Useful Facts is an index of stats carefully drawn from over 100 recent research papers.

arts and disability
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1511 useful facts

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afterschoolclubs
age
agenda2030
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agreement
all4
amateur
amazon
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cost
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creativity
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culturalvalue
culture
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environment
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etsy
eu
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facebook
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feedback
festivals
film
filmfestivals
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films
financing
flexibleworking
focusgroup
folksy
free
freecontent
freedomofmovement
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freemovement
funders
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furloughscheme
galleries
gallery
galloway
gaming
gardens
gdp
gender
genderpaygap
gentrification
geographically
glasgow
glass
global
governance
government
gps
graduateskills
groupsinging
growth
growthsector
gva
harassment
hardshipfunds
health
healthcare
healthcareproviders
healthconditions
healtheducation
heritage
highereducation
historicbuildings
historicplace
historicplaces
historictowns
history
home
hospital
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identity
immersivereality
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impact
import
importance
inclusion
income
independent
independentfilms
industries
inequality
infants
inflation
instagram
institutionalsettings
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internships
investment
ip
iplayer
ireland
isolation
it
jewellery
jobcreation
jobs
jobsatisfaction
jobsecurity
justice
keyworkers
labour
lackoftime
lackoftransport
leadership
learning
learningdisability
lgbtq
libraries
library
licensinglaws
lifelong
limitingfactors
listings
literature
livemusic
liveperformance
living
local
localauthority
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london
lookedafterchildren
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lotteryfunding
lowpay
luminate
makers
makingmusic
managers
market
mastercraftsmen
membership
men
mental
mentalhealth
meritocracy
messenger
minimumwage
mobility
multiartformfestival
museum
museums
music
musicaltheatre
musiccreators
musicians
musictherapy
musictourism
musicvenues
my5
nationaltrust
negativeincome
neonatal
net
net-zero
netflix
networking
neuroscience
news
nhs
noisecomplaints
nonengagement
northernireland
nowtv
ofcom
older
olderpeople
onlinecollection
opera
palliativecare
pantomime
parenting
parents
paris
parking
parkinsons
participation
participatoryartsprojects
participatoryartsworkshops
partnership
parttimeworking
patients
paygap
paywhatyoulike
pensions
people
performance
performances
performancespaces
performing
performingarts
photography
physical
pianosonprescription
pinterest
placemaking
places
podcasts
poetry
policy
population
postnataldepression
poverty
precariouswork
precarity
pregnancy
prematurebabies
preservation
price
prisons
privateeducation
programming
promoters
property
ptsd
pubic
public
publiccommissions
publicfunding
publicservicebroadcasting
publicspaces
publishing
pupils
qualifications
qualityoflife
race
radio
reading
readinggroups
recession
recordedmusic
recordoffices
recordsoffice
recreation
refugees
regeneration
registeredenterprise
rehearsalspace
relationships
remotedelivery
reputation
resellingtickets
resilience
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risk
rockmusic
rural
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salary
school
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scotand
scotland
scottishgovernment
scottishhouseholdsurvey
screen
sculpture
sdg
secondaryresearch
sector
sedatives
selfemployed
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sickleave
silver
singing
sistema
skills
skillsdevelopment
skillsgap
sky
skynews
skytv
smallbusiness
smallvenues
smarttv
snapchat
social
socialbackground
socialcare
socialclass
socialcohesion
socialdevelopment
socialdisadvantage
socialdiversity
socialinclusion
socialinequality
socialintervention
socialmedia
socialprescribing
socialsecurity
socialskills
socialstatus
spaces
specialrelationship
speechandlanguage
spend
spotify
sqa
steam
stem
streaming
streetartevents
streetarts
stroke
students
studiospace
stv
stvplayer
support
survey
sustainability
sustainabledevelopment
sweden
talent
tax
taxrelief
teachers
teaching
teachingmethods
textiles
theatre
theatre-makers
theatrecapacity
theatresales
ticketcost
ticketing
tiktok
tour
touring
tourism
trade
tradeunions
traditionalculture
training
translation
transport
travel
traveltime
tuition
turnover
tv
twitter
ubi
uk
un
unions
universalbasicincome
urban
urbanheritage
urbanplanning
us
value
vat
venues
videogames
videoondemand
viewers
vinyl
vinylsales
virtualtour
visualart
visualarts
visualeffects
vod
voluntarysector
volunteering
volunteers
voting
wages
wales
wellbeing
whatsapp
white
women
work
workersrights
workforce
workforcedistribution
workforfree
workinghours
workshop
workshops
writing
yearofculturalheritage
young
youngoffenders
youngpeople
youthmusicinitiative
youtube
youtubepremium
zero
zerohours

1511 useful facts:

UK Arts, Culture and Heritage: Audiences + Workforce

This report uses census data to provide, for the first time, a comprehensive analysis of audiences and workforce.

CREATIVE INDUSTRIES POLICY AND EVIDENCE CENTRE, 2024. UK ARTS, CUTURE AND HERTAGE: AUDIENCES + WORKFORCE [online] [viewed 27 Nov 2024]

Category

cultural attendance

Year

2024

Source

View

The cultural sector (in the UK) employs 703,000 people, and contributes £30.6 billion in gross value added annually.

41%

of White people had attended historic landscapes in the preceding 12 months, compared with just 11% of Black people.

Disabled people (39%), Black people (41%) and Asian people (36%), as well as those in routine and semi-routine working-class occupations (38%), were all more likely to say they had not attended any of the arts activities listed in the Participation Survey

In film, TV, video, radio and photography, under 10% of people were from working-class backgrounds;

While dancers (84%), artists (61%) and librarians (80%) were largely women, men made up 66% of “managers and directors in the creative industries”.

In 2021, the cultural sector exported £7.2 billion, with a net balance of trade of £0.5 billion

Engagement in arts, culture and heritage in the UK is high...in both Scotland and Northern Ireland the 2022 figure was 88%

the average household spends 90p per week on theatre, concerts and shows

the most common form of cultural participation was playing video games, with around 35% of the population reporting that they had done so at least once in the preceding 12 months

The percentage of people reporting having read for pleasure in the preceding year varied between 63% and 65%; those having written stories, plays or poetry was consistent at around 4.5%, and those reporting making art varied between 13% and 14%

UK Trade in a Global Creative Economy

The report confirms the UK’s creative industries are an export success story but warns against complacency

CREATIVE INDUSTRIES POLICY AND EVIDENCE CENTRE, 2024. UK TRADE IN A GLOBAL CREATIVE ECONOMY [online] [viewed 27 Nov 2024]

Category

economic

Year

2024

Source

View

The UK’s creative industries...account for over 14% of the UK’s services exports and 3% of our goods exports

UK exports growth in the video games sector seems to have accelerated during the COVID-19 pandemic, reaching a volume of exports in 2021 which was about 2.5 times bigger than in 2016.

in 2020 the global exports of creative goods and services exceeded US$500 billion and US$1 trillion

in 2021 the UK exported £9.1 billion of creative goods and £45.6 billion of creative services.

In both goods and services, the country enjoys a positive trade balance of £2.1 billion and £18.7 billion, respectively

In terms of foreign direct investment (FDI), over the period 2013-2022 around 11% of the total number of projects in the UK fell within the creative industries, with around 13% on average between 2020 and 2022

The UK’s success in the creative industries relies on access to a highly skilled workforce. In 2022, 15% of this workforce was made up of non-UK nationals, with 7% of these from the EU and 8% from outside the EU.9

While no explicit creative exports target is set, actions are identified to help the sector contribute towards the £1 trillion exports per year set in the UK Government’s export strategy for the entire UK economy by 2030.

22%

of UK creative businesses relied on at least one non UK worker (with 18% employing EU workers),

in 2021 the UK exported £9.1 billion of creative goods and £45.6 billion of creative services.

Creative Further Education: in the four UK nations

This report looks at student participation in creative further education (FE) across all four UK nations.

CREATIVE INDUSTRIES POLICY AND EVIDENCE CENTRE, 2024. CREATIVE FURTHER EDUCATION: IN THE FOUR UK NATIONS [online] [viewed 27 Nov 2024]

Category

creative education

Year

2024

Source

View

Creative FE enrolments are declining in all parts of the UK, and at a faster rate than average across all subject disciplines

(There are) over 4,500 fewer creative (full-time equivalent) students at colleges in Scotland;

Employment in the creative industries continues to grow at pace across the UK. In 2023, the total number of filled jobs reached over 2.4 million – up over 700,000 on a decade earlier

Rapid expansion of the sector is forecast to continue, with creative sectors expected to create 300,000 additional jobs over the next five years alone

The creative workforce is highly skilled, with 95% of creative occupations being higher-skilled roles compared to 46% of workers generally in the economy

Nearly three quarters (73%) of those employed in creative occupations are degree-educated (only 44% of those working across all industries are as well qualified)

Between 2013 and 2023, gross value added for the sector in Scotland grew by 2.8% on average each year, compared to growth of 1.0% across all industries

expansion of Scotland’s creative industries is projected to continue in the wider economy up to 2033

The current priorities supporting learning among young people and adults within the Scottish skills system are set by the 10-year National Strategy for Economic Transformation, launched in 2022 (SG, 2022). This builds on Scotland’s Future Skills Action Plan, launched in 2019

Growth Finance for the Creative Industries

This new research finds that creative businesses are more likely to identify new R&D opportunities than businesses in other sectors but may face barriers in accessing the capital they need to act upon these.

CREATIVE INDUSTRIES POLICY AND EVIDENCE CENTRE, 2024. GROWTH FINANCES FOR THE CREATIVE INDUSTRIES [online] [viewed 27 Nov 2024]

Category

economic

Year

2024

Source

View

A consistent theme in UK government strategies on the creative industries, at least since the 2008 Creative Britain policy paper, is that creative industries firms seeking to grow struggle to raise finance.

While many creative industries firms say they desire to grow (73% of firms in the CIC survey (CIC, 2017)) and can identify investment opportunities, they require support to become “investment ready”.

85%

of investments in the creative industries are made in IT, software and computer services, with 3% of investments each in advertising and marketing; design; and film, TV, video and radio.

the overall share of (non-IT, software and computer services) investments in creative industries firms, out of all investments made across all sectors, dropped from 7% in 2013 to just 2.5% in 2023

Geographically, this type of investment is heavily concentrated in London and the South East – 63% of all investments were made in these two regions compared with 5% in Scotland

Creative businesses in creative clusters and microclusters are much more likely to receive VC investment, with 95% of investments made in creative clusters and microclusters

57%

of all investments go to firms in creative microclusters (small creative clusters at the street, neighbourhood or town level)

Only 5% of investments were made outside of creative clusters and microclusters

Creative businesses are far more likely to be acquired than to grow via an IPO (listing on a stock market), with only four creative industries IPOs recorded in 2021 versus 130 acquisitions

Moreover, not all businesses wish to grow – half of small firms express a desire to grow, and only 15% wish to grow by more than 20% in the next year

UK creative industries jobs grow to 2.42m

Short fact sheet

CREATIVE INDUSTRIES COUNCIL, 2024. UK CREATIVE INDUSTREIS JOBS GROW TO 2.42M [online] [viewed 27 Nov 2024]

Category

creative industries

Year

2024

Source

View

UK government figures estimate there were about 2,419,000 filled jobs in the UK creative industries during 2023

The number (of filled jobs in the UK creative industries) is 318,000 higher than in the pre-COVID year of 2019. This is equivalent to a 15.1 per cent increase between 2023 and 2019, giving the creative industries the highest longer-term growth rate of the areas of the creative and cultural economy

Between January and December 2023, the UK creative industries added 23,000 net new jobs, an increase of 0.9 per cent over 2022.

83.6 per cent of jobs (within the creative industries workforce) are filled by people from the white ethnic group, 37.9 per cent are filled by women, and 14.7 per cent by disabled people

The UK has 318,000 more creative jobs than in 2019

Creative Industries add £124bn of value to UK

Short fact sheet

CREATIVE INDUSTRIES COUNCIL, 2024. CREATIVE INDUSTRIES ADD £124BN OF VALUE TO UK [online] [viewed 27 Nov 2024]

Category

economic

Year

2024

Source

View

The economic contribution of the UK creative industries grew by 6.8 per cent in 2022 to reach £124.6bn. This means the economic value of the UK creative industries was 12 per cent bigger in 2022 than before the COVID pandemic and more than 50 per cent larger than its size in 2010.

The creative industries grew more than twice as fast in 2022 as the UK economy as a whole

Since 2010, the creative industries have expanded according to this measure by 50.3 per cent, compared to the UK economy's average increase of 21.5 per cent during the same period

Creative industries account for 5.7 per cent of total UK GVA

‘IT, software and computer services’ comprises the largest subsector component of the creative industries by GVA (£53.4bn in 2022)

IT (IT, software and computer services) is more than twice the size of the next largest subsector, ‘Film, TV, video, radio and photography’ which contributed £20.8bn in 2022.

The ‘Publishing’ subsector and the ‘Film, TV, video, radio and photography’ subsector, which grew by 7.3 per cent, 10.1 per cent and 5.4 per cent respectively

All segments of the creative industries grew their GVA from 2021 to 2022, apart from the crafts subsector, which fell by 6.8 per cent.

Research Digest: Lifelong Cultural Engagement

How may the value and impact of engaging with culture evolve across someone's lifetime? Are our cultural tastes set in childhood? Or is there scope for our behaviours to change? If so, what can affect these shifts?

CENTRE FOR CULTURAL VALUE, 2024. RESEARCH DIGEST: LIFELONG CULTURAL ENGAGEMENT. [online] [viewed 1 December]

Category

cultural attendance

Year

2024

Source

View

Over the last 15 years, longitudinal qualitative research has become an established research methodology within life course research in social policy, as it offers less standardisation and more flexibility than quantitative research,

Recent research found that 70% of English adults agree that culture and the arts within society had a role and contribution to be useful for the lifelong learning of adults

Understanding the economic impact of UK Cities and Capitals of Culture

In this resource, we consider what we can learn from the evaluations of these cultural mega-events and examine the implications for policy and practice.

CENTRE FOR CULTURAL VALUE, 2024. UNDERSTANDING THE ECONOMIC OF UK CITIES AND CAPITALS OF CULTURE. [online] [viewed 11 December 2024]

Category

economic

Year

2024

Source

View

Liverpool reported a 50% rise in visitor figures to its seven largest attractions since 2004, “peaking at 5.5 million people in 2008”. An estimated 27.7 million total visits to Liverpool represent a 34% rise from previous years

Hull projected an increased GVA of £11 million, drawing from financial data around employment, supply chain spend and grants given

Glasgow 1990 attracted £32.7 million of revenue support for the City of Culture, a large proportion of which was local and regional council support, plus £6.1 million in private investment

One of Liverpool 2008’s key messages claimed they attracted the highest amount of sponsorship (£22.3 million cash and in-kind) and earned more income (£4.1 million) than any other European Capital of Culture

Research Digest: Culture and Placemaking

This research brings together research that examines how and why arts and culture play a part in placemaking and what that means for organisations, practitioners, policymakers and funders.

CENTRE FOR CULTURAL VALUE, 2024. RESEARCH DIGEST: CULTURE AND PLACEMAKING. [online] [viewed 11 December 2024]

Category

creative placemaking

Year

2024

Source

View

Studies suggest grassroots approaches to placemaking had more positive socio-economic outcomes than initiatives developed by non-local stakeholders.

Closing the Disability Employment Gap in Scotland

the Committee wanted to understand what more could be done to reduce the disability employment gap and ensure that everyone who wants to work has the opportunity to access suitable employment and fulfil their true potential.

SCOTTISH PARLIAMENT INFORMATION CENTRE, 2024. CLOSING THE DISABILITY EMPLOYMENT GAP IN SCOTLAND. [online] [viewed 11 December 2024]

Category

disability employment

Year

2024

Source

View

Statistics show that disabled people in Scotland have a much lower employment rate than non-disabled people. The Scottish Government has an ambition to halve this gap by 2038.

In Scotland, the disability employment gap has reduced from 38.3% in 2014 to 30.3% in 2023.

It is recognised that within these figures there is substantial regional variation. Between 2021 and 2023, the disability employment gap in Dumfries and Galloway, for example, was more than double that of Midlothian (43.0% vs 18.4%).

Between 2014-2016 and 2021-2023, the disability employment gap decreased by more than 10% in Midlothian, Inverclyde, Glasgow City, South Lanarkshire, Scottish Borders and Falkirk, whereas it actually increased in Na h-Eileanan Siar, East Dunbartonshire, East Renfrewshire, Dumfries and Galloway and Renfrewshire

In the year to March 2024, for example, the employment rate for disabled women in Scotland was 51.6%, compared to 53.8% for men. Five years previous, the disability employment rate for women was 46.5%, compared to 45.0% for men

On average, Scotland's disabled working age population grew by about 4.6% each year between 2014 and 2022, while Scotland's total working age population grew by less than 0.1%

In 2021, median pay for disabled workers was £11.54 per hour compared to £14.16 per hour for non-disabled workers.

Disabled women across the UK earn 36% less than non-disabled men

Five years after graduation, disabled graduates earn £2,900 less than graduates with no known disability

Ashley Ryan (Enable) told the Committee that disabled people “work the last 53 days of the year for free”

In 2018, the Scottish Government published A Fairer Scotland for Disabled People: Employment Action Plan. This built on the previous plan and included a target to increase the employment rate of disabled people to 50% by 2023 (which was met in 2022) and to 60% by 2030

Sector Skills Assessment: Creative Industries

This SSA report is for the Creative Industries sector. Sectoral Skills Assessments (SSAs) provide a robust and consistent evidence base to support partners in strategic skills investment planning

SKILLS DEVELOPMENT SCOLTAND, 2024. SECTOR SKILLS ASSESSMENT: CREATIVE INDUSTRIES. [online] [viewed 16 December 2024]

Category

economic

Year

2024

Source

View

The importance of the Creative Industries sector is recognised in the recent Programme for Government published in September 2024, with the Scottish Government committed to increase funding for arts and culture by £100 million more per year by 2028-29

In March 2024, Screen Scotland also published a new strategy which sets a target for continued growth of the sector, with the aim of reaching £1 billion GVA for screen within the Scottish economy by the end of 2030/31. This would be a 55% growth in the screen sector between 2024 and 2030.

In addition, the strategy also sets a target for parallel job growth, with the aim of increasing the number of workers in FTE employment to 17,000 across the screen sector

In 2024, GVA in the Creative Industries sector was estimated to be £5,711m, generating 3.9% of Scotland's total economic output.

Between 2014 and 2024, GVA in the sector was estimated to have increased by 3.4% on average each year, compared to growth of 0.5% across Scotland over the same period

Due to weaker consumer demand and falling real household incomes, the Creative Industries sector was projected to only grow by 0.3% in 2024.

Looking ahead, GVA in the Creative Industries sector is forecast to grow on average 1.8% each year between 2024 and 2034, which is slightly above Scotland’s average

In 2034, the Creative Industries sector is forecast to account for 4.1% of Scotland's total economic output.

Creative Industries forecast GVA in 2027: £6,031m

Creative Industries forecast GVA in 2034: £6,821m

Economic Estimates: Employment in DCMS sectors, July 2023 to June 2024

Official Statistics used to provide an estimate of the contribution of DCMS Sectors to the UK economy, measured by employment and employee earnings.

SKILLS DEVELOPMENT SCOTLAND, 2024. ECONOMIC ESTIMATES: EMPLOYMENT IN DCMS SECTORS, JULY 2023 - JUNE 2024. [online] [viewed 16 December 2024]

Category

economic

Year

2024

Source

View

There were 4.0 million total filled jobs in the included DCMS sectors, representing 11.8% of UK total filled jobs. This is similar to the previous equivalent 12 month period of 11.9% and a 1.1 percentage point increase on pre-pandemic (2019), at 10.7%.

Growth in the included DCMS sectors was similar to all UK sectors when compared to the previous equivalent 12 month period (0.2% vs 0.6%).

Growth in filled jobs within the included DCMS sectors has exceeded that of the UK overall compared to 2019 (11.6% vs 1.3%).

The potential impacts of devolution and increased local decision making on freelance workers in the UK's creative industries and cultural sector.

This paper looks at the position of precarious freelance workers in the creative industries and cultural sector. The deregulation of labour markets has been highlighted in previous research as the cause of increasing precarity for those in non-standard employment and the tendency for these workers to fall through the gaps of support is evident in current UK-wide policy.

CULTURE COMMONS, 2024. THE POTENTIAL IMPACTS OF DEVOLUTION AND INCREASED LOCAL DECISION MAKING ON FREELANCE WORKERS IN THE UK'S CREATIVE INDUSTRIES AND CULTURAL SECTOR

Category

creative and cultural industries

Year

2024

Source

View

In 2012 the Musician’s Union reported that 94% of its members worked on a freelance basis.

A more recent survey of members from the trade union Equity found that 95% of members were freelance and the advocacy group Freelancers Make Theatre Work estimates that currently 70% of those working in theatres are freelance.

A report by Equity found that their (freelance) members were spending around 12 hrs per week on training and seeking work; this is in addition to working on other jobs (sometimes several in a week) to earn enough to pay basic rent and bills

They (freelancers) often work numerous jobs which are employed, self-employed and/or agency work. This is why many fell through the gaps during the COVID-19 pandemic. If they earned more than 50% of their income from PAYE (employed) work the previous year, then they could not access the self-employed income support.

Economic Impact of the Independent Museum Sector 2024 – Key Findings Report

This report highlights the important contributions independent museums make across the UK and enables museums to assess their own local impact via the accompanying toolkit. First created in 2010, updated in 2024. There is also an accompanying toolkit to help museums estimate the economic impact they have on their local economy.

AIM: ASSOCIATION OF INDEPENDENT MUSEUMS, 2024. Economic Impact of the Independent Museum Sector 2024 – Key Findings Report. [online] [viewed 5 February 2025]

Category

museums and galleries

Year

2024

Source

View

38,900 regular volunteers (who contribute) almost 518,000 volunteer days, valued at over £41 million

Independent museum sector spent £131.4 million on goods and services, which equates to 2,900 FTE jobs

in 2023 our part of the sector contributed nearly £900 million to the economy, directly and indirectly; independent museums were visited by nearly 20 million people, supported by 4700 full-time equivalent staff and over half a million volunteer days.

In terms of direct employment, it is estimated that the independent museum sector accounts for more than 7,200 jobs

Independent museums attracted more than 19.5 million visitors in 2023

It is estimated that the overall (gross) spend of these visitors is more than £497 million, and much of this expenditure will contribute to the local economies in the places where independent museums are located

The survey results show that of the 19.5 million visitors, around 8.9 million are local visitors, whilst 10.6 million are day/overnight visitors from further afield – clearly showing the role that independent museums play in attracting visitors to places.

A Class Act: Social mobility and the creative industries

The report builds on recent work examining social mobility and social class inequalities in creative industries, and recent work on equity, diversity and inclusion in creative HE.

THE SUTTON TRUST, 2024. A CLASS ACT: SOCIAL MOBILITY AND THE CREATIVE INDUSTRIES. [online] [viewed 5 February 2025]

Category

equality diversity inclusion

Year

2024

Source

View

The specialist institutions with the largest percentage of students from upper-middle-class backgrounds are the Royal College of Music (43%), Royal Academy of Music (41%), and Royal Conservatoire of Scotland (34%).

Degrees are central to the creative workforce. Up to 69% of those working in core creative occupations (such as actors, dancers, artists and writers) have degrees, compared to 26% of the entire workforce.

Among creative workers aged 35 and below, there are around 4 times as many people from middle-class compared to working class origins

Levels of social mobility in the creative sector have remained low since the 1970s, with 16.4% of creative workers born between 1953 and 1962 having a working-class background, compared to just 7.9% for those born four decades later.

In 2020, 52% of the creative workforce were from high socio-economic backgrounds, compared to 38% across all industries.

The most recent data, for 2023, suggests film, TV, video, radio and photography occupations had just 8% of workers from working-class. Music, performing and visual arts just 17%. The class crisis in the workforce is clear.

Take Art Rural Touring Model Carbon Assessment

Take Art works with volunteer promoters to bring high quality live art performances to rural communities across Somerset. Julie’s Bicycle were commissioned to assess the environmental impact of this Rural Touring model.

TAKE ART + NATIONAL RURAL TOURING FORUM, 2024. TAKE ART RURAL TOURING MODEL CARBON ASSESSMENT. [online] [viewed 5 February 2025]

Category

climate

Year

2024

Source

View

This Rural Tour of 4 shows produced 57% less carbon emissions per audience member compared to a representative single centralised show in a more urbanised location

Audience travel emissions were comparatively 20% lower during the Rural Tour

Venues in this Rural Tour generated 90% less emissions overall from energy than the representative larger central venue.

The total emissions from audience travel were calculated to be 20% lower in the Take Art Rural Touring model compared to the single larger-capacity show in a more urbanised setting.

The figures show that bringing art to the doorsteps of rural communities can help to reduce emissions. In total, 20% of audience members walked to the four rural performances, contributing no audience travel emissions.

UK Museums Survey

A new survey, commissioned by Art Fund and the National Museum Directors' Council, shows how important adults think museums are to UK culture.

ART FUND + NATIONAL MUSEUM DIRECTORS' COUNCIL, 2024. SURVEY. [online] [viewed 5 February 2025]

Category

museums and galleries

Year

2024

Source

View

89%

of UK adults think museums are important to UK culture, with nearly half (47%) saying they are very important.

Three quarters (76%) of UK adults think having a local museum adds value to their area, and the same percentage think museums should receive at least half of their funding from government.

48%

of UK adults visit museums at least once a year, with 35% of adults visiting twice or more. 51% of those with children said that their children visit museums at least once a year

89%

of UK adults think museums are important to UK culture, 47% think they are very important and only 7% think they are not important

According to the UK public, the most important functions of a local museum are for education purposes, to preserve the past, and to connect with local history (62%, 59% and 56% respectively)

54%

of UK adults would feel disappointed and 41% would feel sad if their local museum were to close. 19% would be angry and 16% frustrated

Almost half (47%) think that museums in the UK should be mostly or entirely funded by government, and only 3% think that they should be entirely funded by other sources such as private investment and income generated from visitors.

When asked if they think public funding for local museums has gone up or down since 2022, 44% of people correctly identified that it has gone down

Foot in the Door: A Young Artist Consultation Survey

In Spring 2024 Scottish Youth Theatre conducted an online consultation survey with young theatre-makers based in Scotland. What’s presented here is a summary of the 93 responses from young artists currently working, studying and pursuing their creative journeys across the country

SCOTTISH YOUTH THEATRE, 2024. FOOT IN THE DOOR: A YOUNG ARTIST CONSULTATION SURVEY. [online] [viewed 5 February 2025]

Category

youth

Year

2024

Source

View

77%

of respondents reported that the cost-of-living crisis had impacted on their career progression

49%

agreed that where they live has got in the way of their journey so far

48%

are less optimistic than they used to be about progressing as a theatre-maker

94%

said top tips and perspectives from other young artists gaining industry experience was very useful,

Only 23% reflected that connecting with the professional theatre sector was straightforward for them

Cultural Heritage for Inclusive Growth

This essay examines the concept of inclusive growth,

BRITISH COUNCIL, 2023. CULTURAL HERITAGE FOR INCLUSIVE GROWTH [online] [viewed 2 Dec 2024)

Category

culture heritage

Year

2023

Source

View

It has been observed that after a certain point, increases in GDP will be offset by externalities such as increased inequality

Kudumbashree, with over 4.2 million members, is the poverty eradication and women’s empowerment programme of the Government of Kerala in India.

A study of the value chain associated with carnival festivities in Rio de Janeiro, revealed that this famous celebration makes a significant contribution to socio-economic growth...with a $600 million annual turnover and job opportunities for nearly half a million people

the National Arts Festival in South Africa which, although it contributes significantly to the GDP of Makhanda (Grahamstown) where the festival takes place, has had no impact on reducing the 70% unemployment rate in the town

Colombian President Iván Duque Márquez developed the concept of the ‘Orange Economy’ – which refers to a country’s creative industries

Creative Scotland Audience Intentions Survey: Impacts of rising costs of living

This report measures and tracks the Scottish adult population’s behaviours and attitudes towards arts attendance between July 2020 and February 2022.

CREATIVE SCOTLAND, 2023. CREATIVE SCOTLAND AUDIENCE INTENTIONS SURVEY: IMPACTS OF RISING COSTS OF LIVING. [online] [viewed: 3 December 2024]

Category

cost of living

Year

2023

Source

View

Overall around a third (35%) feel very or relatively comfortable financially. Groups more likely to give this response included: Men (46% vs 25% of women); People aged 55+ (46%); ABC1 social grades (47%); Residents of 10% least deprived SIMD areas (66%)

In contrast, 22% of the population are struggling with costs to some extent. Groups more likely to give this response included: Women (27% vs 15% of men); People aged 16-34 (29%); C2DE social grades (32%); People with a long term illness or disability (28%)

“I’m worried about my own/my household’s finances for the year ahead.”... 30% strongly agree with this statement, an increase from 19% a year ago. This percentage is higher amongst women (35%), people aged 45-54(40%) or 16-34 (36%), C2DEs (36%), people with a long term illness or disability (37%) and members of the BAME population (36%).

The most notable decreases (in attendance) include cinema (from 63% to 56%) and theatre (from 38% to 31%).

Overall 87% had attended any of the events or places shown during the 12 months prior to March 2023, By comparison in July 2020 survey 96% claiming to have attended any of the same list of activities in the 12 months prior to lockdown.

Most notably two in three (67%) rated the live music events attended as being quite or very expensive.

The most commonly undertaken activities continue to be listening to music (85%) and watching films on streaming services (72%) while two thirds had watched dramas or documentaries (66%) and/or read for pleasure (66%).

The largest proportions were expecting to attend the cinema or live music in the future (51% and 48% respectively).

Live music was the activity which people were most likely to have a booking for (23% overall).

63%

expected to attend the cinema within the next 2 months (i.e. in March or April 2023) while around a third each expected to attend an art gallery within this time period (32%).

Trends in Funding for Culture

This extended blogpost looks at the longer-term trends of public funding of culture by national and local government in the context of current cost pressures.

SCOTTISH PARLIAMENT INFORMATION CENTRE, 2023. TRENDS IN FUNDING FOR CULTURE. [online] [viewed 11 December 2024]

Category

economic

Year

2023

Source

View

“Real terms” is when I use economic data (the Treasury’s GDP deflator, March 2023) to estimate the effect of inflation – this is not perfect, but it is a way to account for the fact that £100 in 2014 bought more than £100 will now.

This shows that, ignoring emergency covid funding, the total grant funding for Creative Scotland in 2021-22 was about 10% lower in real terms than in 2014-15

A report in 2018 showed that core grants represented around 54% of the National Performing Companies income in 2016-17 and 61% in 2017-18

There are 32 local authorities in Scotland and a variety of ways to fund culture in those 32 areas.

Between March 2020 and March 2022 Creative Scotland issued emergency funding totalling £150 million, delivered in 18,000 separate awards to people and organisations in Scotland’s culture and creative sectors.

cost-of-living concerns are now a bigger barrier with around 60% of people saying this is a barrier to attending cultural events.

Economic Impact of Scotland’s Museums and Galleries

An Economic Impact Assessment of Scotland’s Museums and Galleries. The aim of the commission was to use the results of the National Survey of Scotland’s Museums and Galleries, to provide a desk-based assessment of the economic impact of Scotland’s Museums and Galleries.

MUSEUMS GALLERIES SCOTLAND, 2023. ECONOMIC IMPACT OF SCOTLAND'S MUSEUMS AND GALLERIES [online] [viewed 16 December]

Category

economic

Year

2023

Source

View

£132 million of turnover plus grants income for museums and galleries supports: a total of £221 million direct, indirect, and induced output effects; a total of 3,689 direct, indirect, and induced FTE jobs; and £115.1 million direct, indirect, and induced GVA effects.

£2.67 of direct, indirect, and induced economic output is generated for every £1 of core grant reported by museums.

the scale of volunteering in Scotland’s museums and galleries is estimated to be more than 54,100 days per year and, as a minimum, this is valued at between £3.9 million and £4.4 million per annum.

Total number of staff at Scotland's museums and galleries (close to 3,800)

Total number of visits to Scotland museums and galleries (17.8 million).

Total number of volunteers at Scotland's museums and galleries (more than 4,900).

Total income/budget for Scotland's museums and galleries (£132.8 million).

Total spend on staffing by Scotland's museums and galleries (£67.9 million).

a total aggregated income/budget of £132.8 million are disaggregated, it shows around £47 million of earned income, and almost £86 million of core grants and donations.

£71 million of income is generated within the museum sector and its supply chain, with a further £9.6 million when the spending of wages and salaries is taken into account – resulting in a total of £81.2 million direct, indirect and induced income effects.

Craft Scotland Sector Report 2023

This report provides a detailed analysis of the craft landscape since 2019. For the first time, we now have the strategic, economic and policy context to support the Scottish craft sector.

CRAFT SCOTLAND, 2023. CRAFT SCOTLAND SECTOR REPORT. [online] [viewed 17 December 2024]

Category

craft

Year

2023

Source

View

Scotland's craft sector and talented makers are internationally renowned and craft is enjoyed by an estimated 3.2 million consumers

Craft is a key growth sector within Scotland's creative industries, contributing a significant £67.3 million to the economy

less than 50% of craft makers earned a living solely through their craft, with a staggering 77% reporting earnings under £19,999

Makers express a pressing need for financial support, with 64% seeking assistance in acquiring craft equipment, undergoing further training, securing suitable workspaces, and expanding their businesses for increased income generation

They (makers) also express a strong desire for support in showcasing their work (64%) and marketing (59%) respectively seeking assistance in these areas

56%

of makers need business advice to bolster their entrepreneurial efforts

The Heritage Craft Association’s (2021) Red List of Endangered Crafts highlights that 130 craft are at risk of becoming extinct within the United Kingdom, with 56 of these identified as being critically endangered.

Crafts and Antiques sector contributed £67.3m in Gross Value Added (GVA) to the Scottish economy in 20208

The sector also accounted for at least 2,030 jobs in 2021 (2.6% of the creative industries total) and 390 businesses (3.0% of creative industries)

The vast majority of registered businesses in the craft sector are classed as micro-businesses (93%), employing under 10 staff (if any)

Building Your Case

A resource for anyone creating performances for young audiences

THE ARK, 2023. BUILDING YOUR CASE. [online] [viewed 5 February 2025]

Category

culture

Year

2023

Source

View

Young people from low-income households who experience arts and culture at school are 20% more likely to vote when they reach adulthood.

Young people who take part in structured arts activities experience improved cognitive skills by 17%.

Young people who have broken the law who engage in arts are 18% more likely to not reoffend.

98%

of primary school teachers feel culture is integral for pupils, however 73% feel they do not have the adequate resources and support to deliver culture as part of their curriculum.

Diversity at the Top: Leadership in Scottish Media & Culture

This report by the Equal Media and Culture Centre (EMCC) reviews current boards and leadership, highlighting the need for more diverse voices in decision-making spaces across the sectors.

EQUAL MEDIA & CULTURE CENTRE FOR SCOTLAND, 2023. DIVERSITY AT THE TOP: LEADERSHIP IN SCOTTISH MEDIA & CULTURE. [online] [viewed 5 February 2025]

Category

equality diversity inclusion

Year

2023

Source

View

In 2021 the National Advisory Council for Women and Girls revealed that around two-thirds of senior managerial positions in the Creative Industries sector are held by men.

Of the three broadcasters based in Scotland (BBC Scotland, BBC Radio Scotland and STV) none are currently led by women. All three chief executives are white men.

BBC Scotland’s executive team is made up of 9 people; 33% white men and 66% women, one of whom is a woman of colour.

Women In Journalism Scotland’s review in 2022 revealed that of the 95 permanent sports reporter roles at national and regional print titles in Scotland, only 3 were filled by women.

Analysis of 24 publishing bodies and companies in Scotland revealed that just over half of CEOs or Directors in this sector are white men, alongside one man of colour. White women make up 44%, and no women of colour are currently leading publishing houses in Scotland.

Analysis of 30 gaming and animation companies based in Scotland revealed that 28 (93%) have men as their CEO or Managing Director. More specifically, 25 (83%) are led by white men and three by men of colour (10%)

As Others See Us

This document presents results from an international survey 'What Makes Scotland's Cultural Sector Distinctive?'.

BRITISH COUNCIL + CREATIVE SCOTLAND, 2022. AS OTHERS SEE US [online] [viewed 2 Dec 2024)

Category

international

Year

2022

Source

View

The majority of the international respondents to this survey are current practitioners or managers in their cultural sector (79 %) with 17% working as policymakers or funders for the sector.

To See Ourselves

The research identifies key aspects of Scotland’s arts and culture sector that might be characterised as the country’s cultural attributes and assets.

BRITISH COUNCIL + CREATIVE SCOTLAND, 2022. TO SEE OURSELVES [online] [viewed 2 Dec 2024]

Category

international

Year

2022

Source

View

There are now more than 200 cities from 72 countries in the network (UNESCO City of Culture) city of Culture inlcuding Edinburgh (Literature) Dundee (Design) and Glasgow (Music).

Over 200 festivals of significane take place annually with a geographic, thematic and calendar range that makes them collectively, a significant cultural asset for the country

Arts in Education

A review of Creative Scotland research into arts and creativity in schools in Scotland

CREATIVE SCOTLAND, 2022. ARTS IN EDUCATION [online] [viewed 3 December 2024]

Category

creative education

Year

2022

Source

View

72%

of teachers found teaching time to be a barrier to using arts and creativity

80%

of artists feel well equipped and confident to engage with schools, all of the reports found that communication and reaching the right person within schools can be an issue.

85%

of schools said that clear evidence of benefits to the pupils would encourage them to engage in arts and creativity in the future

while almost all (98%) primary teachers feel culture is critical in education, most (73%) feel under resourced to deliver culture as part of the curriculum

Review of Fair Work: in the creative and cultural sectors in Scotland

Creative Scotland commissioned Culture Radar to consider Fair Work, leadership, workforce, and skills development across the creative and cultural sectors. This work reviews the current status, with baseline findings from which further work and research can develop.

CREATIVE SCOTLAND, 2022. REVIEW OF FAIR WORK: IN THE CREATIVE AND CULTURAL SECTORS IN SCOTLAND. [online] [viewed 3 December 2024]

Category

fair work

Year

2022

Source

View

Overall, our survey of employers showed a reasonable level of awareness of Fair Work within the sector, with 62% having heard of the Scottish Government’s Fair Work First initiative, rising to 70% feeling they were ‘familiar’ with the Fair Work principles when prompted with a description

A substantial minority however (30% of employers), told us they were unfamiliar with the Fair Work principles.

freelance survey participants were less familiar with Fair Work (only 36% said they were familiar with the Fair Work principles), but when prompted with more information a higher 66% felt Fair Work was relevant to them as a freelancer in the sector.

86%

of employers told us they felt confident that their organisation is currently doing what is required to adopt Fair Work First principles. However, it is notable that a much lower proportion (44-64% varying by principle) felt that they had adequate support to do this, 14% said they were lacking in confidence in how to implement them, and almost all of the employers (93%) indicated their organisation faced challenges in implementing the Fair Work principles.

Statistics show that 70% of the arts and entertainment sector had reported a decrease in turnover (as of July 2021) compared to 31% of the economy overall, with a high percentage of workers leaving the sector in search of more stable employment, resulting in knowledge drain and skills shortages.

90%

(of employers) felt they addressed Providing a decent standard of living and income well and 84% felt they were taking Action to create a more diverse and inclusive workplace.

Employers felt that they addressed Investment in workforce development (77%) and Appropriate channels for effective voice (79%) relatively less well overall.

Levels of confidence around Fair Work adoption were similar amongst Arts (86%) and other Creative Industries (84%) respondents, and highest amongst Screen (100%)

In total 63% of the providers mapped offered at least one type of Fair Work opportunity. The ‘Fair Work’ opportunities most often offered by providers were in relation to equality, diversity and inclusion (offered by 45% of providers), followed by Access, disability, ableism (27%) and Workplace policies (which included EDI, fair pay, contracting policies) (17%).

59%

of the providers identified through our mapping offered at least one type of leadership opportunity. These were most often peer learning and networking (offered by 34%), mentoring (27%) and advocacy and lobbying (16%).

Research Digest: Older People's Physical Health

This research digest evaluates the evidence around the value of arts and culture in promoting physical health outcomes in older people.

CENTRE FOR CULTURAL VALUE, 2022. RESEARCH DIGEST: OLDER PEOPLES PHYSICAL HEALTH. [online] [viewed 3 December 2024]

Category

health and wellbeing

Year

2022

Source

View

We identified 23 studies that examined the role of cultural programmes in supporting older people’s physical health (inc. physical fitness, physical function, fall incidences). Across these studies dance programmes were the most commonly reported (83 %), with the older people represented in the literature being largely women and aged 65-75

Nineteen of the 23 studies (83%) explored the value of dance programmes in relation to older people’s physical health

Research Digest: Everyday Creativity

This research digest summarises current evidence relating to the many and diverse creative and cultural activities that people do at home or in their communities.

CENTRE FOR CULTURAL VALUE, 2022. RESEARCH DIGEST: EVERYDAY CREATIVITY. [online] [viewed 11 December 2024]

Category

creative industries

Year

2022

Source

View

In 2008, the Department for Culture, Media and Sport (DCMS) commissioned a report which provided an in-depth study of voluntary and amateur arts groups in the UK (Dodd, Graves and Taws, 2008). This was the first major policy report on this topic, and it estimated that 9.4 million UK citizens were participating in the arts in either a voluntary support capacity or directly as members

The report highlighted that just 6% of amateur participants were unemployed, suggesting that a large number of people involved in amateur or voluntary arts activity were from comfortable socioeconomic backgrounds.

Research Digest: Older People - Culture, Community, Connection

Connecting through culture as we age is a co-produced research project that explores how and why we take part in arts and culture as we get older. The aim of the project is to increase participation in social, digital and cultural life and to improve the quality of life for older populations, particularly those that are disabled, and/or racially or socio-economically minoritised.

CENTRE FOR CULTURAL VALUE, 2022. RESEARCH DIGEST: OLDER PEOPLE - CULTURE, COMMUNITY, CONNECTION. [online] [viewed 11 December 2024]

Category

health and wellbeing

Year

2022

Source

View

Music participation was the most commonly reported cultural experience reported within the literature (37% of studies)

Scottish household survey 2022: culture and heritage key findings

Selected findings from the 2022 Scottish Household Survey which inlcudes key data on cultural engagement, attendance and participation at a population level, alongside additional detail across various protected and socio-economic characteristics.

SCOTTISH GOVERNMENT, 2022. SCOTTISH HOUSEHOLD SURVEY 2022: CULTURE AND HERITAGE KEY FINDINGS. [online] [viewed 11 December 2024]

Category

cultural attendance

Year

2022

Source

View

2022 data shows that 88% of adults had been culturally engaged in the last year, either by attending a cultural event or place of culture or participating in a cultural activity. This figure has decreased from 90% in 2019

In 2022, 74% of adults had attended a cultural event or place of culture (a decrease from 81% in 2019)

In 2022, the cinema (49% of adults) or a live music event (32% of adults) were the most common cultural events or places of culture to attend.

86%

of adults living in the 20% least deprived areas had attended a cultural event or place of culture, including the cinema, compared to 61% of adults living in the 20% most deprived areas.

Adults living in the 20% least deprived areas were more likely to have attended all cultural events or places in the last year, than those living in the 20% most deprived areas

In 2022, cultural attendance (including cinema) was higher among households with greater net annual household income. Considering specific groups, 87% of those with a net annual household income of over £30,000 had attended or visited a cultural event or place in the last 12 months, compared to 54% of respondents with a net annual household income of between £0 and £10,000.

Attendance at cultural events or places of culture also varied by age. In 2022, 85% of adults aged 16 to 24 had attended a cultural event or place of culture, including the cinema, compared to 44% of adults aged 75 or over.

Only 56% of disabled adults had attended a cultural event or place of culture, including the cinema, compared to 80% of non-disabled adults.

In 2022, the library (including mobile and online) was the most frequently visited cultural event or place, compared to the other cultural events or places of culture. 16% of adults visited a library at least once a week, and over one third of adults visited at least once a month

In 2022, the most frequently cited factors limiting or preventing people from attending cultural events and places, were ‘lack of time’ (16%) followed by ‘cost of tickets’ (13%).

Survey of Scotland’s Museums and Galleries

The first sector-wide survey of this scale in twenty years. It provides us with a baseline of sector priorities and needs.

MUSEUMS GALLERIES SCOTLAND, 2022. SURVEY OF SCOTLAND'S MUSEUMS AND GALLERIES. [online] [viewed 17 December 2024]

Category

museums and galleries

Year

2022

Source

View

37%

report that their museum site is not located in a listed building, whilst 36% are located in a Category A listed building, 22% in a Category B, and 5% in a Category C.

The majority of museums (61%) do not charge for admissions at all, 27% charge for general admissions only, 7% charge for both general and specific and the remaining 6% charge for special exhibitions only.

At the current time, one-tenth (10%) of respondents report that they have venues that are at risk of closure.

Total income/operating budget for respondents varies notably. 28% have a total income of less than £25,000, which accounts for 0.3% of total income. Conversely, those with a total income/budget in excess of £2.5 million per year account for 73% of total income but just 6% of responses.

Core grants account for the vast majority of income from all respondents, forming 69% of total income. This is followed by external project funding, which accounts for 12%.

Excluding all Organisations with the national remit, core grants still account for the largest proportion of income (52%), followed by external project funding (20%) and admissions income (7%).

Looking at Independent museums only, core grants remain the largest source of income (31%) but this is markedly lower than for other parts of the sector, with external project funding accounting for 27% of income, and admissions income accounting for around 1 in every 8 pounds of income

Local Authorities are the most commonly reported provider of core grants, providing a core grant to 56% of respondents who receive such a grant.

The majority of museums have a forward/business plan (80%), with one-fifth (20%) indicating they do not.

Most respondents do not have a fundraising plan or strategy for their museum (58%).

Economic Impact of the Edinburgh Festivals

An economic Impact Study of the eleven Edinburgh Festivals that Festivals Edinburgh represents

FESTIVALS EDINBURGH, 2022. ECONOMIC IMPAC OF THE EDINBURGH FESTIVALS [online] [viewed 17 December 2024]

Category

economic

Year

2022

Source

View

Economic impact increased in Edinburgh from £280m in 2015 to £407m in 2022, and in Scotland from £313m to £367m.

The Festivals supported c.5,850 FTE (Full Time Equivalent) jobs in Edinburgh and c.5,000 in Scotland

51%

of net audience expenditure in Edinburgh was spent on accommodation (c.£85m), 25% on food and drink (c.£42m) and a further 19% on shopping (£31m).

The average proportion of staying visitors from outside Scotland has increased from 25% in 2015 to 31% in 2022, with a corresponding increase in net spend (from £95m to £137m between 2015 and 2022).

The Festivals contributed £492m to Edinburgh and £620m to Scotland,

72%

of residents believe the Festivals make Edinburgh a better place to live.

For every £1 invested by the public sector in the Edinburgh Festivals, there is a return of c£33 to Scotland.

In 2022, over 3.2m attendances were made across the eleven Festivals.

In 2022, 3.2 million attendances at Edinburgh Festivals’ events were generated by just over 700,000 attendees.

Average daily expenditure per attendee at the Edinburgh Festivals was higher in 2022 than in 2010 or 2015 – increasing from £50.10 in 2015 to £86.80 in 2022.

Life on low pay during a cost-of-living crisis

The ‘Life on Low Pay’ survey tracks the concerning real-life impact of being paid less than the Living Wage.

LIVING WAGE FOUNDATION, 2022. LIFE ON LOW PAY DURING A COST-OF-LIVING CRISIS [online] [viewed 17 December 2024]

Category

cost of living

Year

2022

Source

View

While workers across the income distribution are feeling the squeeze, the picture is particularly bleak for the UK’s 4.8m workers earning a wage which doesn’t meet actual living costs.

over half (56 per cent) had used a foodbank at least once over the past 12 months, with 63 per cent of those who had used foodbanks saying their usage had increased

Since January 2022, there have been particularly sharp increases in low paid workers skipping meals regularly for financial reasons (up ten percentage points - to 42%) and being unable to heat their homes for financial reasons (up nine percentage points – to 32%).

Among low paid workers, reliance on foodbanks has grown sharply through the cost-of-living crisis...over half (56%) of low paid workers in the UK have used the services of a foodbank in the past 12 months

Research by the Independent Food Aid Network (IFAN) showing that 93% of foodbank providers reported an increase in the need for their services since the start of 2022, with 95% saying the cost-of-living crisis was the reason for the increase.

Women are more likely to be negatively impacted by their levels of pay than men...75% of low paid women said the levels of pay they receive negatively impacts their anxiety, compared to 65% of low paid men

72%

of low paid women said their overall quality of life is negatively impacted by the pay they receive, compared to 66% of low paid men

Around two thirds (62%) of low paid workers said they are worse off than they were a year ago

This means that around a quarter (27%) have no money left over after paying for essentials. Further to this, around half (47 per cent) have less than £10 and two thirds (66 per cent) have less than £20.

75%

of low paid workers said a cost-of-living pay rise would improve their overall happiness

Culture and Heritage: A Manifesto for Local Government

SCAN is calling for local authorities to support culture and heritage.

SCOTTISH CONTEMPORARY ART NETWORK, 2022. CULTURE AND HERITAGE: A MANIFESTO FOR LOCAL GOVERNMENT. [online] [viewed 17 December 2024]

Category

culture heritage

Year

2022

Source

View

Scotland’s history and culture is the second biggest driver of tourism, after scenery and landscape, with 33% of visitors – and over 50% of European/long-haul visitors – citing history and culture as key motivations to visit.

84%

(of the Scottish population) believe it is right that there should be public funding of arts and cultural activities in Scotland

98%

of the Scottish population have engaged in cultural activity from home during lockdown

93%

of the Scottish population believes that creative activity is essential for children and young people’s learning and well-being

85%

(of the Scottish population) agree it is important that Scotland’s heritage is well looked after

Scottish household survey 2020: culture and heritage key findings

Results of the latest survey by the Scottish Government. Results of the SHS 2020 telephone survey are not directly comparable to SHS results for previous years. This survey was carried out in 2020/21.

SCOTTISH GOVERNMENT, 2022. Scottish Household Survey: Culture and Heritage Key Findings 2020. [online]. [viewed 11 February 2022].

Categories

cultural
social

Year

2022

Source

View

In 2020, 86% of adults in Scotland were culturally engaged.

44%

of adults in Scotland attended a cultural event or place of culture in 2020.

83%

of adults in Scotland participated in a cultural activity in 2020.

When excluding cinema, only 39% of adults had attended a cultural event or place of culture in 2020.

When excluding reading, only 62% of adults had participated in a cultural activity in 2020.

In 2020, 36% of adults living in the 20% most deprived areas had attended a cultural event or place of culture, including the cinema, compared to 53% of adults living in the 20% least deprived areas

Time to Act: Arts and Disability

The Time To Act report provides the first transnational evidence that lack of knowledge in the mainstream cultural sector is a key barrier preventing disabled artists and arts professionals participating equally in European culture.

BRITISH COUNCIL, 2021. TIME TO ACT: ARTS AND DISABILITY [online] [viewed 2 Dec 2024)

Category

arts and disability

Year

2021

Source

View

48%

of respondents were not very confident or not at all confident in the accessibility of artistic programmes for disabled artists.

The report shows greater engagement around access for disabled audiences, with a lower figure of 39% not very confident or not at all confident in the accessibility of artistic programmes for disabled audiences.

Only 19% of venues and festivals surveyed had an accessible website, and only 12% an accessible booking process

45%

of survey respondents selected arts funders as among the three stakeholders within the sector they thought should be doing the most, and 42% national ministries of culture.

When asked how familiar they are with the works of European disabled artists, only 16% of respondents to the online survey reported Good or Excellent knowledge.

83%

of respondents had seen work by disabled artists in the last two years. 50% had seen between 1 and 3 productions, and 13% had seen 7 or more

49%

of survey respondents identify disabled artists and disabled culture professionals as their trusted sources when they have questions or needs as regards supporting or programming work by disabled artists

European and international performing arts networks are mentioned by 32% of respondents as their trusted sources when looking for information on work by disabled artists. This figure is higher than for national performing arts networks (22%).

Only 28% of venues and festivals regularly present or support work by disabled artists

53%

of all festivals and venues surveyed present work by disabled artists but on an irregular basis (i.e. less than one production per year), whereas 15% do not present work of this kind.

Mapping of Arts and Health Provision

A study to understand the scale and scope of the current involvement of professional artists working in the area of health and wellbeing.

CREATIVE SCOTLAND - MAPPING OF ARTS AND HEALTH PROVISION, 2021 [online] [viewed 16 December 2024]

Category

health and wellbeing

Year

2021

Source

View

A seminal study found that people who attend the fewest cultural activities had a 60% higher risk of death than those who attend the most.

Including arts activities in healthcare has also been found to save health services money, with an estimated SROI of between £4 and £11 for every £1 invested in arts on prescription.7 This is a result of significant reductions in hospital admissions and GP consultations

85%

of organisations surveyed have an equality, diversity and inclusion action plan. 18% consider themselves to be disabled-led, and just 3% consider themselves to be minority ethnic led

Research Digest: Young People's Mental Health

This research paints a picture of the value of cultural programmes in building young people’s confidence and self-esteem, and how this is built up through the opportunity to showcase artwork, compose music and devise theatre pieces.

CENTRE FOR CULTURAL VALUE, 2021. RESEARCH DIGEST: YOUNG PEOPLE'S MENTAL HEALTH. [online] [viewed 3 December 2024]

Category

health and wellbeing

Year

2021

Source

View

1 in 10 children and young people in the UK are living with a mental health diagnosis.

There was also reference to the ways in which taking part in cultural experiences fostered young people’s future aspirations (observed in 45% of studies).

A number of studies (50%) referenced the idea that cultural experiences provided a ‘safe space’ for younger people: a space which was referred to as ‘non-judgemental’, a place for positive social experiences and an opportunity for escapism.

Evidence for the third UK Climate Change Risk Assessment (CCRA3): for Scotland

The Independent Assessment used to help inform the third UK Climate Change Risk Assessment (CCRA3) assesses 61 risks and opportunities from climate change to Scotland.

UK CLIMATE RISK, 2021. EVIDENCE FOR THE THIRD UK CLIMATE CHANGE RISK ASSESSMENT: SUMMARY FOR SCOTLAND. [online] [viewed 6 February 2025]

Category

climate

Year

2021

Source

View

Scotland’s 10 warmest years on record have all occurred since 1997. The average temperature in the last decade (2010-2019) was 0.69°C warmer than the 1961-1990 average, and the warmest year on record was 2014

Scotland’s annual average rainfall in the last decade (2009- 2018) was 15% wetter than the 1961-1990 average, with winters 25% wetter. The wettest year on record was 2011.

Mean sea level around the UK has risen by approximately 1.4 mm per year from the start of the 20th century

Growth Sector Briefing - Creative Industries (Word Doc 30 June 2021) this is the short headlines version

Growth sector briefing headlines

SCOTTISH GOVERNMENT, 202. Growth Sector Statistics. [online] [viewed 26 September 2021]

Category

economic

Year

2021

Source

View

As of September 2021, output in the Creative Industries sector increased by 0.3% compared with an increased output of 4.7% across the economy as a whole.

In 2019, 90000 people were employed in the creative industries.

3.5%

of employment in Scotland is in the creative industries.

5.6%

of people employed in the creative industries in Great Britain are employed in Scotland.

24.6%

of employment in the creative industries in Scotland is based in Glasgow.

21.2%

of employment in the creative industries in Scotland is based in Edinburgh.

In 2018 the creative industries' exports of £4,045 million accounted for 4.8% of Scotland's total exports.

In 2018, exports of £2,445 million to the rest of the UK accounted for 60.4% of Scotland's total creative industries exports.

In 2018, international exports of £485 million to the EU accounted for 12% of Scotland's total creative industries exports.

In 2018, international exports of £1,110 million to countries outside the EU accounted for 27.4% of Scotland's total creative industries exports.

In 2018, total turnover in the creative industries in Scotland was £8,339.8 million.

GVA for the creative industries in Scotland in 2018 was £4,626.7 million.

In March 2020 there were 15,730 registered enterprises operating in the creative industries, making up 8.8% of all registered business in Scotland.

In 2020, 97.9% of Scottish registered enterprises in the creative industries were small, with between 0-49 employees.

In 2020, Scottish registered enterprises in the creative industries with over 250 employees accounted for 0.6% of registered enterprises but 27.9% of employment.

Small businesses with up to 49 employees provide 54.2% of employment in the creative industries in Scotland.

Large businesses with over 250 employees provide 27.9% of employment in the creative industries in Scotland.

97.3%

of registered enterprises in the creative industries in Scotland are UK based, with their registered office address in Scotland.

UK based registered enterprises provide 70.5% of employment in the creative industries in Scotland.

1.3%

of registered enterprises in the creative industries are registered abroad.

Registered enterprises based outside the UK account for 21.7% of the employment in the creative industries in Scotland.

Median weekly full time earnings in Scotland's creative industries in 2020 were £625.60, compared with the Scottish average of £592.70.

Between 2019 and 2020, earnings in the creative industries in Scotland increased by 5%.

The creative industries in Scotland received 16.5% of the total BERD spend in Scotland in 2019 (£232 million).

The Scottish five year survival rate for businesses registered in 2014 was 50.3%.

The Scottish one year survival rate for businesses registered in 2018 was 94.3%.

How creativity and culture are supporting shielding and vulnerable people at home during Covid-19

Report by the Culture, Health and Wellbeing Alliance about how culture and creativity have supported people in health care and other institutions during the Covid 19 pandemic, based on 47 case studies.

CULTURE, HEALTH AND WELLBEING ALLIANCE, 2021. How culture and creativity have been supporting people in health, care and other institutions during the Covid pandemic. [online] [viewed 26 September 2021]

Categories

cultural
health
covid

Year

2021

Source

View

During the covid-19 crisis, many arts and cultural organisation which worked with people in institutional settings relied on culture and creativity as a social intervention.

Many cultural organisations working with people in institutional settings, who moved to digital and online activity during the pandemic, had a higher level of engagement and satisfaction than they had expected.

Many cultural organisations working with people in institutional settings found it difficult to collect evaluation during this time.

During the covid-19 crisis, many arts and cultural organisation which worked with people in institutional settings focused particularly on supporting staff and key workers to deliver activity.

Arts and cultural organisations which worked with people in institutional settings during the covid-19 crisis developed new skills in technology.

Arts and cultural organisations which worked with people in institutional settings during the covid-19 crisis felt a commitment to the people they worked with.

Arts and cultural organisations which worked with people in institutional settings during the covid-19 crisis appreciated flexibility and understanding from funders.

The impact of Covid-19 on jobs in the cultural sector – part 2

Article sharing findings from a national research programme on the impact of Covid-19 on the UK's cultural sector; particularly looking at different demographic groups as well as at national and regional differences.

O'BRIEN, D., et al. 2021. The Impact of Covid on jobs in the cultural sector - part 2. [online]. [viewed 26 September 2021] Centre for Cultural Value.

Categories

covid
cultural
economic
edi

Year

2021

Source

View

During 2020 it was clear that the size of the creative labour force responded directly to the extent of lockdown restrictions.

27%

of creative workers aged under 25 left creative occupations after lockdown in 2020, compared with 14% of workers aged 25 and over.

The number of hours worked by people in the creative industries decreased, and the number of people working no hours increased, following the 2020 lockdown.

Under 25s in creative occupations appear to have greater reductions in working hours than the labour force as a whole.

Disabled people in the creative industries appear to have greater reductions in working hours than the labour force as a whole.

Creative Majority: An APPG for Creative Diversity Report

The Creative Majority (an APPG for Creative Diversity report) draws from evidence submissions and roundtable consultations, as well as a review of the academic literature. The literature review is at the centre of the report, and is the basis of many of its recommendations.

WREYFORD, N, O’BRIEN, D, and DENT, T. 2021. Creative Majority: An APPG for Creative Diversity report on ‘What Works’ to support, encourage and improve diversity, equity and inclusion in the creative sector. [online] [viewed 19 November 2021] KINGS COLLEGE LONDON

Categories

cultural
social
edi
economic

Year

2021

Source

View

The term ‘minoritised’, coined by Yasmin Gunaratnum (2003) provides a social constructionist approach which acknowledges people are actively minoritised by others rather than naturally existing as a minority.

Since the late 1990s, Policy discourse that emerged from the UK’s New Labour government identified the ‘creative industries’ as an economic celebration of creative and cultural value that intersected with industrial competitive growth.

The concept of ‘creative economy’ incorporates a broader understanding of jobs, sectors and workforces that are part of a wider ecosystem of social, spatial and economic activity that creates value at multiple levels.

Many of the problems encountered by workers in the creative sector are heightened by the huge reliance on project-based workers commonly identified as freelancers, a precarious form of work that has been shown to intensify inequalities.

Project-based work can cause issues in terms of hiring. Often hiring decisions are based on close and closed networks, and ‘who you know’.

Social mobility in the Creative Economy: Rebuilding and levelling up?

Report on social mobility and diversity in the Creative Industries, including recommendations on increasing diversity in the sector.

CAREY, H. et al, 2021. Social mobility in the creative economy: Rebuilding and levelling up? Creative industries policy and evidence centre

Categories

cultural
social
edi
covid

Year

2021

Source

View

If the UK creative industries were as diverse as the total workforce, there would be 263,200 more working class people employed in the sector.

Research and past experience suggests that the Covid-19 crisis will increase social inequality in the creative industries.

The likelihood of someone from a working-class background securing work in a creative occupation to be largely unchanged since 2014.

In 2020, over half (52%) of the UK’s Creative Industries workforce were from high socio-economic backgrounds, compared with 38 per cent across all industries.

In 2020, a little over one in four roles (26%) in the UK’s Creative Industries were filled by those from lower socio-economic backgrounds.

Creative occupations such as Architects; Journalists and Editors; Musicians; Artists; and Producers and Directors are as dominated by the privileged as Doctors, Dentists, Lawyers and Judges.

Between 2014 and 2020, the number of people working in the sector grew by over 400,000, yet two thirds (66%) of this uplift was accounted for by those from upper-middle class origins.

Privileged males are more than three times more likely to be working in a creative occupation than working-class females.

Disabled people from a working-class background are 2.7 times less likely to land a creative role than their privileged, able-bodied counterparts.

Where class intersects with gender, race, disability, skills or place, the challenges of securing employment in a creative occupation become multiplied and ‘double disadvantage’ occurs.

CLES Community Wealth Building Centre of Excellence: Creative economy

The Centre for Local Economic Strategies (CLES) article on creative economies and community wealth building.

CLES (undated) Community Wealth Building Centre of Excellence: Creative economy [online] [viewed 19 November 2021] CLES

Categories

economic
place

Year

2021

Source

View

The creative economy can contribute to community wealth building through economic and social benefit and by making a locality a more attractive place to live, work and play.

Creative industry micro business and SMEs reinvest a greater proportion of their turnover into local areas (through local employees and their own supply chains) than larger corporations

Supporting the development of Community Interest Companies (CICs) within the creative economy can boost the sector and local community.

Digital Engagement From the COVID-19 Participation Monitor

A longitudinal, quantitative population study of the impact of Covid on digital cultural engagement.

THE AUDIENCE AGENCY., 2021. Digital Engagement from the Covid participation monitor. London: The Audience Agency

Categories

cultural
covid

Year

2021

Source

View

Since March 2020, 33% of people have watched an online performance or event.

Since March 2020, 15% of people have taken part in an online virtual tour.

Since March 2020, 15% of people have browsed an online archive or collection.

Since March 2020, 9% of people have taken part in a participatory online arts activity.

The most popular online activities during 2020 were watching theatre performances, and music gigs.

17%

of people watched a play, drama or musical online.

15%

of people watched a music gig online.

of people browsed an online archive.

of people browsed a cultural organisation's online collection.

of people participated in an online virtual tour of a museum.

of people participated in an online virtual tour of a heritage building or place.

of people watched an online performance of an opera, ballet or classical concert.

of people participated in an online cultural activity designed for adults.

of people participated in an online virtual tour of a gallery or exhibition.

of people watched a multi-artform festival online.

of people watched an online event to do with books or writing.

of people participated in an online cultural activity designed for children and/or families.

of people watched an online performance of children's entertainment or pantomime.

of people watched an online contemporary dance performance.

In the future, 37% of people intend to watch online recordings or streams of a music, performing arts, or literature event.

In the future, 25% of people intend to take a virtual tour of a museum, gallery or art exhibition.

In the future, 24% of people intend to take a virtual tour of a heritage building or place.

In the future, 22% of people intend to use an online cultural collection or archive.

In the future, 19% of people intend to participate in an online workshop for themselves or their children.

17%

of people who have accessed digital cultural content since March 2020 bought a ticket or paid a specific price.

19%

of people who have accessed digital cultural content since March 2020 made a donation or 'pay-what-you-like' payment.

11%

of people who have accessed digital cultural content since March 2020 did so as part of a paid membership.

60%

of people who have accessed digital cultural content since March 2020 only accessed free content.

People aged 45 and under were significantly more likely to participate in online cultural activities.

People who identified their race as mixed race, Black, Asian and other were significantly more likely to participate in online cultural activities than people who identified their race as white.

People aged 35 and under are significantly more likely to watch online cultural performances or events.

Over 80% of people aged under 65 have access to the internet.

30%

of people aged 65 - 74 have no access to the internet.

79%

of people aged 75 and over have no access to the internet.

Over 80% of people aged 55 and under use social media.

42%

of people aged 55 to 64 do not use social media.

61%

of people aged 65 to 74 do not use social media.

79%

of people aged 75 and over do not use social media.

44%

of people regularly use Whatsapp.

43%

of people regularly post or upload to Facebook.

31%

of people regularly post or upload to Messenger.

25%

of people regularly post to Instagram.

19%

of people regularly post or upload to YouTube.

17%

of people regularly post to Twitter.

13%

of people regularly post to Snapchat.

of people regularly post or upload to TikTok.

of people regularly post to Pinterest.

62%

of people aged 25 to 34 use WhatsApp.

44%

of people aged 25 to 34 use Messenger.

54%

of people aged 16 to 24 use Snapchat.

57%

of people aged 25 to 34 use Facebook.

28%

of people aged 25 to 34 use Twitter.

64%

of people aged 16 to 24 use Instagram.

29%

of people aged 16 to 24 use TikTok.

13%

of people aged 16 to 24 use Pinterest.

32%

of people aged 16 to 24 use YouTube.

29%

of people use Spotify.

16%

of people use Amazon Music.

of people use Apple Music.

42%

of Spotify users attend live music gigs.

46%

of Amazon Music users attend live music gigs.

50%

of Apple Music users attend live music gigs.

12%

of the population use Spotify and attend live music gigs.

of the population use Amazon Music and attend live music gigs.

of the population use Apple Music and attend live music gigs.

51%

of the population use Netflix.

30%

of the population use Sky TV.

30%

of the population use Amazon Prime TV.

15%

of the population use Disney Plus.

of the population use Now TV.

of the population use Apple TV.

of the population use BritBox.

of the population use YouTube premium

Netflix has the most unique users of all TV subscription services in the UK, at 15% of the population.

29%

of people use no TV subscription services.

In the 12 months before lockdown, 40% of people played video games.

Do creative industries generate multiplier effects? Evidence from UK cities 1997-2018

Peer reviewed discussion paper on place and the creative industries.

GUTIERREZ POSADO, D. et al. 2021. Do creative industries generate multiplier effects? Evidence from UK cities, 1997 - 2018. Creative industries policy and evidence centre

Category

place

Year

2021

Source

View

Creative industries have positive impacts on local services in the cities where they are located, with each creative job generating 1.9 non-tradeable jobs over a 20 year period.

Since the late 1990s, creative industries have clustered in a small number of UK cities.

Embers: Creative Placemaking For the South of Scotland

Embers examines the role of creativity in effective placemaking work to inspire change and grow local activity and projects responsive to local need.

THE STOVE NETWORK, 2020. EMBERS: CREATIVE PLACEMAKING FOR THE SOUTH OF SCOTLAND. [online] [viewed 27 Nov 2024]

Category

creative placemaking

Year

2020

Source

View

The Creative Industries are one of the Scotland’s seven growth sectors, currently contributing around £5.5 billion or 4% of Scottish GDP

Dumfries and Galloway covers 8% of the total land area of Scotland, with a population of just 3% of Scotland (expected to decline by 6% in the next 17 years, with a decrease of 10% in under 18s over the next 19 years)

Does arts and cultural engagement vary geographically?

The aim of this study was to examine the association between geographical factors (spatial setting and neighbourhood characteristics) and arts and cultural engagement amongst adults in the UK.

ROYAL SOCIETY FOR PUBLIC HEALTH, 2020. DOES ARTS AND CULTURAL ENGAGEMENT VARY GEOGRAPHICALLY? [online] [viewed 16 December 2024]

Category

cultural attendance

Year

2020

Source

View

For arts participation, the LCA identified four profiles of engagement: ‘engaged omnivores’, who took part in lots of activities (1.18% of our sample); people who mainly participated in either ‘visual and literary arts’ (4.54%) or ‘performing arts’ (4.63%) and people who were largely ‘disengaged’ (89.7%).2

Regarding neighbourhood characteristics, respondents living in the 10% least deprived of LSOAs had a 21% higher odds of engaging in the arts, compared with those who were living in areas of a medium level of deprivation, and there was an indication that individuals living in the 10% most deprived areas had a lower odds of engaging in the arts

Create, Innovate, Generate: Industry, Economy and Tourism

Scotland's economy fact file

OUR CREATIVE VOICE, 2020. CREATE, INNOVATE, GENERATE: INDUSTRY, ECONOMY AND TOURISM. [online] [viewed 17 December 2024]

Category

economic

Year

2020

Source

View

90,000 people are employed in Scotland’s Creative Industries, representing a steady increase over the last decade, and the Scottish Creative Industries is now larger than Life Sciences and sustainable tourism in terms of GVA

for every £1 of GVA generated by the arts and culture industry, an additional £1.14 of GVA is supported in the wider UK economy

for every 1 job directly created by the arts and culture industry, an additional 1.65 jobs are supported in the wider UK economy.

VisitBritain estimate that Britain’s cultural and heritage attractions generate £4.5 billion worth of spending by inbound visitors.

VisitScotland’s visitor survey highlights that a third of tourists are inspired to visit Scotland by our culture and heritage.

VisitBritain’s survey results, published in 2020, show that Scotland is the region visitors would most likely want to visit, outside of London.

Dundee’s V&A, is estimated to have contributed £75 million to Scotland’s economy in its opening year

84%

believe that it is right that there should be public funding of arts and cultural activities in Scotland.

People, Places and Spaces: Creativity in our Communities

Scotland's community fact file

OUR CREATIVE VOICE, 2020. PEOPLE, PLACES AND SPACES: CREATIVITY IN OUR COMMUNITIES. [online] [viewed 17 December 2024]

Category

culture heritage

Year

2020

Source

View

65%

say their local area would lose something of value if the area lost its arts and cultural activities

Ideas and Imagination: Creativity and Learning

Scotland's Education fact file

OUR CREATIVE VOICE, 2020. IDEAS AND IMAGINATION: CREATIVITY AND LEARNING. [online] [viewed 17 December 2024]

Category

creative education

Year

2020

Source

View

93%

of the Scottish population believes that creative activity is essential for children and young people’s learning and well-being

77%

believe that arts education in schools is as important as science education

Our Creative Future: Culture and the Climate Emergency

Scotland's climate fact file

OUR CREATIVE VOICE, 2020. OUR CREATIVE FUTURE: CULTURE AND THE CLIMATE EMERGENCY. [online] [viewed 17 December 2024]

Category

climate

Year

2020

Source

View

The Scottish Government target is to reduce emissions of all greenhouse gases to net zero by 2045 at the latest, with interim targets for reductions of at least 75% by 2030 and 90% by 2040

carbon emissions reported by theatres in Scotland almost halved between 2015/16 and 2018/19.

Key workers: creative ageing in lockdown and after

Case studies of arts and cultural organisations which worked with older people during the covid-19 restrictions.

CUTLER, D., 2020. Key Workers: Creative ageing in lockdown and after. London: The Baring Foundation.

Categories

cultural
health
covid

Year

2020

Source

View

87%

of cultural organisations working with older people during covid restrictions provided some form of remote delivery, compared with 20% before restrictions.

Before covid restrictions, 80% of arts and cultural organisations working with older people provided only in person provision.

54%

of arts and cultural organisations working with older people during covid restrictions maintained or increased the number of participants.

87%

of arts and cultural organisations working with older people during covid restrictions reported positive feedback from participants.

90%

of arts and cultural organisations working with older people during covid restrictions reported that their artists had to learn new skills.

During covid restrictions, arts and cultural organisations working with older people adapted their provision to offer both digital and non-digital activities.

By continuing to offer remote digital and non digital activity to older people during covid 19 restrictions, arts and cultural organisations were able to maintain relationships, provide distraction, and support wellbeing.

Music By Numbers 2020

Annual report from the music industry, analysing data around economic growth.

UK MUSIC, 2020. Music by numbers 2020. [online] [viewed 26 September 2021] UK Music

Categories

economic
covid

Year

2020

Source

View

In 2019 the UK music industry contributed £5.8 billion to the UK economy.

In 2019 the UK music industry generated £2.9 billion in exports.

In 2019 the UK music industry sustained 197,168 full time jobs.

In 2019, live music contributed £1.3 billion to the UK economy.

In 2019, live music contributed £86 million in exports.

Approximately 149,000 music creators were employed full time in the UK in 2019.

The live music sector was devastated by covid 19 restrictions, with revenues falling to almost zero.

2019 was the live music sector's most successful year to date.

In 2019 12.6 million music tourists attended live events.

In 2019 music tourists spent £4.7 billion.

In 2019 45,633 jobs were sustained by music tourism.

In 2019 1.3 million music tourists visited Scotland.

In 2019, £453 million was spent by music tourists in Scotland.

In 2019, music tourism sustained 4,757 jobs in Scotland.

72%

of people who work in the music industry are self-employed.

The UK music industry provided a range of hardship funds to support people in the music industry who were not supported by government relief schemes during covid restrictions.

Ofcom Media Nations. 2020 : Scotland

A review of key trends in the TV and radio broadcast industries in Scotland.

OFCOM, 2020. Media nations 2020: Scotland. [online] [viewed 26 September 2021] Ofcom

Categories

cultural
covid
economic

Year

2020

Source

View

In April 2020, at the height of the first covid-19 lockdown, people in Scotland watched an average of 5 hours and 46 minutes of TV per day, an increase of 85 minutes on the previous year.

TV news reached 73.5% of the population of Scotland each week in March 2020.

The BBC was the most used service in Scotland for information about covid-19 in the first four weeks of lockdown in March 2020, accessed by 76% of people.

At the beginning of 2020 59% of homes in Scotland had access to a TV connected to the internet.

In 2020, 56% of homes in Scotland subscribed to at least one TV streaming service.

In 2020, 35% of people in Scotland watched BBC iPlayer.

In 2020, 25% of people in Scotland watched STV player.

In 2020, 18% of people in Scotland watched All4.

In 2020, 15% of people in Scotland watched My5.

People in Scotland watch the most broadcast TV of any of the UK nations.

£80.6m

was spent on TV programming for Scottish viewers in 2019, up £26.3 million from the previous year.

The number of hours of TV produced by the BBC for viewers in Scotland rose by 81% in 2019.

In 2019, 57% of radio listening was through digital channels.

85.8%

of adults in Scotland listened to the radio in the first three months of 2020.

People in Scotland watched fewer hours of broadcast TV in 2020 than in 2019.

People in Scotland watched 3 hours and 22 minutes per day of broadcast viewing in 2019.

Broadcast TV and radio stations adapted their output to provide information and entertainment during the initial covid-19 restrictions.

During the first covid-19 restrictions, many broadcasters adapted their output to provide support with mental health and education.

The BBC doubled its Small Indie Fund to £2 million to safeguard post pandemic production, and to support diversity.

Channel 4 pledged over £10 million to spend on content that reflected the pandemic, with half going towards regions, nations, and BAME led production companies.

People in Scotland aged 55 and over watch on average 5.5 hours per day of broadcast television.

People in Scotland aged 45 to 54 watch on average just under 4 hours per day of broadcast television.

People in Scotland aged 35 to 44 watch on average 2.5 hours per day of broadcast television.

People in Scotland aged 25 to 34 watch on average just under 2 hours per day of broadcast television.

People in Scotland aged 15 to 24 watch just over 1.25 hours per day of broadcast television.

Children in Scotland aged 4 to 15 watch just over one hour a day of broadcast television.

42%

of adults in Scotland use BBC One for news.

42%

of adults in Scotland use STV for news.

26%

of adults in Scotland use Sky for news.

One in six people in Scotland listen to podcasts at least once a week.

ONS Data Research by Creative PEC on job losses during lockdown

Report analysiing the impact of the covid-19 pandemic on the cultural sector.

OWEN, G. et al. 2020. A jobs crisis in the creative and cultural industries. [online] [viewed 3 October 2021] Creative industries policy and evidence centre

Categories

covid
economic

Year

2020

Source

View

In the first six months of the covid-19 lockdown in the UK, working hours in the creative industries fell sharply.

In the first six months of the covid-19 lockdown in the UK, there was a loss of 55,000 jobs in music, performing and visual arts (30% of total jobs).

In the first six months of the covid-19 lockdown in the UK, there was a significant increase in the number of people leaving the creative industries for jobs in different sectors.

15%

of people who were working in creative occupations between January and March 2020 were no longer working in the sector between April and June 2020.

Paths to Participation: Understanding How Art Forms and Activities Intersect

US study using data from Survey of Public Participation in the arts to find a positive association between attending arts events in person and consuming digital arts content.

NATIONAL ENDOWMENT FOR THE ARTS. 2020. Paths to participation: understanding how art forms and activities intersect. [online] [viewed 26 September 2021] Office of research and analysis

Category

cultural

Year

2020

Source

View

Adults who consume online arts content are five times as likely as other adults to attend in person events.

Adults who participate in theatre activities are four times as likely as other adults to participate in visual arts activities.

Adults who participate in literary activities are rather more likely to consume or participate in other arts activity than other adults.

71%

of US adults use media to consume music, and 44% of US adults use media to consume music and do not attend live music events.

Review of the Cultural Compacts Initiative

Qualitative review of ACE and DCMS Cultural Compacts initiative.

MORETTO, M. et al. 2020. Review of the Cultural Compacts initiative. Arts Council England.

Categories

place
covid
economic

Year

2020

Source

View

Local areas used the pause enforced by covid-19 to restructure and rethink the work of Cultural Compacts.

Cultural compacts can be used to reinforce existing partnerships.

Having a strong chairperson and a degree of independence are factors which support the success of cultural compacts.

RSA Social and economic growth stunted by outdated view of heritage, report finds

Case studies and analysis of how the heritage sector can support inclusive growth.

ANTINK, B., et al. 2020. Heritage for inclusive growth. RSA/British Council.

Categories

social
place
economic

Year

2020

Source

View

"Because heritage practice has the potential to perpetuate injustices and inequalities, there is a moral imperative for heritage activity to address these."

Place based regeneration can be used to benefit residents of areas which have suffered economic decline.

Integrating museums and heritage sites with local economic development opportunities can support a community focused tourism offer.

The redevelopment of St Fagans National Museum of History in Cardiff was used as an opportunity to include and work with diverse and disadvantaged community groups.

Development of heritage sites can be used as an opportunity to consult with diverse and disadvantaged community groups, and aid local economic development.

Inclusive heritage programming should work alongside real efforts to increase diversity of the workforce.

Increasing diversity in the heritage sector should be seen as a long term strategy, in which difficult conversations are productive and essential.

Scottish household survey 2019: culture and heritage - report

Results of the latest survey by the Scottish Government. Data is collected using face to face meetings with a cross section of people in their homes. This survey was carried out in 2019.

SCOTTISH GOVERNMENT, 2020. Scottish Household Survey: Culture and Heritage report 2019. [online]. [viewed 26 September 2021].

Categories

cultural
social
place

Year

2020

Source

View

In 2019, 90% of adults in Scotland were culturally engaged.

81%

of adults in Scotland attended a cultural event (including cinema) in 2019.

74%

of adults in Scotland attended a cultural event (excluding cinema) in 2019.

58%

of adults in Scotland attended the cinema in 2019.

37%

of adults in Scotland attended a live music event in 2019.

35%

of adults in Scotland visited a historic place in 2019.

34%

of adults in Scotland visited a museum in 2019.

33%

of adults in Scotland attended the theatre in 2019.

27%

of adults in Scotland visited a library in 2019.

of adults in Scotland attended a classical music concert or opera in 2019.

11%

of adults in Scotland attended a dance show event in 2019.

22%

of adults in Scotland visited an art gallery in 2019.

18%

of adults in Scotland attended an art exhibition in 2019.

17%

of adults in Scotland attended a street arts event in 2019.

15%

of adults in Scotland attended a culturally specific festival in 2019.

of adults in Scotland attended a book festival or reading group in 2019.

of adults in Scotland visited an archive or records office in 2019.

of adults in Scotland watched a streamed live performance in 2019.

19%

of adults in Scotland did not attend any cultural events in 2019.

83%

of women in Scotland attended a cultural event (including cinema) in 2019.

77%

of women in Scotland attended a cultural event (excluding cinema) in 2019.

79%

of men in Scotland attended a cultural event (including cinema) in 2019.

71%

of men in Scotland attended a cultural event (excluding cinema) in 2019.

Younger age groups in Scotland are noticeably more likely to attend a cultural event in Scotland than older age groups, with attendance declining as age increases.

92%

of adults aged 16 to 24 in Scotland attended a cultural event or visited a place of culture (including cinema) in 2019.

89%

of adults aged 25 to 34 in Scotland attended a cultural event or visited a place of culture (including cinema) in 2019.

87%

of adults aged 35 to 44 in Scotland attended a cultural event or visited a place of culture (including cinema) in 2019.

82%

of adults aged 45 to 59 in Scotland attended a cultural event or visited a place of culture (including cinema) in 2019.

74%

of adults aged 60 to 74 in Scotland attended a cultural event or visited a place of culture (including cinema) in 2019.

55%

of adults aged 75 and over in Scotland attended a cultural event or visited a place of culture (including cinema) in 2019.

81%

of adults aged 16 to 24 in Scotland attended a cultural event or visited a place of culture (excluding cinema) in 2019.

80%

of adults aged 25 to 34 in Scotland attended a cultural event or visited a place of culture (excluding cinema) in 2019.

80%

of adults aged 35 to 44 in Scotland attended a cultural event or visited a place of culture (excluding cinema) in 2019.

76%

of adults aged 45 to 59 in Scotland attended a cultural event or visited a place of culture (excluding cinema) in 2019.

71%

of adults aged 60 to 74 in Scotland attended a cultural event or visited a place of culture (excluding cinema) in 2019.

52%

of adults aged 75 and over in Scotland attended a cultural event or visited a place of culture (excluding cinema) in 2019.

50%

of 16 to 24 year olds in Scotland attended a live music event in 2019, compared with 10% of people aged 75 and over.

of 16 to 24 year olds in Scotland attended a classical music concert or opera in 2019, compared with 10% of people aged 60 to 74.

94%

of adults with a degree or professional qualification in Scotland attended a cultural event or visited a place of culture (including cinema) in 2019.

88%

of adults with an HNC/HND or equivalent in Scotland attended a cultural event or visited a place of culture (including cinema) in 2019.

89%

of adults with Highers or equivalent in Scotland attended a cultural event or visited a place of culture (including cinema) in 2019.

78%

of adults with O Grade/Standard grade or equivalent in Scotland attended a cultural event or visited a place of culture (including cinema) in 2019.

52%

of adults with no qualifications in Scotland attended a cultural event or visited a place of culture (including cinema) in 2019.

90%

of adults with a degree or professional qualification in Scotland attended a cultural event or visited a place of culture (excluding cinema) in 2019.

81%

of adults with an HNC/HND or equivalent in Scotland attended a cultural event or visited a place of culture (excluding cinema) in 2019.

81%

of adults with Highers or equivalent in Scotland attended a cultural event or visited a place of culture (excluding cinema) in 2019.

67%

of adults with O Grade/Standard grade or equivalent in Scotland attended a cultural event or visited a place of culture (excluding cinema) in 2019.

45%

of adults with no qualifications in Scotland attended a cultural event or visited a place of culture (excluding cinema) in 2019.

Cultural attendance in Scotland decreases as levels of deprivation decrease.

71%

of adults living in the 20% most deprived areas of Scotland attended a cultural event or visited a place of culture (including cinema) in 2019.

91%

of adults living in the 20% least deprived areas of Scotland attended a cultural event or visited a place of culture (including cinema) in 2019.

63%

of adults living in the 20% most deprived areas of Scotland attended a cultural event or visited a place of culture (excluding cinema) in 2019.

86%

of adults living in the 20% least deprived areas of Scotland attended a cultural event or visited a place of culture (excluding cinema) in 2019.

Cultural attendance decreases as income decreases.

67%

of adults in Scotland with an annual household income of under £10,000 attended a cultural event or visited a place of culture (including cinema) in 2019.

69%

of adults in Scotland with an annual household income of between £10,000 and £20,000 attended a cultural event or visited a place of culture (including cinema) in 2019.

81%

of adults in Scotland with an annual household income of between £20,000 and £30,000 attended a cultural event or visited a place of culture (including cinema) in 2019.

90%

of adults in Scotland with an annual household income of over £30,000 attended a cultural event or visited a place of culture (including cinema) in 2019.

62%

of adults in Scotland with an annual household income of under £10,000 attended a cultural event or visited a place of culture (excluding cinema) in 2019.

62%

of adults in Scotland with an annual household income of between £10,000 and £20,000 attended a cultural event or visited a place of culture (excluding cinema) in 2019.

73%

of adults in Scotland with an annual household income of between £20,000 and £30,000 attended a cultural event or visited a place of culture (excluding cinema) in 2019.

84%

of adults in Scotland with an annual household income of over £30,000 attended a cultural event or visited a place of culture (excluding cinema) in 2019.

In 2019, cultural attendance in Scotland was lowest among people with a long term physical or mental health condition that caused long term major reduced daily capacity.

52%

of adults in Scotland with a condition that caused long term reduced capacity attended a cultural event in Scotland in 2019, compared with 87% of those who had no such condition.

18%

of adults in Scotland said they wanted to go to the cinema more often.

of adults in Scotland said they wanted to go to a library more often.

of adults in Scotland said they wanted to attend a classical music concert or opera more often.

20%

of adults in Scotland said they wanted to attend live music events more often.

15%

of adults in Scotland said they wanted to attend the theatre more often.

of adults in Scotland said they would like to attend dance shows more often.

10%

of adults in Scotland said they wanted to visit historic places more often.

of adults in Scotland said they wanted to visit museums more often.

of adults in Scotland said they wanted to visit art galleries more often.

of adults in Scotland said they would like to attend more exhibitions.

of adults in Scotland said they would like to attend more street arts events.

of adults in Scotland said they would like to attend more culturally specific festivals

of adults in Scotland said they would like to attend more book festival or reading group events.

of adults in Scotland said they would like to visit an archive or records office more often.

of adults in Scotland in 2019 said they would like to watch more streamed live performances.

70%

of adults in Scotland who attended no cultural events in 2019 did not want to attend cultural events in the future.

19%

of adults in Scotland cite lack of time as a factor which limited their cultural attendance in 2019.

15%

of adults in Scotland cite ticket cost as a factor which limited their cultural attendance in 2019.

of adults in Scotland cite distance or travel time as a factor which limited their cultural attendance in 2019.

of adults in Scotland cite lack of transport as a factor which limited their cultural attendance in 2019.

of adults in Scotland cite lack of disabled access a factor which limited their cultural attendance in 2019.

of adults in Scotland cite health problems as a factor which limited their cultural attendance in 2019.

of adults in Scotland cite lack of childcare as a factor which limited their cultural attendance in 2019.

of adults in Scotland cite lack of available companions as a factor which limited their cultural attendance in 2019.

of adults in Scotland cite lack of information/listings as a factor which limited their cultural attendance in 2019.

75%

of adults in Scotland participated in a cultural activity (including reading) in 2019.

52%

of adults in Scotland participated in a cultural activity (excluding reading) in 2019.

62%

of adults in Scotland read books for pleasure in 2019.

12%

of adults in Scotland participated in a dance activity in 2019.

11%

of adults in Scotland played an instrument or wrote music in 2019.

of adults in Scotland performed in a play in 2019.

of adults in Scotland attended a singing group or choir in 2019.

11%

of adults in Scotland participated in an art or sculpture activity in 2019.

of adults in Scotland participated in a photography activity in 2019.

of adults in Scotland participated in a film making activity in 2019.

of adults in Scotland participated in a computer artwork animation activity in 2019.

16%

of adults in Scotland participated in a craft activity in 2019.

of adults in Scotland participated in a creative writing activity in 2019.

80%

of women in Scotland participated in a cultural activity (including reading) in 2019.

55%

of women in Scotland participated in a cultural activity (excluding reading) in 2019.

70%

of men in Scotland participated in a cultural activity (including reading) in 2019.

49%

of men in Scotland participated in a cultural activity (excluding reading) in 2019.

24%

of women in Scotland participated in crafts activities in 2019, compared with 8% of men.

70%

of women in Scotland read a book for pleasure in 2019, compared with 54% of men.

17%

of women in Scotland participated in a dance activity in 2019, compared with 6% of men.

14%

of men in Scotland played an instrument in 2019, compared with 8% of women.

Cultural participation rates are broadly similar across all age groups.

91%

of people with a degree or professional qualification participated in cultural activity (including reading) in Scotland in 2019.

80%

of people with an HNC/HND level qualification participated in cultural activity (including reading) in Scotland in 2019.

77%

of people with Highers or equivalent participated in cultural activity (including reading) in Scotland in 2019.

64%

of people with O Grade/Standard Grade or equivalent participated in cultural activity (including reading) in Scotland in 2019.

54%

of people with no qualifications participated in cultural activity (including reading) in Scotland in 2019.

69%

of people with a degree or professional qualification participated in cultural activity (excluding reading) in Scotland in 2019.

59%

of people with an HNC/HND level qualification participated in cultural activity (excluding reading) in Scotland in 2019.

56%

of people with Highers or equivalent participated in cultural activity (excluding reading) in Scotland in 2019.

40%

of people with O Grade/Standard Grade or equivalent participated in cultural activity (excluding reading) in Scotland in 2019.

28%

of people with no qualifications participated in cultural activity (excluding reading) in Scotland in 2019.

60%

of people in the least deprived 20% of Scotland participated in cultural activity in 2019, compared with 41% of people in the most deprived 20%.

37%

of adults in Scotland with a condition that caused long term reduced capacity participated in a cultural activity (excluding reading) in 2019, compared with 55% of those who had no such condition.

Reading a book for pleasure is the cultural activity in which people in Scotland participate most frequently.

People in Scotland participate in cultural activities more frequently than they attend cultural events.

15%

of adults in Scotland said they would like to read books for pleasure more.

of adults in Scotland would like to participate in more crafts activity.

of adults in Scotland would like to play an instrument more often.

of adults in Scotland would like to participate in more dance activity.

of adults in Scotland would like to participate in more art and sculpture activity.

of adults in Scotland would like to participate in more photography activity.

19%

of adults in Scotland cite lack of time as a factor which limited their cultural participation in 2019.

of adults in Scotland cite cost of tickets as a factor which limited their cultural participation in 2019.

of adults in Scotland cite distance as a factor which limited their cultural participation in 2019.

of adults in Scotland cite lack of transport as a factor which limited their cultural participation in 2019.

of adults in Scotland cite lack of childcare as a factor which limited their cultural participation in 2019.

of adults in Scotland cite feeling unsafe as a factor which limited their cultural attendance in 2019.

In 2019, about 40% of adults in Scotland expressed satisfaction with local authority run libraries, museums and theatres.

People who have used or attended local authority run cultural services are significantly more likely to express satisfaction with them than people who have not used them.

86%

of adults in Scotland agree that it is important to them that Scotland's heritage is well looked after.

46%

of adults in Scotland agree with the statement that 'culture and the arts make a positive difference to my life'.

51%

of adults in Scotland agree with the statement that 'culture and the arts make a positive difference to my community'

The Impact of Arts and Culture on the Wider Creative Economy

Report commissioned by Arts Council England exploring the impact of arts and culture on the wider creative economy of the UK, and in particular indirect economic contributions.

METRO DYNAMICS, 2020. The Impact of Arts and Culture on the wider creative economy. [online]. [viewed 26 September 2021] London: Metro-Dynamics

Category

economic

Year

2020

Source

View

The wider UK economy can benefit from collaboration, innovation and education as modelled by the creative industries.

The Missing Pillar – Culture's Contribution to the UN Sustainable Development Goals

British Council report examining how culture and the arts can support sustainable development, as defined by the UN Agenda 2030.

BRITISH COUNCIL. 2020. The Missing Pillar: Culture's Contribution to the UN sustainable development goals.[online]. [viewed 26 September 2021] British Council.

Categories

cultural
social
edi
health
education
economic
place
environment

Year

2020

Source

View

Cultural programmes can be devised to address some aspects of poverty reduction.

Cultural programmes can be devised which support good health and wellbeing.

Cultural programmes can be devised which support access to quality education.

Cultural programmes can be devised which support the goal of gender equality.

Cultural programmes can be devised which support inclusive economic growth and fair employment.

Cultural programmes can be devised which help to recognise and reduce inequality.

Cultural heritage programmes and urban planning can address issues of creating sustainable cities and communities.

The arts and cultural sector should be encouraged and supported to engage with responsible energy consumption.

The status and working conditions of artists and cultural and creative professionals (conclusion and recs)

EC commissioned study exploring the concept of artist status and the working conditions and career paths of artists and creative professionals. This study was partially carried out during the Covid-19 pandemic and restrictions.

EUROPEAN EXPERT NETWORK ON CULTURE AND AUDIOVISUAL, 2020 The status and working conditions of artists and cultural and creative professionals. [online]. [viewed 26 September 2021] EENC

Categories

covid
economic
brexit

Year

2020

Source

View

The Covid-19 crisis highlighted social security and benefits legislation as they apply to self-employed artists in the EU.

Cross border artistic activity and collaboration in the EU may be adversely impacted by VAT legislation in different member states.

Strong copyright provisions help artists benefit financially from their work, especially in the digital environment.

7.3 million people (about 3.7% of total employment) worked in cultural sectors and occupations in the EU in 2019.

32%

of cultural workers in the EU are self employed, compared with 14% of the total workforce.

Atypical work' is more common among cultural workers - that is, working part time, being self-employed, or having more than one job, or having a job that is not permanent.

Artists and cultural workers tend to be very highly educated.

The performance sector is the most mobile of the creative sectors.

Artists and cultural workers face difficulties finding affordable work/performance/rehearsal space in a competitive property market.

The gender pay gap exists in the creative and cultural industries.

Artists and creative workers are impacted by the digital platform economy providing wider access to audiences, but fewer opportunities for remuneration.

Collective bargaining and union membership has benefits for creative and cultural workers and artists.

The EU supports policies and initiatives which allow for freedom of movement and workers rights which particularly affect creative and cultural workers.

Precarious and atypical work was particularly affected by restrictions connected to the Covid-19 pandemic.

Calls for a Universal Basic Income have been widespread throughout the EU in the light of the Covid 19 pandemic.

Some EU member states provide tailored social security schemes for artists, for example the Swedish Dance, Theatre and Music Alliance schemes which offer continuous employment for artists in these areas.

Complex tax systems in individual member states affect performers working across the EU, often resulting in a requirement to pay double taxes.

Artists require strong copyright protection to ensure fair remuneration.

There were 380 cases of violations of artistic freedom in 28 European countries (including 17 EU member states) in 2018/19.

Specific measures to offer financial support to artists and creative workers during the Covid-19 crisis were implemented by many EU member states.

UK Music 2020 Diversity Report

Report produced by UK Music with survey results on diversity in music workplaces and the music industry.

UK MUSIC. 2020. UK Music Diversity Report 2020. [online]. [viewed 26 September 2021] London: UK Music

Categories

cultural
social
edi

Year

2020

Source

View

75.4%

of UK music industry workers identify as white.

22.3%

of UK music industry workers identify as Black, Asian or Ethnic Minority.

49.6%

of UK music industry workers are female.

48.8%

of UK music industry workers are male.

Racial diversity is more common in younger age groups of UK music workers.

Women make up almost 50% of the UK music industry, but representation decreases sharply by age group.

Women aged 45 -54 make up 35% of UK music industry workers, and women aged 65 and over make up 18.2% of UK music industry workers.

42.1%

of music industry interns are from Black, Asian and Ethnic Minority backgrounds.

34.6%

of entry level music industry posts are filled by people from Black, Asian and Ethnic Minority backgrounds.

21.6%

of mid level music industry posts are filled by people from Black, Asian and Ethnic Minority backgrounds.

19.9%

of senior level music industry posts are filled by people from Black, Asian and Ethnic Minority backgrounds.

66.7%

of music industry interns are female.

64.7%

of entry level music industry posts are filled by women.

51.2%

of mid level music industry posts are filled by women.

40.4%

of senior level music industry posts are filled by women.

28.8%

of people in the UK music industry earning over £100,000 are women.

60%

of people doing unpaid jobs in the UK music industry are women.

59.4%

of people earning less than £15,000 in the UK music industry are women.

54.3%

of the people who did not want to disclose their income in a music industry survey were men.

73.7%

of the people who did not want to disclose their income in a music industry survey were white.

12.2%

of people in the UK music industry earning over £100,000 are from Black, Asian or Ethnic Minority backgrounds.

40%

of the people doing unpaid jobs in the UK music industry are from Black, Asian or Ethnic Minority backgrounds.

33.6%

of the people who earn less than £15,000 in the UK music industry are from Black, Asian or Ethnic Minority backgrounds.

13%

of people working in the UK music industry identify their sexual preference as something other than heterosexual, compared with 7% in the total UK population.

Y DANCE. Shake It Up Evaluation Report

Final evaluation report on 'Shake it up' an interdisciplinary dance project for Scottish schools run by YDance, the national dance organisation for young people.

HALL, S. et al. 2020. YDance Shake it Up evaluation. [online]. [viewed 26 September 2021] Glasgow: University of Glasgow.

Categories

education
social

Year

2020

Source

View

Dance and learning programmes embedded in a primary school setting can support learning and wellbeing among pupils.

Embedded dance programmes in schools are more successful when teachers feel confident in and comfortable with dance tutors.

Primary school teachers who have been supported to deliver tutor led dance and learning programmes in primary schools may gain confidence in delivering similar workshops and learning methods in the future.

A Creative Decade, Measuring the Impact ofCashback for CreativityFebruary 2021

Evaluation of the Cashback for Creativity programme which supported arts groups working with young people in areas of multiple deprivation, or who had additional needs. Case studies foregrounding the voices of young people involved.

NUGENT, B. & DEACON, K. 2020 A Creative Decade: Measuring the impact of cashback for creativity [online] [viewed 1 October 2021] Media Education

Categories

cultural
social
edi

Year

2020

Source

View

Art programmes which support looked after young people can provide respite and escape.

Art programmes which support young people with additional needs and young people living in areas of multiple deprivation can offer opportunities to develop social skills.

Art programmes which support young people with additional needs and young people living in areas of multiple deprivation can offer opportunities to improve wellbeing.

Art programmes which support young people with additional needs and young people living in areas of multiple deprivation can offer opportunities for recognising and developing new skills.

Young people have expressed that they would prefer to evaluate projects which involve them using methods other than form filling - eg video diaries, or telling their stories.

Craft market report - Biggest survey of the market for craft published

Survey commissioned by the Craft Council to gauge the appetitie for British craft

CRAFTS COUNCIL. 2020. The Market for Craft [online] [viewed 1 October 2021] Crafts Council

Categories

cultural
economic
brexit
edi

Year

2020

Source

View

37.7 million people in the UK bought craft in 2020.

Between 2006 and 2020 the number of people buying craft in England rose from 6.9 million to 31.6 million.

Between 2006 and 2020 the number of craft objects bought in England rose from 5.6 million to 24.7 million.

Between 2006 and 2020 the number of people buying craft in England rose from 6.9 million to 31.6 million.

Between 2006 and 2020 the value of craft objects bought in England rose from £883 million to over £3 billion.

Between 2006 and 2020 the value per craft object bought in England decreased from £157 to £124.

Online platforms such as Etsy and Folksy are part of the reason UK craft sales are almost four times higher in 2020 than they were in 2006.

26%

of craft makers said Brexit had had an adverse impact on their business, with a further 22% saying that they expected Brexit to have an adverse impact on their business in the future.

In 2006, 5% of buyers bought craft online; in 2020 this had risen to 33%.

Since 2006 the consumer market has become younger and more ethnically diverse.

In 2020, 77 to 89% of all types of makers were women.

In 2020 less than 4% of all types of makers were from Black, Asian and Ethnic Minority backgrounds.

16%

of Master Craftsmen reported profits from selling in excess of £30,000 in 2020.

The US is the biggest overseas market for UK crafts, largely driven by platforms such as Etsy.

Culture in crisis: policy guide for a resilient creative sector

UNESCO practical guide sharing good practice examples of how artists and creative professionals can be supported during and after the Covid-19 crisis.

UNESCO. 2020. Culture in Crisis: policy guide for a resilent creative sector [online] [viewed 17 October 2021] UNESCO

Categories

cultural
economic
covid

Year

2020

Source

View

An estimated 10 million jobs in the global film industry were lost during 2020.

Offering income protection and social security to artists is one way to support and protect artists and creative workers affected by Covid-19 restrictions.

In times of crisis (such as during Covid-19 restrictions) public commissioning of artworks can help support artists and the creative industries.

Compensation for artists and creative workers who have lost income during times of crisis (such as during Covid-19 restrictions) should ensure that precarious workers and vulnerable groups are not overlooked.

Tax relief for creative industries facing the crisis of Covid-19 can protect the creative sector from financial collapse.

Diversity and equal opportunities in television and radio 2019/20

Report on the UK broadcasting industry

OFCOM., 2020. Diversity and Equal Opportunities in TV and radio 2019/20. London: Ofcom

Categories

cultural
social
edi

Year

2020

Source

View

The UK TV and radio broadcast industry employed a higher proportion of women in 2019/20 than in the previous year (48%).

The UK TV and radio broadcast industry employed a higher proportion of minority ethnic people in 2019/20 than in the previous year (14%).

The UK TV and radio broadcast industry employed a higher proportion of people with a disability in 2019/20 than in the previous year (7%).

47%

of UK TV employees are women.

of UK TV employees have a disability.

15%

of UK TV employees are from minority ethnic groups.

57%

of people in senior management roles in UK TV are male.

of people in senior management roles in UK TV are from minority ethnic groups.

of people in senior management roles in UK TV have a disability.

52%

of UK radio employees are women.

of UK radio employees are from a minority ethnic group.

of UK radio employees have a disability.

57%

of people in senior management roles in UK radio are male.

of people in senior management roles in UK radio are from minority ethnic groups.

of people in senior management roles in UK radio have a disability.

The number of disabled people employed in UK TV and radio has not increased meaningfully in 2019/20 compared to the previous year.

The number of people from minority ethnic groups employed in UK TV and radio has increased overall in 2019/20.

UK TV employees are nearly twice as likely to have come from a professional family background as the wider population.

13%

of UK TV employees attended private schools, compared to 7% of the wider population.

Evidence summary for policy: The role of arts in improving health and wellbeing

DCMS report. evidence summary collating 3,500 studies on arts and health.

FANCOURT, D. et al. 2020. The Role of Arts in Improving Health and Wellbeing. London: DCMS

Category

health

Year

2020

Source

View

There is strong evidence that music can support social development in infants, particularly in enhancing affect, attention, and mother-infant bond.

There is strong evidence that engaging with arts activities can enhance aspects of social cohesion, eg reducing loneliness and isolation, and reducing aggression.

There is very strong evidence supporting the benefits of reading books with children.

There is strong evidence supporting a link between the arts and social cohesion.

There is very strong evidence that music can support speech and language in infants.

There is very strong evidence that arts and reading can support language development in children.

There is some evidence that arts engagement can support wellbeing in children.

There is strong evidence that arts can support wellbeing in adults.

There is strong evidence that arts engagement in old age can benefit cognition and physical health.

There is weak evidence to suggest that social prescribing affects social inequality.

There is very weak evidence to suggest that social prescribing improves or affects physical health.

There is moderate evidence to suggest that social prescribing improves wellbeing.

There is some evidence that social prescribing can connect people to arts activities.

Getting in and getting on: Class, participation and job quality in the UK's Creative Industries

Quantitative research paper exploring the participation, retention and progression of those from different class backgrounds in the creative industries.

CAREY, H. et al 2020. Getting in and getting on: Class, participation and job quality in the UK Creative Industries. Creative industries policy and evidence centre

Categories

social
cultural
edi

Year

2020

Source

View

57%

of those working in the creative industries are from a privileged background, compared with 37% of the total workforce.

16%

of those working in the creative industries are from a working class background, compared with 29% of the total workforce.

People from privileged backgrounds are more than twice as likely to work in the creative industries than their working class peers.

In 2019, 4.4% of people from a working class background were employed in the creative industries, compared with 10.9% of those from better off backgrounds.

While the number of people employed in the creative industries increased between 2014 and 2019, the proportion of those from working class backgrounds did not increase.

Class imbalances exist across every creative industry except for craft, and are most pronounced in publishing and architecture.

Creative industry workers from privileged backgrounds and working class backgrounds have largely similar experiences of job satisfaction and job security.

People from working class backgrounds who work in the creative industries experience less autonomy in their work than their peers from privileged backgrounds.

People working in the creative industries who are from a privileged background are more likely to be in a supervisory or managerial role than those from working class backgrounds.

Class intersects with race, gender, disability and education/skill level to increase the barriers to working class people being employed in the creative industries.

For love or money? (Value of creative education (England)

Report examining the relationship between a range of creative subjects and graduate outcomes in the creative industries.

BLOOM, M., 2020. For love or money? Graduate motivations and the economic returns of creative higher education inside and outside of the creative industries. Creative industries policy and evidence centre.

Category

education

Year

2020

Source

View

Creative graduates make up 17% of the graduate population, and 46% of graduates working in the creative industries.

52%

of creative graduates are in some kind of creative work.

Creative graduates earn less than non creative graduates both outside and inside the creative industries.

Creative graduates are more likely to be freelance, self-employed or running their own business than non creative graduates.

CLIMATE READY SCOTLAND: Second Scottish Climate Change Adaptation Programme 2019-2024

This document sets out the Scottish Government’s five year Programme for climate change adaptation.

SCOTTISH GOVERNMENT, 2019. CLIMATE READY SCOTLAND:SECOND SCOTTISH CLIMATE CHANGE ADAPTATION PROGRAMME 2019-2024. [online] [viewed 6 February 2025]

Category

climate

Year

2019

Source

View

£42m

provided annually by Scottish Government to Local Authorities for flood protection

Sea level rose by 8cm between 1900 and 1990, and is likely to have risen by a similar amount by 2030.

In May 2019, the Committee on Climate Change recommended a net-zero emission date for Scotland of 2045. Scottish Ministers acted immediately on that advice, amending the Climate Change Bill to set new emissions reduction targets of 70% and 90% by 2030 and 2040 respectively, and net-zero emissions by 2045

The £1.8 billion 'Schools for the Future' programme means that a total of 117 schools will be constructed or refurbished by March 2020 (to be resilient to changing climate)

Since the early 20th century, rainfall levels have increased in Scotland by around 11%

Tackling climate change through culture

This report celebrates the good practices of 14 cities within the World Cities Culture Forum membership, highlighting their creative climate initiatives across four thematic areas: policy and strategy; resources and support; partnerships and innovation; and creative programmes and campaigns. Each case study demonstrates the power of cultural urban policy to drive creative action on climate change and the environment

WORLD CITIES FORUM, 2019. TACKLING CLIMATE CHANGE THROUGH CULTURE. [online] [viewed 6 February 2025]

Category

climate

Year

2019

Source

View

In May 2019 the UK parliament was the first national government to declare an environment and climate emergency.

If all cities above 100,000 population adopted 1.5° C action plans2, they could deliver around 40% of the carbon emission savings required to limit global temperature rises in line with the Paris Agreement

The Mayor’s Energy Efficiency Fund (MEEF) provides small businesses and public buildings, including museums and libraries, the opportunity to become more energy efficient through a £500 million investment fund.

The City of Amsterdam has produced a pioneering sustainable events policy for festivals. By 2020, all large events (more than 2,000 visitors) will have to be compliant with certain criteria covering energy, water, waste and mobility in order to qualify for an event permit.

San Francisco prides itself on low-carbon innovation and enterprise and has reduced its emissions by 36% below 1990 levels while simultaneously seeing a 22% increase in population and 166% growth in GDP.

The City and County of San Francisco’s Department of the Environment provides approximately $500,000 per year for Zero Waste and Carbon Mitigation/Sequestration projects, a portion of which is used to fund projects which benefit civil society, such as supporting arts and heritage.

What’s Going On Now? A Study of Young People Making Music in Scotland

Report from the Royal Conservatoire of Scotland which uses a range of data on music education, including specially-designed surveys and three case studies.

ROYAL CONSERVATOIRE OF SCOTLAND, 2019. What’s Going on Now? A Study of Young People Making Music in Scotland. [online]. [viewed 29 March 2020].

Category

education

Year

2019

Source

View

60,000 young people received tuition from the Instrumental Music Services in 2017/18.

244,000 people took part in the Youth Music Initiative in 2016/17.

202,000 young people took part in school based activity as part of the Youth Music Initiative in 2016/17.

42,000 young people took part in out of school based music activity as part of the Youth Music Initiative in 2016/17.

The number of pupils receiving in school music tuition varies widely depending on local authority provision, suggesting that supply, not demand, is the determining factor.

Since 2003/4 the number of local authorities charging for music tuition has risen from 15 to 25.

Since 2003/4 the median fee for local authority music tuition has risen from £102 to £220.

19,000 pupils pay nothing for music tuition.

Music was the 6th most popular Advance Higher subject in 2016/17.

There is a conspicuous attainment gap in music between children from poorer households and children from more wealthy households.

Access to music is becoming increasingly inequitable in different communities.

Being from a working class or poor background limits a child’s access to musical activities.

Having an impairment or disability limits a child’s access to musical activities.

The majority of music tutors, teachers and mentors believe that private tuition is better at preparing young people for continuing study in music than NQA qualifications.

Charging young people for music lessons has widened the equity gap between the most affluent and those in poverty.

Calm and Collected: Museums and galleries: the UK’s untapped wellbeing resource?

ArtFund present the findings of a two stage research - a representative survey and a qualitative social study - on wellbeing, mental health, and museum use.

ARTFUND, 2019, Calm and Collected: Museums and Galleries: the UK’s untapped wellbeing resource? [online]. [viewed 29 March 2020].

Category

cultural

Year

2019

Source

View

of people visit museums and galleries at least once a month.

63%

of people say they have visited a museum or gallery to try to reduce their stress levels.

49%

of people visit a museum or gallery at least once a year.

BFI stats for 2018 show new high for UK cinema admissions

News article on BFI website with details of cinema admissions in the UK in 2018.

BFI, 2019. BFI stats for 2018 show new high for cinema admissions. [online]. [viewed 29 March 2020].

Category

economic

Year

2019

Source

View

Cinema admissions in 2018 were the highest since 1970.

There were 177 million admissions for films released in the UK in 2018.

Independent UK made films took 11.7% of the box office share in 2018.

UK made films took 44.8% of the box office share in 2018.

£3.1 billion was spent in the UK on high end television and film production in 2018, the second highest spend on record.

202 feature films went into production in the UK in 2018.

119 high end TV productions were made in the UK in 2018.

55 domestic high end TV productions were made in the UK in 2018.

£1.173 billion was spent on high end TV productions made in the UK in 2018.

£378 million was spent on domestic high end TV productions in the UK in 2018.

20 animated television programmes went into production in the UK in 2018.

£39.6 million was spent on animated television programmes made in the UK in 2018.

How do artistic creative activities regulate our emotions? Validation of the Emotion Regulation Strategies for Artistic Creative Activities Scale (ERS-ACA)

Academic paper describing the development and validation of a new theoretical model designed to measure the strategies by which artistic creative activities regulate emotions.

FANCOURT, D., et al. 2019. How do artistic creative activities regulate our emotions? Validation of the Emotion Regulation Strategies for Artistic Creative Activities scale. Plos One [online]. [viewed 29 March 2020].

Category

health

Year

2019

Source

View

Artistic creative activities have been shown to affect emotions, moods, and mental health.

Artistic creative activities modulate emotions by prompting emotional regulation strategies, which have an affect on mental health.

Public Investment, Public Gain

How public investment in the arts generates economic value across the creative industries and beyond

CREATIVE INDUSTRIES FEDERATION, 2019. Public Investment, Public Gain: How public investments in the arts generates economic value across the creative industries and beyond. [online]. [viewed 29 March 2020].

Category

economic

Year

2019

In 2016 arts and culture contributed £17 billion to the UK economy.

For every £1 GVA generated by the arts and culture, a further £1.14 is generated in the wider economy.

137,250 people were employed by the arts and culture industry in the UK in 2016.

Jobs in the creative industries are growing at four times the rate of the UK average.

Skills shortages and gaps in the workforce are barriers to the growth of the creative industries in the UK.

87%

of the BBC’s workforce at the media centre in Salford live in the north west of England.

Visual Arts and Climate Change Adaptations in Scotland

Report on how climate change should affect the visual arts sector.

CREATIVE CARBON SCOTLAND, 2019. Visual Arts and Climate Change Adaptations in Scotland. [online]. [viewed 29 March 2020].

Categories

economic
cultural

Year

2019

Source

View

The visual arts sector is vulnerable to climate change - there are financial and logistical risks which arise from climate change events, as well as physical risks to collections which occur due to a changing climate.

An Invisible Army The Role of Freelance Labour in Bristol’s Film and Television Industries

Report based on a one year research project, looking at the freelance workers who work in Bristol’s thriving TV and film industries. Qualitative research details the precarious careers of freelance workers in a specific locality.

GENDERS, A., 2019. An Invisible Army: The Role of Freelance Labour in Bristol’s Film and Television Industries. Briston: University of the West of England Bristol. [online]. [viewed 29 March 2020].

Categories

economic
health

Year

2019

Source

View

89%

of all workers in the UK film production sector in 2015 were freelance.

52%

of all workers in the UK independent television production sector in 2015 were freelance.

The number of freelance workers in the UK increased by 43% between 2008 and 2016.

UK public service broadcasters spent around £1.1 billion on commissions made outside the M25 in 2017.

Freelance workers tend to be embedded in a specific locality or region.

17%

of self employed workers, and 13% of self employed women workers, participate in a pension scheme.

Freelance workers suffer from job precarity, and are often reluctant to take time off for sickness or holiday.

Freelance workers report that the precarious nature of their work adversely affects their mental health.

74%

of freelance film and tv workers in Bristol had undertaken unpaid work.

67%

of freelancers who had worked for free were women.

25%

of BECTU (Broadcasting, Entertainment, Theatre and Communications Union) members are freelance.

41%

of tv and film freelancers surveyed were union members.

39%

of tv and film freelancers had recently worked without a formal contract.

25%

of tv and film freelancers surveyed had attended fee-paying schools, which compares with 14% of creative industries workers, and 7% of the UK population.

Women in the UK film and tv industry earn 15% less than their male colleagues.

During the 2008 recession, women in the UK film and tv industry lost their jobs at a rate that was 6 times that of men.

81%

of film workers have no dependent children.

Informal networks are important to freelance workers sourcing new work opportunities.

The Trends and Future of Urban Heritage

Research report for the National Trust into urban heritage, including information on how urban heritage is at risk, and how community engagement intersects with urban heritage.

BOP CONSULTING, 2018. The Trends and Future of Urban Heritage. National Trust. [online]. [viewed 29 March 2020].

Categories

cultural
social
edi
place

Year

2019

Source

View

Neglect or lack of upkeep on urban heritage properties could contribute to social inequality.

Deprived areas have more buildings categorised by the National Trust as ‘at risk’ than less deprived areas.

Local heritage has an important role to play in making local areas better places to live.

Emotional connection to smaller, local heritage projects is high.

In large urban areas with shifting populations, awareness of smaller, local-activity based projects can be limited.

Historic towns/cities are the most visited type of heritage site.

Visiting a heritage site is the most popular way of supporting or preserving heritage.

84%

of the UK population care about heritage.

People who visit heritage sites are not representative of the general population.

Sustainability, not just restoration, must be prioritised when preserving heritage sites.

Modern safety and access requirements can conflict with heritage needs in restoration projects.

Rural heritage properties are disadvantaged by current Heritage Lottery funding priorities.

Urban heritage is threatened by cuts in public funding, and the ‘conservation deficit’ - when continued neglect of a property increases the restoration work required.

Local and community groups are a valuable and knowledgeable resource for heritage protection.

Women on the move - Overview of good practices from the audiovisual industry and policy makers in the EU

Report based on consultation with stakeholders across Europe. Topics include: representation of women on screen; gender pay gap; equality in decision making; work/life balance; access to finance and preventing violence and harassment.

CREATIVE EUROPE, 2019. Women on the Move: Overview of good practices from the audiovisual industry and policy makers in the EU [online]. [viewed 29 March 2020].

Categories

social
edi

Year

2019

Source

View

In 2014 the average salary for a woman film director was 25% less than for a director who was a man.

Successful films directed by women in Austria automatically receive 10% more financial support from the Austria Film Institute.

Swedish film producers applying for public grants must provide evidence of knowledge of anti harassment legislation, which is offered free by the Swedish Film Institute.

Projects submitted by women have been found to have a higher success rate, despite a lower number of applications.

Artists practising well.

Report looking at affective support for artists working in healthcare environments, asking the questions: What support is available? What support would be useful? and Is there a common understanding of good support?

NAISMITH, N., 2019. Artists Practising Well. Aberdeen: Robert Gordon University. [online]. [viewed 29 March 2020].

Category

health

Year

2019

Source

View

Artists working in health and wellbeing contexts should not be viewed as art therapists or healthcare practitioners, and their work should be distinct and valued.

58.8%

of artists working in health and wellbeing contexts are freelance.

Freelance artists are less likely to report feeling supported in their work in a health and wellbeing context than employed artists working in similar settings.

Contribution of the arts and culture industry to the UK economy

Report on the economic impact of the arts for Arts Council England by the Centre for Economics and Business, using official data from ONS. This report does not include museums and heritage.

CENTRE FOR ECONOMICS AND BUSINESS RESEARCH, 2019. Contribution of the arts and culture industry to the UK economy. London. [online]. [viewed 29 March 2020].

Category

economic

Year

2019

Source

View

Investing in arts and culture can attract new populations and businesses to a local area, aiding regeneration.

Average UK weekly household spending on recreation and culture in 2016 was £73.35.

84%

of arts and cultural organisations use volunteers.

Between 2000 and 2015 the proportion of the UK population who volunteer has increased, but the amount of time spent volunteering has decreased.

Craft Scotland: Annual Tracking Study 2018

Examining the working models, finances and routes to market for Scottish makers, based on survey results.

CRAFT SCOTLAND, 2018. Annual Tracking Study [online]. [viewed 29 March 2020].

Categories

cultural
social

Year

2019

Source

View

82%

of makers in Scotland are women.

Jewellery, ceramics and textiles are the top three disciplines for Scotland based craft.

91%

of craft businesses in Scotland are not VAT registered.

80%

of craft businesses in Scotland do not employ others.

39%

of craft businesses in Scotland have a turnover of less than £10,000 a year.

43%

of craft businesses in Scotland have a turnover of between £10,000 and £30,000 a year.

82%

of craft businesses in Scotland have a turnover of less than £30,000 a year.

19%

of Scottish makers reported a negative income in 2018.

57%

of Scottish crafters reported higher export sales outside the EU than within the EU.

59%

of Scottish crafters also reported non-craft related income.

22%

of Scottish crafters make 100% of their income from selling work.

28%

of Scottish makers work in jewellery.

27%

of Scottish makers work in ceramics.

19%

of Scottish makers work in textiles.

16%

of Scottish makers work in silver.

15%

of Scottish makers work in glass.

44%

of Scottish makers earn an income through informal teaching.

17%

of Scottish makers earn an income through teaching or lecturing in an FE or HE setting.

Scottish makers earn the highest proportion of their income through commissions to the public.

Review of Arts Centres and Venues

This review was commissioned by the Arts Council Ireland, and the County and City Management Association. It is an overview of the infrastructure of arts venues, in both urban and rural areas. Research and consultation included workshops, surveys and case studies.

ARTS COUNCIL IRELAND, 2019. Review of Arts Centres and Venues. Dublin. [online]. [viewed 29 March 2020].

Categories

cultural
social

Year

2019

Source

View

Policy makers often view culture and heritage as one way to improve the sustainability and attractiveness of cities.

Artists benefit from being part of creative communities, reducing isolation and providing access to useful and relevant support.

Research in Ireland has shown that supporting community based arts can develop audiences who attend a greater variety of arts events.

Improving access facilities in venues will encourage audiences with disabilities.

Having a knowledgeable and skilled board is essential to a thriving arts venue.

Public funding supports venues that do not have primarily commercial focus.

Partnership working across venues and events has numerous benefits for artforms and venues.

Rural venues tend to have smaller but more diverse audiences than venues in more populated areas.

Creative Europe Monitoring Report 2018

This report illustrates the achievements of Creative Europe in 2018 and includes case studies highlighting the main findings of the study.

EUROPEAN COMMISSION, 2019. Creative Europe Monitoring Report. Luxembourg. [online]. [viewed 29 March 2020].

Category

cultural

Year

2019

Source

View

20%

of all European films in 2018 were directed by women.

39%

of European films with MEDIA support were directed by women.

23000 events were held across Europe in 2018 to celebrate the Year of Cultural Heritage.

Creative Europe funds for the period 2014 to 2020 represented 0.07% of the value of the cultural sector in Europe.

In 2018 34 films supported by MEDIA won 61 major international prizes.

Diversity and Equal Opportunities in Television: Monitoring report on the UK based broadcasting industry.

Report on social make-up of the TV industry, including statistics on social mobility, disability, racial group, gender, religion or belief, sexual orientation and age.

OFCOM, 2019. Diversity and Equal Opportunities in Television: Monitoring report on the UK based broadcasting industry. [online]. [viewed 29 March 2020].

Category

social

Year

2019

Source

View

14%

of people working in the UK television industry were privately educated, compared with 7% of the general population.

60%

of people working in the UK television industry come from families where the main breadwinner works in a professional occupation, compared with the national average of 33%.

of people working in the UK television industry are disabled, compared with a working age population average of 18%.

13%

of people working in the UK television industry, and 7% of people in senior management positions, are from a BAME background.

42%

of senior management positions in the UK television industry are held by women.

Publicly-funded arts as an R&D lab for the creative industries? A survey of theatre careers in the UK.

A survey of theatre careers in the UK, a report by Creative & Cultural Skills, Arts Council England and Nesta explores the role publicly funded theatre plays in nurturing the talent which feeds other parts of the creative industries.

CREATIVE AND CULTURAL SKILLS, 2019. Publicly-funded arts as an R&D lab for the creative industries? A survey of theatre careers in the UK. Purfleet. [online]. [viewed 29 March 2020].

Categories

cultural
social

Year

2019

Source

View

81%

of theatre workers surveyed had spent some time working in publicly funded theatre.

47%

of theatre workers surveyed had only worked in publicly funded theatre.

12%

of theatre workers surveyed had only worked in commercial theatre.

of theatre workers surveyed had moved from publicly funded to commercial theatre.

of theatre workers surveyed had moved from commercial to publicly funded theatre.

24%

of theatre workers surveyed regularly worked between commercial and publicly funded theatre.

89%

of theatre workers surveyed had worked outside the theatre sector, primarily in other creative industries.

54%

of theatre workers surveyed had also worked in education.

62%

of theatre workers surveyed believed that working in publicly funded theatre was very important to a career in theatre.

Half of all theatre workers surveyed had earned less than £20,000 in the previous three years.

What is the evidence on the role of the arts in improving health and well-being? A scoping review

Scoping review of over 900 studies which link the arts to wellbeing. Includes case studies of organisations and initiatives including Men’s Sheds, and arts on prescription.

FANCOURT, D. and FINN, S., 2019. What is the evidence on the role of the arts in improving health and wellbeing? A scoping review. WHO. [online]. [viewed 29 March 2020].

Category

health

Year

2019

Source

View

Evidence shows that the arts, especially music, can enhance social cohesion.

Arts programmes can be used to address and reduce social inequalities and inequities.

Anthropological and psychological studies show that the arts play a strong role in child development.

Music plays an important role in speech and language development.

Music therapy can help children with genetic disorders and learning disabilities.

There is some evidence to suggest that people who engage in the arts live healthier lives.

The arts can be used to educate audiences about health, and to encourage healthy behaviours, particularly for young people.

The arts can be used to improve engagement with primary healthcare.

The arts can be used to reduce stigma attached to some health conditions.

Participating in the arts can improve mental health by reducing stress and isolation, and improving self esteem.

There are links between cultural engagement and lower levels of cognitive decline and dementia.

Engagement with the arts has been shown to improve the clinical skills of healthcare providers.

Engaging in arts activities can benefit caregivers, particularly by alleviating stress.

Listening to music during pregnancy and labour has many benefits for mothers and babies, including reducing anxiety and lowering blood pressure.

Arts participation, particularly music and dance, can alleviate mild to moderate mental illness.

Creative arts activities can reduce anxiety, depression and post-traumatic stress in adult and child refugees.

Music and dance activities can reduce the symptoms of post-traumatic stress.

Premature infants can benefit from listening to music.

Hospital settings gain many benefits from including visual artworks, including reducing the rates of aggression towards staff.

Arts activities in hospitals, including creative activities and clowning, bring physical and mental health benefits to child patients and their parents.

Music can reduce the need for sedatives in intensive care patients.

Music and arts activities can aid children with ASD in developing socialisation and communication skills.

Listening to music and participating in group singing activities can provide physical and mental health benefits for people who have suffered a stroke.

Dance activities can provide mental health and neurological benefits to people with Parkinson’s.

Music activities, including singing, playing and listening to music, particularly benefit people with dementia, and can improve attention and executive function.

Music and dance can reduce anxiety and stress in people with dementia.

Art therapy and arts activities can be used to support patients in end of life care, and also to support their carers, for example by reducing stress, and by aiding communication.

Skills, Talent and Diversity in the Creative Industries

Report highlighting the areas where there is a particular skills gap or lack of diversity in the creative industries.

CAREY, H., FLORRISON, R., and GILES, L., 2019. Skills, Talent and Diversity in the Creative Industries: Evidence synthesis and scoping: Summary report. Creative Industries Policy and Evidence Centre. [online]. [viewed 29 March 2020].

Categories

economic
education
edi

Year

2019

Source

View

Creative industry workers work an average of 15 hours unpaid per week.

Over a third of businesses agree that there are not enough young people studying arts and creative subjects at school.

There were 952 apprenticeship starts in art, media and publishing in 2017/18, down from 1,459 in 2014/15.

42%

of creative industries employers find it difficult to recruit appropriately skilled staff.

Effectiveness & cost effectiveness of community singing on mental health related quality of life of older people

Academic paper for the British Journal of Psychiatry about community singing and mental health.

COULTON, S., CLIFT, S., SKINGLEY, A., RODRIGUEZ, J., 2018. Effectiveness & cost effectiveness of community singing on mental health related quality of life of older people. British Journal of Psychiatry [online] vol 207 issue 3 [viewed 8 February 2019]

Categories

health
social

Year

2018

Source

View

Community group singing has a significant effect on mental health-related quality of life, anxiety and depression, and can enhance the mental health of older people.

UK Theatre sales data

UK Theatres Sales Data report for 2013 to 2016.

UK THEATRE.,2018. UK Theatre sales data. [online] [viewed 8 February 2019]

Categories

cultural
economic

Year

2018

Source

View

Theatres with over 1000 seats make up 10% of UK performances, but 60% of UK theatre income.

Theatres with over 1000 seats sell 63 - 67% of their seats on average.

The average price paid for a theatre ticket has risen 2% since 2013.

Increased ticket costs does not affect audience size at 500 - 1000 seat theatres.

The average price paid for a theatre ticket in 2017 was £25.09.

UK theatre capacity has remained stable at around 59% since 2013.

Theatre audiences grew in 2013, 2014, 2015 and 2016, but fell in 2017.

The average price paid for a concert hall ticket in 2017 was £25. 92.

IP enforcement in Scotland

Short blog by a researcher about her experiences of IP enforcement in Scotland.

CORNWELL, J., 2018. IP enforcement in Scotland. [online] [viewed 8 February 2019]

Category

economic

Year

2018

Source

View

More than half of copyright cases are brought by ‘bulk enforcers’ such as collecting societies and other rights holders.

Individual creative copyright cases are very rarely brought, probably due to the high cost of such actions.

Panic! Social class, taste & inequalities in the creative industries

Report drawing on academic papers produced as part of the ‘Panic! It’s an arts emergency!’ project. Discussions the conceptions and realities of a meritocratic arts world, diversity and exclusion in the arts world, unpaid work, and expectations of creative participation by arts and creative workers.

BROOKE, O., O’BRIEN, D., TAYLOR, M., 2018. Panic! Social class, taste & inequalities in the creative industries. [online] [viewed 8 February 2019]

Categories

cultural
social

Year

2018

Source

View

Highly paid creative workers (usually white, middle class men) are the most likely to believe that the arts is a meritocratic industry.

Creative workers are less likely to know people who work in non-creative, traditionally working class jobs; and more likely to know other creative workers.

Working class people are underrepresented in the creative and cultural industries.

2.7%

of library, museum and gallery staff are from BAME groups.

4.2%

of film, TV, and radio workers are from BAME groups.

4.8%

of music, performing and visual arts workers are from BAME groups.

12.6%

of people working in publishing are of working class origin.

12.4%

of people working in film, TV and radio are of working class origin.

18.2%

of music, performing and visual arts workers are of working class origin.

28.4%

of workers in film, TV, radio and photography are women.

68.4%

of workers in museums, galleries and libraries are women.

14.3%

of IT, software and computer services workers are women.

52.9%

of workers in publishing are women.

Over a third of people working in publishing are from an upper middle class background.

23%

of workers in the creative industries are from an upper middle class background.

Women working in the creative industries earn £5,800 a year less than men.

The gender pay gap in film, TV, video, radio and photography is around £15,000.

Between 1981 and 2011, the proportion of young cultural workers from an upper middle class background rose from 15% to 33%.

Between 1981 and 2011, the proportion of young cultural workers from a working class background fell from 22% to 13%.

87%

of creative workers have worked for free.

48%

of creative workers under 30 have worked for free, compared with 6% of creative workers over 50.

Internships: unpaid, unadvertised, unfair

Sutton Trust report analysing recent data about internships in the UK.

MONTACUTE, R., 2018. Internships: unpaid, unadvertised, unfair. [online] Sutton Trust [viewed 8 February 2019]

Categories

economic
social

Year

2018

Source

View

The minimum cost of an internship in London is £1100 per month.

The minimum cost of an internship in Manchester is £885 per month.

The majority of internships are unpaid and unadvertised.

40%

of young people who have done an internship have been unpaid.

Around 2000 graduates are carrying out unpaid internships 6 months after graduating.

51%

of employers do not pay interns the minimum wage.

21%

of internships are unpaid.

Creative & Cultural activities and wellbeing in later life

Report by Age UK and Age UK Oxfordshire. Following up the Understanding Society Survey with qualitative research to produce rich and detailed data about the creative and cultural lives of people over 60.

AGE UK, 2018. Creative & Cultural activities and wellbeing in later life. [online] [viewed 8 February 2019]

Categories

cultural
social

Year

2018

Source

View

81%

of women and 73% of men over 60 took part in literary activities in 2017.

71%

of women and 69% of men over 60 took part in visual art activity in 2017.

68%

of men and 67% of women over 60 took part in historical cultural activity in 2017.

37%

of men and 36% of women over 60 took part in musical activity in 2017.

46%

of women and 25% of men over 60 took part in craft activity in 2017.

24%

of women and 16% of men over 60 took part in dance in 2017.

More older people visit or attend cultural activities than take a creative participatory role.

74%

of people over 60 read for pleasure in 2017.

40%

of people over 60 used a public library in 2017.

42%

of people over 60 visited a museum in 2017.

38%

of people over 60 watched a film at the cinema in 2017.

41%

of people over 60 watched a play, pantomime or musical in 2017.

32%

of people over 60 visited an exhibition of art or crafts in 2017.

42%

of people over 60 visited a historic park or garden in 2017.

40%

of people over 60 visited a historic building in 2017.

37%

of people over 60 visited a monument such as a castle, fort or ruin in 2017.

18%

of people over 60 attended a classical music concert in 2017.

14%

of people over 60 attended a rock, pop or jazz concert in 2017.

of people over 60 attended an opera or operetta in 2017.

of people over 60 attended a ballet in 2017.

Participatory arts workshops for older people can lead to an improvement in wellbeing.

Access to transport is vital for older people to be able to participate in arts activities.

Participatory arts projects for older people should include a social aspect and be sensitive to local dynamics in order to be successful.

Unlocking the creative potential of 21st century

RSA report which looks at how design and business intersect, and argues that using design as a central strategic element is good for business.

RSA, 2018. Unlocking the creative potential of 21st century. [online] [viewed 8 February 2019]

Category

economic

Year

2018

Source

View

68%

of UK businesses rarely or never use design.

13%

of UK businesses use design as a central strategic element.

The UK design economy is the largest in the EU.

Each breath is valuable: evaluation of arts programmes in care homes

Report studying 4 projects providing art in care homes with different models; commercial, consortium, care home led and artist development. The report covers strengths and weaknesses of each of these models.

BARING FOUNDATION, 2018. Each breath is valuable: evaluation of arts programmes in care homes. [online] [viewed 8 February 2019]

Categories

health
cultural

Year

2018

Source

View

In 2011 60% of the UK care home population was over 85.

Care home workers who are expected to deliver or participate in art projects in care homes will appreciate receiving training in the artform or delivery process (eg digital training).

Artists employed to work in care homes should receive training in dementia and other issues associated with ageing.

Participative arts projects in care homes are most successful if they are conducted within a small geographical area.

Communication and agreement between arts providers and care homes regarding monitoring and funding requirements is vital for a successful participative arts project.

Arts organisations and care homes should ensure that there is a high level of communication and understanding of each other’s environment and priorities.

Flexibility and accessibility are vital for artists delivering participative work in care homes.

Music and dance activities are particularly beneficial for older people with dementia.

A market led model of providing art in care homes is unsuitable, particularly in times of austerity.

Creativity Matters

Creative Scotland research regarding the social value, cultural value, and economic value of the arts

CREATIVE SCOTLAND, 2018. Creativity Matters. [online] [viewed 8 February 2019]

Categories

cultural
social
economic

Year

2018

Source

View

90%

of Scottish people agree that Scotland is a creative nation.

92%

of the Scottish population has engaged with art or culture.

92%

of Scottish people believe that there should be public funding of the arts.

58%

of Scottish people take part in a creative activity once a week.

84%

of Scottish people say their local area would lose something of value if the area lost its arts and cultural activities.

The creative industries in Scotland contribute £4.6 billion to the economy.

In 2015 the creative industries employed 73,600 people - a 2.5% increase on 2014 and a 15% increase since 2011.

Growing the value for music tourism in Glasgow

This report identifies several strategies to increase music tourism to Glasgow.

INNER EAR, 2018. Growing the value for music tourism in Glasgow. [online] [viewed 8 February 2019]

Categories

economic
cultural

Year

2018

Source

View

Music tourism in Glasgow should also include smaller venues (up to 1500).

Glasgow contributes 3% of UK live music spending.

Locals spend more than three times as much as tourists on tickets, food & drink and accommodation in relation to music tourism.

87%

of survey respondents were positive about Glasgow’s music scene.

Glasgow’s music scene is recognised as vibrant and diverse.

Mapping Study of EU funding of UK screen sectors

BFI commissioned study of EU funding of the UK screen sector. The report breaks down levels and sources of EU funding, and how it was distributed throughout the UK screen sector. The report also looks at the level of collaboration between the UK and the EU screen sectors. The report includes suggestions and recommendations for the industry in the future.

BFI, 2018. Mapping Study of EU funding of UK screen sectors. [online] [viewed 8 February 2019]

Categories

economic
cultural

Year

2018

Source

View

UK screen industries benefited from £298m in EU funding between 2008 and 2018, which funded 1766 projects.

£154.3m

of EU funding directly benefited UK beneficiaries between 2007 and 2017.

£51.8m

of EU funding supported the release of UK films.

£92.4m

of EU funding of the UK screen industry was received by projects in which a UK beneficiary is either a lead or a partner.

EU funding for the UK screen industry includes small and large grants.

EU funding of the UK screen industry is fairly well spread across the UK, though most projects are based in London.

France, Germany and Spain are the main partners for collaboration in research for the UK film industry.

Developing a culture strategy for Scotland

Report summarising feedback gathered during the Engagement Phase in support of developing a culture strategy for Scotland, including opinions on the definition of culture, and the importance of access, diversity and community to a culture strategy.

SCOTTISH PARLIAMENT, 2018. Developing a culture strategy for Scotland. [online] [viewed 8 February 2019]

Categories

cultural
social

Year

2018

Source

View

People in Scotland define culture very broadly, including traditional, grassroots and popular forms of culture.

A consultation on Scotland’s prospective culture strategy gathered enthusiastic and ambitious responses.

Inequality of access to culture is high on the list of concerns of Scottish people in regards to developing a culture strategy.

Impact of Brexit on Scotland’s growth sectors

Scottish Parliament Information Centre briefing on the potential impact of the UK leaving the EU. Includes the impact on the Creative Industries (p32). Topics covered include GVA, trade, employment and freedom of movement, EU funding, tourism, and reputation.

PRELEC, T., 2018. Impact of Brexit on Scotland’s growth sectors. [online] Scottish Parliament Information Centre [viewed 8 February 2019]

Categories

economic
cultural

Year

2018

Source

View

The creative and digital industries rely on cross-country collaboration and co-operation.

Scottish creative industries export £325m worth of goods to the EU, and £685m to non-EU international markets.

A lack of available EU workers will affect the creative industries in Scotland, eg Edinburgh’s Festivals.

Brexit will affect the availability of creative talent necessary to ensure the vitality and longevity of the Scottish creative industries.

Brexit will affect the creative industries in Scotland by removing access to EU funding.

Cultural engagement and the economic performance of the cultural and creative industries

Discussion about the categories of work which make up the current CCI definition; noting that the inclusion of IT is necessary for a positive economic narrative; and discussing the criteria necessary to define ‘cultural’ and ‘creative’

CAMPBELL, P., O’BRIEN, D. & TAYLOR, M., 2018. Cultural engagement and the economic performance of the cultural and creative industries. Sociology. [online] [viewed 8 February 2019]

Categories

economic
cultural

Year

2018

Source

View

Including the IT sector in the CCI category boosts ‘good news’ regarding the economic future of the creative industries.

Cultural preferences of potential cultural workers can be seen as a factor which limits the diversity of the CCIs.

Choices ahead: approaches to lower skilled labour migration post Brexit

Report analysing three types of immigration scheme which could support low skilled immigration post Brexit: Sectoral schemes; Employer led schemes, and Human Capital schemes. Includes case studies of examples of each of these types of scheme. The second part of the report analyses motivations of EEA nationals to relocate to Scotland, including personal stories.

ESRC, 2018. Choices ahead: approaches to lower skilled labour migration post Brexit. [online] [viewed 8 February 2019]

Category

economic

Year

2018

Source

View

36%

of EEA nationals in Scotland are educated to at least degree level.

Free movement allowed spontaneous decisions to relocate, often instigated by available work.

Don’t mourn the decline of the big camp out

Article with the argument that urban and locally specific music festivals are more economically viable and more culturally diverse than large scale outdoor music festivals.

LYNCH, C., 2018. Don’t mourn the decline of the big camp out. City Metric [online] [viewed 8 February 2019]

Category

economic

Year

2018

Source

View

Urban music festivals with lower ticket prices encourage visitors to visit and spend time in cities where they will make a further economic contribution.

Should UK museums be more radical about diversifying collections?

Short article discussing diversity in contemporary art owned within museum collections in Baltimore

ADAMS, G.K., 2018. Should UK museums be more radical about diversifying collections? Museums Association [online] [viewed 8 February 2019]

Category

cultural

Year

2018

Source

View

88%

of survey respondents agreed that museums should be more radical about diversifying their collections.

Young people’s cultural journeys

Creative, peer led qualitative research with 1607 young people informed this report on how young people in the West Midlands interact with culture. Deep and rich insights into the lives of young people were gathered. Complex barriers to consumption and participation, and discussion of sharing on social media platforms, as well as the importance of wifi in public places, are discussed.

ARTS CONNECT, 2018. Young people’s cultural journeys. [online] Arts Council England: Wolverhampton [viewed 8 February 2019]

Categories

cultural
social
education

Year

2018

Source

View

Young people identify with both local and online social circles.

43%

of young people identify a form of culture as a ‘passion’.

Age and gender differences exist among young people’s social media use - girls are more likely to use Instagram and Snapchat; boys and younger children are more likely to use YouTube.

27%

of young people aspire to have creative careers.

Cultural provisions in schools positively impacts young people’s understanding of art.

Young people lead hyper local and busy lives, consuming culture mainly in their free time.

Over a third of young people post and share creative content online.

50%

of young people view cultural consumption as a route to enjoyment/fun.

Access to culture in the first 7 years of life influence future consumption and participation.

Creative Europe: Towards the next programme generation

Analysis of the Creative Europe programme, with recommendations for the CULT committee for the next multiannual programme which supports the cultural and creative sectors

KEA, 2018. Research for the CULT committee: Towards the next programme generation [online] European Parliament, Brussels [viewed 6 February 2019]

Categories

cultural
economic

Year

2018

Source

View

Strengthening the prominence of European works on video on demand platforms is the best way to promote their circulation.

The video on demand market in Europe is estimated to be worth 6.7bn euro by 2020.

47%

of EU films made it to TV on demand services between 2005 and 2015.

The UK film industry participated in EU co-production with more than 25 EU countries, one of only 3 EU countries to do so.

The UK had the highest increase in cinema attendance in 2016/17 of the EU-5 countries (1.4%).

Design Economy

Report building on the findings of the 2015 Design Economy report

DESIGN COUNCIL, 2018. The Design Economy 2018. [online] [viewed 6 February 2019]

Categories

cultural
economic

Year

2018

Source

View

The UK design economy generated £85.2bn in GVA in 2016.

The UK design economy grew 52% between 2009 and 2016.

The size of the UK design employment sector is comparable to the hospitality and logistics sectors.

One in three design roles is now digital.

57%

of design workers have a degree.

Digital designers earn over £200 per week more than the UK average wage.

78%

of the UK design workforce is male.

The design workforce has a higher representation of BAME workers than the wider UK economy.

The role of the visual arts in the resilience of people living with dementia in care homes

Research conducted in 4 care homes in the north east of England, with participants with dementia being given the opportunity to work with artists in visual arts activity (collage, sculpture, filmmaking, painting)

NEWMAN, A. et al, 2018. The role of the visual arts in the resilience of people living with dementia in care homes. Ageing and Society, 1-18. [online] [viewed 6 February 2019]

Category

health

Year

2018

Source

View

Older people with dementia who live in care homes can benefit from tailored and artist led art activities, with results including improved communication, higher self esteem, and improved resilience.

Aesop GPs & Arts survey

Aesop survey of GPs regarding healthcare and the arts

AESOP, 2018. Aesop GPs & Arts survey [online] [viewed 6 February 2019]

Category

health

Year

2018

Source

View

66%

of GPs agree that public engagement with the arts can benefit the illness prevention agenda.

62%

of GPs agree that arts based interventions can benefit the health of NHS staff.

44%

of GPs believe that arts based interventions can be a cost effective way to improve health.

A special relationship? Exploring the future of UK/US cultural ties

Report on the ‘special relationship’ between the UK and US, including survey data outlining shared concerns and values between the UK and the US, as well as identifying reasons given for a mutual attraction between the 2 countries.

BRITISH COUNCIL, 2018. A special relationship? Exploring the future of UK/US cultural ties [online] [viewed 6 February 2019]

Category

cultural

Year

2018

Source

View

of US social media mentions referring to the UK, mention Scotland or Ireland.

71%

of US respondents agreed that the UK has world leading arts and cultural institutions.

26%

of US respondents view the UK as one of the top 3 countries for arts and culture.

Effect of singing interventions on symptoms of postnatal depression

Randomised controlled trial exploring the effects of singing interventions on women with postnatal depression.

FANCOURT, D. & PERKINS, R., 2018. Effect of singing interventions on symptoms of postnatal depression. British Journal of Psychiatry [online] vol 212, issue 2 pp119-121 [viewed 6 February 2019]

Category

health

Year

2018

Source

View

Symptoms of moderate to severe post-natal depression are significantly improved in mothers who attend group singing workshops.

Cultural engagment predicts changes in cognitive function in older adults

Academic study examining cognitive benefits of cultural attendance

FANCOURT, D. & STEPTOE, A., 2018. Cultural engagment predicts changes in cognitive function in older adults. Scientific Reports [online] [viewed 6 February 2019]

Category

health

Year

2018

Source

View

More frequent cultural engagement with museums, galleries, opera, theatre and concerts is associated with less of a decline in cognitive function. Cinema attendance does not have the same benefits.

Physical and psycho social factors in the prevention of pain in older age

Academic paper analysing data from a longitudinal study of ageing.

FANCOURT, D. & STEPTOE, A., 2018. Physical and psycho social factors in the prevention of pain in older age. The Journal of Pain [online] vol 19, issue 12, pp1385-1391 [viewed 6 February 2019]

Category

health

Year

2018

Source

View

Cultural engagement is protective against the development of chronic pain.

Musicians and Brexit

Society of Musicians survey looking at working musicians’ experiences of and feelings about free movement, and how this will be affected after Brexit.

INCORPORATED SOCIETY OF MUSICIANS, 2018. Musicians and Brexit [online] [viewed 6 February 2019]

Categories

cultural
economic

Year

2018

Source

View

40%

of working musicians in 2018 identified an impact on their work as a result of uncertainties around free movement.

90%

of musicians are self employed or portfolio workers.

39%

of UK musicians travel to the EU more than 5 times a year.

12%

of UK musicians travel to the EU more than 20 times a year.

15%

of musicians have less than 7 days notice between an offer of work and the start of work.

A third of musicians receive at least half of their income from working in the EU.

79%

of UK musicians working outside the EU who reported difficulties, identified visas as their main difficulty.

Cultural value scoping project

Report recommends the setting up of a Collaborative Centre for Cultural Value to consolidate existing knowledge and to support new ways of thinking about and calculating Cultural Value. Discusses the challenges of defining and measuring cultural value based on data gathered in focus groups and workshops.

KASZYNSKA, P., 2018. Cultural Value Scoping Project [online] AHRC [viewed 6 February 2019]

Categories

cultural
education

Year

2018

Source

View

Awareness of numerous organisations in the UK which look at cultural value is low, suggesting the need for a UK wide centre.

Brexit: movement of people in the cultural sector

European Union Committee report on freedom of movement, arguing that free movement is essential for the cultural sector, and more clarity is needed.

HOUSE OF LORDS, 2018. Brexit: movement of people in the cultural sector [online] [viewed 6 February 2019]

Categories

cultural
economic

Year

2018

Source

View

Third country salary restrictions will affect the movement of cultural workers, as cultural salaries tend to be below the UK median.

Cultural workers tend to travel within the EU for short periods of time.

Scotland strengthens European partnerships with Creative Europe funding success

Creative Scotland news article about EU funding for projects in Scotland

CREATIVE SCOTLAND, 2018. Scotland strengthens European partnerships with Creative Europe funding success [online] [viewed 6 February 2019]

Categories

cultural
economic

Year

2018

Source

View

In 2018 7 awards totalling 1.4m euro were awarded by Creative Europe to creative and cultural projects in Scotland which involve collaboration with Europe.

Inception report targeted analysis on material cultural heritage

Targeted analysis by Economic Task Force of the European Heritage Heads Forum intending to formulate comparable socio economic indicators to quantify the impact of material cultural heritage.

ESPON, 2018. Inception report targeted analysis on material cultural heritage [online] [viewed 6 February 2019]

Categories

cultural
economic

Year

2018

Source

View

Definitions of ‘cultural heritage’ differ according to country.

Delivering a primary care-based social prescribing initiative

Qualitative study about ‘social prescribing’ centring on the Links Worker Programme in Glasgow; in the British Journal of General Practice

SKIVINGTON, K., et al., 2018. Delivering a primary care-based social prescribing initiative. British Journal of General Practice [online] 68 (672) , pp487-494 [viewed 6 February 2019]

Categories

health
social

Year

2018

Source

View

Integration initiatives such as ‘social prescribing’ have limited success in times of austerity, facing barriers such as lack of funding for community organisations, and the high cost of this time consuming and intensive approach.

Edinburgh Festivals: the network effect

Report containing qualitative analysis looking at how Edinburgh’s Festivals affect and benefit the wider, Scottish cultural landscape; particular attention is given to the events production sector.

BOP, 2018. Edinburgh Festivals: the network effect [online] [viewed 6 February 2019]

Categories

cultural
economic

Year

2018

Source

View

2016/17, Edinburgh’s Festivals spent £10.5m on event production, with 89% of that being spent with Scottish based companies.

2016/17 Edinburgh’s Festivals spent £9.3m on creative talent, with 56% of that going to Scottish organisations or individuals.

Edinburgh’s Festivals lead to Scottish creative talent gaining a high profile locally, nationally and internationally.

Edinburgh’s Festivals provide stability for the events management sector.

Edinburgh’s Festivals contribute to a feeling of pride and confidence across Scottish cultural organisations and audiences.

Edinburgh’s Festivals contribute opportunities for training and education in the cultural sector.

Europa cinemas network facts and figures

Europa cinemas news article, promoting their 1050 cinemas over 34 countries

EUROPA CINEMAS, 2018. Europa cinemas network facts and figures [online] [viewed 6 February 2019]

Categories

cultural
economic

Year

2018

Source

View

Films screened first at Cannes and Berlinale were particularly successful in Europa cinemas in 2017.

The UK and France are the two main European film production countries.

BFI commission on independent film

BFI report on the long term future of independent film, with a focus on video on demand services, as well as raising questions of public and private funding, tax relief, and co-productions. Concludes with proposals to maximise the value of rights; increase younger audiences; attract private finance to the film industry and increase commercial development funding.

BFI, 2018. BFI commission on independent film [online] [viewed 6 February 2019]

Categories

cultural
economic

Year

2018

Source

View

Between 2018 & 2022 the value of the global market for filmed entertainment is estimated to grow to $99bn,

10m families in the UK have access to VoD services; Netflix is the market leader.

USA represented 42.4% of the UK’s film exports.

Europe represented 41.7% of the UK’s film exports.

Independent films costing between £10m and £15m perform better (relative to cost) than films costing more or less.

UK filmmakers are finding it more difficult to finance films costing more than £10m without a US backer.

92%

of UK independent film budgets are under £10m.

Films released in cinemas earn 90% of their UK/ RoI box office within 6 weeks.

Active ingredients

Report on arts interventions in health and social contexts by the arts organisation Aesop. Uses the term ‘active ingredient’ to propose that social outcomes are impossible without artistic outcomes also being met.

AESOP & BOP, 2018. Active Ingredients [online] [viewed 6 February 2019]

Categories

health
social

Year

2018

Source

View

Arts interventions in healthcare benefit from being housed in a suitable venue.

Successful arts interventions in health settings can be almost a hybrid arts and health activity (eg dance).

Replacing ‘exercise’ with ‘dance’ achieves artistic as well as potentially long term social outcomes.

Cultural democracy in practice

Guide for cultural organisations interested in improving diversity and working with groups and communities who have traditionally low levels of cultural engagement. Aimed at chief executives, boards, and staff of UK cultural organisations. Includes case studies and suggestions for cultural organisations. By 64 Million Artists.

64 MILLION ARTISTS, 2018. Cultural democracy in practice [online] [viewed 6 February 2019]

Categories

cultural
social

Year

2018

Source

View

Cultural democracy means involving stakeholders in project development from the outset.

The principle of Cultural Democracy is that excellence can be achieved through diversity and wider access.

Cultural Democracy encourages participation, including social media participation.

More culturally democratic organisations may enjoy increased footfall.

Funding for ‘culturally democratic’ organisations can be hard to attract, as outcomes are unpredictable.

The Impact of Creative Europe in the UK

Report by Drew Wylie Projects assessing the impact of the Creative Europe Programme using quantitative and qualitative data collected in 2017.

CREATIVE EUROPE DESK UK, 2018. The Impact of Creative Europe in the UK [online]. [viewed 29 March 2020].

Categories

cultural
social

Year

2018

Source

View

The EU’s Creative Europe programme brought 18.4 million euro of funding a year to the UK.

The creative industries sector is growing at 4 times the rate of the UK workforce.

of all UK jobs are in the creative industries.

Around 25% of architects in the UK come from non UK EU countries.

Around 33% of visual effects professionals come from non UK EU countries.

635 million euro was distributed by Creative Europe to over 2000 organisations across 39 countries between 2014 and 2017

Between 2014 and 2017 Creative Europe awarded 74 million euro to 334 UK based organisations.

24.5 million euro invested by the Creative Europe MEDIA sub-programme was used to distribute 145 UK films in other European countries between 2014 and 2017.

The UK film industry received 53.2 million euro from Creative Europe’s MEDIA sub-programme between 2014 and 2017.

53 UK cinemas and 128 UK companies in the Europa network received 28.7 million euro in grants from the Creative Europe MEDIA sub-programme between 2014 and 2017.

The UK was awarded nearly 25% of the funding available for Audience Development from the Creative Europe MEDIA sub-programme in 2014.

The UK was awarded 23% of the VOD budget from the Creative Europe MEDIA sub-programme in 2014.

UK developers received 20% of the video games budget from the Creative Europe MEDIA sub-programme in 2017.

150 organisations received 18.7 million euros from the Creative Europe Culture sub-programme to participate in 144 projects between 2014 and 2017.

The UK was involved in 42% of Co-operation Projects between 2014 and 2017, as part of the Creative Europe Culture sub-programme.

147 books by writers from or based in the UK were translated as part of the Literature strand of the Creative Europe Culture sub-programme between 2014 and 2017.

In 2017 80% of Creative Europe supported networks had at least one UK partner.

1.5 million euro was awarded to 4 UK organisations by the Creative Europe Cross-sector strand between 2014 and 2017.

76%

of survey respondents said that funding from the Creative Europe MEDIA sub-programme helped them to secure other funding.

The 2008 European Capital of Culture increased the number of visitors to Liverpool by 34%.

CS Diversity Reports from 2016/17

Summary of a Creative Scotland 2016 online survey entitled Understanding Diversity in the Arts, with around 1500 responses.

CREATIVE SCOTLAND. 2017. Understanding Diversity in the Arts: summary report [online] [viewed 1 October 2021] Creative Scotland

Categories

cultural
social
economic
edi

Year

2017

Source

View

71%

of workers in the creative industries in Scotland are educated to degree level.

of workers in the creative industries in Scotland have undertaken no further education.

Creative workers in Scotland have, on average, 2.5 other roles beside their main role.

41%

of creative workers in Scotland work freelance.

37%

of creative workers in Scotland also earn income from outside the sector.

54%

of artists in Scotland also earn income outwith the creative sector.

14%

of creative workers in Scotland were privately educated, compared with 4% in Scotland as a whole.

Nearly half of creative workers in Scotland were given financial support by family and friends to help them pursue a creative career.

76%

of creative workers in Scotland cite finances as a barrier to career progression.

68%

of creative workers in Scotland cite lack of connections as a barrier to career progression. Creative workers from lower income backgrounds were more likely to cite this as a barrier.

70%

of Scotland's creative workers who live outside Edinburgh & Glasgow cite geography as a barrier to career progression.

Creative workers from low income backgrounds and those who went to state school are more likely to cite lack of connections or socio economic background as barriers to career progression.

44%

of women and 12% of men working in Scotland's creative industries, cite gender as a barrier to career progression.

Women in Scotland's creative industries are more likely to work part time and more likely to be primary carers of children.

Men who work in Scotland's creative industries are more likely to earn more, be in senior positions, and describe the reach of their work as 'international'.

A third of women with children cite parental responsibilities as a barrier to career progression in Scotland's creative industries, compared with around 10% of men with children.

50%

of Black, Asian and Ethnic Minority people who work in Scotland's creative industries, cite race as a barrier to career progression.

43%

of people with a disability who work in Scotland's creative industries, say that their disability is a barrier to career progression.

Options for differentiating the UK’s immigration system

Scottish Government committee report on the UK immigration system, and how it could be adapted to suit Scotland’s particular requirements. Includes comparative studies from Australia, Canada, Finland, Spain and Switzerland.

HEPBURN, E., 2017. Options for differentiating the UK’s immigration system. [online] Culture, Tourism, Europe and External Relations Committee [viewed 8 February 2019]

Categories

economic
social

Year

2017

Source

View

Scotland’s population in 2015 was 5.37million.

57%

of projected increase in Scotland’s population between 2014 and 2039 will be due to international migration.

32%

of projected increase in Scotland’s population between 2014 and 2039 will be due to UK migration.

7.4%

of Scotland’s population was born outside the UK.

In 2012 288,000 non UK born people of working age lived in Scotland.

115,000 EU nationals are currently employed in Scotland (4% of the total workforce).

Creative Health: the arts for health and wellbeing

UK government report into how the arts can affect health and wellbeing; comprehensive review covering definitions of art, definitions of wellbeing, and quantitative and qualitative approaches to research. Also covers areas of policy, funding, environment and community; as well as art at different life stages (young people, older people, people with dementia, people at end of life or who have been bereaved.

APPG (ARTS, HEALTH AND WELLBEING)., 2017. Creative Health: the arts for health and wellbeing. [online] [viewed 8 February 2019]

Categories

health
social
economic

Year

2017

Source

View

Visual and performing arts in healthcare environments help to reduce sickness, anxiety and stress.

The heart rate of newborn babies is calmed by playing lullabies.

Live music in neonatal intensive care leads to considerably reduced hospital stays.

Participatory arts activities with children improve their cognitive, linguistic, social and emotional development.

An ‘art on prescription’ project has been found to lead to savings of £216 per patient.

For every £1 spent on ‘art on prescription’ it has been calculated that there is between a £4 and £11 social return.

Participatory arts activities help alleviate stress and anxiety for working people.

Music therapy reduces agitation and need for medication in 67% of people with dementia.

Arts therapies help the recovery of people with a brain injury.

Arts therapies reduce the physical and emotional suffering of people with cancer, and the side effects of their treatment.

Sick leave within the NHS costs £2.4bn annually; arts engagement helps health and care staff improve their own wellbeing.

850000 people in the UK have a dementia diagnosis, estimated to rise to 1 million in 2021.

Mental ill health accounts for 20% of UK illness.

Video games can develop graduate skills in higher education students

Academic article; randomised controlled trial to assess the benefits of playing video games, particularly regarding skills and attributes sometimes referred to as ‘graduate skills’

BARR, M., 2017. Video games can develop graduate skills in higher education students. Computers in Education [online] vol 113 [viewed 8 February 2019]

Category

education

Year

2017

Source

View

Playing video games can improve self reported graduate skills of communication, adaptability and resourcefulness.

The role of local authorities in creative aging

Baring Foundation report about the benefits for older people of participating in arts projects and how local authorities can contribute to this. Including case studies from across the UK about participative art projects working with older people.

CUTLER, D., 2017. The role of local authorities in creative aging. [online] Baring Foundation [viewed 8 February 2019]

Categories

health
social
economic

Year

2017

Source

View

Imaginative arts provision for older people can reduce social care costs.

The arts are effective at connecting older people within their community.

The arts have a positive effect on the physical and mental wellbeing of older people.

BPI official UK recorded music market report

BPI official market report.

BPI, 2017. BPI official UK recorded music market report. [online] [viewed 8 February 2019]

Category

economic

Year

2017

Source

View

Audio streaming of music increased 68% between 2015 and 2016.

In 2016 there were 45bn audio streams.

Vinyl sales of 3.2 million in 2016 were the highest since 1993.

Downloaded albums and singles make up 22.6% of UK music consumption.

Independent review of the creative industries

BAZALGETTE, P., 2017. Independent review of the creative industries [online] [viewed 8 February 2019]

Categories

cultural
economic

Year

2017

Source

View

46.7%

of creative industry jobs are in London and the South East.

6.3%

of UK creative industry jobs (by DCMS standards) are in Scotland.

BAME people, women, people with disabilities and people from disadvantaged backgrounds are underrepresented in the creative industries.

In the UK, screen content contributed £13.2 bn in GVA and 158000 jobs.

UK TV export sales rose 10% to £1.3bn between 2015 and 2016.

The UK has a 5% share of the immersive reality market, second only to the US (which has a 70% share).

Culture is a meritocracy

Academic article using a web survey of creative workers to uncover attitudes to the concept of the arts as a ‘meritocratic’ industry.

TAYLOR, M., O’BRIEN, D., 2017. Culture is a meritocracy. Sociological Research online [online] [viewed 8 February 2019]

Categories

cultural
social
edi

Year

2017

Source

View

Creative workers from the most privileged backgrounds are most likely to believe the sector is meritocratic.

The most poorly rewarded workers in the creative sector are the most aware of structural inequality within the sector.

Changing the world through arts and kindness

Report by People United summarising 10 years of participatory art interventions, including commissions, place based projects and research. Includes case studies about projects.

PEOPLE UNITED, 2017. Changing the world through arts and kindness. [online] [viewed 8 February 2019]

Categories

cultural
social

Year

2017

Source

View

Participatory art interventions can increase empathy in children.

Participatory art interventions can increase children’s motivation to help, share with and care for others.

Participatory art interventions can improve the development of social bonds and a sense of community.

Participatory art interventions can reduce bias in children.

People who participate in the arts are more likely to volunteer or give to charity.

Participants in a creative and collaborative singing project reported increased feelings of joy and exhilaration.

How can cities make space for culture

‘Handbook for city leaders’ including 12 case studies of how culture is integrated into city planning: Hong Kong (affordable art studios); Istanbul (design to promote regeneration); London (saving small music venues); Madrid (artists work with residents to address local issues); San Francisco (leasing affordable property to arts organisations); Seoul (turning industrial heritage into street art centre); Shenzhen (industrial factory becomes creative space); Sydney (how planning policy can support creative spaces); Tokyo (preserving traditional culture); Vienna (developing cultural facilities for a new neighbourhood); Warsaw (sculpture park in a deprived area)

WORLD CITIES CULTURE FORUM, 2017. How can cities make space for culture. [online] [viewed 8 February 2019]

Categories

cultural
economic

Year

2017

Source

View

Creative networks in cities are threatened by an increased lack of affordability of home and work spaces for creative workers.

Grassroots music venues and artist workshops and studios are at risk from lack of affordability.

Cultural developments in cities are more successful when consideration is paid to context, population, transport links and communication.

Cultural capital: Arts graduates, spatial inequality & London’s impact on Cultural Labour markets

Academic paper in American Behavioral Scientist suggesting that London’s domination of the creative industries promotes inequality within the industries.

OAKLEY, K., LAURISON, D., O’BRIEN, D., 2017. Cultural capital: Arts graduates, spatial inequality & London’s impact on Cultural Labour market. American Behavioral Scientist [online] [viewed 8 February 2019]

Categories

cultural
economic
edi

Year

2017

Source

View

Inequality in cultural labour markets is not mitigated by having a degree level arts qualification.

The most prestigious and well paid roles within the creative industries are the least diverse.

There is a ‘class pay gap’ within the creative industries, which is widest in London.

London dominates the creative industries’ labour force.

Late Opening: Arts and Older people in Scotland

Report by Andrew Eaton Lewis, jointly commissioned by the Baring Foundation and Luminate Festival. Includes case studies of Scottish venues and organisations who work with older people, as well as dementia friendly initiatives.

LEWIS, A. E., 2017. Late Opening: Arts and Older people in Scotland. [online] [viewed 8 February 2019]

Categories

cultural
social
health

Year

2017

Source

View

The number of people aged 65 and over in Scotland will increase by 53% between 2014 and 2039.

People aged 75 and over increased their arts attendance and participation by 9% between 2012 and 2015.

People with dementia respond positively to poetry and song in a care home setting, becoming more verbal and enthusiastic.

Participative arts provision in care homes can improve social connections between residents and staff.

Creating a ‘dementia friendly’ theatre can make attendance for people with dementia and their carers easier.

Arts activities such as dance and aerial performance can be adapted to suit older participants.

People with Parkinsons, or dementia, can benefit from adapted dance provision.

Participative opera projects for people with dementia make participants feel healthier and more relaxed.

Making Art Work an Economic Study of artists in Australia

Detailed report by the Australian Government on working Australian artists; includes data about artists’ work patterns, income, and career trajectories, as well as attitudes to creative work and other responsibilities.

THROSBY, D. & PETETSKAYA, K., 2017. Making Art Work an Economic Study of artists in Australia. [online] Strawberry Hills: Australia Council for the Arts [viewed 8 February 2019]

Categories

economic
cultural
social

Year

2017

Source

View

Family circumstances of artists mirror the family circumstances of general workforce.

73%

of Australian artists live in a capital city.

34%

of Australian artists have an undergraduate degree.

42%

of Australian artists have a postgraduate degree.

Most established artists (excluding dancers) identify the age they became established as a point in their mid thirties.

28%

of artists feel inhibited or restricted by a lack of financial return from their artistic practice.

14%

of artists feel inhibited or restricted by a lack of work opportunities.

10%

of artists feel inhibited or restricted by a lack of funding or access to finance.

21%

of artists feel inhibited or restricted by the pressures of other responsibilities.

Artists are increasingly conducting cross artform work.

Artists spend 57% of their working time doing creative work.

Artists spend 24% of their working time doing arts related work.

Artists spend 19% of their working time doing non arts work.

Two thirds of artists would like to spend more time on creative work.

About 60% of Australian professional artists make less than $10000 AUS from their work per year.

Artists spend 60% of time on creative work which earns 39% of their income.

33%

of artists’ income comes from the non arts work which takes up 19% of their time.

The proportion of Australian artists who work on a freelance basis rose from 72% to 81% between 2009 and 2016.

88%

of artists who use an agent, manager or dealer, are satisfied with the service provided.

65%

of freelance artists are likely to improve their business skills.

30%

of artists say that receiving funding gives them freedom from financial worries to continue to make work.

39%

of artists work in education or research.

23%

of artists work for charity, community or non profit.

74%

of artists use social media, blogs or email to communicate about their work.

42%

of artists promote their work through their own website.

15%

of artists sell work through their own website.

39%

of artists promote their work through another party’s website.

17%

of artists sell their work through another party’s website.

of artists use crowdfunding for projects.

38%

of female artists and 18% of male artists felt that having children significantly restricted their career as an artist.

55%

of artists with a disability say that their disability sometimes affects their artistic practice.

15%

of artists with a disability say that it affects their practice most of the time.

19%

of artists with a disability say that it always affects their practice.

Artists with a disability earn 58% of the earnings of artists without a disability.

83%

of artists are generally satisfied with their lives.

Understanding Society Insights

UK longitudinal study about the British workforce, including details of pay rates, hours worked, and movement between high paid and low paid work, as well as demographic differences in work patterns.

UNDERSTANDING SOCIETY, [2017]. Insights 2017. [online] [viewed 8 February 2019]

Category

economic

Year

2017

Source

View

UK has an increasing correlation between low hourly pay, and low hours worked.

Older workers, single parents and people with disability are more likely to remain in low paid work.

20%

of British workers are on a low wage.

25%

of low paid workers escape low paid work in a decade.

Just under 3/4 of workers have flexible work arrangements available to them.

Over 40% of women work part time.

42%

of Pakistani and Bengali women participate in the labour market.

Women who provide over 10 hours of care work per week are more likely than women who have no caring responsibilities, or men (with or without caring responsibilities) to give up paid work.

The Art of Soft Power

Research done by King’s College focusing on the United Nations Office at Geneva, and looking at how art and culture can be used to affect policy and diplomatic relations.

DOESER, J., NISBETT, M., [2017]. The Art of Soft Power. [online] London: King’s College [viewed 8 February 2019]

Categories

economic
cultural

Year

2017

Source

View

Richer countries are better able to use cultural resources to affect policy and diplomatic relations.

Designing a future economy report

Design council report promoting and highlighting the importance of the work of designers within the UK workforce.

DESIGN COUNCIL, [2017]. Designing a future economy report. [online] [viewed 8 February 2019]

Category

economic

Year

2017

Source

View

Workers with design skills contribute £209bn to the UK economy.

Workers with design skills are 47% more productive than the average UK worker.

2.5m people (8% of the workforce) use design skills in their day to day work.

One in eight design employers report a skills gap in their workplace.

59000 people working in design skills intensive industries have a skills gap.

Workers in the design industry are more likely to need a degree, postgraduate or professional qualification.

Imagine-nation The value of cultural learning

Report by the Cultural Learning Alliance about how young people can benefit in participating in arts activities; focuses on the ‘four values’ of social, educational, personal and economic benefit. Includes statements from key figures in cultural learning across the UK.

CULTURAL LEARNING ALLIANCE., [2017]. Imagine-nation The value of cultural learning. [online] [viewed 8 February 2019]

Categories

education
social
cultural
health

Year

2017

Source

View

Participation in structured arts activities can increase cognitive abilities by 17%.

Learning through arts and culture can improve attainment in maths and English.

Students from low income families who take part in arts activities at school are three times more likely to get a degree.

Students from low income families who take part in arts activities at school are twice as likely to volunteer.

Students from low income families who take part in arts activities at school are 20% more likely to vote as young adults.

Young offenders who take part in arts activities are 18% less likely to reoffend.

People who take part in the arts are 38% more likely to report good health.

A Cultural Manifesto for Wellbeing

Manifesto suggesting ways the NHS can work with other agencies, including cultural and arts organisations, to deliver person centred care.

NHS HALTON, 2017. A Cultural Manifesto for Wellbeing [online] [viewed 8 February 2019]

Categories

health
cultural

Year

2017

Source

View

Cultural activities can be offered alongside or as an alternative to medical treatment to improve or relieve a number of physical and mental health conditions.

Valuing Live Music: The UK Live Music Census 2017 report

Results of a survey conducted at live music events in Glasgow, Newcastle and Oxford for 24 hours in October 2017. The survey covered small and large music venues and interviewed musicians and audiences. It covered topics such as earnings, wellbeing, disability awareness, reselling tickets and noise regulations.

WEBSTER, E. et al, 2018. Valuing Live Music: The UK Live Music Census 2017 report. [online] [viewed 8 February 2019]

Categories

economic
cultural

Year

2017

Source

View

UK musicians earn 49% of their income from performing, and 3% from recording.

31%

of professional musicians chose their place of residence based on musical opportunities.

The live music scene is male dominated, with around 69% of performances by all male acts, and 9% of performances by all female acts.

Professional musicians are most likely to earn money from classical music (38%).

Semi professional musicians are most likely to earn money from rock music (48%).

78%

of professional musicians are self employed.

47%

of people spend more than £20 per month on festival and concert tickets.

37%

of people spend more than £20 per month on gigs in smaller venues and clubs.

25%

of people spend more than £20 per month on recorded music.

41%

of people who resell music tickets do not make a profit.

Live music is mood enhancing.

85%

of live music venues have additional functions, such as bars or rehearsal or educational spaces.

61%

of music venues have no environmental policy.

47%

of music venue staff have had no Disability Awareness training.

Only 7% of music promoters routinely provide a free ticket for personal assistants/ carers of disabled audience members.

Music venues have history and narrative value which appeals to performers and attracts audiences.

Smaller music venues (under 350 capacity) are important to and valued by music audiences and performers.

31%

of music venues are negatively affected by parking and loading restrictions.

27%

of music venues are negatively affected by noise complaints.

19%

of music venues are negatively affected by licensing laws.

16%

of professional musicians have been offered ‘pay to play’ deals by venues.

Word of mouth can be the most important draw for music audiences.

Impact of Brexit on the arts & culture sector (UK)

Report by ICM & SQW on behalf of Arts Council England, looking at the impact on the arts and creative industries by the UK leaving the EU. Looks at topics including funding, trade, international collaboration, employment, freedom of movement, and cultural property.

ICM & SQW, 2017. Impact of Brexit on the arts & culture sector (UK). [online] Arts Council England [viewed 8 February 2019]

Categories

economic
cultural

Year

2017

Source

View

The UK creative industries will be affected by economic uncertainty caused by Brexit.

Brexit has affected the credibility and reputation of the UK creative industries.

Reduced freedom of movement as a result of Brexit would adversely affect the UK creative industries.

Lack of access to EU funding will adversely affect the UK creative industries.

Brexit may affect legal and regulatory frameworks which could affect the UK creative industries.

A weaker pound, and general economic anxiety will adversely affect the UK creative industries.

The EU’s contribution to Scotland’s historic environment

Breakdown of EU funding sources for Scottish heritage projects.

EUCLID, 2017. The EU’s contribution to Scotland’s historic environment. [online] [viewed 8 February 2019]

Categories

economic
cultural
place

Year

2017

Source

View

280 Scottish heritage projects received at least £36.8m of EU funding between 2007 and 2016.

Understanding diversity in the arts survey

Survey results from an online questionnaire by people working in the creative industries, which is likely to have attracted positive bias from equality groups. 1500 responses were gathered by Creative Scotland in one month in 2016. Results include the educational level of the sector, and salary levels. Respondents were also asked to rate their perception of barriers to their career.

CREATIVE SCOTLAND, 2017. Understanding diversity in the arts survey. [online] [viewed 8 February 2019]

Categories

cultural
social
edi

Year

2017

Source

View

Economic barriers are a concern for 76% of creative and cultural workers in Scotland.

33%

of work based training initatives in the cultural sector are unpaid.

Creative and cultural workers on a lower income are more likely to be restricted by their socio economic background.

44%

of female cultural workers cite gender as a barrier to cultural work, compared with 12% of male cultural workers.

Parenting and caring responsibilites are a barrier for women working in the cultural industries.

30%

of women with children and 10% of men with children cite parental responsibilities as a significant barrier within cultural work.

50%

of BAME cultural workers cite ethnicity as a barrier within the cultural industries.

43%

of disabled cultural workers cite disability as a barrier within the cultural industries.

Youth Music Initiative

Impact report and review of the Youth Music Initiative in 2016 and 2017, by Creative Scotland. Report compares intended outcomes with actual outcomes on areas such as improving music skills, improving life skills for students, and how organisations collaborated. Looks at impacts in relation to Scottish Government Priorities. Includes recommendations for the future.

CREATIVE SCOTLAND, 2017. Youth Music Initiative 2016/17. [online] [viewed 8 February 2019]

Categories

education
cultural
social

Year

2017

Source

View

The Youth Music Initiative is agreed to have improved inclusion for young people from target groups, and to boost enjoyment and engagement in music activities for young people in Scotland.

Tighter squeeze on councils

News article reporting budget cuts and freezes within local government

AUDIT SCOTLAND, 2017. Tighter squeeze on councils. [online] [viewed 8 February 2019]

Categories

economic
social
cultural

Year

2017

Source

View

Scottish Government contributions to local government fell by 5.2% to £9.7bn in 2016/17.

Council tax provides 14% of local authority budget.

Cultural projects face severe funding cuts from local authorities due to budget limitations.

Creative Europe in the UK 2017

Report on Creative Europe funding, case studies of success stories and details of funding

CREATIVE EUROPE DESK UK, 2017. Creative Europe in the UK 2017 [online] [viewed 6 February 2019]

Categories

cultural
economic

Year

2017

Source

View

Creative Europe invested 16.6m euro in UK cultural projects in 2017.

In 2017 EU funding supported UK culture across artforms, from translating literature to ensuring the distribution of UK films in Europe.

Participatory creative engagement programmes for Long Term conditions

Tayside Healthcare Arts Trust report, assessing and evaluating the success of an inclusive arts programme working with people with long term health conditions such as stroke, Parkinsons and Alzheimers

TAYSIDE HEALTHCARE ARTS TRUST, 2017. Participatory creative engagement programmes for Long Term conditions [online] [viewed 6 February 2019]

Categories

health
social
cultural

Year

2017

Source

View

Participative music programmes for people with long term health conditions improved mood, socialisation, confidence, communication and concentration in over half of participants.

Making Cultural Infrastructure

This is a report by Theatrum Mundi on a research project that asked “can we design the conditions for culture?”

THEATRUM MUNDI, 2017, Making Cultural Infrastructure, [online]. [viewed 29 March 2020].

Categories

cultural
economic

Year

2017

Source

View

Urban rehearsal and performance spaces are becoming more rare and difficult for performers to access.

Spaces designed for performance and rehearsal may allow more focused practice, as they do not have many of the distractions of ‘unintended’, multi-use premises.

Urban, communal workshop spaces may have the ideal conditions for co-operation, and innovation in craft practices.

The average artist cannot afford to live in London on the proceeds of their work.

Affordable housing and affordable studio space, as well as the infrastructure which supports studio based artists, are becoming more limited.

Urban infrastructure must consider the specific needs of artists, performers and makers to practice, rehearse and create work, rather than simply the performative end results, in order to maintain culturally innovative and vibrant areas.

Music, Singing and Wellbeing in adults with diagnosed condititions or dementia

Policy briefing by What Works Wellbeing analysing existing evidence about how music can benefit people with diagnosed mental health conditions and dementia.

WHAT WORKS WELLBEING., 2016. Music, Singing and Wellbeing in adults with diagnosed condititions or dementia. [online] [viewed 8 February 2019]

Categories

health
social

Year

2016

Source

View

Brief music therapy is an effective intervention in supporting the wellbeing of palliative care patients in hospital.

Targeted, culturally relevant music interventions can decrease depression in nursing students in a college environment.

Targeted, culturally relevant music and singing interventions can enhance wellbeing and decrease depression in older people with chronic conditions in residential and community settings.

Universities Scotland briefing on support for the UK’s creative industries & their contribution to the economy

Universities Scotland briefing, regarding the importance of higher education to the creative industries, and the importance of addressing the skills gap in the creative industries.

UNIVERSITIES SCOTLAND, 2016. Universities Scotland briefing on support for the UK’s creative industries & their contribution to the economy. [online] [viewed 8 February 2019]

Category

economic

Year

2016

Source

View

Scotland’s creative industries employ 68,500 people.

Scotland’s creative industries are made up of 8000 businesses.

Scotland’s creative industries generate £3.06bn GVA.

59.9%

of UK jobs in the creative industries are filled by people with a degree or equivalent.

1 in 11 jobs held by graduates in the UK is in the creative industries.

Between 2014 and 2015 there was a 2.2% increase in the number of jobs in the creative industries held by someone with a degree or equivalent

31%

of Scottish employers report a skills gap within the existing workforce.

Culture: building resilient communities

Report by the British Council for the Edinburgh International Culture Summit. The conference discussed how culture can be used to influence policy; the core themes were culture and heritage, culture and economics and culture and participation.

EDINBURGH INTERNATIONAL CULTURE SUMMIT., 2016. Culture: building resilient communities. [online] [viewed 8 February 2019]

Categories

social
economic
cultural

Year

2016

Source

View

Cultural participation can sustain, unify and motivate communities in crisis.

Cultural tourism can boost and complement mainstream tourism.

Cultural development can contribute to regeneration in both urban and rural environments.

Arts on prescription in Scandinavia

Academic paper for Perspectives on Public Health looking into programmes which use culture for health benefits in Norway, Sweden and Denmark.

JENSEN, A., STICKLEY, T., TORRISEN, W., STIGMAR, K., 2016. Arts on prescription in Scandinavia. Perspectives in Public Health 137 (5) [online] [viewed 6 February 2019]

Category

health

Year

2016

Source

View

Arts on prescription provides a therapeutic environment, which allows participants to experience social, psychological and occupational benefits.

Can out of school activities close the education gap

The Nuffield foundation funded an Out of Schools activity project, to find out if participating in after school activities could close the attainment gap for economically disadvantaged children. Includes qualitative case studies from participating schools.

TANNER. E., et al, 2016. Can out of school activities close the education gap [online] Nat Cen Social Research: Newcastle [viewed 8 February 2019]

Category

education

Year

2016

Source

View

After school clubs on school property can be accessed as easily by more disadvantaged children as by their more affluent peers.

Children who attended after school clubs scored better on standardised tests.

Exploring the ‘creative conversations’ toolkit: the impact of arts based activities on those living with dementia

Artlink Central and University of Stirling, evaluation of art programme working with people with dementia, ‘Creative Conversations: Gardening’. Case studies trialling the toolkit in day care and care home settings.

ROBERTSON, J., McCALL, V., 2016. Exploring the ‘creative conversations’ toolkit: the impact of arts based activities on those living with dementia [online] Stirling: Artlink Central [viewed 6 February 2019]

Categories

health
social

Year

2016

Source

View

Participative art programmes in care home settings can lead to staff or participants feeling they are ‘not good enough’ at the activity, which impacts the outcomes.

Building relationships within a group setting benefits participative art projects.

Pianos on prescription

News article on Firstport.org.uk, about a competition winning initiative to install pianos in public spaces

FIRSTPORT., 2016. Pianos on prescription [online] [viewed 6 February 2019]

Categories

health
social

Year

2016

Source

View

Installing pianos in public spaces, and facilitating access to playing and to piano lessons, can improve hospital environments, and the wellbeing of patients.

Turnaround Arts Initiative

Project evaluation of the Turnaround Arts Initiative; a US wide federal programme which was part of wider school reform. The initiative encouraged high quality, integrated arts provision to improve overall school performance. Schools were taught evaluation procedures. Schools were selected to be part of the initiative according to criteria of need and diversity. Report includes interesting and useful case studies from different schools, who applied the programme according to the needs and make up of the school community.

PRESIDENT’S COMMITTEE ON THE ARTS AND THE HUMANITIES, 2015. Turnaround Arts Initiative [online] [viewed 8 February 2019]

Categories

education
social

Year

2015

Source

View

45 - 500 mins per week per child of individual arts instruction can reduce anti social behaviour, improve academic performance, and enhance a school community.

45 - 500 mins per week per child of high quality arts provision led to a 22.55% improvement in maths proficiency over 3 years.

45 - 500 mins per week per child of high quality arts provision led to a 12.62% improvement in reading proficiency over 3 years.

47%

of teachers in the Turnaround Arts Initiative felt that competing school priorities limited their ability to teach arts.

Encouraging parental/community involvement in school based arts initiatives increased parental attendance at teacher/parent conferences from 82% to 98% in one year.

A Review of the Social Impacts of Culture and Sport

Extensive UK Government review on the social and health impacts of participation in cultural or sporting pastimes. Chapters include arts, heritage, museums and libraries. Topics covered include benefits to health, social cohesion, educational attainment. The report identifies gaps in the literature, and potential areas for future or more extensive research. The report identifies a lack of evidence which supports conclusions of positive social impacts in the heritage and museums and libraries sectors.

CASE, 2015. A Review of the Social Impacts of Culture and Sport [online] [viewed 8 February 2019]

Categories

social
cultural
health
education
edi

Year

2015

Source

View

Participating in cultural activities leads to improved health and life satisfaction.

Strong evidence exists that participating in arts activities improves mental health.

Evidence suggests that the arts can improve social inclusion.

Evaluating Sistema Scotland

Evaluation report by Glasgow Centre for Population Health, Education Scotland and Glasgow Caledonian University. The music initiative Sistema was launched in Raploch, near Stirling, and later was extended to Govanhill in Glasgow. The two areas have very different demographics, and experienced different positive and negative aspects of the Sistema programme. The report includes case studies of both areas, and feedback from individuals involved in the programme. Positive outcomes as well as negative experiences are detailed; recommendations for future work are included.

GLASGOW CENTRE FOR POPULATION HEALTH, 2015. Evaluating Sistema Scotland [online] [viewed 8 February 2019]

Categories

social
education

Year

2015

Source

View

Providing an intensive orchestral programme of music education for children from primary school age upwards, in low income areas has extensive and varied social and educational impacts.

Looked after children are more likely to attend & keep attending Big Noise.

Big Noise participants in Raploch have better school attendance than non participants.

Pupils with additional support needs are less likely to attend and more likely to stop attending Big Noise sessions.

Big Noise participants in Raploch are less likely to have unauthorised absence than non participants.

Pupils from an ethnic minority background are less likely to attend & more likely to stop attending Big Noise.

Wish you were here: Music tourism’s Contribution to the UK economy

UK music report, detaiing and promoting the contribution of music tourism to the UK economy.

UK MUSIC, 2015. Wish you were here: Music tourism’s Contribution to the UK economy [online] [viewed 8 February 2019]

Categories

economic
cultural

Year

2015

Source

View

Music tourism generates £3.1bn in direct & indirect spend in the UK.

Music tourism generates £1.9bn in direct spend in the UK.

In 2014 there were 9.5 million music tourists in the UK.

.45% of music audiences in the UK are music tourists.

In 2014 546,000 music tourists visited the UK.

The average spend of an overseas music tourist in the UK is £751.

Music tourism sustains 38,238 jobs in the UK.

Music tourism in Scotland generates £280m per year in total.

Music festival tourism generates £155m per year in Scotland.

Concert tourism generates £124m per year in Scotland.

Music tourism sustains 2,081 jobs in Scotland.

Scotland receives 721,000 music tourists per year.

Scotland receives 521,000 concert tourists per year.

Scotland receives 201,000 festival tourists per year.

Music tourists to Scotland contribute a direct spend of £163m per year.

34%

of live music audiences in Scotland are music tourists.

28%

of concert audiences in Scotland are music tourists.

64%

of festival audiences in Scotland are music tourists.

Overseas music tourists in Scotland spend an average of £724 each.

Evaluation of the Arts and Older People

Interim report by Arts Council Northern Ireland on the Arts and Older People pilot project funded by the Arts Council of Northern Ireland and The Atlantic Philanthropies. Report covers background and context to the project, including policy for an ageing society; as well as case studies of initiatives which took place as part of the project.

ARTS COUNCIL OF NORTHERN IRELAND, 2015. Evaluation of the Arts and Older People [online] [viewed 8 February 2019]

Categories

social
health

Year

2015

Source

View

Men are less likely to be involved in clubs or groups for older people than women.

Older women are more likely than older men to attend arts events or participate in art activities.

Older people living in urban areas are more likely than older people in rural areas to participate in arts activities or attend arts events.

85%

of older people who participate in arts projects feel a sense of achievement.

Musical activities can increase the level of engagement of people with dementia.

Lack of information about what’s on is one of the main barriers to older people’s involvement in the arts.

Older people who participate in targeted arts events report improved levels of physical and mental health.

Older people who participate in targeted arts events report feeling more connected with their community.

Older people participate in targeted arts projects to meet new people and learn new skills.

Music as an aid for post-operative recovery in adults

Academic paper in the Lancet; summary of randomised controlled trials in which music was initiated before, during or after surgery, to assess the impact of music on recovery.

HOLE, J., HIRSCH, M., BALL, E., MEADS, C., 2015. Music as an aid for post-operative recovery in adults. The Lancet [online] [viewed 8 February 2019]

Category

health

Year

2015

Source

View

Listening to music before, during or after surgery reduces post operative pain, anxiety and analgesia.

National Visual Arts: Cluster Benchmark Reports

Audience Agency and Contemporary Visual Arts Network report on gallery attendance. Research was conducted by 59 galleries in England, 23 in London 36 outside London. Over 25,000 responses were gathered. The Audience Agency analysed and collated the data, and used it as a basis to suggest recommendations for the sector.

THE AUDIENCE AGENCY, 2015. National Visual Arts: Cluster Benchmark Reports [online] [viewed 8 February 2019]

Categories

cultural
social
economic

Year

2015

Source

View

74%

of gallery visitors had fun.

89%

of gallery visitors enjoyed the experience.

80%

of gallery visitors agreed that there was a lot to talk about during their visit.

62%

of gallery visitors felt inspired by their visit.

78%

of gallery visitors learned something new during their visit.

71%

of gallery visitors found their visit relaxing.

84%

of gallery visitors found their visit memorable.

A third of gallery visitors are visiting the local area solely to visit the gallery.

Gallery attendees from outside the local area spend £22.66 each in the area during their visit.

Galleries attract £22.66 of new spend to an area.

Gallery audiences’ ethnicity is broadly comparable to the area as a whole.

Half of gallery visitors have previously visited within the last 12 months.

Creative Scotland: Evaluation of Youth Music Initiative

Full report and evaluation of the 2014/15 Youth Music Initiative. Evaluating how and whether intended outcomes were met, suggestions for future outcomes, and recommendations on how to alter or improve the programme (or a similar programme) in the future.

CREATIVE SCOTLAND, 2015. Evaluation of Youth Music Initiative [online] [viewed 8 February 2019]

Categories

education
social

Year

2015

Source

View

80%

of funding for The Youth Music Initiative went to schools based activity.

Musical activity can help children with additional support needs improve motor skills and co-ordination.

Between 90 and 100% of Youth Music Initiative funding recipients believe music helps young people improve personal and social skills.

Musical activities for young people can boost confidence.

Musical activities for young people can improve teamwork and co-operation.

Primary school teachers supported by Youth Music Initiative reported a more positive school spirit and ethos.

Targeted youth music funding allows disadvantaged children the opportunity to participate in music they otherwise they would not have.

Targeted youth music programmes can improve the confidence of vulnerable and looked after children.

Youth Music Initiative created 668 jobs in 2014/15.

Youth music provision can support community building, and reduce barriers of territorialism in communities.

Youth music provision in rural areas can build more cohesive communities.

Successful youth music programmes depend on flexibility, partnership working, and inclusivity.

A flexible approach to music provision can ensure that young people with additional support needs are included.

A flexible approach to music provision can benefit young people who are disengaged.

Collaborative and partnership approaches to music provision can help to reach wider groups of young people.

Flexibiility in government funding enables music programmes to be tailored to local needs.

Cultural Times: The first global map of cultural & creative industries

Cultural Times ‘The first global map of the cultural and creative industries’. Report assembled by EY, CISAC and UNESCO. Worldwide overview of the creative industries. Topics covered include: economic impact, diversity within the sectors, intellectual property, digital revolution. Focused snapshots from: India, Australia, Japan, China, South Korea and Europe.

UNESCO, 2015. Cultural Times: The first global map of cultural & creative industries [online] [viewed 8 February 2019]

Categories

cultural
economic

Year

2015

Source

View

Digital cultural goods are the biggest revenue source for the global digital economy.

Women make up over 50% of employees in the UK music industry.

Cultural and creative content drives demand for electronics, digital devices, and high bandwith.

Sales of digital goods & services worldwide in 2013 were £66bn.

Online and mobile games were the world’s best selling digital content in 2013 (US$33.8bn in sales).

Digital movies were the world’s second highest selling digital content in 2013 (US$13bn in sales).

Music was the world’s third highest selling digital content in 2013 (US$10.3bn in sales)

Books were the world’s fourth best selling digital content in 2013 (US$8.5bn in sales)

Netflix subscriptions increased 61% between 2011 and 2014.

Kickstarter raised 81% more money in 2014 than 2011.

Between 2011 and 2014 the number of UK games companies grew by 22% per year.

95%

of UK Video Games companies are micro or small businesses.

World Cities Culture Report

World Cities Culture Forum report; case studies of cities focusing on how culture can affect and be affected by policy. Cities featured are: Amsterdam, Bogota, Brussels, Dubai, Hong Kong, Istanbul, London, Los Angeles, Melbourne, Montreal, New York, Paris, Rome, San Francisco, Seoul, Shanghai, Shengzhen, Singapore, Stockholm, Sydney, Taipei, Tokyo, Toronto, Vienna. Statistics and information on tourism, cultural participation, and employment, with commentary from expert individuals.

WORLD CITIES CULTURE FORUM, 2015. World Cities Culture Report [online] [viewed 8 February 2019]

Categories

cultural
economic

Year

2015

Source

View

A third of global travel is for leisure, and culture is a significant pull.

A shortage of affordable housing, office and studio space is a global problem for urban creative workers.

Global cultural leaders agree that culture should be included in all urban policy making.

World cities are the leading drivers of the global economic recovery.

Cultural input in global cities can integrate new communities and improve public spaces.

Synchrony & exertion during dance independently raise pain threshhold

Academic research paper for Biology Letters. 240 high school girls in Brazil were randomly assigned to group activities with differing levels of exertion and syncronicity. Increased exertion improved social bonding; increased synchronicity increased pain threshholds in some cases.

TARR, B., LAUNAY, J., COHEN, E., DUNBAR, R., 2015. Synchrony & exertion during dance independently raise pain threshhold. Biology Letters [online] [viewed 8 February 2019]

Category

health

Year

2015

Source

View

Synchronised group dance activity improves social bonding within the group of dancers, especially with increased levels of exertion.

Highly synchronised group dance activity can increase participants’ pain threshhold.

Measuring Music

UK Music Report from 2015, covering the economic contribution of the UK music industry, including figures on exports, employment and GVA.

UK MUSIC, 2015. Measuring Music [online] [viewed 8 February 2019]

Category

economic

Year

2015

Source

View

The UK music industry was worth £4bn to the UK GDP in 2014.

In 2014 the music industry outperformed the rest of the UK economy by generating 5% growth,

In 2014 the UK music industry generated £2.1bn in export revenue.

2014 saw a 17% rise in recorded music exports from the UK.

In 2014 the UK music industry supported 117,000 full time jobs.

35%

of musicians don’t pay into pension schemes.

21%

of musicians had undertaken unpaid work in 2014.

In 2014, live music had the fastest GVA and employment growth of all music sectors.

There were 26.7 million visits to live music events in 2014.

GVA contribution by the UK music industry in 2014: £1.9bn from musicians, songwriters, composers and lyricists.

GVA contribution by the UK music industry in 2014: £924m from live music

GVA contribution by the UK music industry in 2014: £615m from recorded music

GVA contribution by the UK music industry in 2014: £410m from music publishing.

GVA contribution by the UK music industry in 2014: £116m from producers, recording studios & staff.

GVA contribution by the UK music industry in 2014: £89m from music representatives

2014 UK music industry export revenue included: £926m from musicians, songwriters, composers and lyricists.

2014 UK music industry export revenue included: £519m from music publishing.

2014 UK music industry export revenue included: £332m from recorded music.

2014 UK music industry export revenue included: £260m from music representatives.

2014 UK music industry export revenue included: £42m from live music.

2014 UK music industry export revenue included: £24m from producers, recording studios and staff.

2014 vinyl sales were the highest for 19 years, with 1.3m units sold.

In 2014 live music tourism contributed £3.1bn to the UK economy.

Group Music Training and Children’s Pro-social skills

Academic research paper for PLoS One. Children of an average age of 8 years 8 months who attended 10 months of group music training had a greater increase in sympathy and pro-social behaviour than a control group.

SCHELLENBERG, E., CORRIGALL, K., DYS, S., MALTI, T., 2015. Group Music Training and Children’s Pro-social skills. PLOS one [online] [viewed 8 February 2019]

Categories

social
education

Year

2015

Source

View

8 & 9 year olds who received weekly group music lessons for 10 months, showed improved sympathy and pro-social skills, provided they had poor social skills to begin with.

Older people and arts and culture

Survey conducted of 700 adults during one week in November 2015; attitudes towards arts and culture as well as preferences and habits.

ARTS COUNCIL ENGLAND., 2015. Older people and arts and culture. [online] [viewed 8 February 2019]

Categories

social
cultural

Year

2015

Source

View

43%

of older people would be more likely to attend an arts venue if it was easy to get to.

39%

of older people would be more likely to attend an art venue or activity if they had someone to go with.

32%

of older people would be more likely to attend an art venue or activity if they had more information about what’s on.

60%

of older people said that art and culture was important to them.

60%

of older people said that art and culture was important in making them feel healthy.

76%

of older people said that art and culture was important in making them feel happy.

57%

of older people said that art and culture was important in helping them meet new people.

51%

of older people said that art and culture was important in helping them feel less lonely.

60%

of older people said that art and culture was important in encouraging them to get out and about.

69%

of older people said that art and culture was important in improving their quality of life.

Sport, Culture and Wellbeing

Report by the What Works Centre for Wellbeing, involving dialogues held between stakeholders and participants to find out more about attitudes and experiences of culture and sport and wellbeing. 18 participants in Tyneside, and 15 in Lambeth, Greater London, met twice for facilitated and guided discussion.

WHAT WORKS WELLBEING., 2015. Music, Sport, Culture and Wellbeing: a wellbeing public dialogue. [online] [viewed 8 February 2019]

Categories

health
social

Year

2015

Source

View

Demographically representative participants in a public dialogue demonstrated that cultural activity improves wellbeing.

The creative economy and the future of employment

NESTA report for Creative Industries arguing that the UK needs 1 million more creative jobs by 2030, and providing recommendations on how to achieve this through different funding options, expanding digital capability, and recognising the value of arts education and jobs.

BAKHSHI, H.,WINDSOR, G., 2015. The creative economy and the future of employment [online] NESTA [viewed 6 February 2019]

Category

economic

Year

2015

Source

View

The UK’s ‘output per hour worked’ is 17% lower than the EU average.

87%

of highly creative workers are at low or no risk of their jobs being automated.

Culture Matters: why culture should be at the heart of future public policy

British Council report for the 2014 Edinburgh Culture Summit. Argues the importance of embedding culture in policy with particular reference to international collaboration, post conflict resolution, supporting young people, and cities and culture.

BRITISH COUNCIL, 2014. Culture Matters: why culture should be at the heart of future public policy. [online] [viewed 8 February 2019]

Categories

cultural
economic

Year

2014

Source

View

85%

of Liverpool residents agreed that the city was a better place to live after becoming the European City of Culture.

61%

of people choose culture as a particular attraction when rating a country’s attractiveness.

52%

of people choose art as a particular attraction when rating a country’s attractiveness.

Arts and culture are more important than weather in rating a country’s attractiveness.

Collaborative cultural activities between countries can increase trust among young people involved.

Edinburgh’s Festivals generate £261 billion in new economic output annually.

Edinburgh’s Festivals generate £82 billion in new income annually.

Edinburgh’s Festivals generate 5000 new jobs in Scotland annually.

Between 2009 & 2050 the urban global population will almost double to 6.4bn.

As Others See Us

British Council report based on survey information gathered by Ipsos Mori, on which factors attract visitors to the UK; focusing on arts and culture, cities, and education.

BRITISH COUNCIL, 2014. As Others See Us. [online] [viewed 8 February 2019]

Categories

cultural
economic

Year

2014

Source

View

31%

of poll respondents choose culture as the main featre which attracts them to a country.

How Art Changes your Brain

Academic research paper for PLOS One. 28 post retirement aged adults were randomly assigned to either an art appreciation or art production group. Participants received an MRI, and neural effects were recorded.

BOLWERK, A., MACK-ANDRICK, J., LANG, F., DORFLER, A., MAIHOFNER, C., 2014. How Art Changes your Brain. Plos one [online] [viewed 8 February 2019]

Category

health

Year

2014

Source

View

Visual art interventions can reduce distress, increase self awareness and alter thinking patterns.

Visual art interventions can normalise heart rate, blood pressure, and cortisol level.

Visual art production can alter brain connectivity in older people more than cognitive art evaluation.

The neurochemistry of music

Academic paper in Trends in Cognitive Sciences reviewing the literature pertinent to the topic of neurochemistry and music.

CHANDA, M. & LEVITIN, D., 2013. The neurochemistry of music. Trends in Cognitive Science [online] [viewed 8 February 2019]

Category

health

Year

2013

Source

View

Listening to music may reduce stress, protect against disease and manage pain.

Neuroscience supports claims that recreational music making reduces stress and improves mood.

Some academic studies report findings that participating in music boosts immunity.

Influencing Self Rated Health Among Adolescent Girls with Dance intervention

Academic paper in JAMA paediatrics. Randomized controlled trial assigning teenage girls with stress and related problems to twice weekly dance classes, or control group. Research was conducted in Sweden. Health improvements were self-rated by participants.

DUBERG, A., HAGBERG, L., SUNVISSON, H., 2013. Influencing Self Rated Health Among Adolescent Girls with Dance intervention. JAMA Pediatrics [online] [viewed 8 February 2019]

Category

health

Year

2013

Source

View

Teenage girls with internalising problems such as low self worth & depressed mood benefit from dance intervention.

Participating in dance activity improves mood and increases self worth among teenage girls.

A big part of my life”: A qualitative study of the impact of theatre

Research paper, qualitative study of the impact of theatre

WALMSLEY, B., 2013. 'A Big Part of My Life" A qualitative study of the impact of theatre. University of Leeds. [online] [viewed 24 September 2021]

Category

cultural

Year

2013

Source

View

Regular theatre goers believe that benefits of theatre going include improved wellbeing and relationships.

Regular theatre goers find value in being part of a live audience.

Economic Contribution Study: An Approach to the Economic Assessment of the Arts & Creative Industries in Scotland.

Economic Assessment of the arts and creative industries in Scotland carried out by DC Research and commissioned by Creative Scotland and Scottish Enterprise. Report collates existing and publically available statistics. The report suggests using a definition of the Arts and creative Industries better suited to Scotland than the DCMS definition.

DC RESEARCH, 2012. Economic Contribution Study: An Approach to the Economic Assessment of the Arts & Creative Industries in Scotland. [online] [viewed 8 February 2019]

Categories

cultural
economic

Year

2012

Source

View

Glasgow & Edinburgh account for 40% of the creative industry jobs in Scotland.

The main contributing sectors in the creative industries in Scotland are software and epublishing, followed by traditional publishing.

Around 21000 people employed in creative occupations in Scotland are on a freelance, portfolio, or uncategorised basis.

Inspiring change: Final project report of the Evaluation Team

End of project report, including case studies of a pilot programme of 12 arts projects which ran in 5 prisons in 2010. High quality arts projects with high profile arts organisations from across Scotland (National Galleries of Scotland, Traverse, Citizens Theatre, Scottish Opera, SCO, Scottish Ensemble, National Youth Choir Scotland)

ANDERSON, K., COLVIN, S., McNEILL, F., NELLIS, M., OVERY, K., SPARKS, R., TETT., L. 2011. Inspiring change: Final project report of the Evaluation Team [online] [viewed 6 February 2019]

Categories

social
cultural

Year

2011

Source

View

Working with professional artists boosts the self esteem and enthusiasm of participants in prison based arts projects.

Participative art projects in prison settings are at a high risk of leaving prisoners feeling disappointed and abandoned when the project is over.

Participative art projects in prison settings benefit if staff and artists work co-operatively.

Participative art projects in prison settings can improve the confidence of participants.

Participative art projects in prison settings can contribute to participants wanting to work collectively, and being more reflective.

Participative art projects in prison settings should involve or include the families of prisoners, to strengthen bonds.

The Power of Music

Academic paper in the International Journal of Music Research; empirical evidence of brain activity in young children actively engaging with music.

HALLAM, S.., 2010. The power of music: Its impact on the intellectual, social and personal development of children and young people. International Journal of Music Education 28 (3) [online] [viewed 8 February 2019]

Categories

social
education

Year

2010

Source

View

Musical engagement must be an enjoyable and rewarding experience if it is to lead to educational, social and health benefits.

Use or Ornament? Social impact of participation in the arts

1997 article by Francois Matarasso about the benefits of participatory arts projects; includes case studies and a review of academic literature.

MATARASSO, F., 1997. Use or Ornament? Social impact of participation in the arts. [online] Comedia [viewed 8 February 2019]

Categories

cultural
social

Year

1997

Source

View

84%

of people involved in participatory arts projects increased their confidence.

80%

of people involved in participatory arts projects learned new skills.

73%

of adults and 80% of children say involvement in participatory arts projects makes them happier.

91%

of people involved in participatory arts projects made new friends.

54%

of people involved in participatory arts projects learned about new cultures.

86%

of people involved in participatory arts projects wanted to be involved in new projects.

63%

of people involved in participatory arts projects became keen to help out with local projects.

52%

of people involved in participatory arts projects felt better or healthier.

Global Talent report

Creative Industries Federation report into the benefits of international creative collaboration. Looks at how visa rules and freedom of movement laws could be adapted to support the creative industries.

CREATIVE INDUSTRIES FEDERATION, [no date]. Global Talent report. [online] [viewed 8 February 2019]

Categories

cultural
economic

Year

Source

View

Salary requirement for tier 2 visa of £30,000 for long term workers and £35,000 for indefinite leave to remain, for non EU immigrant workers, is far above the average wage of skilled workers in the creative industries.

6.7%

of UK creative industry workers are from the non UK EU.

of UK creative industry workers are from outside the EU.

Between 20 and 30% of workers in the video games industry are from non UK EU.

25%

of UK architects are from the EU outside the UK.

The UK has more TV channels than any other EU country.

57%

of surveyed creative industries reported a skills gap.

89%

of UK creative enterprises employ between 0 and 4 people.

of UK creative enterprises employ over 50 people.

47%

of people in creative jobs in the UK are freelancers.

Public services: the value of culture commissioning arts provision in the criminal justice system

Short report by BOP about Creative Scotland’s Arts and Criminal Justice programme, how this effects prisoners, staff and how to integrate creative work with learning centre work.

NAYLOR, R. & LEWIS, B., [no date]. Public services: the value of culture commissioning arts provision in the criminal justice system. [online] BOP Consulting [viewed 8 February 2019]

Categories

social
cultural

Year

no date

Source

View

Art and creative activities integrated within the learning centres of prisons and young offenders institutions encourage prisoners to take up other educational offers within the prison system.

Integrated art activities in prisons leads to prisoners seeming more happy, confident and engaged with their work.

Integrated art activities in prisons results in a better social and emotional climate within the prison, according to 76% of prison learning centre staff.

Eurostat Culture Statistics 2019 Edition

Illustrated statistics on cultural activity in Europe.

EUROSTAT, [no date]. Eurostat Culture Statistics 2019 Edition [online] [viewed 19 November 2021]

Categories

economic
education
cultural
social

Year

Source

View

Useful Facts design and development by Rectangle

In 2019, over 2.5 million tertiary students in the EU were studying in culture-related fields.

In 2020, there were 7.2 million people in cultural employment across the EU (3.6% of total employment).

In 2020, in all but one of the EU Member States, most people in cultural employment had a tertiary level of educational attainment.

In 2020, the proportion of people who were self-employed in the field of culture in the EU was more than double the average observed for the whole economy.

In 2018, 1.2 million cultural enterprises in the EU generated EUR155 billion value added.

Architecture, design and photography activities accounted for more than half of the EU’s cultural enterprises in 2018.

In 2018, small and medium-sized enterprises in the EU dominated most of the cultural activities, with the exception of programming and broadcasting.

In 2015, almost two thirds (63 %) of the EU population aged 16 years or more reported taking part in at least one cultural activity.

In 2015, more than one third (34 %) of EU citizens reported practising an artistic activity.

In 2015, older people (aged 65 to 74 years) in the EU were more likely to visit cultural sites than attend live performances or go to the cinema.

In 2020, 75 % of internet users in the EU read news/magazines online and 74 % watched internet streamed TV or videos.

Apart from printed books, cultural content on physical media is rarely purchased online.

Around 3 % of consumption expenditure by EU households in 2015 was devoted to culture-related goods and services.

In 2015, EU households spent 28.5 % of their total cultural expenditure on IT, sound and vision equipment and 25.0 % on books and newspapers.

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access
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adults
aerial
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afterschoolclubs
age
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harassment
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healtheducation
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home
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identity
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importance
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industries
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it

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men
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my5

nationaltrust
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net
net-zero
netflix
networking
neuroscience
news
nhs
noisecomplaints
nonengagement
northernireland
nowtv

ofcom
older
olderpeople
onlinecollection
opera

palliativecare
pantomime
parenting
parents
paris
parking
parkinsons
participation
participatoryartsprojects
participatoryartsworkshops
partnership
parttimeworking
patients
paygap
paywhatyoulike
pensions
people
performance
performances
performancespaces
performing
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photography
physical
pianosonprescription
pinterest
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podcasts
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policy
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programming
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yearofculturalheritage
young
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youngpeople
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youtube
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zero
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