Access,efficiency and excellence: Measuring non‐economic performance in the English subsidised cultural sector

The requirement to evaluate policies and measure performance in the publicly funded cultural sector in the UK has become increasingly pressing since the early 1980s. This chapter reviews the various attempts to do that. It demonstrates how economic and other quantifiable measures have tended to be emphasised whereas the qualitative aspects of cultural provision, which are more difficult to measure, have tended to be neglected.

The chapter presents the first overview of the subject. It covers developments within what is referred to as the ‘cultural framework’ ‐ the infrastructure associated with the Department for Culture, Media and Sport, which includes the ‘arts funding framework’. It also looks at developments affecting local authorities’ provision of cultural services.

The chapter draws on various published and unpublished policy documents, and accounts, as well as interviews with individuals involved in the development of performance management in the cultural sector. Their views are presented throughout the chapter to illustrate the points raised.

The chapter opens by examining the history of performance indicators in the sector, and maps the current requirements to measure performance. The second section considers the resistance to measuring the performance of arts organisations and museums. In doing so, it examines critical inheritance of former attempts to measure performance, and the issues raised in relation to current aspirations to do so. The third section presents attitudes to future developments, and is based on speculations by those currently involved in museums, galleries, the arts funding system and the introduction of Best Value as to the kinds of impact that the introduction of performance measurements might have. The fourth and final section draws together a series of observations about the introduction of non‐economic performance in the English subsidised cultural sector.     

Archives: A statistical overview

This chapter of Cultural Trends examines the increasing use of statistical data to support evidence‐based management in the archival domain. After explaining how archives are managed and used, it reviews the available sources of data and evidence about the work of the domain and its contribution to the cultural agenda.

Because there are no official requirements for data collection, much of the work on archival statistics has been voluntary, informal and, until now, uncoordinated. As a result, there are no comprehensive sources of data and no common statistics spanning the whole range of archives services. In their absence, this chapter explores the make‐up of the archival network and uses the available statistical data on core service elements as the basis for postulating averages for use as models for an attempted overview of the domain. While the limitations of this approach necessarily warrant caution over the results ‐ which are described as tentative ‐ it is proposed that with further refinement such a model could form the basis for future headline statistics of key archival inputs and outputs.

The remainder of the chapter looks in detail at evidence and trends in archives, with a particular focus on usage (user profiles, motivation for using archives and patterns of use etc); collections management and stewardship (archive holdings and preservation activities); and impact. The section on impact takes an overview of the archival contribution to the public policy agenda with regard to social, economic and learning issues.

In conclusion, the chapter reflects that too much of the previous effort has gone into measuring the resource base. It is argued that the future emphasis should be on using the available data to provide evidence of impact ‐ showing how archives can and do ‘make a difference’ in the broader cultural agenda. A final table illustrates the views of users on what archives contribute to society, highlighting the potential for creative partnerships between archives and other cultural service providers.     

The impact of free entry to museums

The commitment of the then Secretary of State for Culture, Media and Sport to ensuring free entry for all visitors to national museums and galleries by the end of 2001 left many of MORI's clients in the national institutions somewhat uncertain about the future. What impact would ‘going free’ have? Would those who might be described as ‘sociallyexcluded’ be encouraged through the doors? Would the money visitors saved on entrance fees be spent in the shops and restaurants?

The first question was answered in spectacular fashion when, in earlysummer 2002, the Department for Culture, Media and Sport (DCMS) announced a 62% increase in ‘visitor numbers’ in the seven months since entry charges were scrapped. While it is known that DCMS tends to use the terms ‘visitors’, ‘people’ and ‘visitor numbers’ to refer to visits per se, as a researcher two questions sprang to mind:

• Did these figures mean there were actually a lot more people visiting museums and galleries, or were the same people visiting more frequently?

• Was the boost in visiting restricted to the national museums and galleries, or were more people visiting museums and galleries generally?

MORI decided to see what more could be discovered about these extra visits by placing four questions about the British public's museum‐going habits on its GB Omnibus study in August 2002.

The results of that survey form the basis of this chapter. They demonstrate that, although the numbers of people visiting museums has increased significantly since 2001, the increase is greatest among those groups who have traditionally always gone to museums and galleries, while the increase among groups who might be described as socially excluded is much lower.

The chapter concludes with a discussion of the implications of MORI's findings for the future of the museums and galleries sector.     

Religious broadcasting on UK television: Policy,public perception and programmes

This chapter assesses the developments in UK religious broadcasting over the last 20 years in both the BBC and independent television. Debate about the role and purpose of religious broadcasting is nothing new. However, the debate has taken on new significance recently in the light of wider consideration by broadcasting bodies and the government about the meaning and purpose of public service broadcasting in a multi‐channel television environment.

The first part of the chapter maps developments in broadcasting policy, with particular reference to statements issued by the BBC's and Independent Television Commission's advisory body, the Central Religious Advisory Committee. The chapter also highlights the impact of the changing religious make‐up of the UK, and the advent of dedicated religious television channels on the content of religious broadcasting.

The second part looks at the audience. Research findings may initially suggest that religious programmes are seen primarily as being for ‘other people’. However, closer examination of the audience shows that religious programmes are still watched by the majority of the adult population. And although viewers over 55 are well represented in the audience for many programmes, the audience for religious television is in reality more diverse than public and broadcasting industry perceptions would suggest.

Programmes are the focus of the third part of the chapter. While the amount of time devoted to religious programmes on BBC1 and ITV has remained at similar levels, the scheduling of religious programmes has moved away from peak time on both channels, but particularly so on ITV. Both channels have reduced the amount of religious programme time devoted to acts of worship. The official figures for amounts of religious broadcasting do not tell the whole story, however. Discussion continues both about the definition of ‘religious’ programmes and the future of religious broadcasting departments.

The challenge for religious broadcasting is to redefine itself for the digital age, without narrowing its scope.     

The European music industry and European music policy

Although the European Union has had a policy for the audio‐visual industry for some years, it is only since the mid‐1990s that music and the music industry have figured directly in policy development in the cultural and employment sectors. This present status of music within the evolving strategies of the European Commission and European Union is described in this chapter, with particular reference to the EC Culture 2000 programme, as well as the ‘Action Plan’ for music proposed by the European Music Office (EMO), a consultative body representing various industry and voluntary organisations. The Action Plan has three aims: to facilitate the circulation of performers and music within Europe, to enable better collaboration and exchanges between members of the music professions and to improve the accessibility of music to the public.

A key element in the proposed higher status accorded to music is the collection and analysis of data on musical activity and musical employment at the European level, notably through reference to the 1996 study carried out by EMO and updated more recently as part of the EC and EMO funded European Music Observatory project. Statistics covering employment, sales of recorded music, composers’ royalty earnings, sales of instruments, public support for music and other features are included.

The chapter also considers the difficulties posed by such a pan‐European project, notably in the comparability of data between nations with different national systems of data collection and the difficulties of attempting to combine data from the ‘subsided’ and ‘commercial’ sectors.     

European funding of culture: Promoting common culture or regional growth?

Since the late 1970s, European funding of the arts has been a feature of the mixed‐funding regime and support of a range of community arts, training, heritage and regeneration programmes in Member States. In the late 1980s, following widened membership and more direct policy engagement by the European Commission, regional development began to support increasing levels of investment in culture, notably heritage, cultural tourism and city regeneration through arts venues. Meanwhile the Commission's own culture programmes have focused on Cities of Culture, language and heritage projects.

However, the funding of culture through the various Structural Funds (although not categorised as such at either European, national and regional levels) has dwarfed that of the Culture Unit. No cultural policy or plan for this significant amount of investment in cultural facilities has been evident, and such programmes have largely bypassed national arts policy, being directed through regional and local authority economic development, tourism and regeneration departments.

Promotion of European ‘Common Culture’ was expounded in the Maastricht Treaty and, it is argued, these objectives have driven increased city‐regional autonomy. Notwithstanding difficulties in categorising grant data in cultural terms, this chapter measures the impact and distribution of such regional funding across beneficiary countries and within the eligible regions. A UK survey provides a regional breakdown of projects receiving support in the 1990s and European funding used as part of partnership funding (lottery, regeneration programmes). The chapter concludes that, while the funding of these cultural projects has been under‐estimated and ‘hidden’, its concentration in city arts and heritage venues raises questions for both European and national cultural policy: whether cultural investment has been of the right type, in the right place; or whether European common culture aspirations have ignored local and more culturally diverse opportunities. In short, whether form has followed funding.     

Measuring creativity: A case study in the UK's Designer Fashion sector

Since before the 1997 General Election, New Labour has repeatedly emphasized the importance of the creative industries in underpinning the national economy and as an engine of economic growth. The Creative Industries Task Force Mapping Documents of 1998 and 2001 sought to define and quantify in broad terms economic activity across 13 distinct creative industries. More detailed estimates have been published by the Department for Culture, Media and Sport (DCMS) in successive annual Creative Industries Economic Estimates.

An assessment is provided of the way in which the creative industries have been measured using the Office of National Statistics' Standard Industrial and Standard Occupational classifications (SIC and SOC). These classifications have themselves been revised since the early 1990s, and further revisions are in prospect from 2007. In this analysis particular focus is given to the ‘Designer Fashion’ sector, illustrated by a number of tables and data analyses.

These actual and proposed revisions have helped in documenting the rapidly emerging creative industries, which have reportedly grown at two to three times the rate of the UK economy as a whole. However, as the Regional Culture Data Framework published in 2002 records, serious problems remain in providing valid assessments of the creative industries sectors from ‘official’ published sources, even for the UK as a whole, let alone at the regional level emphasized by the Regional Culture Data Framework's regional sponsors. In any case, often the ‘scaling factors’ applied to official SIC codes to define creative industries appear arbitrary.

Many of the Regional Culture Data Framework's recommendations, notably the adoption of a more comprehensive ‘supply-chain’ approach to documenting the cultural sector, make further demands upon the existing official structural classifications and the data bases underpinning them. Even where all elements in the ‘supply chain’ are well documented, there are still questions about the validity of this approach. For example, should wholesale and retail distribution of creative industry products be regarded as part of the ‘Cultural Cycle’?

In conclusion, it is suggested that the ‘official’ data has marked limitations in documenting the creative industries and does not realistically or adequately capture the more interesting and dynamic elements of an industry like ‘Designer Fashion’. This is disappointing in a context where central government has placed increasing emphasis upon evidence-based policy to support the development of the creative industries, and where the British ‘Designer Fashion’ sector has lamented the lack of central support in comparison with the French or Italian industries. It is suggested that a more customized approach to collecting data about the creative industries is needed if the results are to usefully inform the further development and profile of these sectors.     

‘They shall grow not old’: An analysis of trends in memorialisation based on information held by the UK national inventory of war memorials

This chapter of Cultural Trends discusses ways in which war memorials demonstrate changing cultural or societal trends in the UK through their various forms and functions, and through the evolution of memorialisation itself.

It introduces the UK National Inventory of War Memorials, an archive which was established in 1989 and which records details of memorials throughout the UK. The chapter is based on data and detailed examples taken from the 47,000 records currently input on the archive's database and it explores those records to examine memorials commemorating the Boer Wars, First and Second World Wars and the Korean War, in particular.

The first section considers general issues regarding war memorials in the UK ‐ the ways in which memorial styles have changed, and how these reflect changing attitudes towards those who served in the armed forces in the late 19th and 20th centuries.

The second section is about the pragmatics of memorialisation, and focuses on the significance of where memorials are positioned, whether inside or out and within public or private spaces; the increase in secularisation; the geographical spread of memorials; and issues related to urban and rural memorialisation.

The third section considers the evolution of memorials from being a focus for grief for those whose friends and relations’ bodies were not returned, to manifesting veterans groups’ assertions of their identity many years after a conflict. The physical movement of memorials is also covered, ranging from memorials which have been lost or neglected, through to memorials being moved in order to preserve them so that remembrance services can continue. Peaks and troughs of memorialisation through the 20th century are also considered.

To conclude, the fourth section pulls together various threads drawn throughout the chapter, analysing memorials chronologically, geographically, stylistically and in terms of their relative ‘popularity’.     

Measuring the ethnic diversity of the museum workforce and the impact and cost of positive-action training,with particular reference to the Diversify scheme

This paper attempts to determine the ethnic profile (sometimes called “cultural diversity”) of the museum sector workforce. It sets the museum sector workforce in the context of the population as a whole and makes some comparisons to the diversity of the wider cultural sector workforce. It looks also at positive action training schemes, targeted at under-represented minority groups, in particular the Museums Association's Diversify scheme, looking at their cost and effectiveness in securing employment. It also describes other positive action schemes such as Arts Council England's Inspire programme and Diversify management-level traineeships and traineeships for deaf and disabled people. It tentatively considers the impact and value for money of positive-action training. It also sets out the legal and policy context for workforce diversification, in particular the implications for data collection of section 37 of the Race Relations Act 1976.

The headline finding is that the proportion of people from minority-ethnic backgrounds in the UK museum sector increased from 2.5% in 1993 to about 7% in 2006–2008. This varies between 1.3% and 10.4% depending on the type of museum and the type of job and compares to an overall minority-ethnic working age population of 12.6% in England in 2008.

There is a significant under-representation of most (but probably not all) minority-ethnic groups in most areas of museum work. The paper concludes by making brief suggestions about how policy makers and researchers might respond.     

Radio audience research: Challenging the ‘gold standard’

Since 1992, the BBC and the commercial radio sector have carried out radio audience research using a jointly agreed methodology ‐ one producing data that until recently enjoyed the status of a ‘gold standard’. In 2000, increasingly strident calls for this human recall methodology to be replaced by new, electronic forms of audience measurement led to the breakdown of a consensus that had served much of the industry well in concealing legitimate concerns about reliability and appropriateness.

This chapter sets current radio audience research in both historical and international contexts, and examines the recent controversy over different methodologies that apparently produce contrasting results. It uses data produced by a number of approaches to highlight inconsistencies that, if not resolved, may damage radio's credibility among advertisers, regulators and industry observers alike.

It describes the very public dispute that led to the formation of the breakaway Little Guys Radio Association by the former Sun editor, Kelvin MacKenzie ‐ and in response, research by Radio Joint Audience Research Ltd into competing systems of electronic measurement. In doing so, the chapter asks fundamental questions about what constitutes listening to the radio, and whether mere exposure ‐ if not legitimised by recall ‐ is sufficient to justify the industry's claims on the revenues it derives from licence fees and advertisers.     

The arts in England: Developing a survey of attendance,participation and attitudes

Reliable data on attendance, participation and attitudes to the arts are needed by planners, policy makers, arts organisations, those concerned with marketing the arts and researchers.

This chapter describes the development and piloting of a national survey of people's engagement with the arts by the Arts Council of England and the Office for National Statistics. It outlines the main reasons for the development of the survey, presents results from the pilot and compares them with other national and international sources of data.

From the outset, procedures for obtaining feedback on the pilot questionnaire were built into the planning process. The paper discusses respondents’ reactions to the questionnaire, their views on how meaningful the questions were and how well the interview worked. It also explores respondents’ understanding of such terms as ‘the arts’ and ‘public funding’, and how they responded to questions.

The chapter concludes with a summary of the changes made in the light of the pilot and outlines future plans for the survey.     

The economic contribution of historic parks,gardens and designed landscapes: A review of existing data and research and recommendations for future research

Despite an increased awareness over the last few years of the unique historic, cultural and artistic value of historic designed landscapes, parks and gardens, few hard facts and figures appeared to be available relating to their undoubted economic contribution. With this in mind, the Garden History Society announced its intention to host a conference in late 2001 on the economic contribution of historic parks and gardens and, with support from the Heritage Lottery Fund, commissioned the following study.

The study's objective was to review and analyse existing research and data on the economic contribution of historic parks and gardens, and to make recommendations for a range of research projects to fill any gaps identified.

The report first sets historic parks and gardens within the wider context of the ‘gardens and gardening’ market generally; it then deals with the economic impact of tourism, recreation and leisure at historic parks and gardens and then with the economic contribution of public parks with particular regard to the latter's role in promoting regeneration of the local area. The applicability of various non‐market valuation techniques is considered in relation to free‐entry parks and gardens. Finally, specific research recommendations are set out to cover stocktaking, the visitor attraction sector, local area regeneration and the valuation of non‐market sites.     

Closing a window on the world: Convergence and UK television services for schools

‘Closing a Window on the World: convergence and UK television services for schools’ is about the proven value to UK schools of the two free television services provided by Channel 4 and the BBC, and a serious threat to their future.

The first part of the chapter discusses the first ‘revolution in learning’, based on the development of television as a ‘window on the world’ for UK schools since the 1960s. Research evidence for the very positive teacher attitudes to their use of the services in the 1990s is cited.

The second part begins by discussing a BBC consultation exercise undertaken in the autumn of 2000, seeking support for a policy decision to develop a new ‘digital curriculum’ for schools. Recent research into the effectiveness of such technologies is reviewed. While schoolchildren enjoy using ICT (and especially video components it may include), there is as yet no firm evidence to support the confident claims being made for its effectiveness in promoting learning.

The chapter concludes that the BBC decision to begin the rundown of its ‘traditional analogue’ television service for schools is premature. At a sensitive time for public service broadcasting, it threatens the future of free services teachers have used and respected for many years. Without government action to include relevant provision in forthcoming broadcasting legislation, UK schools seem likely to lose this distinctive and valued support for their work and their ICT resources are also likely to be impoverished.     

The presence of museums in the lives of Canadians, 1971–1998: What might have been and what has been

This chapter reviews data from seven large‐scale national surveys that measured cultural participation in Canada from 1971 to 1998. It assesses what the data imply regarding the numbers and types of people visiting museums, and how these have changed over time.

While overall participation rates have sustained the levels of the 1970s, participation rates in 1998 do not reflect the growth in participation projected then. Furthermore, the spectrum of people visiting museums has narrowed, rather than being ‘democratised’. Those with post‐secondary education have always been more likely to visit museums but now represent a majority of visitors for the first time.

That museums are now attracting relatively fewer people and fewer types of people suggests a diminishing presence for museums. Nonetheless, museums’ audiences are noticeably less elite than often portrayed, and there are opportunities for changes in policy and programmes designed to reach more people. Ultimately, though, the surveys give only limited insight into the role of museums in the lives of the general public, and new types of research and measurement are needed.     

Audiences for live theatre in Britain: The present situation and some implications

Live theatre in Britain is performed by a host of companies in purpose‐built theatres as well as ad hoc venues. Theatre performances take place all over the country, in rural settings as well as urban environments, and no one will be more than 30 miles from a performance of some sort at some time in the year. In a typical year, over one third of the adult population attend live theatre, and 6 per cent attend opera or ballet, which tend to be presented in urban centres. The Department for Culture, Media and Sport sets store on the importance of the cultural sector and is encouraging arts organisations to develop new audiences in a host of ways.

This chapter of Cultural Trends reviews the available statistics for theatre attendance, considering raw numbers of attenders, ticket revenue, ticket prices and the types of work which are most popular in London and elsewhere. It identifies the sources of information available, although it asserts that the available data are insufficient to describe the sector fully. While pointing out that regional theatre is clearly targeting the future audiences, with as many as one quarter of its performances being aimed directly at young attenders, the chapter also indicates the extent of reliance, especially in the West End of London, on musicals.

An analysis of ticket prices shows that these have been, and are, rising faster than inflation. Coupled with the fact that, in the regions at least, it remains the older and better‐educated who attend theatre, this does nothing to diminish the concern that theatre may increasingly become the activity of a narrowing band of society, and that it is becoming less and less available to the broad spectrum of the population.     

The funding of professional archaeological practice in England

Professional archaeology in England is funded from a variety of sources. This chapter of Cultural Trends presents research tracing the route by which this has developed, examining and quantifying the sources of funding for professional archaeological practice in 2000. This is the first study to quantify archaeological funding from all sources in the last decade.

Since 1990, governmental planning advice has switched the financial burden of recording archaeological remains from the state to private sources. This has allowed a great expansion of archaeological work to take place, through the requirements of the planning system, and funded from private sources.

While central government funding has remained static (falling in real terms) over the last decade, private ‐ developer ‐ funding has become the norm. It is calculated that approximately £120 million was spent on professional archaeological practice in 2000, with over half of that sum coming from private sources.

This chapter examines and quantifies all the sources of funding for professional archaeology, considering developer funding in detail. Undoubtedly the expansion of developer funding has brought great benefits to professional archaeology, not least in terms of the greater scale of work required, but it has also raised problems, allowing archaeological practice in 2000 to become a weakly regulated, market‐led activity.

Local government, as the regulator of the planning system, has a key role to play. As archaeological services in local government are not maintained on a statutory basis, they are open to budgetary pressures.

The chapter concludes by examining the key issues relating to development and archaeology in the near future, and suggests an alternative approach to funding that might better suit developers, planners and archaeologists alike.     

Live entertainment at the seaside

The UK's seaside resorts have had to adapt to a number of cultural, economic and social changes over the past 25 years, including a decline in the number of long‐stay visitors. Live entertainment provision at the seaside has also had to adapt, and this chapter of Cultural Trends explores both the current situation of live entertainment, and likely future trends.

The chapter begins with the background to the subject, describing the trends in tourist activity and cultural behaviour that have affected the seaside. It then gives the recent history of the live entertainment industry, with particular emphasis on the summer variety show. Section three provides an overview of the contemporary data available on the amount and type of live entertainment at today's seaside resorts. Section four concerns the provision and programming of live entertainment, and the capacity at resort venues. It focuses on the major role played by local authorities, and also considers the involvement of the private sector. The chapter concludes with some forecasts of the likely future form and provision of live entertainment at the seaside.     

The development of comparable European cultural statistics

UK cultural statistics are far from complete, so the development of comparable European cultural statistics sounds like an ambitious task and one for which clear objectives are needed. One spin‐off from comparing the statistical systems of different countries should be some improvement in national statistics, as best practice is examined and taken up by other countries. However, the essence of the on‐going programme of work described in this chapter is the search for a common statistical language, to be used whenever cross‐country comparisons are wanted or European totals are to be compiled.

Compiling cultural statistics for different countries on a comparable basis sounds like a contradiction: how can the cultures of one country be harmonised with those of another? The key is to identify why the comparison needs to be made. In this chapter, therefore, current developments in European cultural statistics are reviewed by first exploring the needs for pan‐European cultural statistics that flow from policy.

The chapter describes and reviews a European Union project to develop cultural statistics that reported at the end of 1999. The results of this project have been taken into the European statistical system. Hardly any statistical results have yet been published. The chapter questions how far this work will progress beyond the UNESCO framework for cultural statistics. One significant issue is that the UNESCO framework, compiled some 15 years ago, gave relatively little attention to the creative industries. These industries now feature more strongly in policy responses to the wider economic and social challenges facing European countries and the European Union. The new work on cultural statistics gives some recognition to the creative industries but it does not embrace the full extent of the creative industries as defined in the UK.     

Commercial radio: Serving UK communities

Sixty‐six per cent of the UK adult population listen to commercial radio and 77 per cent of all listening to UK local radio is captured by the commercial sector. While those working within this sector argue that it provides a popular and innovative broadcasting service, outside the sector opinion is mixed as to whether commercial radio offers much of value to UK society.

This chapter examines the claim that commercial radio stations function as public service broadcasters. In doing so, it seeks to discover what commercial radio offers listeners that can be defined as public service broadcasting. It identifies the social benefits offered by commercial radio, such as the involvement of listeners, the provision of information and encouraging citizenship, and it explains how these processes work, as well as providing what data have been collected on the sector as evidence. Finally, the chapter closes with a discussion of the capacity of all radio to draw on these social benefits and prosper in an era of technological change.     

The value of music in London

London is one of the world's foremost music cities. Using a statistical approach developed in earlier studies of music in the United Kingdom (NMC, 1996; NMC, 1999), this chapter presents the results of a survey commissioned by London Arts from researchers at the University of Westminster. The chapter draws together available data oh the commercial and public sectors of the industry, on live performances and their audiences, on education and training and on exports. This data has been supplemented by new research, notably in the area of live performance and in identifying geographical ‘clusters’ of music business firms in certain areas of inner London.

Among the key findings of the research are that consumer spending represents some 90 per cent of the £1.1 billion total spending on music in London; consumers spent more on concert tickets and entrance charges for music of all types than on CDs and other soundcarriers; music provides the equivalent of 34,000 full‐time jobs in London and creates added value of over £1 billion and the London music business has net foreign earnings of over £400 million per annum.

The chapter concludes with some reflections on the implications of this research for music policy at both the national and city level. The statistical evidence demonstrates that classical music, a genre with only 10 per cent of the audience, continues to attract over 90 per cent of public subsidy. A similar imbalance in training of education of musicians means that the development of many young and talented non‐classical musicians is left to the vagaries of the market.