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1. The consultation process The Draft Drama Strategy formed part of the Council’s Expenditure Review initiated in June 1998. The issues in the final drama consultation paper reflect themes developed in Building A Creative Society and in the June 1998 Drama Briefing Paper. A further public consultation paper on ‘Professional Theatre provision for Young People in Wales’ was published on 6 July 1998. A series of meetings from May 1998 to January 1999 contributed to discussion which included practitioners and public bodies including local authorities. A Draft Drama Strategy was published for consultation on 21 January 1999. The Arts Council of Wales meeting on 19 March 1999 considered responses to consultation and agreed on changes in some areas, these form part of a revised paper. A Drama Strategy for Wales is published as a companion paper to this analysis of responses. 2. Commentary on views received This paper provides an analysis from 151 written responses. This compares with some 250 written responses to the entire ACW strategy published in June 1998. The 151 written responses comprise 80 responses offering views on a range of issues, including Hijinx Theatre, and 55 responses dedicated to Hijinx Theatre and 16 dedicated to a local TIE company. The range of respondents is: 19 Professional drama revenue funded organisations 27 Other drama and arts organisations 16 Local authorities 18 Individuals 55 Hijinx support letters 16 Local TIE support letters In addition to written responses, ACW officers attended meetings by invitation or standing arrangement which dealt with the Draft Drama Strategy consultation paper. 23 meetings were attended which ranged from individual company board meetings to for example, a special meeting convened by a local authority with representatives from local authorities and arts groups present. An Early Day Motion for the notice of the Secretary of State for Wales was tabled by 20 Members of Parliament on 1 March 1999. The motion deplored the time available for consultation and called for the suspension of the Drama Strategy in order that the National Assembly for Wales could address the issues in the course of time. The Arts Council of Wales took note of this view at its meeting on 19 March 1999. 3. General issues and observations As expected, the Draft Drama Strategy has stimulated wide debate. Amid much concern, insecurity and opposition, there is also considerable support for change and many useful new perspectives and helpful constructive criticism. The local authority voice is, as in the summer 1998 consultation, strong and thoughtful. There was concern about the shortness of the consultation period and the need for future consultations to extend over a longer period. The diversity of responses was very wide and the detail covered extensive. The synopsis offers a summary of the main points. The analysis broadly follows the sequence of issues raised in the Draft Drama Strategy for Wales and quotations from submissions are given in italics. 4. Analysis of responses 4.1 General Comments The document was welcomed on the whole and numerous respondents believed it was indeed time to implement change. Whilst the discussion that follows concentrates on criticism of the Draft Drama Strategy, it has to be emphasised that there was a substantial degree of support and that many responses critical of single issues, nevertheless indicated support for the broad approach. · this document addresses fundamental issues and recognised need for strategic change · strategy is bold and clearly lays foundations for more strategic development. ACW rightly grasped the nettle. · acknowledge the need for change, to meet the real changes in the artistic environment and financial climate. It would seem that ACW is attempting to address issues of concern over recent years. · acknowledge that from time to time ACW needs to review its objectives and such review will be driven by artistic considerations balanced by economic and social considerations. There was general support for identifying ‘sustainability’ as a fundamental issue and that the continuation of standstill grants was proving destructive, but views differed on how to achieve this aim. Several respondents cautioned against loosing sight of the main objectives: · fewer and better, but they must bring product to the people... · must protect work opportunities for professional practitioners... · important that diversity not jeopardised... There was much discussion about the financial and economic situation. Some respondents noted it was imperative that ACW strengthen its advocacy role. · concern over ACW’s advocacy policy. This led to downward spiral from local authorities and unsatisfactory settlement from the Welsh Office · policies proposed are driven on economic grounds. We do not see arguments about the quality or delivery of provision as driving the financial outcomes · given Welsh Office settlement, should be imperative to ensure continued financial support from other arts funding bodies Some respondents argued that the Draft Drama Strategy failed to address ACW strategic priorities. · no sign that Lottery (Capital) and drama strategies working together. Concern over new venues - e.g. Newport - one doubts that WNPACs will have the resources to tour to existing ones · two areas that have been highlighted in the past now disappeared: taking good work abroad and provision for the Valleys. Needs to be dealt with · the drama strategy fails to address Council priorities: the Valleys, Equal opportunities, Arts and Young People, co-ordination of grant in aid and lottery, Swansea and South West Wales.... no mention of priorities of Objective One · surprised no Cardiff specific strategy as this is where the highest concentration of practitioners are.... Some argued that the strategy had lost sight of what should be its primary function - supporting the artist, the art and nurturing vision. · strategy favours a safe, middle road. · ACW is deeply out of touch with contemporary culture. The draft proposal represents a systematic removal of innovation from the cultural map through the absence of any opinions or positions on new work. · the strategy will place more power in the hands of career administrators and producers - marginalising individual artists. Little to offer for individuals with creative vision. · the current plan is too cautious and conservative. The politics of desperation brought about by poverty of vision at the heart of ACW thinking. Some respondents refer to the lack of references to disability culture development and cultural diversity issues. One respondent argued that the strategy ignores networks and relations which have been developed with local authorities, schools and other agencies, while other respondents questioned the mainsprings of ACW decisions. · strategy won’t necessarily guarantee quality; better service to people in Wales, ensure employment opportunities maximised Respondents noted other possible options for future partnerships which included the broadcasting sector and the press. · the broadcasting sector should be the third partner (with local authorities and ACW) in developing the performing arts · raising the profile with the public. Couldn’t ACW engage in discussions with say Western Mail or BBC to establish an annual award? 4.2 The Consultation Timetable Numerous respondents felt the timescale was unrealistic and argued the case for delaying the whole strategy for a year in order that it can be addressed by the Assembly. One respondent argued that the timescale did not recognise issues of future contractual commitments by companies. 4.3 Producer/presenter issues and mainstream producing and touring Concerns were noted from both presenters, producers and professional bodies that the economics of mainstream producing and presenting have not been fully explored. Respondents felt that neither sector will be funded sufficiently and respondents questioned how ACW objectives could be met. · ...there appears to be a lack of understanding about the place of repertory producing theatre within the whole network of UK provision....there is a process of change going on about the role they play · more money is needed for touring and audience development . The increase of money proposed to the producers is not large, some doubts as to whether they can tour on scale alluded to..... · what mechanisms for improved co-ordination between presenters and producers do ACW intend to deliver? · the strategy is not sufficiently specific in committing funded producers to tour enough product in terms of quantity and quality Some respondents were dubious about the notion of a ‘general audience’ and the development of ‘mainstream’ work. · ‘mainstream’ is not proven to be the popular or artistic choice in Wales and historically and culturally is an alien form · there is no essential conflict between exciting, innovative theatre and strategic partnerships between presenters and producers. There is if presenters dictate the product - in other words if theatre becomes market led. 4.4 Cardiff Provision There was strong agreement that more appropriate and exciting solutions offer themselves for the Sherman with both new writing and mainstream work as part of that picture. Different views were offered on the way forward. · think best option to explore for the Sherman is mix of youth theatre; bought in professional programme, Welsh and English; Clwyd Theatr Cymru; amateur companies, a TYP franchise; home-base for new writing cos. · crucial that capital city is a centre of excellence for professional theatre.... there could be a number of independent specialist companies with a remit to provide a range of opportunities. They could form a consortia. This would give a new focus and refreshed role to the Sherman · think best option is a single organisation producing company for bi-lingual new writing... · Cardiff should be the base for third WNPAC. ...develop bilingual new writing and production - of national status and provide Wales with a Royal Court/ Traverse equivalent now lacking ..... may be an international role for such a centre akin to CEAD in Montreal 4.5 Welsh National Performing Arts Companies (WNPACs) This topic attracted a very large range of views. There are a number of tensions in the responses around certain issues relating to this proposed development. 4.5.1 General comments There is solid support for a Welsh language WNPAC based in the North West with parity of funding the key concern. · sectarianism, parochialism and lack of resources causing harm. New institution in Bangor would be a great step forward. Should be national in spirit and international in aspiration · Welsh language WNPAC ...connection with Europe where there is a greater tolerance for linguistic difference - if work is to be seen as more than a cultural curiosity then it must take into account the performance traditions and developments of those countries · question the imbalance between the English and Welsh language - think there should be parity One respondent felt the question of parity signalled a disparaging philosophy towards the Welsh language. A small number of respondents agreed that the English language WNPAC should be developed under Clwyd Theatr Cymru (CTC), noting that it was entirely right that CTC should be given a major responsibility. 4.5.2 Development of WNPACs Many varied concerns are voiced about the desirability of developing WNPACs in general. Various respondents felt that these companies would drain resources from a diverse small scale and questioned the assumptions relating to benchmarks. The main caveat relating to developing the WNPACs centre on affordability, geographic positioning and responsibilities for an all-Wales reach. · with WNPACs proposed in the north how effective will their touring be to the Valleys · intention to invest in 2 major WNPACs at odds with acknowledgement of diversity of Welsh theatre. Will demolish the range of Welsh theatre - imposes concept of National Theatre · have some sympathy with wish to create a well resourced company, but in order to achieve this the wealth, talent, dedication and experience in the small companies which have contributed to the diversity of Welsh theatre will be sacrificed . Believe that cost is too great. Respondents questioned why the ACW choice to introduce the WNPAC concept was introduced at such a late stage. · there was no hint in the July document of the establishment of a National Theatre, let alone two. · establishment of 2 WNPACs needs further examination, particularly suggestion they might exist constitutionally separately from host base · feel CTC been re-branded as National Theatre regardless of consultation process Many respondents questioned if the WNPACs could develop a direct relationship with pan Wales audiences. · historically we believe drama in Wales worked at is best when it has enjoyed a direct relationship with its audience. Question whether WNPACs could extend that relationship through Wales Some respondents argued that WNPAC proposals were elitist and indicate this is superior to other theatre. One respondent argued that the WNPACs should be funded by the Assembly. · if a National Theatre is to be a political reality let it be made by politics. ACW can do the analysis, achieve the consensus, then let the Assembly increase support (to £3m) to buy a National Theatre supported by all stakeholders Numerous respondents argued that additional funding would be needed to secure a all Wales delivery. · how will the WNPACs service Swansea, Cardiff and now the new Newport arts centre? Will they have enough subsidy to mount seasons at each and in rest of Wales? Don’t believe the increase of funding proposed is large enough to afford to tour on the scale alluded to. · if the Welsh language WNPAC is to tour through Wales will need adequate resources Many argued against the proposed geographic positioning of the WNPACs. · the proposals place the money in the north while the audiences are in the south. Geographical imbalance · with arrival of assembly Cardiff will rise in status, WNPAC should be here - placing it in Mold is pragmatic and not strategic. Like the Royal National Theatre being in Carlisle · hazardous to establish both WNPACs in the north ignoring needs of the south. Numerous respondents stressed the importance of developing a clear brief for these organisations. · separation of powers and constitutional independence seems to me a legal imperative - otherwise you’re in danger of centralising power and artistic licence in too few hands. Also what models may we learn from elsewhere? · if CTC is to be the National Theatre for Wales they must strive to make durable partners with all counties - must be relevant to all people of Wales. Must talk to presenters in the venues to establish best way forward · before any organisation gets an increased grant needs a thorough review of successes/failures its relationship with the rest of the industry etc. ... it should be against clear and tight brief 4.6 Theatre for young people There is a general recognition that change is necessary within this sector. Despite the views from some within the sector that the present network should be developed, numerous respondents welcomed this new approach. · accept time has come to review and restructure provision for young people, welcome the document · welcome changes for TYP. The past years have been challenging because of the financial squeeze and this has effected work. · franchises an opportunity to establish a relationship together afresh and offer appropriate provision to specific areas · support the move to a smaller number but strengthened TYP companies holding out potential for higher quality work which is not limited by any apparent identification with a specific political boundary. Concerns were raised relating to perceived reduction in commitment. · franchises perceived as a cut in provision · question level of funding proposed to the franchises. Many respondents stressed the need to develop partnerships with local authorities. · fear local authorities won’t fund work if not based in their area, or enough involvement · it will be important to keep those local authorities on board that still support TIE -but national provision shouldn’t be detrimentally effected by local influence · concern about destabilising local authority funding. Questions arose regarding the proposed timescale implementation. · timescale short for proposed changes to take account of local authority budgetary processes. Numerous respondents referred to current employment opportunities and warned against reduction in this area. · restructure of TYP will reduce opportunities for employment · current network has provided college with valuable source of freelance professionals - resulting in dynamic interchange · TIE and community theatre gives encouragement to young artists to develop and the inspiration and passion to work in theatre. Career path for new graduates. Some concerns were noted regarding the perceived decrease in access and questions were raised regarding the possible reach of the proposed 4 franchises. · while recognising the majority of respondents to TYP consultation considered the status quo can’t be sustained, ACW should recognise concerns regarding reach and local links · Cuts will jeopardise local access facilities (e.g. youth theatre provision) · remove local involvement ...losing local link with schools a danger. Now schools prepared to release teachers for advisory groups because a close relationship. · under franchises, links with community will reduce. Can not think of a stronger condemnation of the strategy . Need local opportunities Numerous respondents stressed that the proposed franchises should develop production standards, new writing opportunities and training needs. · funding enhancement for the proposed franchises must ensure going into increased production and production standards and not on admin./management ...must enable employment opportunities · franchises should maintain a commitment to commissioning new work and training Many respondents referred to the blurring of distinction between theatre for young people and theatre in education. One respondent urged caution before replacing the present network with a radically different system, while another noted that the present network of TIE in Wales has long been held as a good model nationally and internationally. 4.7 Hijinx Theatre Company and the community touring provision There was a strong campaign in support of Hijinx Theatre Company from a cross-section of the industry and public. Key arguments relate to ACW’s strategies for equal opportunities and access and the importance of continuity of expertise that project funding may not provide. · Hijinx plays a strategic role within Wales. One of few companies to tour to village halls and make specific provision for special needs audiences. · given ACW’s aim to encourage touring for smaller audiences, and special needs, the decision to withdraw funding from Hijinx is unintelligible. Most respondents believed the decision to cease Hijinx’s revenue funding negated ACW’s commitment to equal opportunities. One respondent noted that no markers were laid down in ‘Building a Creative Society’ for the withdrawal of support to this area. Respondents noted the extensive contribution Hijinx Theatre Company had made to the development of Welsh theatre over the years. · from a writers point of view, Hijinx provides flexible working processes - much valued. · quality home production for smaller audience communities have been the only successes in developing an indigenous Welsh theatre (community theatre/ special needs/ artform development/cross disciplinary/ new projects) There was a wide range of views noting the importance of community touring provision and concerns were raised in regards to future provision. Points included: · the strategy downgrades community touring to project support..... concern with major effect it is going to have on the Valleys · historically, community productions have played an important part in theatre provision. Lack of community provision would disenfranchise whole areas of Wales. All companies should have a community touring remit · in rural areas community touring is very important, ACW should acknowledge responsibility to ensure equal access to everyone in Wales 4.8 Project grants Increasing project funding was welcomed by several respondents. Support was noted for prioritising funding to this area to allow adequate support to new work. · support notion of fewer revenue clients if it really does mean more project work. · anticipation of an enhanced project funding is another welcome breakthrough by ACW. Ensuring opportunity for emerging talents and experienced professionals to try something different. Would like to see more done in creating a dialogue between mainstream and innovation. · projects should be a priority - important to ensure opportunities exist for new work.... · important to address current lack of opportunity for ‘new blood’ to emerge... expansion of time limited funding within project sector carries implicit support for this type of work ... would welcome explicit strategy. Some argued that project funding could not provide a real structure for developing the artist and the artform. · project grants don’t provide a real structure for the lives of artists in Wales or the development of strategies · never fulfil long term strategic role ... can’t deliver continuity and expertise · concerned that project funding proposed as solution to many problems. It can be a good approach for artistic development but guarantees nothing for venues nor guarantees anything for artists. 4.9 New writing There is support for all aspects of the recommendations for this sector which include strengthening new writing clauses in revenue and franchise agreements; supporting emerging companies through longer project support and developing a focus for Welsh and English new writing at the Sherman. Points include: · Sherman studio could provide ideal venue for new writing, innovative work and experimentation and provide a safe environment for new writers, directors and actors · the northern and southern WNPACs should take on responsibility for new writing - there can be no such thing as ‘safe houses’ · need to research type of structure needed for new writing support regardless of the venue: need reading panels, workshop support, facilities for writers to meet and exchange ideas and present work · ideas of a writers centre.... look at role of Royal National Theatre... could involve BBC and others in idea. Failing a writers centre, a peripatetic project funded agency could be investigated. This would be a laboratory for research and development. 4.10 Artform development Numerous respondents disputed ACW’s commitment to innovation in performance practice and argued the need to develop further this sector. · innovative art changes things. It is risible to expect this to be developed through mainstream /TIE practice where different traditions and priorities apply . We have 25 years of truly innovative practice in Wales. · it appears that non-mainstream, non YPT theatre is pigeon holed into what looks like another franchise · shocked to hear of plans to cut this sector .... were it not for scientists working on experimentation we would not have cures and our understanding of human nature would not have evolved like it has. Likewise in the arts sector it is fundamental to nurture experimentation and development 4.11 Training Respondents stressed the importance of developing training opportunities within the sector. Director training initiatives were highlighted as a specific area that should be encouraged. ACW Artform Development Division June 1999 DRAFT DRAMA STRATEGYResponses Received Revenue Clients Arad Goch Sherman Theatre Brith Gof Spectacle Theatre Clwyd Theatr Cymru Theatr Bara Caws Clwyd Theatre Cymru TIE Theatr Gwynedd Cwmni’r Frân Wen Theatr Iolo Dalier Sylw Theatr Powys Gwent Theatre Theatre West Glamorgan Hijinx Theatre Torch Theatre Made in Wales Volcano Magdalena Project Drama and Arts Organisations Alma Theatre Presenting the Arts Group Arts Collaborations, Training and Support (ACTS) Professional Reference Group, City & County of Swansea & Neath Port Talbot CBC Arts Disability Wales SWICA Borough Theatre, Abergavenny Swansea Arts Forum Chapter Arts Centre Taliesin Arts Centre Cymdeithas Theatr Cymru Theatr Cymru Elan Wales Theatr y Byd Equinox Theatrical Management Association Equity Wales Thin Language Theatre Co. General Arts Lobby for Wales (GALW) Wales Association for Performing Arts Independent Theatre Council Welsh College of Music and Drama Norwegian Church Arts Centre & Cardiff Bay Cultural Forum Welsh Fargo Stage Company Penygraig Community Project (David Lynn) Writers Guild Wales Penygraig Community Project (Margaret Jervis) Local Authorities Isle of Anglesey County Council Gwynedd County Council Blaenau Gwent Borough Council Monmouthshire County Council Caerphilly County Borough Council Neath Port Talbot County Borough Council Carmarthenshire County Council Newport County Borough Council Ceredigion County Council Pembrokeshire County Council City and County of Cardiff Powys County Council City and County of Swansea Welsh Local Government Association Flintshire County Council Wrexham County Borough Council Individuals David Adams Philip Michell Michael Bogdanov Gareth Miles John Church, Christopher Dexter & Alice Oddie Georgina Miles Sarah Cole Richard Huw Morgan Rudy Engelander Bettina Reeves Steve Fisher Isabel Rocamora Mike Pearson Llew Smith MP Tessa Gearing Charles Way Dorothy James John P Williams Hijinx Support Letters Arts Disability Wales Pamela King Artsreach Llanover Hall Beulah United Reform Church J & K Llewellyn Nigel Billingham C A Maguire Blaenllechau Community Mencap (Howard Sinclair) Canton Labour Party Mid Pennine Arts Cardiff County Council Day Service Managers Rhodri Morgan MP Cardiff County Council, Economic Development Newport Gateway Club Cardiff County Council Lib.Democrat Roath Ward People First Cardiff & The Vale Cardiff County Council, Trelai Day Centre for Adults Christine Phelps Cartrefi Cymru Nickie Rainsford Central Cardiff Community Education Bronwen & Stan Roberts Christian Aid John Rowlands Wayne David (MEP) Rugby College: School of Performing Arts Cynog Davis MP Sandwell Metropolitan Borough Council (Trudy King) Ms M R Dove SCOVO (J G Crowe) Driffield Town Theatre (Christine Clubley) Sherman Theatre (Phil Clark) Driffield Town Theatre (Catherine Jarratt) Shropshire Live (Ian Kerry) Constantine Dzhabarov Carol Spencer Barbara Fraser Theatre Centre Elaine Harris Theatr Ffynnon Holyhead Gateway Club Evan & Anne Thomas Win Griffiths MP Gillian Thomas Illusion Int. Ltd (Giovanni Colina) United Reform Church, North Cardiff Bethan Jones Kim Vaughan Jon Owen Jones MP Vision 21 Daisy Keeping Whitchurch High School: Drama Dept. Fleur Webb Local TIE support letters All Saints R.C. Primary School King Henry VIII School Richard Berry Glenys Kinnock MEP Caldicot Green Lane Junior School Langstone Primary School Garnfach Infant School, Gwent Llwynu Infants’ School Garnlydan Primary School Nick & Jane Smith Glyncoed Junior School, Gwent St Andrew’s Junior School, Newport Peter Hain MP St Peters C.V. Primary School Harold Road Junior School and S.N.U Upper Rhymney Primary School |
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Tuesday, June 1, 1999 |
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