Inspiring arts,inspiring people;seizing the momentArts and culture better than ever. Today, thearts are in good shape as a result of substantial newinvestment in recent years. Attendance at artsevents at its highest for 10 years: 66 per cent of thepopulation attended an arts event in the past yearand more than half participated in arts activities.

newsfrom arts council england, north west

Issue No. 23 02.07

#05 Garden Flower Banksia, 2003, Junko MoriPhoto: Junko Mori, www.junkomori.com

02 Eight years of investment, thousands of new

Between 1996/97 and 2004/05, the Governmentincreased its investment in the arts by 64 percent. The increased investment has enabled thearts to revive and the public to experience aquantum leap in the quality and diversity of artsacross the country.

The substantial increase in funding from2000/01 onwards has transformed the artslandscape of this country and has enabledarts organisations to thrive. The importance offinancial stability cannot be underestimated: it hasled to renewed confidence and dynamism in thenation’s arts, resulting in more exciting work andmore ambitious projects. Our world-class artsorganisations are once again producing excellent,internationally acclaimed work. Hundreds of artsorganisations and artists across the country aremaking art that is excellent, innovative andattracting new, as well as conventional,audiences.

We are supporting more artists. We recognisethat the individual artist is at the cutting edge ofcreative development. Our investment in artistsdoubled to reach £25 million over three yearsthrough our grants for the arts programme. Wehave invested in talented individuals throughnational and regional fellowships, mentoring,advice and partnerships with arts organisations.

We are championing diversity and diversity isone of the Arts Council’s key objectives. We haveplaced particular focus on race equality in the lastsix years. We published our disability strategy thisautumn. We have put in place measures tocombat institutional racism and to encouragepositive action in the organisations we fund. Wehave also prioritised opportunities for artists fromBME backgrounds. We want to ensure that allparts of society have access to the arts and webelieve that this policy will lead to growth inaudiences and participants from a diversity ofbackgrounds.

We are increasing opportunities for youngpeople. Creativity is an essential life-skill foryoung people as they prepare for adulthood. We

believe that interaction with arts and culture isfundamental to the development of creativity. Forthis reason, we have prioritised opportunities foryoung people to experience the arts both in andout of school. Eighty nine per cent of the artsorganisations we regularly fund are providingopportunities to young people and providingincreasing numbers of educational sessions.

Creative Partnerships, our flagship programme forchildren and young people, has led the way inproviding extraordinary creative opportunities for500,000 young people in schools across Englandto date. Creative Partnerships is helping to changethe educational landscape by embeddingcreativity in learning. This is borne out by a recentindependent survey of head-teachers, 79% ofwhom said Creative Partnerships had improvededucational standards and attainment in theirschools.

Our other notable initiatives for young peopleinclude: Artsmark, our national validation schemedesigned to reward schools that show acommitment to the full range of arts and design;Arts Award, a new award that recognises theachievements of young artists and arts leaders;and our partnership work with the Youth JusticeBoard to develop an arts enrichment programmefor 3,500 young people in pupil referral units andyoung offender institutions.

We are encouraging growth. More people areattending and participating in the arts.Attendances at arts events are at their highest in10 years, according to recent research. TheDCMS’s Taking Part Survey shows that 66% of thepopulation attended at least one arts event in theprevious 12 months and 52% participated in atleast one arts activity. Overall, 76% of adults inEngland had been to, or taken part in, the artslast year.

We have established more partnerships, securingmore public sector funding for the arts. We workin partnership with most local authorities inEngland, investing over £5million in thesepartnerships in 2005/06. Increased return on our

arts experiences, millions of people benefiting 03

investment has been realised. Increased ArtsCouncil funding to our RFOs has in turn enabledthem to increase their income from other sources.We are positioning the arts as a catalyst forregeneration. Our £1.5 billion investment oflottery funds in capital arts projects has played avital role in delivering the renaissance of manyregions, cities and communities.

Future opportunitiesA decade ago, the arts were barely surviving.Today, the picture is very different. We believethat the arts sector in England is at a crossroads.Decisions that are taken now will shape theopportunities and aspirations of generations tocome. Looking to the future, by building on theinvestment of the past eight years, we believe thearts can make a tangible impact on everycommunity in the country.

Our priorities are to get even more peopleattending and participating in the arts – notsimply because the arts provide entertainmentand pleasure, but because the arts can achieveremarkable outcomes, ranging fromimprovements in pupils’ attainment and attitudeto learning, to providing the catalyst for economicand social regeneration, to helping youngoffenders on the path to rehabilitation.

We intend to maintain the world class statusof British arts. A period of significant investmentin our arts infrastructure has given our leadingarts organisations stability and generatedrenewed confidence among artists. Ambitiousprojects and extraordinary artistic endeavourshave been achieved with this investment. Thismomentum must be maintained.

We want to continue to encourage creativityand innovation. The creative industries are a keygrowth sector, contributing £11.6 billion per yearto the UK’s balance of trade in 2003. The ArtsCouncil makes an important contribution toBritain’s strength as a creative nation, and wehave ambitious plans to ensure this countryremains at the cutting edge of creative

development over the next five years.Taken together these priorities offer a historicopportunity to build an arts sector that inspiresthe nation and delivers tangible benefits to ourchildren, our communities and our wider society.With continued political will and investment, apreviously transformed and now furtherconsolidated sector can contribute to thecreativity of our nation in unparalleled ways.

Arts policiesOn 30 January, Arts Council England launchedpolicy documents for Combined Arts, Dance,Literature, Music, Interdisciplinary Arts, Theatre,Visual Arts and Distribution. And in June last yearwe launched Turning Point a ten-year strategy forthe contemporary visual arts The arts policies setout the context for each artform, the challengesand opportunities, as well as the vision of whatthe Arts Council aims to achieve in each area.These arts policies confirm our commitment tosupporting arts organisations to take creative risksand pursue new opportunities. They set out howwe will support the development of arts practiceand engagement and ensure that more highquality work reaches a wider range of people –engaging them as both audience andparticipants.

In this issue of news, we have given an insightinto the work of just some of our regularlyfunded organisations and have interviewed a fewof the region’s individual artists we havesupported through our Grants for the artsscheme. Although this is just a snapshot of theorganisations and artists we support – there aremany, many more doing equally valuable andnewsworthy work – the stories featured heredemonstrate how the arts are thriving today, howattendance at and participation in the arts is at itshighest for 10 years, and how the work of ourartists and arts organisations is among the best inthe world.

Aileen McEvoyActing Executive Director, Arts Council England,North West

The arts are thrivingthanks to enhanced

Governmentinvestment over the

last 10 years

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The arts are a Government success story. They are thriving due to sustained investment and it means that thearts can truly and effectively contribute to wider agendas such as health, social inclusion and communitycohesion. The creative industries are also thriving and are a vital component of British competitive economicperformance and the arts are central to the success and health of the creative industries.

The arts do not exist in a vacuum – they need thewhole of our society to help make them work;the artists, the participants, the audiences, thebuyers, the sellers and yes, the investors.

Continued funding in the arts has led to increasedstability and the chance for many of our artsorganisations to spread their wings and fly. Thatstability and success means they can contributeeffectively to wider issues such as social inclusion,health and community cohesion. The importanceof the creative economy is now also beingrecognised as an essential part of the make-up ofthe UK.

The Royal Liverpool Philharmonic Orchestrahas benefited from stabilisation funds in recentyears, using them to transform itself from a debt-ridden, struggling entity to an active business. Awell-known landmark in Liverpool, thePhilharmonic is a source of both pride andemployment in the city and is one of our regularlyfunded organisations.

The funding enabled the Phil to make into realityits dreams; focus on its audience developmentand marketing programme, become the first artsvenue to sell online in Liverpool, expand itsprogramming, pioneer family and educationpolicies and launch a successful record label. ThePhil is now in its fourth year of financial surplus.

Chief executive Mick Elliot says: ‘I thinkorganisations like ours will always need publicfunding to some extent, but what we wereallowed to do was effectively start fresh, to playcleverly with the funds we had, to thinkstrategically.

‘I think the importance of the arts can not beunderestimated – it is essential to the culturalhealth of the nation. We are not elitist; people

come to the Philharmonic Hall to see anythingfrom classics to world music to pop. Our five-yeareducation programme in Kensington, Music forLife, is a huge success. I think the citizens ofLiverpool see the Philharmonic as an asset – theyare proud of it.

‘Long term investment has ensured that we willbe around, developing and growing and meetingtheir needs, for a long time to come.’

You can find out more about the Royal LiverpoolPhilharmonic Orchestra by visitingwww.liverpoolphil.com

At Theatre by the Lake in Keswick, access andinclusion is demonstrated by a strongcommitment to its outreach and education work.As well as having a top-class programme oftheatrical events, they also have seven dramadevelopment workers based in Workington,working with young people and theircommunities on the Cumbrian coast.

Executive director Patric Gilchrist explains:‘Cumbria faces many challenges, including thedisparity of its population – from the ruralheartland of the Lakes to the industrial decline ofwestern Cumbria. We have come a long wayfrom what people might think of as the role ofthe theatre. We work with people out of full timework; with the Youth Offending Team, and withcommunity organisations in some of the mostdeprived areas of the county. It can be difficult,but it is always worth it.

‘This is not about building audiences – it is abouta real belief in this work and the power it has tosupport and develop communities.

‘We have seen some tough challenges and somegreat successes, and feel that working in

Les Liaisons Dangereuses by Christopher Hampton; Summer Season 2005, Theatre by the Lake; directed by Ian Forrest; designed by Martin Johns. Photo: Keith Pattison.

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partnership with the other arts organisations inthe area, are making a real difference to life in thecounty.’

Theatre by the Lake is another of the ArtsCouncil’s regularly funded organisations. To findout more about its work visitwww.theatrebythelake.com

The essential nature of long-term funding issomething dear to the heart of Margaret Riches,director of another of our regularly fundedorganisations, Cumbria Arts in Education.

Established as a charitable trust in 1992, it aimsto help young people in Cumbria have increasedopportunities to reach their creative potential. Itprovides funding through its open grants scheme,as well as a network of artists to work withchildren. Its projects can be anything from circusskills workshops through to learning about artthrough the work of Matisse.

Margaret says: ‘As both an organisation thatneeds funding and one that gives funding, wetruly appreciate the importance of long termstability.

‘I think our work is essential – children these daysget so little time to just be children, to focus onthe creative and emotional side of theirdevelopment rather than a packed educationalcurriculum. It allows them to collaborate, to lookat problems differently, to express themselves, andby meeting artists see different role models.‘We also provide an outlet for artists – if theywork in a school and find they enjoy it and aregood at it, it can provide a whole new world ofpotential work for them, so it does contribute tothe economy.

‘Stability of funding is essential – the less time weall have to spend raising money, the more timewe can spend doing what we set out to do.’

To find out more visit www.cumbriaarts.co.uk

Singing Ringing Tree, Crown Point, Burnley; Panopticons, Mid Pennine Arts. Photo: John Lyons, Burnley Borough Council.

Monster Printing 2(2), Artist Mentoring residency at Long Marton Community Primary School, Cumbria with artists Karen MacDougall and Joe Dias 2005Photo: Karen MacDougall

The arts are foreveryone –access to the artsand participationfor all

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More people from a wider range of backgrounds will attend or participate in an arts activity in thecoming years. We’ve built solid foundations as a result of the increased investment in the arts by theGovernment and now many more people can benefit.

Art is not just about a picture hanging on a wall:it can be a positive and powerful force for changein lives and in communities.

And art is not just for the elite: it is for everyone,from all backgrounds and all walks of life.

Mid Pennine Arts is the arts developmentagency serving East Lancashire. It is funded by theArts Council as a regularly funded organisationand is further supported by Lancashire CountyCouncil, the Borough Councils of Burnley, Pendle,Rossendale and Hyndburn, and Todmorden TownCouncil. Since its formation 40 years ago, it hasdemonstrated its ability to work in partnership, toharness the skills and energies of the communitiesit works within, and to surprise and inspire localneighbourhoods and further afield.

Often working with disadvantagedneighbourhoods – such as the Within Groveproject in Hyndburn – and with young peopleand the Asian community through the Asian ArtsForum ELAFF, it is an example of the ability of artto pull networks together and improve quality oflife. It has also, through the Panopticons project,provided a new sense of identity to its regions.

Be it the spectacle of the Singing Ringing Tree inBurnley, or helping local people make a positivecontribution to their landscape with creativeleadership in the Land project, Mid Pennine Artsreveals the power of the arts to unite and enthuseoften challenged neighbourhoods.Nick Hunt, director, says: ‘We were initiallyfounded back in the 60s as a partnershipbetween some of the old local authorities andindividuals who wanted to make a positivedifference. Throughout the four decades we havestuck to that ethos of bringing everybodytogether, not necessarily just people within thearts, but whole networks.

‘Art can be a tremendous force within acommunity, but it can not stand alone.’

Mid Pennine Arts continues to provide a vastrange of high quality arts-based opportunities tolocal people of all backgrounds. Its website is atwww.midpenninearts.org.uk

Prism Arts, an Arts Council regularly fundedorganisation based in Cumbria, promotesdisabled people's access to and engagement witharts activities across this diverse county. One ofthe ways they are developing is by online accessto a network of disabled artists and artsorganisations.

Director Gillian Peel sees the direct link betweenfunding for projects like Prism, and the life-changing effect it can have on individuals andcommunities. She says: ‘Cumbria is an extremelyvaried and in some places quite isolated county.Disabled people do not always have good accessto the arts, yet it is essential: not just for them toexpress their creativity, but also because itprovides opportunities for training and personaldevelopment.

‘For example, we have a theatre group for

Starfish Theatre Company; Prism Arts. Photo: Simon Veit Wilson.

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learning disabled people. They have been trainedin giving workshops, and go in to schools andcolleges to show young people and their parentsthat it is possible to aspire and achieve. It is reallyinspirational to a lot of people.

‘We also work with older people. It is intenselyimportant – we have had old ladies say to us aftera session “I just used to sit and stare at the wallsuntil I started coming here” – for the good ofsociety, it is essential that organisations like thisand others are supported.

‘We have received a lot of support from the ArtsCouncil, not just financial, but also theenthusiasm and just-at-the-end-of-a-phoneattitude of the people we deal with. At one stagewe had 14 different funders, and juggling all ofthat can be a real distraction from what youactually need to be doing.’

Prism’s website is at www.prismarts.co.uk

Families, sometimes more tempted by a trip tothe Wacky Warehouse than the Walker, havebeen targeted by two of our regularly fundedorganisations - Arts About Manchester andTEAM in Liverpool. Both produce Family Friendlypublications, on the web and in print respectively.The Arts Council has also produced a FamilyFriendly Toolkit to help venues who want todevelop their offer and promote themselves tofamilies. Arts Council England, North West, ArtsAbout Manchester and TEAM are workingtogether as part of the Audience Alliance tohelp develop audiences across the region. Aprogramme of further work will unfold during theyear.

Bernard Martin, director of TEAM, says: ‘FamilyFriendly Merseyside magazine has been a hugesuccess – a central point of arts and leisureinformation for families. For too long familieshave felt that the arts is not for them – they havebeen scared that their kids might misbehave, thatvenues might not be welcoming, that it’s simplytoo much trouble. That isn’t the case and we

champion that view from both the perspective ofthe families and the venues. People are oftenpleasantly surprised by how welcoming an artgallery, for example, can be, and all the wonderfulevents on, for toddlers through to teens, at artsvenues.

‘We have also tracked through our databaseexactly where our users live – and we aredelighted to say it’s not just the usual suspectswho are interested in the arts, the magazine issent to parents all over Merseyside, covering thevast range of social and economic backgroundsthat the area has.’

Jo Kay, the information manager at Arts AboutManchester, adds: ‘There is a saying that childrenare the audiences of tomorrow – but in reality,they are the audiences of today! Every parentknows the value of ‘pester power’ – if their kidsenjoy something, and want to do it again, theycan be a huge driving force in a family’s leisurechoices. Families offer a huge market to ourvenues, and the venues offer huge choice tofamilies.’

Websites to visit to find outmore are www.aam.org.uk;www.team-uk.org;www.familyfriendly.org.uk;www.audiencealliance.org.uk

Joanna Rhodes, funded by our Grants for thearts scheme to support her development asartistic director of Arcane Dance Company, usescreativity to take powerful messages into thecommunity.

Joanna herself has established a reputation as aninspirational and engaging choreographer sinceembarking on her career, and has worked asartist-in-residence at Poynton High in Cheshire, forBuxton Opera House, Cheshire County Counciland Cheshire Dance.

She was commissioned to produce work forCheshire County Youth Group, which was

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performed at the Quays Theatre Lowry, as well asa boys’ performance piece at the BridgewaterHall.

Through Arcane, she has continued her workwith young people, and the company is now inresidence at The Brindley in Runcorn. Through avaried programme, they are helping the venueachieve their target of bringing dance to youngeraudiences.

One of Arcane’s works – Ten Green Bottles –examines the increasingly important theme ofbinge drinking and alcohol use in the lives ofyoung people. Delivered through workshops andQ&A sessions, Arcane also took the project to anational conference on alcohol held in Liverpool,and more recently completed a residency inpartnership with a primary care trust.

As Joanna explains: ‘Arcane has just completed aweeks residency in partnership with SeftonPrimary Care Trust performing Ten Green Bottlesin schools and youth settings. Many had neverattended the theatre or seen professional dance.It has been great to take a theatre productioninto their own environment and many stayed toask about the show and talk to the dancers about

how they could progress or pursue performancerelated subjects. It seems to have given many ofthem great aspiration.’

Joanna and Arcane continue to touch the lives ofyoung people with their work – not only inspiringa new generation with an interest in dance, butalso using the art to highlight matters ofrelevance to them.

Three dance pieces – Love’s Duty, 59 Seconds andTen Green Bottles – will be available to tour inspring this year.

Creative Partnerships in the North West

Creative Partnerships is the Government’s flagshipcreativity programme for schools and youngpeople, managed by Arts Council England andfunded by the Department for Education andSkills and Department for Culture, Media andSport.

Now operating across Cumbria, East Lancashire,Merseyside, Manchester and Salford areas of theNorth West, Creative Partnerships aims to developthe creativity of young people and to enable themto participate in a wide variety of arts and creativeactivities, to develop the kind of skills they willneed to thrive and achieve in school and in theirfuture life.

‘Creative Partnerships is the catalyst that isenabling us to develop a more relevant, skills-ledand child centred curriculum.’Head teacher, Peel Park Primary School.

Since the beginning of the programme in 2002,North West Creative Partnerships have workedwith over 55,000 young people in 1,500 schools,and 9,000 teachers. Their projects have alsoinvolved over 3,000 parents. Their programmesenable young people to participate in a widevariety of arts and creative activities, to developthe kind of skills they will need to thrive andachieve in school and in their future life. FromBarrow to Burnley, Swinton to Seedley,

Kris Doyle and Jo Oakes, Arcane Dance Company. Photo: Ruth Adkins.

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Workington to Wallasey - in some of the regionsmost disadvantaged communities, young people,teachers, and artists have been:l creating their own Internet TV channel and

the content for it, including animations,interviews and films

l devising, marketing and producing aEuropean Street Arts Festival

l developing a broadcast media suite wherestudents and teachers will be able to createtheir own radio programmes

l commissioning public art in their towncentres and re-designing their new schoolsand outdoor play spaces

l helping teachers to devise new ways ofteaching all aspects of the curriculum,including maths, history, science andlanguages

‘There is so much pressure on pupils to achieveacademic success… it gives different children achance to achieve… this will help to develop theircreativity in their other work, and awakensinterests which I would hope will stay with them

throughout their lives.’Parent, Salford Can You Imagine Festival

Our region is rich in creative and culturalorganisations and more than 500 havecontributed their expertise to deliver these highquality activities, supported by CreativePartnerships to develop their skills and capacity todevelop new and sustainable partnerships andpractice.

Through Creative Partnerships professionaldevelopment programmes over 1,700 creativepractitioners have received training and supportto assist them in developing their skills, and thisinvestment is now enabling them to secure newopportunities across the region expand theirbusinesses and work in a wide variety of newsettings.

‘It has given me new methods and approachesthat I can use to inform future work togetherwith ways to apply past experiences’ Advanced Skills Creative graduate, Merseyside

Working with young men at Burnage High School, Manchester; Creative Partnerships Manchester Salford. Photo: Anne Worthington.

Our arts organisationsare among the

best in the world and we want them

to stay that way

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The substantial increase in funding from 2000/01 onwards has transformed the arts landscape of thiscountry. The importance of financial stability cannot be underestimated: it has led to renewed confidenceand dynamism in the nation’s arts, resulting in more exciting work and more ambitious projects. art06,our third annual showcase for the arts in the North West which was held in June 2006, provided aspotlight on the wealth, breadth and quality of the arts in this region.

Investment in the arts has led to an increasedsense of dynamism and confidence – and anincreased presence on the national andinternational stage.

We want to continue to see our arts flourish andthrive, enriching the life of the nation with newideas, challenges and experiences.

Regularly funded organisation Action TransportTheatre Company might be based in EllesmerePort – but it reaches thousands through itsaudiences across the North West, in London andalso in South Africa.

The company works with young people inproducing and commissioning new plays, andtouring, especially through its partnership withSoweto's Vulavulani company. During a run ofone of their co-productions in London, actressEmma Thompson said: 'The incredibly giftedVulavulani Company of Soweto and ActionTransport Theatre of the UK explode onto thebeautiful Unicorn stage with enough talent,energy and charisma to fill the Albert Hall.’

Artistic director Joe Sumsion explains therelationship with Vulavulani: ‘We did some workwith an actor called Ntinti Dlalisa, who had thisdream to found a company in Soweto – years on,it is a reality, and we work together on our newproductions – the key being that they have to berelevant to both UK and South African audiences,which is a great challenge. It is not import orexport – it is a partnership, and I can honestly sayit has been life-changing for everyone involved.

‘That work is just one of our projects. We also dida three-day event in Liverpool, The Lockpickers'

Ball, exploring the craft of writing new plays, anda publication, The Skeleton Key, comes out of thatthis May.

‘I think the key in arts is to keep moving – youhave to go forward, to take risks, to push thingsfurther. As well as being an Arts Council regularlyfunded organisation, we were also given anorganisational development grant, which allowedus to radically develop our business plan.

‘We have plans and vision – our ambition is tobecome a national centre for creating new playswith, by and for young people.’

Their website is atwww.actiontransporttheatre.co.uk

Another British organisation leading the way andanother of our regularly funded organisations isfolly, based in Lancaster. folly‘s work focuses onLancashire, Cumbria and also online, opening upits potential to a limitless audience. It celebratesthe creativity of digital culture: everything fromphotography through to the moving image,animation, web-based work and new media. Itorganises workshops, family days, events,exhibitions and also plays an important role inresearch and consultancy for this relatively newartform.

Early on, the Arts Council recognised the value offolly's work and our investment in theorganisation has helped it to grow its capacity.

With a focus on participation, it plays a key role inthe rethinking of art in today’s global society.

Future plans include the opening of presentationspace and media lab in 2008.

Thought II, Ross Clark, as exhibited at On the Edge, Alima Centre, Liverpool, November-December 2005. An exhibition organised by North West Disability Arts Forum in partnershipwith Liverpool Biennial and supported by the Community Foundation for Merseyside. Photo: Robert Cook.

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Chief executive Taylor Nuttall says: 'Our approachis different in that we have a belief that ouraudience should be placed within the frameworkof what we do; which gives them greaterparticipation and greater empowerment. follyworks at the heart of the creative process inpartnership and in dialogue with artists, curatorsand audiences.

‘New technology has massively changed oursociety, and opened up accessibility. I have alwaysfelt that in the past that art has reflected society.But now, our world is changing so fast that theartist no longer holds that privileged role.

‘Digital media has been a revolution. What weaim to do is involve as many as we can in thatcreative process – we have had projects aimed atyoung people, families, older people, everyonecan use this technology creatively.’

To find out more about folly’s work visitwww.folly.co.uk

Artist Linder Sterling, from Liverpool initially, issomeone who has defied category in her threeplus decades of work. Her back catalogue

includes photo montage (including the iconiccover sleeve for Orgasm Addict by the Buzzcocks;typical of her work producing challenging imagesfrom combinations of pornography anddomesticity); music; photography, visual art andperformance art.

She is now regarded as an integral part of theManchester punk and post-punk scene, and hernational and international importance wasrecognised in the monograph, Linder Works1976-2006, published last year. It containedcontributions from the likes of Jon Savage, PhilipHoare and her long-time friend and collaborator,Morrissey. He said: ‘In my view, Linder’s life is adocudrama, potent and therefore lethal. She isaware of the inevitable punishment for those whoseek to kick against the enforced expectations oftheir lives, and she is aware of the price you payfor exposing restraints.’

Backing from the Arts Council helped Linder takeher career to the next level, supporting aprestigious show Lives of Women (Dreaming) inPrague, and the publication about her career,which will provide an invaluable resource for art

Flight/Take Off by Geoffrey Mann, in folly's exhibition Perimeters Boundaries and Borders. Part of folly's f.city 2006 festival of digital culture, Lancaster.

historians and cultural researchers from aroundthe world – many of whom have long beeninterested in Linder’s career.

Speaking about her career, Linder says: ‘ArtsCouncil funding was awarded to me at a veryvital point in my career. Although I had beenproducing work across a variety of media foralmost 30 years, the very diversity of my practicehad sometimes seemed to work against me.Generationally, in the late 1970s, I was part of asmall and seemingly disconnected constellation ofartists working outside of the gallery system. InBritain this period was labelled as punk, andtherefore perhaps seen as belonging more to theworld of music than that of the gallery. Mysketchbooks of that period record my influencescoming primarily from art history, but thatcontemporary world seemed inaccessible, distantand dull. By 2004, I was aware that it would soonbe 30 years since I made my first collages andimages that had acquired cultural notoriety. Ibecame aware that without a monograph toshow the context and cartography of my practice,I would stay invisible to the mainstream and thatthis isolation would hinder rather than help.

‘In 2004, Arts Council funding enabled me towork on a solo British Council exhibition in theCzech Republic. The joint financial support fromthe two institutions meant that far larger scalework could be undertaken and the materials usedalmost literalised this new capital - gold leaf

became an important part of the creative process.Also, the award enabled the publication of amonograph about my work, neatly encompassing30 years of practice from 1976 to 2006. ‘Last year, Arts Council funding supported TheParadise Experiments - these were preparatoryand exploratory processes for my performancepiece at the Tate Triennial, The Working ClassGoes To Paradise. I was able (for the first timeever) to pay for musicians, women who hadvolunteered to dance, sound engineers, venuehire and video documentation. The ParadiseExperiments provided a valuable creativecontainer in which to begin to realise thepotential of the four-hour final performance atTate Britain.’

Our artists and arts scene are famed for thestimulating, the original and the daring – Linderembodies all of that, and through financialbacking, has been able to start to build evenfurther on her work so far.

Junko Mori is fromJapan, but chose to cometo England to further hercareer as a metalworker.After learning the basicsof her craft in a weldingfactory in Japan, shecame to the UK to studyat the Camberwell

The Working Class Goes To Paradise. Tate Triennial. 2006. Linder Sterling. Photo: Christian McDonald.

Junko Mori

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College of Arts, which she says filled her headwith ‘why?’

Following her graduation, Junko was in a positionthat many talented artists are in – lots of energy,enthusiasm and opportunities. But very little cash.

She participated in the Next Move scheme, set upbetween Arts Council England, North West (asthe former North West Arts Board) and the CraftsCouncil. It enabled her to become artist-in-residence at Liverpool Hope University inLiverpool. Since then, she has received furtherfinancial backing from a variety of organisations.

Her pieces have now been collected by severalmajor galleries and museums, and she hasexhibited all over the UK, as well as in the USAand Australia, where she spent three months inresidency at the Canberra School of Art. With asolid base in England – the Amp Studio in Salford– she was shortlisted for the Jerwood Prize, and isenjoying a growing international reputation forher striking works.

She says: ‘The kind of backing that I receivedallowed me to take the next step in my career. Ihad the opportunity, and the Next Move schememeant I could make the most of it – it put me ona path that has turned out very well. To continuebacking emerging artists is essential, or they maynever emerge! It was the same when I needed toset up my studio – the costs are quite high.

‘I also received funding for business development,and that has helped a lot. A few years on and Iam doing well, making a living, and enjoying it allvery much.’

Commonword (incorporating Cultureword),the writing development agency, is one of ourregularly funded organisations based inManchester. It has established an impressivenational and international reputation forsupporting and nurturing new writers. Byidentifying writers’ needs, it offers a holistic

approach to that support: courses, workshops,seminars and publishing opportunities, as well asa superb network of contacts within the world ofliterature.

Commenting on the work and the success of theorganisation, director Peter Kalu says:‘Commonword - Cultureword has been the keyliterature player in the “Manchester momentum”that has seen Manchester emerge as probably theUK's biggest creative economy outside ofLondon.’

Stability of funding has been essential in this –ensuring a number of major initiatives, such asthe Big Gay Read, the Hot House programme andBitch Lit, all of which take two years fromgestation to reality, could happen.

Peter says: ‘Without funding, our work in writerdevelopment in the North West would be ad hoc,short term, intermittent. Delivering programmesto meet the long term needs of writers would bedifficult. None of these projects would havehappened or had the impact they did, withoutthe funding to provide stability.’

The organisation has seen the success of manyNorth West based writers: the poet, Lemn Sissay;Steve Coogan's scriptwriter, Henry Normal; the'Vampire' performance poet, Rosie Lugosi; thethriller writer and Blue Murder TV seriesoriginator, Cath Staincliffe, the late poetry slamchampion, Dike Omeje and a host of other writerswho have achieved national recognition. TheCultureword National Black Writers Conference(BWC) has become a key forum for debateamong UK Black and minority ethnic writers. TheBWC's end of conference resolutions have drivennational literature development agendas – amajor player in both the landscape of the arts inthis country, and in its ever-strengthening creativeeconomy.

To find out more about their work visitwww.commonword.org.uk

Join the arts debate: www.artsdebate.co.uk 17

Arts Council England has launched the artsdebate, our first-ever public value inquiry.

The arts debate is a wide reaching programme ofresearch, public consultation and debate toexplore what people value about the arts. It is anopportunity for the arts and cultural sector andthe public to work together to set newexpectations for future public investment in thearts. The debate will reach out to those whocurrently take part in arts activities as well asthose who do not engage with the arts.

The arts debate brings together a wide range ofpeople and organisations to share experiences,express opinions and debate ideas. The processbegan in November 2006 with a series of 20discussion groups with members of the publicacross the country. The findings of this initialexploration helped to shape the broad publicdebate, which opened on February 12 2007 witha range of online forums and events.

Commenting on the launch of the arts debate,Peter Hewitt, Chief Executive, Arts CouncilEngland said: ‘I believe that by giving the public agreater voice we can achieve a greater sense ofaccountability in the publicly funded arts sector,one that is meaningful to the Arts Council’s ownambitions, to the individuals and organisationswe fund and to wider society.’

Aileen McEvoy, Acting Executive Director of ArtsCouncil England, North West said: This is the firstever national debate about the value of the artsand the role that the arts play in our lives. It's adebate that we want as many people as possibleto take part in. We are not just looking for theviews of people who are already involved in thearts - we are as interested to hear the views andperceptions of those who don't take part in thearts. Make your views known by joining thedebate.'

The arts debate is supported by a panel ofexternal advisors. Panel member Dame SuziLeather said: ‘This is a wonderful opportunity forpeople everywhere to join a fresh debate aboutthe role of the arts in our lives. For too long thisconversation has been the preserve of the expertfew, and this important initiative will enable theArts Council to understand and respond to amuch wider range of opinions and experiences.’

The Arts Council is calling for support to helpengage people in the debate, and enable a fullexploration of the widest range of views.Information and tools that organisations andindividuals can use to increase awareness areavailable on the arts debate website.

The inquiry will come to a close in May 2007 andfindings will be published in the autumn, alongwith the Arts Council’s response and plans for thefuture.

For more information and to take part inthe debate visit www.artsdebate.co.uk

Another Place by Antony Gormley, Crosby Sands, Merseyside. Photo: Robert Cook.

art07 sees double!!

We are holding ourfourth annual event forthe arts, art07, in twostages this year. Workingagain in partnership withthe Northwest RegionalDevelopment Agency

and supported by the BBC we shall be in Kendalon 6 June for a full day of events finishing withan open air barbecue party to announce theshortlist of the art07 awards. In Manchester laterin the year, we'll be announcing and celebratingthe outright winners at the glittering art07awards evening.

Further details about dates, venues, programme,how to nominate for the awards and details

about what you'll be able to do, buy and see atart07, how to get tickets and lots more will beavailable in the coming weeks.

To register your interest in finding out moreabout art07 just emailart07@artscouncil.org.uk

In partnership with

and supported by

Company Fierce, art06 award winner, Preston, June 2006. Photo: Karen Wright Photography

19

Architecture Week 2007

Architecture Week 2007 will take place from 15-24 June throughout England. Architecture Week wasinitiated by the former Arts Council of England and Royal Institute of British Architects in 1997 to createa national focus on contemporary architecture through events for the public.

The aim of Architecture Week is to celebrate the best in contemporary architecture through a diverseprogramme of national and regional events. It offers the opportunity for people to get involved in andlearn more about architecture and the environment they live and work in.

Good architecture is held to be good for health, mood, safety and well-being, so should be of interest toall. Britain not only has a formidable architectural heritage but is also at the cutting edge ofcontemporary design in architecture.

The theme for Architecture Week 2007 is ‘How green is your space?’, linking to the current debateabout climate change and carbon emissions.

More information to follow in the next edition of news.

Louise CogmanThe region has lost an enthusiastic andexperienced audience development consultant.Louise Cogman died on Friday 15 December2006 following the diagnosis of a brain tumour18 months ago.

Her career in the arts included marketing postsat London Festival Ballet, Bristol’s Arnolfini andSt David’s Hall, Cardiff.

Louise had worked as a freelance consultant inthe North West for eight years working for anumber of arts organisations and projects acrossthe region and in Wales.

She was also the joint Lancashire AudienceDevelopment Coordinator and the ProjectConsultant for Arts Council England’s FamilyFriendly National Framework.

Louise was extremely passionate and committedto her work. She was well respected and will bemissed by everyone she worked with.

Dike OmejeArts communities in the North West aresaddened by the early death in the New Year ofthe much loved, talented and charismatic poet,Dike Omeje who died on 13 January 2007. Dike was a leading light on the ManchesterPoetry scene since 1995 and an unassailablechampion of the Poetry Slam format. He was along term member of the Manchester basedpoets and musicians collective, Speakeasy and ofthe successful Brothatalk poetry band, whotoured the UK regularly. Dike self published his first collection, MightierThan the Sword in 1997. In 2003 Cheers TaPublications published his collection, TheMindfield comprising 37 poems accompanied byhis own illustrations. Commonword publishedhis third collection, Crafting The Practice, in2004, his prize for winning the Commonword2004 All Comers Poetry Slam Championship.It is with a sense of sadness, but also celebrationthat we recognise that Dike’s career was reallystarting too take off on both a national andinternational scale. Dike Omeje, a true andcommitted champion of poetry, has left a richlegacy to the arts community in Manchester andto audiences throughout the UK. He will not beforgotten.

newsnews from Arts Council England, North West is aquarterly publication.Edited by julie.leather@artscouncil.org.ukPhone: 0161 827 9226

The next issue of news is due out in the new year.

You can get this publication in Braille, in large print,on CD and in electronic formats. If you need any ofthese formats, please contact us as follows.Phone: 0845 300 6200; textphone: 0161 834 9131;email: enquiries@artscouncil.org.uk

change of addressIf you move house or premises or if yournewsletter is being sent to the wrong person,please notify our communications unit on 0161827 9256.

information updateIssue 12 of our bi-monthly online Informationupdate, which includes details of funding,opportunities, jobs, courses, conferences andseminars, and publications, is available on ourwebsite. The production schedule for the nextissue is as follows:

issue copy deadline publishing date13 Monday 27 November Friday 1 December

Please let us have any material you would likeincluded by 5pm on the copy deadline date, bypost, fax or email. The email address to send copyto is digest.nw@artscouncil.org.uk

Please note that we do not include listingsof arts events.

16 Arts Council England, North West

Staff updateLisa McGorrin took up the role of CreativeDirector for Creative Partnerships Merseyside from18 September 2006, and Cathy Cross has beenappointed into the role of Creative Programmerand started on 16 January 2007. Tina Taylor,Operations Manager for Creative PartnershipsMerseyside, returned from maternity leave on 15January 2007, on a three-day part-time basis. JoSilvester returned to her substantive post ofAssistant Officer, Finance and Business on 1February 2007 for 3 days and is continuing hersecondment duties at Creative PartnershipsMerseyside for 2 days a week on a fixed term basisuntil end April 2007. Lisa Evans left us on 29September 2006 with Mai Lam joining the GrantsAdministration team on 9 October 2006. On 1November Michael Eakin began the post ofDirector Strategic Arts in National Office, withAileen McEvoy taking on the role of ActingRegional Executive Director and Anthony Prestoncovering the role of Acting Director of ExternalRelations and Development until end February2007. Edward Lawson took the role of AssistantOfficer, Development on 1 November 2006 andSam Williams was appointed into the role ofAssistant Officer HR/Office Services on 8 November2006. Kate Barnard joined us from the EastMidlands office on 8 November as our newOfficer, Higher Education. Nick Thompson left uson 8 December to join Salford City Council.Recruitment is underway to cover this vacancy.On 1 January 2007 Emma Slawinski left us tojoin the South East office. Claire Garratt hasreturned to the role of Administrator, PerformingArts as Ewa Panfil came to the end of hertemporary cover to the post at the end ofDecember 2006. Hannah Baldwin joined us fromthe London office as the Assistant Officer,Development on 22 January 2007

contact usArts Council England, North West, ManchesterHouse, 22 Bridge Street, Manchester M3 3ABPhone: 0845 300 6200 Fax: 0161 834 6969Textphone: 0161 834 9131Email: enquiries@artscouncil.org.uk

Arts Council England www.artscouncil.org.ukCharity registration no 1036733