and TV industry.

Youth employment initiatives

Analysis of returns from the Annual Statistical Survey also shows that RFOs collectively employed more than 342 young people through youth employment initiatives, compared to 408 in 2015/16 (Figure 22).

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Figure 22: Organisations in receipt of regular and annual funding: FTE youth employment initiatives 2016/17

Number (FTE)Paid work placements 23

Unpaid Unpaid work placements 203Paid apprenticeships / traineeships 44Unpaid apprenticeships / traineeships 21Paid internships 34Unpaid internships 16Total 342

Analysis of these returns suggests that the relatively high numbers of individuals working with organisations on an unpaid work placement are doing so as part of structured work experience programmes with schools, universities and colleges. Creative Scotland is committed to ensuring that all organisations and projects that receive public funding are demonstrating best practice with regard to fair pay.

Diversity of income

RFOs drew on a range of additional income sources in 2016/17, to a total of £109.4m (Figure 23). This included £5.3m in donations, gifts and legacies and £5.7m from trusts and foundations. Organisations reported a total of £69.3m in earned income. This compared to a total of £109m in 2015/16, including £4.1m in donations, gifts and legacies, £6.3m from Trusts and Foundations and £68.7m in earned income.

Figure 23: Additional income streams: 118 RFOs (2016/17) and comparison to 2015/16

Income stream 2015/16 2016/17Public: Local Authority £13,139,544 £12,152,744Public: Other £7,898,701 £8,178,328Public: Creative Scotland other £4,991,883 £5,092,504Private: Donations, gifts and legacies £4,111,192 £5,280,782Trusts and Foundations £6,309,919 £5,733,924Other Funding £4,201,931 £3,588,402Earned Income £68,668,423 £69,333,446Total £109,321,592 £109,360,130

Sectoral Development

In order to respond to the large number of high quality applications to Regular Funding from 2015-18 we support a number of Scotland’s sector development bodies as strategic partner organisations, through Targeted Funding. These organisations are:

Arts and Business Scotland Creative Carbon Scotland The Cultural Enterprise Office Culture Republic, and The Federation of Scottish Theatres

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In 2016/17 these organisations received £1.7m, including £463k in ring-fenced grant-in-aid funding to support specific project activity undertaken by the Cultural Enterprise Office (£163k) and Arts and Business Scotland (£300k).

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Figure 24: Summary of progress against performance indicators for Outcome 4

Leaders across the sectors are more confident, knowledgeable, connected and developing more sustainable business models.

Three-year Indicator*

Measure Source Status

4.1 Maintain the breadth of organisations taking a leadership role in their sector and/or locality

The count of organisations in receipt of Creative Scotland Regular Funding that provide a leadership role in their sector or locality

Creative Scotland funding operations data including funding agreements

Of the 118 RFOs, 72 actively take a leadership role in their sector and 67 play a key leadership role in their locality

4.2 Increase in the number of professional development opportunities through Creative Scotland funding

The count and value of leadership training opportunities, professional development, work placements, apprenticeships or internships supported by Creative Scotland funding

Creative Scotland funding operations data, annual returns and end of project monitoring

In 2016/17 Creative Scotland made 139 awards through Open Project Funding to support leadership training opportunities, professional development and work placements, to the value of £2.2m. A further 38 awards were made through Targeted routes to support professional development,to the value of £680k.

In 2015/16 Creative Scotland made 145 equivalent awards through Open Project Funding, to the value of £1.86m and 25 equivalent awards through Targeted Funding, to the value of £990k.

4.3 Improve youth employment opportunities in Creative Scotland funded organisations

The count of young people employed by Creative Scotland funded organisations through youth employment initiatives and type of employment

Creative Scotland funding operations data, annual returns and end of project monitoring

RFOs collectively employed more than 342 young people through youth employment initiatives, compared to 408 in 2015/16

4.4 Broaden range of income streams

The count, value and type of income streams of Regularly

Creative Scotland funding operations data and annual

RFOs drew on a range of additional income sources in 2016/17, to a total of

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across the sector Funded Organisations, including earned income and voluntary giving

returns £109.4m. This included £5.3m in donations, gifts and legacies and £5.7m from Trusts and Foundations. Organisations reported a total of £69.3m in earned income. This compared to a total of £109m in 2015/16, including £4.1m in donations, gifts and legacies, £6.3m from Trusts and Foundations and £68.7m in earned income

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5. International

Creative Scotland operates in a broader national and international context, working closely with our partners to provide leadership and advocacy for the arts, screen and creative industries in Scotland. The fifth of our 10-year Ambitions is ensuring that Scotland is a distinctive creative nation connected to the world. As part of our Performance Management Framework we currently measure our progress against the following outcome:

Outcome 5

More of Scotland’s artists and creative people are engaging with international artists and creative practice.

International Engagement

Regularly Funded Organisations demonstrate a high level of interest in working internationally. In addition, individuals and organisations can seek funding support through Open Project Funding to develop relationships, grow expertise, co-produce with international partners and showcase work. Through these routes and others such as the Scottish Government’s Festivals Expo Fund (that includes the Made in Scotland initiative), work produced here is reaching new audiences, markets and supporters.

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In early 2017, the American Craft Council invited 20 Scottish makers and designers to showcase their work at the exclusive American Craft Show Baltimore – the first time non US makers were shown. Read more abouy how this partnership with Craft Scotland generated huge interest in Scottish making.

Creative Scotland fosters institutional links to create frameworks from which artist opportunity can grow. These include a strategic partnership with the British Council harnessing the value of their global office network; partnering British Council and the National Galleries of Scotland to deliver Scotland + Venice in 2017; and collaborating with the three other UK arts councils to facilitate touring of large-scale work across the UK.

In 2016/17, we continued to support the Momentum international delegate programme in Edinburgh during its festival season. Delivered through a partnership between the British Council, Festivals Edinburgh and Creative Scotland, with support from City of Edinburgh Council, EventScotland and the Scottish Government, the Momentum programme aims to encourage partnerships, investment and international collaboration. The programme shares the wider Scottish cultural offering with delegates, and cultivates collaborative opportunities for Edinburgh’s Festivals, Scottish artists and Scottish work internationally.

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Explore more onlineCurious Seed – taking dance international

International Tanzmesse nrw is Europe’s largest dance trade event, taking place annually in Düsseldorf, Germany. 2016 saw the first time Scotland had presented a co-ordinated presence at the festival, with programme performances from Joan Cleville Dance and Mystery Skin, as well as a Scottish delegation of attendees including choreographers, performers and producers.

In 2016/17 Regularly Funded Organisations toured to 96 international venues across Europe, Australasia, Asia and North and South America. In addition, our funding supported 123 awards enabling international exchange through Open Project and Targeted Funding, with a total value of £2.1m. Additionally, we made 61 awards that specifically supported the showcasing of international work in Scotland, to the value of £1.6m.

In 2015/16 Regularly Funded Organisations toured to 85 international venues across Europe, Australia, Asia and North America. In addition, our funding programmes for 2015/6 supported 131 awards enabling international exchange, with a total value of £1.3m. We made 51 awards that specifically supported the showcasing of international work in Scotland, to the value of £1.1m.

The Creative Scotland Screen Commission has been actively promoting Scotland’s talent, locations and facilities at markets and festivals throughout 2016/17, at UK Film and TV in Los Angeles in partnership with the British Film Commission and as part of familiarisation trips for international studio executives’ location shooting or considering basing their productions in Scotland. Film and TV producers spent a record £64.9m shooting on location in Scotland in 2016. These production spend figures represent an increase of almost £9m compared with 2015.

Creative Europe

Creative Europe is the European Union’s programme to support the cultural, creative and audio-visual sectors from 2014-2020. Creative Scotland is a partner of Creative Europe Desk UK, led by the British Council and BFI, which promotes awareness and understanding of Creative Europe, providing free advice and support for applicants from the UK. This involves specialist staff in both MEDIA and Culture sub-programmes organising workshops, seminars and industry events, as well as answering enquiries and offering one-to-one discussions.

The Creative Europe programme comprises two sub-programmes; Culture supporting the creative, cultural and heritage sectors and MEDIA promoting the development and distribution of audio visual works, including film, television, documentary, animation and video games.

Since the start of the Creative Europe programme in 2014 and up to the end of 2016, 20 Scottish organisations have been involved in 29 projects receiving Creative Europe support, totalling over €11.6m, ranging from direct support for film development, through to partnership projects working in collaboration with other European organisations.

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In 2016, six initiatives involving Scottish organisations which were successful in securing Creative Europe support through the Culture sub programme. This included four Cooperation Projects receiving in total €2.5m with two projects with Scottish lead partners – Imaginate and Historic Environment Scotland – as well as Rural Nations Scotland and UZ Arts being partners in two other projects. European Platforms Literary Europe Live and In Situ received another year of funding with Scottish members Scottish Poetry Library and UZ Arts respectively.

Scottish literary titles were also supported by the Literary Translation strand to be translated into other languages by other European publishers, including Janice Galloway’s Clara into Italian, and Michel Faber’s The Crimson Petal and the White into Macedonian.

Creative Edinburgh and Creative Dundee are also partners in the European Creative Hubs Network led by British Council which received €1m through a one-off cross-sectoral call to help creative hubs across Europe connect, share best practice and develop training for hub managers.

Explore more onlineCreative Europe pushes forward with arts fundingWith the help of funding from Creative Europe, read more about how Imaginate collaborated with partners in Belgium, Ireland, Norwary and Denmark on ‘Push’ a project aiming to develop thinking, ideas and art forms in theatre and dance for young audiences across Europe.

Scotland’s International Reputation

As part of the Government’s National Performance Framework (NPF) Creative Scotland is a named partner contributing to for the delivery of the indicator to ‘improve people’s perceptions, attitudes and awareness of Scotland’s reputation’. This indicator is measured by the Anholt-Gfk Roper Nation Brands Index© (NBI), analysing people’s attitudes and perceptions of countries’ reputations. Scotland’s overall score on the NBI was 62.2 in 2016 slightly up from 61.8 in 2014, ranking Scotland 15th across 50 evaluated countries around the world, very similar to other Western nations of similar size.12

The Culture dimension of the NBI measures three elements of a nation's cultural reputation: its cultural history and heritage; its contemporary culture; and its sporting excellence. The Contemporary culture score increased from 4.5 in 2014 to 4.6 in 2016, ranking Scotland 13 th across all the countries included.

12 The Anholt-GfK Roper Nation Brands Index: 2016 Report for Scotland http://www.gov.scot/Publications/2014/12/4339 57

Figure 25: Summary of progress against performance indicators for Outcome 5

More of Scotland’s artists and creative people are engaging with international artists and creative practice

Three-year Indicator Measure Source Status5.1 Improve the quality and impact of international engagement opportunities through Creative Scotland funding

The count and value of Creative Scotland funding awards with a focus on international exchange and creative development

Creative Scotland funding operations data

In 2016/17, we made 123 awards enabling international exchange with a total value of £2.1m.

In 2015/6, we supported 131 awards enabling international exchange, with a total value of £1.3m.

5.2 Increase in the amount of international touring across Scotland through Creative Scotland funding

The count, value and geographic spread of individuals and organisations in receipt of Creative Scotland funding to showcase international work in Scotland

Creative Scotland funding operations data including annual returns

In 2016/17 we made 61 awards that specifically supported the showcasing of international work in Scotland, to the value of £1.6m.

In 2015/16 we made 51 awards that specifically supported the showcasing of international work in Scotland, to the value of £1.1m

5.3 Increase in the % of positive international perceptions of Scotland’s culture

% of positive perceptions of Scotland’s nation brand across six areas of national competence, characteristics and assets (exports, investment, tourism, governance, people and culture).

The Anholt-GFK Roper Nations Brand Index. The Index is based on yearly interviews with approx. 1,000 adults who are internet users in each of the 20 panel countries.

Scotland's overall 2016 score was 62.2, ranking 15th on the NBI. The Contemporary Culture score increased from 4.5 in 2014 to 4.6 in 2016, ranking Scotland 13th for Contemporary Culture.

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6. Our service and how we deliver our work

Creative Scotland is committed to providing an effective and efficient service to those we are here to support and to effectively manage the public funds for which we are responsible. As part of our Performance Management Framework we currently measure our progress against the following outcome:

Creative Scotland is a more effective and accountable organisation.

We continue to develop partnerships with others to create the best conditions for the arts, screen and creative industries to thrive. This includes working with economic development agencies, trusts and foundations, Local Authorities and other public and private sector organisations, to address strategic needs in the arts, screen and creative industries. Our strategic partnerships include those with the BFI to support the Scottish Film Talent Network, Local Authorities involved in Place Partnerships and VACMA awards (Visual Artist and Crafts Makers Awards), Creative Europe, Education Scotland and the Paul Hamlyn Foundation.

In 2016/17 our strategic partnerships secured £4.9m of leveraged funding. This includes partnerships with the BFI, Paul Hamlyn Foundation, Scottish Enterprise, British Council Scotland and Education Scotland, and includes estimates of partnership funding secured through the Youth Music Initiative (YMI) and Cross-Border Touring. This compares to £5.1m in 2015/16.

In 2016/17, we received and processed 1,655 applications to our Open Project Funding programme. This fund operates two processing times: eight working weeks for under £15k applications and 12 working weeks for over £15k. On average the turnaround times for the assessment of applications, from the date application received to notifying applicant of our decision, were 37 and 54 working days respectively. Overall, 86% of applications to the Open Project Fund were processed within the specified time frame (just under 84% for the under 15k fund and 95% for the over 15k fund). In 2015/16, 79% of applications to the Open Project Fund were processed within the specified time frame.

In 2016/17, all award payments in 2016/17 were made within 10 working days of the exchange of contracts. Creative Scotland paid 74% of valid invoices within 10 working days, unchanged from 2015/16.

In order to better understand the service we provide, we undertake a survey twice a year of both successful and unsuccessful applicants to our funding routes. In the March 2017 survey, those expressing trust in Creative Scotland was 66% and Creative Scotland’s knowledge and specialist expertise, the quality of our service and our passion and commitment remain highly rated aspects of our service

We ask a number of survey questions to gauge applicants’ satisfaction with our services. Survey responses for 2016/17 show that:

The number of respondents satisfied with communications with Creative Scotland was 79%, compared to 84% in 2015/16

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The number of respondents rating the Creative Scotland website as good, very good or excellent was 71%, compared to 76% in 2015/16.

The number of respondents rating responsiveness to enquiries and requests as good, very good or excellent was 77%, compared to 83% in 2015/16

For those who had used our dedicated Enquiries service, satisfaction was 78%, compared to 88% in 2015/16.

Those rating the application process as good, very good or excellent was 60%, compared to 67%

Our digital channels continue to be our primary means of communication and engagement with the majority of our stakeholders and have had an increasing reach across all platforms. In 2016/17, we recorded:

195,062 new visitors to our homepage, an increase of 27% from the previous year 5.4m total page views, (including our Opportunities site which allows individuals and

organisations to advertise and respond to sector opportunities) an increase of 4% from the previous year

8,504 views of our Explore pages, where we published 94 new features showcasing work in Scotland’s arts, screen and creative industries

Nearly 3,000 new followers on Facebook, bringing the total to 40,653 Over 11 impressions on Twitter and 76.5k Twitter followers (an increase of 8%).

Over 75% users highly rated the accessibility, ease of understanding and content of our website, based on our March 2017 applicant survey.

In January and February 2015, we ran our first full employee engagement survey for Creative Scotland staff. The aim of the survey was to hear staff views on organisational culture, communication and management to help us to develop the organisation and its support structures, and ensure the successful delivery of the organisation’s goals and strategic objectives. The employee engagement survey found that on the whole, employees at Creative Scotland are positive about their job; the majority feel a sense of satisfaction from the work they do and would recommend Creative Scotland as a good place to work. The survey identified four key areas for the organisation to prioritise: how we are led and managed; how we communicate; how we learn and develop; and work/life balance. Staff groups were set up to address all of these priorities. We have subsequently run a staff survey in the summer of 2017 to assess change since 2015.

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Figure 26: Summary of progress against performance indicators for Our Service

Creative Scotland is a more effective and accountable organisation.

Performance Indicator

Measure Source Status

6.1 Increased applicant satisfaction

% of surveyed funding applicants reporting positive interaction with Creative Scotland

Creative Scotland Applicant survey

In 2016/17, the number of respondents satisfied with communications with Creative Scotland was 79%, compared to 84% in 2015/16. Those rating the application process as good, very good or excellent was 60% , compared to 67% in 2015/16.

6.2 Maintain applicant satisfaction with Creative Scotland website

% of surveyed funding applicants reporting all aspects of website as good or excellent

Creative Scotland Applicant survey

In 2016/17, the number of respondents rating the Creative Scotland website as good, very good or excellent was 71%, compared to 76% in 2015/16. In 2016/17, we recorded 5.4m total page views and 195,062 new visitors to our homepage, an increase of 27% from the previous year.

6.3 Minimum of 90% of funding applications processed within published timeframe

% of applications processed within agreed timeframe

Creative Scotland operational funding data

86% of applications to the Open Project Fund were processed within the specified time frame (84% for the under 15k fund and 95% for the over 15k fund). In 2015/16 79% of applications to the Open Project Fund were processed within the specified time frame

6.4 Minimum of 90% of initial payments to successful funding applicants made within published timeframe

% of initial award payments made within 10 working days of exchange of contracts

Creative Scotland operational finance data

All award payments in 2016/17 were made within 10 working days of the exchange of contracts

6.5 Minimum of 90% of invoices paid within published timeframe

% of valid invoices paid within 10 working days

Creative Scotland operational finance data

In 2016/17, 74% of valid invoices were paid within 10 working days. This is unchanged from 2015/16

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6.6 Increase the range of funding for the arts, screen and creative industries leveraged through Creative Scotland strategic partnerships

Value and source of additional funding opportunities in the arts, screen and creative industries sectors established as a result of Creative Scotland partnerships

Creative Scotland operational funding data

In 2016/17 our strategic partnerships secured £4.9m of leveraged funding. This compares to £5.1m in 2015/16.

6.7 Maintain high level of applicant satisfaction and resolution levels of enquiries

% of satisfaction with enquiries service

Creative Scotland Applicant Survey

The number of respondents rating responsiveness to enquiries and requests as good, very good, or excellent was 77%, compared to 83% in 2015/16. For those who had used our dedicated Enquiries Service, satisfaction was 78%, compared to 88% in 2015/16.

6.8 Improve level of staff engagement and satisfaction

% of staff agreeing that Creative Scotland is a good place to work

Creative Scotland staff survey

Our 2015 staff survey found that 60% of staff would recommend Creative Scotland as a good place to work.

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