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A National Cultural Strategy forScotland

Report of Consultation

B O N N A RK E E N L Y S I D E

A National Cultural Strategy forScotland

Report of Consultation

1 February 00

B O N N A RK E E N L Y S I D E

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A National Cultural Strategy for Scotland – Report of Consultation

B O N N A R K E E N L Y S I D E February 00

Contents

Pages

1. Introduction.....................................................1

2. Breadth of consultation ................................2

3. Summary of Public Meetings .....................3

4. Summary of written responses.................10

5. Summary of Literature Review of othercountries.........................................................21

6. Conclusion......................................................27


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1. Introduction

1.1. The Scottish Executive’s Partnership forScotland, published in May 1999, contains acommitment to develop a National CulturalStrategy for Scotland. As a first step, theDeputy Minister for Culture and Sport, RhonaBrankin MSP, launched a consultationdocument in August 1999. This was followedby a series of public meetings throughoutScotland and a request for responses to theconsultation document.

1.2. 15 public meetings were held, involving around750 people and 350 responses were received byemail or letter. Bonnar Keenlyside was askedto produce a report on the consultation. Thisis a summary of the consultation process andof a review of cultural strategies in othercountries.


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2. Breadth of consultation

2.1. The consultation process involved a wide rangeof cultural organisations, from the small,voluntary sector through to nationalinstitutions and funding agencies.

2.2. Most respondees or attendees were restrictedto those currently involved in the cultural lifeof Scotland. This reflects the publicityattached to the Strategy and also a range ofperceptions as to the nature of a CulturalStrategy. It is not always clear what such acultural strategy is and not everyone isinterested.

2.3. The process was overseen by a focus groupcomprising: John Archer of Scottish Screen,Mark Jones of the National Museums ofScotland, Magnus Linklater of the Scottish ArtsCouncil, Bridget McConnell of Glasgow CityCouncil and Donnie Munro of Sabhal MorOstaig.

2.4. The focus group members attended andchaired the public meetings. Additionalconsultation was organised by Glasgow CityCouncil specifically with young people andwith ethnic minorities.


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3. Summary of PublicMeetings

3.1. Consultation meetings took place in Aberdeen,Cumbernauld, Dumfries, Dundee, Edinburgh,Fort William, Galashiels, Glasgow, Inverness,Islay, Thurso, Ullapool and a video conferenceinvolving Benbecula, Lewis, Orkney andShetland. There were between 4 and 200people at each meeting with an average of 50.In general, people who attended were involvedin the arts or heritage activities. The averageage at most meetings was over 35. Three othermeetings were included: one with young peoplein Glasgow, one with students and teachers forEdinburgh College of Art and one withrepresentatives of cultural and ethnicminorities, convened in Glasgow.

3.2. Themes emerged common to all the meetings.

The Cultural Strategy

3.3. There was general enthusiasm for the Strategyand the chance for Scotland to lead within theUK by making a commitment to culture atgovernment level.

3.4. This could improve the understanding ofculture within and outside Scotland and allowculture to play its part in a range of othergovernment agendas including social inclusion,education, health and economic regeneration.It would be important that the Strategy shouldlink with other planned or existing strategieswithin the government.

3.5. People were enthusiastic about the opportunityto raise the profile of culture within Scotlandand to change attitudes.

The Meaning of Culture

3.6. There were problems encountered with theword ‘culture’. Not only was there not acommon understanding of what it meant, butthere was a general perception that it wasassociated with elitism and therefore created abarrier for many people.

3.7. Definitions of culture varied from onesynonymous with the arts to a much broaderand holistic definition. There were varyingviews as to whether or not sport should beincluded. Generally, people wanted the widestdefinition of culture to be adopted and wereagainst a prescriptive definition. They alsowanted it to be inclusive, encompassing all ofScotland’s communities including ethnicminorities, Gaelic and Scots speakers, youngpeople, old people, people in ruralcommunities and in the different communitieswithin cities. Culture should be at the centre ofpeople’s lives.

Access

3.8. There were suggestions in several meetings thatculture and access to culture should be a basichuman right, enshrined in the form of anentitlement.

Funding

3.9. The process of achieving public subsidy wasviewed as being too complicated and opaqueand there was a frequently expressed view thatit should be simplified and decisions mademore transparent.

3.10. People wanted more funding decisions made ata local and community level and some wantedpriorities changed. This was particularly thecase for local and community groups who feltthat there was a bias towards large, nationaland centralised organisations at their expense.


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3.11. People and organisations sought stability infunding. They wanted core activities fundedproperly instead of a series of short-termprojects which were perceived not to besustainable.

3.12. They wanted to re-badge ‘subsidy’ in culture as‘investment’ to reflect it more positively.

Local authorities

3.13. The role of local authorities in supportingculture was debated, with people complainingthat their own local authority did not valuecultural activity sufficiently. There was arequest to clarify and strengthen the statutoryrequirements for local authorities to providecultural activities and facilities.

3.14. All sorts of cultural activities were believed tohave suffered since local authorityreorganisation, and museums and art venuesnot to have recovered.

Education

3.15. Culture in education emerged as the singlebiggest issue. At all the meetings, peoplecomplained about how culture is taught inschools. The lack of understanding andcommitment to every aspect of Scottish culturewas commented upon, including language,expressive arts, history, identity and heritage.More specifically, there were many criticisms ofthe restrictions of the curriculum and the lackof resources, in particular instrumental musictuition.

3.16. There was also debate as to how culture andeducation should be delivered - how muchshould be done in and by schools and howmuch out of school and by other specialists.

Scotland’s Image

3.17. There was a desire to refresh the image ofScotland and Scottish culture which isportrayed, particularly to visitors. The currentimage was thought to stereotype Scotland as atartan and shortbread culture. People thoughtthat film and television offered realopportunities to improve Scotland’s image.The success of films like Braveheart in attractingtourists was cited.

3.18. People wanted an improvement in howScotland and Scottish culture is promotedoverseas.

Participation

3.19. People thought that encouraging individualcreativity through active participation ratherthan passive spectating was important.

Access

3.20. People considered that the Strategy should beconcerned with ensuring that everyone hasaccess to cultural activities and facilities.

Social inclusion

3.21. Most meetings were concerned that there aremany people in Scotland who are excludedfrom participation in cultural activities becauseof lack of confidence, money, transport,facilities or activities. This was highlighted notonly at the meetings in cites but also in ruralareas. It was a common aspiration that theStrategy should deal with this exclusion andthere were various suggestions as to how thismight be done including various developmentschemes, investment in infrastructure andeducation.

3.22. People expressed a belief that cultural activitiescould combat social exclusion and variousexamples from museums, arts and sports weregiven. The links with other governmentactions were therefore thought important.


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Traditional arts

3.23. People wanted the Strategy to recognise theimportance of our traditional arts and topreserve and support their development. Theyexpressed the opinion that the traditional artshave been largely neglected for a considerabletime. For some, this was more important thansupporting other things. Overall, peoplewanted the Strategy to achieve a balancebetween the traditional, classical andcontemporary.

Artists

3.24. The Strategy was seen as an opportunity toimprove support for artists. People thoughtthat the status of artists should improve andthat there should be mechanisms to keep themin Scotland through financial support, perhapstax breaks.

3.25. Artists and craftspeople expressly wantedsupport in the business and commercial aspectsof their work.

New technologies

3.26. Everyone recognised the potential of newtechnologies. The Internet was mentionedoften as a key communication tool, particularlyby young people and those in ruralcommunities. But it should not be a substitutefor physical access.

Young people and children

3.27. Young people were not particularly evident atmost meetings and this was often remarkedupon with a view that young people should beconsulted and that youth culture wasimportant. The sports world was thought tobe more successful at encouraging youngpeople than arts and heritage.

Media

3.28. The importance of the media was discussed,both as a vehicle for coverage of Scottishcultural activities and as an importantcommunicator. Television and newspaperswere mentioned, often in frustration becausethey were perceived not to contributepositively towards Scottish culture. Local andcommunity radio was referred to positively as avital tool in local communication.

Language

3.29. The importance of both Gaelic and Scots inour culture was emphasised, more so in theHighlands and Islands. There was debate as tothe respective priorities of these languages,particularly with regard to where resources areallocated and there was mention of otherlanguages and dialects. Overall, people wantedthe Strategy to recognise the validity andrichness of the various languages.

National Theatre

3.30. At most of the meetings, some support wasexpressed for a national theatre.

Publishing and literature

3.31. Several of the meetings expressed a hope forbetter support of Scottish publishing andliterature, including through its relationshipwith libraries. There was also an aspiration thatthe core library service would be better funded.

Tax Breaks

3.32. At many of the meetings, the hope wasexpressed that tax incentives could beintroduced to support artists directly and toencourage investment by commercialorganisations and private individuals.


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Amateurs and volunteers

3.33. There was a plea for recognition of this sectorwithout which many cultural activities wouldnot happen. It was an aspiration that theStrategy might reduce the reliance onvolunteers in rural communities.

The Feis Movement

3.34. The feis movement was cited frequently assuccessful model involving young people andtransferring skills. Equally, the danger of over-dependence on volunteers was emphasised.

Other countries

3.35. People talked about other countries whichwere thought to be good models for Scotland.Ireland was mentioned most frequently assuccessful in promoting itself and its culturethrough, amongst other things, music andGuinness. Scandinavian countries were alsothought to value culture more than the UKdoes.

Meetings in rural areas

3.36. All of the meetings in rural areas also focussedon the problems faced because of a lack ofinfrastructure. People complained about thenational companies and expressed the viewthat these companies did not serve those inrural areas and outside the central belt. Peoplein rural areas expressed a belief that grass roots,community and amateur activity is thebackbone of cultural activity for them. Somewere dissatisfied with the current fundingsituation which, they believed, largely ignoresthis activity.

Meetings in cities

3.37. In cities, people were enthusiastic about thepotential of the Strategy to create a newconfidence in culture and to show leadership.The opportunities for the social and economicregeneration of cities were believed to be moreattainable under the aegis of a national culturalstrategy.

Focus of particular meetings

3.38. Some particular issues arose at particularmeetings:

Aberdeen

3.39. In Aberdeen, people identified gaps ininfrastructure. They had suggestions formaking culture central to education andemphasised the importance of the amateursector and the heritage local to the area,including Doric.

Cumbernauld

3.40. In Cumbernauld, the particular needs of peoplewith special needs and learning difficulties werehighlighted. It was hoped that the Strategycould create a situation where people withspecial needs were more involved in culturalactivities.

Dumfries

3.41. This was a well-attended meeting. A majorfocus was on the importance of anunderstanding of our history and also the Scotslanguage. There was an emphasis on our builtand natural heritage and the applied arts.

3.42. The success of arts development work in thearea was highlighted, supporting artists andpromoting cultural activity according to localneed.


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3.43. Broadcasting was a particular issue here,sparked by the fact that the area is largelyserved by Northern Irish and Englishtelevision.

3.44. People wanted the Strategy to take steps tostop important works of art being soldoverseas.

Dundee

3.45. There were two meetings in Dundee. Peoplewere keen to talk about the City’s success inusing the arts in economic and socialregeneration and their success in working inpartnerships across the education, tourism andsocial sectors of the City.

3.46. There was also a call to provide better supportfor the rock and pop industry and also to fundbetter the library service.

Edinburgh

3.47. All of the key themes were debated and therewas an emphasis on the importance of newwork.

Fort William

3.48. This took place during the National Mod andbegan with a debate on the importance ofGaelic with a plea for the consolidation offunding for Gaelic.

3.49. It was hoped that the Strategy could make itpossible for the Gaelic and traditional artsfirstly to be preserved, then developed andtheir status and existence secured. Thereafter,there would be an opportunity for these arts tocontribute towards the export of Scottishculture.

Galashiels

3.50. In Galashiels, the particular problems of ruralpopulations were highlighted at the same timeas the success of arts development work in thearea. There was an emphasis on theimportance of history and heritage and its rolein education. There was a hope expressed thatartists could be better assisted through businesstraining and support, and that benefits could begained from cultural tourism.

Glasgow

3.51. There was support for the Strategy leadingchange and placing culture at the centre ofScottish life. People were also concerned withthe need to improve the export of Scottishculture and with internationalism.

Highlands and Islands Video Conference

3.52. This consultation included participants inBenbecula, Inverness, Lewis, Orkney andShetland. It was emphasised that each area hasits own rich cultural traditions and theimportance of these and traditional arts ingeneral was emphasised. In rural and isolatedcommunities, cultural activities have a role toplay in social and economic life.

3.53. People on the islands face barriers because ofthe lack of infrastructure and lack of availabilityof affordable transport.

3.54. Local ownership of important cultural artefactswas mentioned with a plea for the return of theLewis Chessmen.


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Inverness

3.55. In the Highlands problems were cited arisingfrom the lack of infrastructure in an area whichdiffers from the rest of Scotland in itsgeography and economy. People feltparticularly disadvantaged because of theirremoteness from the central belt and felt thatlocal initiatives and facilities were not funded asthey should be.

3.56. There was a strong emphasis on theimportance of the indigenous culture includingarts and languages and in education.

Islay

3.57. The spiritual, religious and moral dimensionsof culture were discussed at this meeting. Thesevere lack of resources for teaching all thingscultural including Gaelic was emphasised.

Thurso

3.58. People mentioned problems because of thelack of a cinema and performance venue;people felt that they did not have the sameaccess as others.

Ullapool

3.59. Ullapool was one of the largest and liveliestmeetings and included young people.Particular emphasis was placed on culture incommunity development and the success ofthe feis movement was suggested as a model toinform the Cultural Strategy.

Young People

3.60. A seminar for young people was held inGlasgow, with several sessions. Particularthemes which emerged were:

3.61. Young people felt that they are not informedabout events and facilities available to them.This is both in terms of factual informationand becoming familiar with a new type ofactivity.

3.62. Young people considered that barriers toparticipation include transport availability andcost, price of tickets and hires, availability ofvenues and territorialism within communities.

3.63. Young people wanted access to resources withwhich they can engage in cultural activities.Often they do not have this access, withschools and community centres lacking inavailability and facilities.

3.64. They emphasised the importance of youth andvoluntary organisations, youth councils andparliaments for communication.

3.65. Young people wanted more access to Internetand new technologies. They would like acultural strategy to include youth culture whichincludes computers, music, street culture andcommunity arts – being actively involved inculture.

3.66. They considered that Scotland’s image isnarrowly stereotyped.

Edinburgh College of Art

3.67. A meeting with teachers and studentshighlighted the need to help artists anddesigners gain commercial skills, enhancedpromotion in Scotland, the UK andinternationally and establish links with industry.


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Cultural Diversity Workshop

3.68. A workshop was held in Glasgow withmembers of a range of culturally diversecommunities. The main issues to arise were:

3.69. All Scotland’s cultures and languages should beincluded in the Strategy and in education.

3.70. The Strategy offers an opportunity to changefunding priorities and create a transparentframework for support of facilities andactivities.

3.71. Some cultural groups are currently effectivelyexcluded from some cultural facilities andactivities because their needs are not taken intoaccount, for example, communal changingareas in sport facilities exclude some people onreligious grounds.

3.72. People from minority cultures believe that themedia neither includes nor accurately reflectsthem.

3.73. Religion should be included in the definition ofculture and so should sport, festival, faiths andtradition.

3.74. There is a need for better communicationsystems.

3.75. There should be integrated and multi-culturalactivities and facilities and also separate ones.


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4. Summary of writtenresponses

4.1. This section summarises the views, themes andissues to arise from the responses sent in byletter or email from around 350 people. Theresponses came from a wide range ofindividuals, independent organisations andassociations as well as from major nationalinstitutions and non-government organisations,local authorities and trade unions.

4.2. Some were short e-mails or hand-writtenletters. Others were lengthy and detailedresponses enclosing relevant research. Someresponses dealt with single issues, someanswered the specific questions raised in theconsultation document, some responded to thesubmissions of others and some did notdirectly address any issues but rather enclosedinformation as to their own organisation’sactivities.

4.3. Although there was wide variation in theresponses, there were clear primary themeswhich arose.

4.4. These primary themes were:

• the idea of a cultural strategy was welcomed, asa means for people in Scotland to understand,express and take pride in their culture, and tocommunicate with others

• the diversity of this culture was emphasised bymany

• there was a strong desire for Scottish culture tobe taught in schools and to redress a perceivedimbalance in the education system, and forpupils to be taught about Scotland’s history,heritage, language, artistic traditions, ideas,innovation and its relationship with the rest ofthe world

• the need to recognise the Scots language, tomeasure its use, to celebrate and not denigrateit, and to enable it to take its place alongsideGaelic and English

• there were several definitions of culture whichcan broadly be grouped into three:

• an holistic definition similar to theUNESCO one which consists of alldistinctive spiritual and material,intellectual and emotional features whichcharacterise a society or group

• an inclusive, more detailed, definitionwhich specifically lists a wide range ofleisure activities in which different sectorsof our society engage nowadays

• one which equates culture to the arts

• there was a demand for a review of the currentstructures for the support of culture, withwidespread dissatisfaction with the currentstructures and agencies, save from some of theagencies themselves; alternative models weresuggested

• there was a demand for the reinvention of theimage of Scottish culture overseas

• there was a demand for a review of the natureand support of national companies

• there was strong support for increasing accessto all aspects of culture to all people inScotland, with specific emphasis on youngpeople

4.5. Certain areas in the consultation documentprompted confusion. These were:

• the national companies: this sparked debate asto what constitutes a national company

• the creative industries: there was no generalagreement as to what these are


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Attitude to the Idea of a CulturalStrategy

4.6. Respondents welcomed the idea of having aNational Cultural Strategy and its aspiringnature was applauded. Several commented onthe importance of such a strategy and manyagencies explicitly stated their desire to beactively involved in the formation of theStrategy as it moves from broad brush ideas todetail.

4.7. Respondents expressed the belief that theStrategy has the potential to change attitudes toculture and to promote culture within andoutwith government. There was a hopeexpressed that the Strategy could recogniseculture as part of life, as an asset to becelebrated and valued in Scotland and not anoptional extra. The need for enthusiasticleadership was expressed.

4.8. More specific aims for the Strategy weresuggested as:

• providing a coherent framework for all culturalactivities

• providing a framework which servesgovernment by objective and whichcontributes to ‘joined up’ delivery

• creating access to resources including targetedinvestment in key areas

• meeting the needs of the people of Scotlandfrom the bottom up

Definitions of Culture

4.9. There were many comments and definitionswhich we have grouped into three:

• an holistic definition, similar to the UNESCOdefinition

• an inclusive definition, which lists activities

• a definition synonymous with the arts

Holistic

4.10. This definition, ‘all distinctive spiritual and material,intellectual and emotional features which characterise asociety or group’, encompasses a wide range ofspiritual, behavioural and physical elements.The definition can accommodate the majorityof suggestions made by respondents including:

• identity, history, traditions, symbols, language,diversity, shared experience, innovation,creativity, enterprise, arts, emotion, spiritualand aesthetic, faiths and beliefs, perspectives

• natural and built environment, science andinvention

• preservation, exploration and communicationof ideas, emotions, values and experiences,attitudes

• kilts, the law, Sunday school picnics, whisky,shinty, football and knitting (food, sport,fashion, institutions, customs)

• things we are proud of

• the arts and heritage (broadest definition),libraries, archives, museums

4.11. It encompasses all aspects of the natural andbuilt heritage. Several respondents commentedon a perceived imbalance in the consultationdocument as far as all aspects of the built andnatural heritage are concerned includingarchaeology, town planning and industrialheritage.

4.12. Likewise, science and invention and innovationwere specifically mentioned by several as beingimportant parts of our culture which should beincluded.

4.13. The definition of the arts here is also broadincluding all performing and exhibiting arts,presentation and participation and the fullrange of design, architecture and appliedcreative activities like fashion.

4.14. It is likely that this type of definition would besupported by the majority of respondents.


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Inclusive

4.15. This definition is compatible with the holistic,UNESCO definition, but differs in that it isspecific both in terms of the activities itincludes and the people it aspires to include. Itwas suggested by The Council of ScottishLocal Authorities (COSLA) and other publicsector agencies.

4.16. It specifically includes sport and a range ofactivities engaged in by young people, andinformation technology, advertising and othercreative industries, amongst others.

4.17. It is also similar to the definition adopted bythe Department of Culture Media and Sport(DCMS) in Westminster. This includes arts,heritage, libraries, sport, play, leisure, tourismand the arts.

Synonymous with the arts

4.18. Artists and arts organisations, on the whole,thought culture synonymous with the arts.

4.19. The Scottish Arts Council, while subscribing toan holistic definition of culture, described itsown broad definition of the arts as including,in addition to performing, visual, film andmedia, amateur and professional arts, the areasof graphic and industrial design, fashion,multimedia, built and other environment,broadcasting and IT.

4.20. While the holistic and inclusive definitions arecompatible with each other, the definition ofculture as art is not. Further, it may perpetuatethe idea of culture as exclusive.

Scope of strategy

4.21. Several areas which effect the cultural life ofScotland are held under reserved powers inWestminster, including the National Lottery,broadcasting and tax issues. Respondentscommented on the importance of includingthese areas within the Strategy.

Identity and traditions

4.22. Many respondents remarked on theimportance of identity. Scottish identity now isdiverse. Our heritage, history and traditionsare important to identity but many respondentscommented on our general lack ofunderstanding and knowledge. Many, if notmost, people living in Scotland now have notbeen taught about their history or heritage atschool or at home. Many of us do not have arounded understanding of what it means to beScottish. This was largely attributed to the lackof teaching of these aspects within the school.

4.23. A view expressed often was that we have tounderstand where we come from before wecan move on. The views of individuals wereechoed by the Scottish ConsultativeCommittee on the Curriculum whichconsidered that Scottish culture should beintegrated into the curriculum.

4.24. Specifically, there was a strong plea for musictuition in traditional instruments in school.More support for the traditional arts wasrequested by several respondents includingpiping and other traditional music, and brassbands.


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Language

Scots

4.25. A number of respondents were concernedprimarily with the importance of the Scotslanguage. These included lobby groups,associations and some individuals. All of thesewanted the status of Scots to be improved sothat we are proud of the language and can goon to improve its use in public life, and theremoval of the ‘cringe’ factor associated withScots.

4.26. Specific suggestions for change included: themeasurement of the extent to which Scots isspoken through a question in the census; theupgrading from Part II to Part III in theEuropean Charter for Regional or Minoritylanguages; to making the Scottish Parliamentbilingual.

Gaelic

4.27. Several comments were made about theimportance of Gaelic and the need forbilingualism. Reference was made to the needfor integrated funding systems in the gaeltachtrelating to Gaelic culture and development.

4.28. There were dissenters as to the importance ofGaelic and Scots but the weight of opinion wasthat these languages are an important asset andshould inform the Strategy. Specific areaswhere intervention was suggested to promotethese languages included broadcasting andpublishing.

Education

4.29. Almost every respondent mentioned theimportance of Scottish culture in education andit was overwhelmingly the most importantpoint for many. There was a strong view thatit was important for Scottish culture to be anintrinsic part of the formal education system.The Scottish Consultative Council on theCurriculum sought a curriculum whichrecognises the value of Scottish culture andpromotes knowledge and understanding of allits aspects.

4.30. Specifically, respondents emphasised theimportance of history, Scottish arts andliterature, media and design. There was a viewthat culture should include not only thetraditional but also the very contemporary.

4.31. In higher education, the universities andcolleges wanted their contribution to culturallife to be in some way integrated into thegeneral strategy, particularly picking up on theirinternational links and history of inventions.They also hold key cultural assets such asuniversity museums which are not currentlyseen as part of the overall national asset.

Training

4.32. Several respondents stated that training in thecultural sector needs to be addressed,particularly in entrepreneurial and businessskills and in film. A wide range of potentialpartners was mentioned including the ScottishEnterprise Network.


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Heritage

4.33. There were several references to theimportance of the built and natural heritageand a plea for heritage to feature moreprominently in the Strategy.

4.34. Specific areas mentioned as assets includebuildings, town planning, industrial heritage,environmental heritage and archaeology,geography and natural science.

4.35. Dissatisfaction was expressed with currentstructures and resource allocation in this field,specifically the role of the Heritage LotteryFund in Scotland, the role and resources ofHistoric Scotland, local authorities and others.There was a perceived fragmentation andduplication in some areas and a concern thatsome aspects of cultural heritage are notpreserved locally, in particular historicbuildings and archives, artefacts and records.

4.36. There was a view that national treasures shouldnot all be held centrally.

Museums

4.37. Most of the issues about museums related tothe need to review structures. Connected tothis are problems with the roles, status andresources of local and regional museums, thewide disparity within the sector, the lack ofconsensus as to what constitutes a nationalmuseum and the relative balance between whatis held and controlled nationally and in theregions.

4.38. The sector as a whole called for review andspecific and detailed issues were suggestedincluding:

• review of all roles and structures withinScotland and the UK

• national loan schemes• control of collections throughout Scotland• financial support particularly at the local and

regional level, which includes museums with anational remit

Libraries

4.39. Libraries’ concerns included the need for anational strategy for Scottish materialsincluding archives, records and literature, andresource bases like dictionaries.

4.40. Specifically a commitment was sought tosupport Scottish publishing.

4.41. Other respondents sought an improvement inthe core funding of libraries as a basic service,recognising their changing role in communitiesas providers of information and a socialresource.

4.42. Tax breaks for library donations weresuggested.

SCRAN

4.43. SCRAN, the Scottish Cultural ResourcesAccess Network, was cited as a successfulmodel by several respondents in the way itprovides access through digitised images.

The arts and artists

4.44. Most responses from individual artists wereconcerned to emphasise the intrinsic value ofart, its universality and its lack of parochialism.There was a degree of cynicism about the ideaof a National Cultural Strategy and a fear thatalready unacceptable levels of bureaucracywould be increased with even less control forthe artist. True art cannot be contained withina strategy and it is the artist’s role to subvertand to challenge, it was stated.

4.45. Because many arts respondents equated culturewith arts, the responses were primarily aboutthe role of art, its intrinsic value, the need formore funding and criticisms of the fundingsystem.


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4.46. Visual artists amongst others were critical ofSAC, its structures, the amount of money spenton its own infrastructure, its processes andsystems and above all its perceived power basefounded on its own tastes. This taste wasexplicitly not shared by several respondents.

4.47. Specifically, respondents wanted moreresources to be allocated on a continuing basisto sustain core activity and less to be grantedby SAC on short–term project grants whichwere believed to be unsustainable and lesseffective.

4.48. Several arts organisations cited residualproblems since local authority reorganisation,particularly where the venue has a regionalremit.

4.49. The SAC scheme Awards for All was cited asan example of a simple and effective schemewhich reached members of the community.

4.50. Those involved in the arts believed that the artshave a contribution to make in delivering socialand economic agendas but also that the artshave an intrinsic value which should berecognised.

4.51. There were some suggestions of ways toimprove life for artists which would encouragethem to remain in Scotland, includingintroducing tax breaks for writers and artists, aminimum weekly wage or bursaries.

4.52. Tax incentives for those investing in art and anartloan scheme were suggested.

4.53. Those in the arts sought better and differentinternational promotion.

4.54. There was a plea for recognition of communityarts.

4.55. More support for Scots publishing was sought.

4.56. More support for rock and pop was alsosought.

National companies

4.57. Respondents had various views aboutconstitutes what a national company orinstitution. Some people gave their views onthe commonly-called national companies - thefour performing arts companies which aregiven the status of national company andfunded to have a national remit (ScottishOpera, Scottish Ballet, Royal Scottish NationalOrchestra and the Scottish ChamberOrchestra).

4.58. The general comments on these companiesreflected fatigue and intolerance of the highprofile funding troubles. Suggestions rangefrom a move either to fund them properly orto remove funding from them altogether. Ifthey are to be funded, several respondentssuggested that this should not be through SACbut either directly from central governmentand/or in new funding agreements with thelocal authorities. This should take into accountthe costs of travel to remote areas, particularlythe islands.

4.59. Some of the national companies themselvesmade a plea for more funding and new fundingarrangements, and for their role asinternational ambassadors to be recognised. Itwas argued that the BBC Scottish SymphonyOrchestra should be subject to the sameinfluences as the other national companies.

4.60. Some respondents challenged the notion thatthese four companies should be so named. Itwas suggested that these companies neitherreflect the Scottish nation, nor have a Scottishrepertoire, nor do they perform nationally.Currently, no national company is indigenous -there is no national pipe band, for example.

4.61. The need for a Scottish national theatre wasexpressed from the campaign group andseveral other individuals and organisations.


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4.62. It was argued that there are other nationalcompanies which might be recognised ashaving a remit which covers Scotland includingthe National Gaelic Arts Agency - Proiseactnan Ealan, Scottish Publishers Association,Traditional Music and Song Association andScottish Dance Theatre.

4.63. There were also perceived anomalies in thedefinition of national in the museum sector.National museums include not only thecentrally funded National Museums ofScotland and National Galleries of Scotlandbut also other museums with a national focus,which do not receive central funding. Theseinclude the National Mining Museum, FisheriesMuseum and Maritime Museum.

Film and media

4.64. Specific issues in the film sector included theneed for focussed investment with specificsuggestions made for funds, incentives,infrastructure and training. The argument wasmade that Scotland has the potential tobecome a major production centre were theright investment to be made.

4.65. The Strategy could deliver this through specificeconomic measures including establishing apublic/private investment fund.

4.66. Investment was sought in talent and trainingand commitment to a film school and filmstudios.

4.67. A Scottish Film Charter for the industry toinclude links with broadcasting was suggested.

4.68. There was demand for a review of the supportfor access to film and media at a communityand local level.

Broadcasting

4.69. Respondents thought that the Strategy shouldinclude broadcasting, although it is not part ofthe powers devolved from Westminster. Someparts of Scotland do not have access to all theterrestrial channels and this was mentioned as aproblem.

4.70. It was felt particularly important thatbroadcasting in Scotland be used to supportnew and emergent Scottish contemporary(music) talent and to improve the standard ofScots output.

4.71. Some people suggested a quota for culture inScotland as exists in some other countries.

4.72. Some cited the opportunities created bydigitisation for new language channels.

4.73. Others identified the potential of television topromote Scotland abroad.

4.74. The role of community radio was deemedimportant particularly in rural areas. It wassuggested that the Strategy should include areview of its status.

New Technologies

4.75. There was strong support for the principle ofusing new technologies, primarily through theInternet to improve distribution,communication and access, building on thesuccess of SCRAN and other ventures.

4.76. One idea to which almost everyone subscribedwas the creation of a Scottish web site. Thiscould have an internal and external purpose,promoting Scotland’s diverse cultures abroadand providing resources at home. It alsopresents an opportunity to commission artists.

4.77. The Internet was seen as an opportunity toencourage enterprise in art companies.

4.78. Several respondents stated that access todigitised images should not be a substitute forphysical and social access.


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The Creative Industries

4.79. The Consultation Document sought responsesto the commercial creative industries and theirlinks with the arts and cultural industries.

4.80. These industries, which were so defined inWestminster and include the arts, the recordindustry, crafts, film and media, broadcasting,architecture, design and fashion, advertising,software design and publishing, have a majorexport value to the British economy andrepresent one of the fastest growingemployment sectors.

4.81. The Scottish Enterprise Network and inparticular the Glasgow Development Agencyand others involved in the areas of architecture,design and other creative industries, believedthat the Cultural Strategy could have animportant role in providing the performance ofthis sector.

4.82. There were perceived gaps in skills and trainingin enterprise. Potential economic interventionswere suggested to create stronger and morecompetitive centres of distribution outside ofLondon, particularly in the film, television anddesign industries.

4.83. A centre for product design was suggested.

4.84. A plea was made for more support for thecrafts sector and business support of craftworkers.

4.85. The importance of the New Deal and NationalTraining Organisation was mentioned byrespondents.

Access and Inclusion

4.86. Many respondents affirmed their belief that theStrategy should work to achieve access for all.In particular, rural communities should besupported with infrastructure, regional artsdevelopment officers and special fundingarrangements. (The need for additionalinfrastructure was mentioned primarily in theHighlands and Islands).

4.87. The role of museums, arts, heritage and sportswas cited as a means of combating socialexclusion and improving health and it wassuggested this be built into the Strategy aimsand delivery.

4.88. Respondents expressed the need to developcultural capital as well as economic capital,building knowledge, understanding and thecapacity to experience (largely througheducation).

4.89. Several mentioned the importance of youngpeople and also of children. Specific mentionwas made to include the disabled minoritycultures and gay and lesbians.

Promotion and Internationalism

4.90. Our self-image as a nation and the way inwhich it is projected concerned many. Therewas a strong view that Scottish identity shouldbe inclusive and go beyond narrow images oftartan and shortbread, that its plurality anddiversity, tradition and contemporaryinnovation should be communicated,particularly using new technologies. Equally,there is an opportunity to celebrate pipes andtartan.

4.91. Several respondents commented on theopportunity for culture to make a morepositive contribution to tourism includingattracting more young people to Scotland astourists through marketing its contemporaryculture. The Scottish diaspora and existingUK, European and world-wide alliances werealso presented as opportunities.


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4.92. Some arts organisations commented on arather negative relationship with tourismagencies.

4.93. There was widespread support for emphasisingScotland’s links internationally, both in termsof the historic links with Nordic and othercultures, and in terms of Scotland’scontemporary culture.

4.94. Several emphasised the need to avoidparochialism and the importance ofinternational links. This included the need tocontextualise the presentation of Scottish artsand culture in an international setting.

4.95. It was also linked to the role of culture inrepresenting Scotland abroad. Severalrespondents had ideas for promoting Scotlandincluding developing cultural ambassadors,extending the ‘Taste of Scotland’ idea to thearts and creating a dynamic web page.

4.96. There was criticism of the activities of existingagencies and the fragmentation of others. TheBritish Council was thought unable to promoteScotland to the full extent and Scottish TradeInternational, Trade Initiative, ScotlandEuropa, Scotland the Brand and SAC were allmentioned as potentially useful.

4.97. A suggestion was made for a CaledonianInstitute to promote Scottish culture.

Local authorities

4.98. Local authorities formed a major part of theresponse and responded jointly, throughCOSLA, and individually. For localauthorities, an approach consistent with DCMSwas important (including sport, leisure andplay) and with the principles of Best Value.

4.99. Issues arose concerning local authorities, inparticular in connection with statutoryresponsibilities and funding.

4.100. Since local government reorganisation,expenditure on cultural and leisure services hasreduced by around a quarter. Organisationswith regional or national roles have receivedreduced funding from fewer authorities sincethis time across the arts and museums. It wassuggested that local authority funding for thearts be reviewed bearing in mind local,regional, national and international dimensions– and that sometimes more than one localauthority should be involved in funding certainorganisations.

4.101. There was a lack of clarity from respondents asto the nature of the statutory obligations onlocal authorities for aspects of culture andCOSLA itself suggested this be reviewed.

4.102. COSLA made a detailed submission whichspecifically included:

• consolidating research on cultural matters• improving access• decentralising decision making and reviewing

cultural quangos• ensuring culture is involved in social inclusion,

education and learning, enterprise• valuing diversity

4.103. Individual authorities wrote in support ofCOSLA, emphasised aspects or exemptedthemselves from particular aspects of thesubmission.

Structures

4.104. There was a general view that structures andmechanisms for culture were in need of review.Many agencies and individuals believed that thecurrent structures and practices are ineffectivenow. This would be compounded in thecontext of a cultural strategy which isconcerned with a broad definition of cultureand ‘joined up’ action.

4.105. Structures in the museum and heritage sectorswere widely thought to be inadequate.


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4.106. Arts structures were criticised and the existingquangos generally regarded to be outmoded interms of delivering government by objectivesacross a wide range of policies. There wereperceived problems with cross-sectorinitiatives.

4.107. There were varying views as to the relativestrengths of the current system and theprinciple of arm’s length funding bodies inspecialist sectors, as against direct anddecentralised structures.

4.108. COSLA and most local authorities wanted thenational cultural quangos to be largely replacedby a single national cultural agency working inpartnership with local authorities, which wouldhave an increased role.

4.109. The existing agencies wanted to work more inpartnership.

4.110. Several anomalies in the funding structure werementioned, with film, arts and museumsstructures differing from each other in terms ofwhat they fund, how they are constituted andthe role they play.

4.111. It was considered necessary to review roles,responsibilities and relationships with UKbodies including the new Museums, Librariesand Archives Council, the National Lottery,DCMS, the new Film Council and NationalTraining Organisation. It was suggested thatthere are specific missed opportunities inScotland for funding operated by the Museumsand Galleries Commission on behalf of DCMS.

4.112. Respondents also thought that Gaelicstructures should be reviewed as well as therole of the British Council.

4.113. Some regional development structures wereposited as successful models including in theHighlands and Islands.

4.114. Organisations currently charged withsupporting culture responded with detailedsubmissions.

SAC

4.115. SAC submitted not only a detailed responsebut also included a significant body of its ownresearch and consultation recently undertaken,particularly Creative Scotland (the Case for aNational Cultural Strategy published by SACand other agencies) and Scottish Arts in the 21st

Century.

4.116. SAC supported an holistic definition of cultureand a wide definition of the arts. It wanted theStrategy to include the National Lottery,broadcasting and tax issues, which are currentlydesignated reserved powers. It wanted theScottish Executive to collect cultural statistics,for the Strategy to be clear and regularlyreviewed.

4.117. SAC expressed support for: holistic partnershipworking; the arts and culture to deliver socialinclusion and other government agendasthrough additional resources for partnershipworking; to the arm’s length principle.

4.118. SAC’s submission included suggestions forimproved access, support for artists,international activity, legislation, nationalcompanies, education, tourism, training,lifelong learning, children, new technology andminority cultures.

4.119. Outside of SAC, there were strongly held viewsthat it should be more of an enabler andsupporter rather than a large powerfulorganisation with its own agenda, or that itshould be abolished.

Scottish Screen

4.120. Scottish Screen’s (SS) submission included arange of suggestions for the development ofscreen industries in Scotland includinginvestment, training, access and education andenterprise.


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4.121. It also sought the clarification of the remit ofcultural bodies in the UK and a review ofculture, specifically film and media, in localauthorities, economic development agenciesand within the government.

4.122. It suggested concordats with local authorities,other agencies and DCMS, and theestablishment of a cultural forum.

Scottish Museums Council

4.123. Like SAC and SS, SMC supported a broad viewof culture, a clear framework, and integratedapproach to education, inclusion, lifelonglearning and other government agendas. Itmade specific suggestions about access,education, new technologies and funding.

4.124. SMC’s detailed response also referred to itsown National Strategy for Museums in whichthe sector sought change to meet the need fora framework, to align funding and planning,collections, geographic and cultural diversity.

4.125. SMC sought a fundamental review of nationalroles and responsibilities and this view waslargely shared by the sector.

Structures for Museums and Heritage

4.126. Current structures were deemed incoherent bysmall and large museums and organisations inScotland and the UK.

4.127. One of the problems was considered to be thelack of a proactive and strong organisationrepresenting the sector. The SMC is amembership organisation and has a limitedremit.

4.128. Issues included the separate structures fornational museums, local museums, industrialand heritage centres, and sites and monumentsand the roles of Scottish Natural Heritage andHistoric Scotland.

4.129. Respondents also suggested that roles andpolicy in art collection need to be clarified.

4.130. Clarification and review was also suggested inthe area of sites and monuments, portableantiquities and treasure trove.

Scottish Libraries Association

4.131. The submission from SLA suggested a reviewof structures, and agreed with others thatstatistics should be collected.

Partnership working

4.132. Existing agencies stressed the importance ofpartnerships, with additional funds being madeavailable if required in order to achieveobjectives. Some suggested a cultural forum.

Links with other dimensions ofgovernment policy

4.133. The point was made several times that culturehas a role to play in improving the health andwealth of the nation, through deliveringeconomic impacts like new jobs and attractingtourists, and social impacts like helping peopleto feel more confident and healthier.

4.134. However, there was a strong view expressedthat the role of culture in delivering economicand social policies should not overwhelm theintrinsic values of cultural and creative activity.


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5. Summary of LiteratureReview of other countries

5.1. We conducted a desk review of the culturalstrategies of Denmark, Sweden, Norway, TheNetherlands, Ireland and Catalonia. They allhave cultural strategies and may offer someguidance to Scotland.

5.2. Strict comparisons between them and Scotlandare not possible from the publishedinformation. However, several factors appearto contribute towards success and there areseveral common components in each of thesecultural strategies.

Scope of Cultural Policy

5.3. The scope of cultural policy varies. Someinclude sport, some do not. Broadly, there arefour main areas included within most culturalpolicy:

• cultural heritage

• the arts

• libraries, broadcasting and other media

• promotion and international affairs, policy andresearch

Principles of Policy

5.4. Clear statements of principles govern most ofthe strategies. The principles include, forexample:

• for citizens to achieve individual creativity

• equality of access to cultural life

• to safeguard freedom of expression

• to promote cultural pluralism and diversity

• to promote a flourishing cultural life

• to support cultural renewal and quality

• to make it possible for culture to be a dynamic,independent and challenging force

• to preserve and use the cultural heritage

• to promote international cultural exchange

Position in Government

5.5. All the countries reviewed had Ministries forCulture, sometimes as part of a broaderportfolio. However there is a growingawareness that cultural policy needs to beowned by, and implemented by, a broad rangeof government departments.

Structures

5.6. The structures for implementation of thestrategies vary from country to country. Thesereflect the political structures of the countries.All have a balance between the central and thelocal. Local authorities are responsible fordelivering certain services; central bodies areresponsible for others. For facilities which arebased in a region but which have a remit whichis national, joint decisions are made.

5.7. The strategies indicate that there is a clarityabout the various roles and responsibilities ofeach area. However, in some of the countriesthe present systems are under review.

Statutory Provision

5.8. Local authorities are obliged to provide somecultural provision. At its minimum, this is alibrary.


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Arm’s Length Principle

5.9. Most of the countries are committed to thearm’s length principle for central funding tosome extent. However the election ofdirectors onto the arm’s length bodies issometimes political and the extent ofintervention and freedoms varies greatly.Some countries, such as Catalonia, do not havearm’s length bodies. This largely reflects thehigh level of political commitment to culture inCatalonia. In the Netherlands, there are arm’slength bodies but they are advisory only and alldecisions and commitment are made by thegovernment.

Legislation

5.10. Cultural policy is enshrined in varying degreesof legislation. Some countries simply have oneact covering policy. Some have acts whichpromote a broad entitlement for theindividual's access to culture. Others, such asCatalonia, have a raft of legislation protectingaspects of culture and heritage.

Balances

5.11. In all of these countries, there is debate abouthow best to achieve certain balances, inparticular:

• access v quality

• decentralisation v centralisation

• traditional v contemporary

Education

5.12. In some countries, there is a majorcommitment to culture in education.

Broadcasting and Publishing

5.13. Some countries have legislation which includesan obligation on broadcasters and other mediato a quota of cultural transmission. Some arealso involved in supporting publishing andobliging libraries to buy a certain amount ofindigenous literature.

Support for Artists

5.14. Most countries are involved in supporting theartist through bursaries, grants and pension orsocial security schemes.

International Relations

5.15. Strategies include the promotion of eachcountry’s culture overseas. Structures to dothis vary from the Catalan COPEC which is agovernment department with majorprogrammes of investment and activity, to theDanish Cultural Institute, to the ForeignMinistries of other countries.

Monitoring

5.16. Most appear to evaluate and monitor thesuccess of the policies. In most cases, thisconsists largely of statistical data aboutattendance and consumption. There is agrowing recognition that impacts - economicand social – ought to be included and Irelandand Denmark are now undertaking this sort ofevaluation.

5.17. From each country, there are models and ideaswhich might be useful to Scotland.


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Denmark

5.18. Denmark pursues a policy of decentralisationand is committed to the arm’s length principlewith multi-tiered systems of state support.

5.19. It supports artists including providing pensionsover a long period.

5.20. Culture is central to the education system. Forexample, music is used as a key to emotionaland intellectual development of children, todevelop their concentration and motorfunctions and their understanding ofthemselves as part of a community.

5.21. There is a cultural policy programmespecifically for children which aims to teachchildren about culture and use culture tocontribute towards their development. Thiswill be overseen by a Children’s CultureCouncil.

5.22. Danish Culture is promoted overseas throughthe Danish Cultural Institute which has officesin several countries.

5.23. The success of the cultural policy is evidencedby the fact that 75% of the populationparticipates in cultural activities.

Sweden

5.24. In Sweden there is a Cultural Heritage Billwhich entitles individuals to participate in andtake responsibility for their culturalenvironment.

5.25. Cultural policy is set by government along withthe level of funding. Funding is thendistributed and the policy implemented byarm’s length bodies. The two tiers of localauthorities also are major providers andfunders of culture. The extent of this isdiscretionary except for the library service.

5.26. The policy aims, revised in 1996, are:

• to safeguard freedom of expression and createopportunities for all to use that freedom

• to work to create the opportunity for all toparticipate in cultural life and to engage in theirown creative activities

• to promote cultural pluralism, artistic renewaland quality, counteracting the negative effectsof commercialism

• to make it possible for culture to be a dynamic,independent and challenging force

• to preserve and use the cultural heritage• to promote international cultural exchange

5.27. Reading and literature form the core ofSweden’s policy and the Literature Billsubsidises distribution, reading for youngpeople and publishing.

5.28. Improving conditions for artists is linked todeveloping public interest and theconsumption of culture. The governmentsupports artists directly, including, under theArtist Terms Bill, through the creation of atheatre company, which employs actors whohave no work. The National EmploymentAgency supports artists in promoting theirwork and improving business skills.

5.29. There is a percent for art scheme in Swedenfor all public buildings.

5.30. Support for film production is supported by alevy on video and cinema tickets.

5.31. Cultural diversity and the promotion ofminority cultures and languages runsthroughout the policy.


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Norway

5.32. Norway is committed to decentralisation andculture on a local and regional level is managedby elected cultural committees which co-ordinate the work of national and localinstitutions.

5.33. Cultural participation and experience areregarded as essential for quality of life and as aright for citizens.

5.34. The state sets cultural policy, and it isimplemented by an arm’s length body. Localauthorities have freedom of action.

5.35. The state funds a Sami theatre and the Samilanguage and culture are protected.

5.36. Policy in visual arts and craft concentrates onimproving conditions for artists.

5.37. The state operates a purchasing scheme forNorwegian literature.

5.38. Cinemas are largely owned by the state in orderto create access, as they would not becommercially viable in most parts of Norway.

5.39. Duty is charged on video and films and theproceeds invested in Norwegian filmproduction.

5.40. Artists must have the same standards ofwelfare support as other working citizens.The state considers itself employers of artistsand negotiates with the professional bodies onmatters concerning salary and social rights.

5.41. Cultural heritage and activity are keycomponents of the curriculum.

5.42. The Ministry works with other ministries, forexample with Foreign Affairs in internationalpolicy and collaboration, and with Health andSocial Affairs on culture and health.

The Netherlands

5.43. The Netherlands has a highly developedcultural strategy and a general policy ofdecentralisation. There is a Council for Culturewhich is an advisory body comprising severalother advisory bodies specialising in variousgenres.

5.44. The government makes decisions on prioritiesand on specific funding applications on a four-year rolling basis. Although the Council forCulture advises the government, the Ministerof Culture still makes the recommendation tothe government.

5.45. The provinces are responsible for regionalcultural facilities, and the municipalities forlocal venues.

5.46. Previous cultural policy was based on conceptsof quality and participation. In the recentlyissued Principles on cultural policy 2001-2004 theMinister states that this policy has been abarrier to change and created a cultural spherewhich benefits only a small minority and doesnot respond to market demand.

5.47. The revised principles aim to achieve change –the Council for Culture will have to argue thecase for continuing to fund organisations,funding will be redirected towards newinitiatives and the health of each sector andrequired interventions will be evaluated.Umbrella bodies are likely to have their subsidyreduced.

5.48. In order to achieve the new aim of reachingmore people, each funded organisation willhave to dedicate 3% of their subsidy toattracting a new audience. Venues are seen asthe point of confrontation between supply andaudience. Venues in areas lacking culturalfacilities will be given funding to producequality programmes.


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5.49. Entrepreneurism is a major strand of therevised principles. Cultural organisations, theMinister argues, should not be protected frommarket forces. Organisations will be requiredto achieve 15% of their income from boxoffice receipts.

5.50. The Council for Culture will assess subsidyapplications according to new criteria: quality,social outreach, ticket subsidy ratio andposition within the system.

5.51. Cultural diversity and cultural education aremajor forces driving the review of principles.

5.52. The Media Act protects elements of Dutchculture.

5.53. The Cultural Policy Document is a crossgovernment document, taking a thematicapproach and includes projects with othergovernment departments.

Ireland

5.54. The mission statement of the Department ofArts, Heritage, Gaeltacht and the Islands is:

• to promote inclusiveness and regional balanceto ensure wider access to our culture andheritage for all

• to develop and implement policies throughenhanced communication with otherdepartments, institutions, agencies andcommunity groups

• to contribute to the elaboration andimplementation of policies within the EU andother international fora

5.55. The Department funds both through the ArtsCouncil and directly. Local government haslittle resources or power but there are local artscommittees.

5.56. Current priorities include:

• cultural education• requiring local authorities to produce three year

cultural development plans• tax incentives to encourage cultural

development• establishing a National Cultural Institutions

Council• establishing a Screen Commission• a campaign to attract performing artists to live

in Ireland• legal protections for site of artistic, heritage and

historical interest

5.57. Social and economic impacts are deemedimportant. Priorities include access, inclusion,and regional balance, knowledge and theopportunity to participate in Irish artistictraditions.

5.58. Tax incentives and active promotion have ledto Ireland being used as a major filmproduction base.

5.59. Tax exemption for earnings from original andcreative work with cultural or artistic merit hasattracted artists to live in Ireland.

5.60. The Aosdana is an affiliation of up to 200creative artists. Members resident in Irelandare eligible for a five-year grant to enable themto work full time on their art.

Catalonia

5.61. Catalonia differs from the other countriesreviewed in that it is an autonomouscommunity with self-government within thenation state of Spain. When it achieved thisstatus, one of its overall key priorities was toreverse years of repression of the Catalanlanguage and culture. Since becomingautonomous, there has been a priority given toprotecting and emphasising aspects of Catalancultural identity, in particular, the language andthe traditional aspects of culture and heritage.


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5.62. The government in Catalonia (the Generalitat)has a raft of legislation to preserve and protectheritage; it directly supports the preservationof, and the development of, culture, through itsown Ministry of Culture and throughsupporting independent organisations.

5.63. It is overall concerned to increase consumptionof Catalan culture, both at home and abroad.In doing so, it is seeking both cultural impactsand economic impacts. Thus, it supports newnational (centralised in Barcelona)infrastructure like museums, the new nationaltheatre, opera houses etc; the preservation oftraditions, and the explicit use of the Catalanculture in the consumption of culture, likesubtitling American films in Catalan, andsupporting Catalan media and broadcasting.At the same time it invests in Catalan culturalindustries directly and strategically.

5.64. It supports the promotion of Catalan art andartists abroad through COPEC, the CatalanConsortium for the External Promotion ofCulture. This aims to stimulate actionsconducive to the presence of Catalan culture inthe majority of international markets.

5.65. COPEC has funded activities and programmesthroughout the world and has culturalexchange agreements with several countries inplace.

5.66. Responsibility for culture is enshrined in policyat different levels. The regional andmunicipal/rural local authorities all have astatutory responsibility for culture, forexample, all authorities with a population ofover 5000 must provide a library.

5.67. The main local provision is funded directly bythe regional and other local authorities. Wherethere is a national institution within a localauthority area, this will either be run directly bythe Generalitat (like museums) or fundeddirectly, but the local authority will also beinvolved in the funding decisions.

5.68. Cultural policy, legislation and strategiesinclude the professional and amateur, heritage,traditions, museums, libraries, and media.


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6. Conclusion

6.1. Taking into account the full consultationprocess and the study of other countries, thereare clear implications for the development ofthe Strategy.

Leadership

6.2. Respondents want the Scottish Executive totake the lead in creating and delivering aNational Cultural Strategy for Scotland. Theywant the Executive to take and maintain theoverview of cultural life including its impactson people. Some expressed consultationfatigue and asked for leadership and action.

6.3. Specifically, people want the Scottish Executiveto be clear in the Strategy as to what culture isand the role it plays throughout Scottish andinternational life. This may mean establishingan entitlement to culture.

6.4. People want change in various aspects ofstructures. They want change in education.They want a stable core base. But above allthey want to be involved in celebrating andsharing Scotland’s rich and diverse culture in allits aspects.

6.5. The overall opportunity is to create a cohesiveframework for preserving, celebrating,developing, promoting, and involving peoplein, Scotland’s culture in all its dimensions.People believe that this should include the past,present and future. They believe that, onlywhen people can understand and value theirown culture, can they value and respect thecultures of other.

6.6. There is clear demand for clarity and aframework which includes:

• the principles of the Strategy• the aims and what it is trying to achieve• who is responsible for what• how it will be measured and evaluated

Specific Points

6.7. There are some key questions which emergefrom the consultation process:

Definition of Culture

6.8. What should culture include? If the broad definition isto be adopted, should there also be a list of activitiesthat this particularly includes?

Access

6.9. How strong should be the commitment to creating anaccess to culture for the citizens of Scotland? Howwould opportunities for access be assured?

Education

6.10. How important is culture to our core education inScottish schools? What should it include? If it isimportant, should it be central to education or a corepart of the curriculum? Should it be delivered in wholeor in part from outside the school?

Review of Structures

6.11. What are the best structures for delivering the newStrategy? What should the balance be between thecentral and local? How much of the decision makingshould be at arm's length from the government and howmuch should the government itself be involved? If thereare to be arm’s length bodies, what should they be?What aspects of culture should they cover? Should therebe one or several? Should the existing agencies simplywork more in partnership with each other and others?Should they decentralise? What should be the linksbetween them and UK bodies? What structures shouldbe put in place to deliver international promotion ofScotland’s culture? What about the Gaelic agencies?


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Local authorities

6.12. What should the role of local authorities be in providingculture? What should the statutory duties include?Should local authorities be obliged to fund provisionwhich serves them even where it is not local, as in thecase of regional museums and venues?

Funding

6.13. Do current funding patterns meet the overall prioritiesof the people and government? Are projects beingfunded at the expense of core services like museums,libraries and venues? Is this best value and is itsustainable? Is there too much emphasis on historicallyfunded provision as opposed to community and grassroots work? Can funding be simplified? Would taxincentives or levies be appropriate?

Clarity as to status of languages

6.14. Should Scots be accorded the same status as Gaelic?Should we be bilingual or even trilingual? What aboutother dialects? Should support for Gaelic be increased?

Export and international links

6.15. How should the identity of Scotland and Scottishculture be refreshed to present a more vibrant anddiverse image? Should there be a new body like the onein Catalonia, or some sort of Scottish Institute topromote our culture overseas? Should the existingagencies do it in partnership? What about the web-site?

Research

6.16. Should the Scottish Executive take an overview ofmarket intelligence in the cultural sector? Should itestablish a framework for measuring the social andeconomic impacts of cultural activities and provision?

Training

6.17. How should the perceived gaps in training be addressed,in particular, entrepreneurial and business skills forthose involved in or embarking upon careers in thecultural and creative industries and film training?

Media

6.18. How should the media contribute towards cultural lifein Scotland? Should there be an obligation to increaseor improve transmission of Scottish culture both athome and abroad?

Social Inclusion

6.19. How should the Strategy ensure that culture plays a fullrole in inclusion? How should it ensure that people areincluded in cultural activity?

Young People and Children

6.20. How should the Strategy meet the needs of children andyoung people? Should there be a special measure, as inSweden? What status should youth culture have?

National Companies

6.21. What do we mean by ‘national’ companies – do wemean the four performing companies who are currentlyfunded? Should there be more? Should there be newnational companies like a national theatre? Should‘national’ determine an obligation to distribute workthroughout Scotland?

Creative Industries

6.22. Where should investment be targeted in order to improvethe performance and competitiveness of aspects of thecreative industries including film and design? Whatshould be the role of government in intervention intocommercial areas?

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