ACE Stakeholder Focus 2012

dha & ICM Research
Arts Council England Stakeholder Focus Research March 2013
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Legal notice 2013 DHA Communications Ltd & ICM Research all rights reserved The contents of this report constitute the sole and exclusive property of DHA Communications Ltd & ICM Research
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This document is an independent report commissioned by Arts Council England. We introduced the regular Stakeholder Focus survey in 2009, as part of our public value work, helping us to strengthen our relationships with the public and other stakeholders and to support our mission to bring great art to everyone. The aim of the research is to ensure we are in touch with the views of our external stakeholders and the public, and to explore levels of trust and confidence in the Arts Council, as well as perceptions of accountability.
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Contents Executive Summary.................................................................................................................... 1 1 2 3 4 5 6 7 8 9 Introduction ........................................................................................................................ 6 General public attitudes ................................................................................................... 14 General perceptions of the Arts Council .......................................................................... 26 The Arts Councils role and impact ................................................................................... 41 Working Relationships ...................................................................................................... 60 Values and behaviours...................................................................................................... 67 Communication ................................................................................................................ 86 Future priorities ................................................................................................................ 90 Conclusions and recommendations ................................................................................. 94
10 Appendices ....................................................................................................................... 99
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Arts Council Stakeholder Research
Index of Figures General public view of the arts ................................................................................................ 15 General public views on public funding of arts and culture, 1 ................................................ 16 General public views on public funding of arts and culture, 2 ................................................ 17 General public views on lottery funding of arts and culture, comparison with public views on public funding of the arts ......................................................................................................... 18 Does public funding benefit you or your friends and family?, 1 ............................................. 19 Does public funding benefit everyone/you, your friends and family?, 2 ................................ 20 What should public funding of the arts achieve? .................................................................... 22 General Public views on the Arts Council ................................................................................ 23 Knowledge among the arts and cultural sector and partners ................................................. 26 Favourability among the arts and cultural sector and partners, 1 .......................................... 29 Favourability among the arts and cultural sector and partners, 2 .......................................... 30 Advocacy, 1 .............................................................................................................................. 31 Advocacy, 2 .............................................................................................................................. 32 Impressions of the Arts Council ............................................................................................... 35 Impressions of the Arts Council, Year on Year Comparison of Corporate Values ................... 37 Mission and relevance ............................................................................................................. 43 Effectiveness in achieving mission, 1 ....................................................................................... 46 Effectiveness in achieving mission, 2 ....................................................................................... 47 Reasons for improvement of effectiveness in achieving mission ........................................... 48 Reasons for deterioration of effectiveness in achieving mission ............................................ 49 Understanding the Arts Councils goals and priorities ............................................................ 51 Impact at geographical levels .................................................................................................. 52 Comparison of those who currently benefit and those who should benefit .......................... 55 Impact against key activities and goals.................................................................................... 57 Impact against key goals, year on year comparison 2011 and 2012 ....................................... 59 Working relationships type of relationship .......................................................................... 60 Working relationships quality of relationship ...................................................................... 61 Changes in working relationships in the last year ................................................................... 64 Reasons for improvement of working relationship ................................................................. 65 Reasons for deterioration of working relationship ................................................................. 66 Openness, 1.............................................................................................................................. 67 Openness, 2.............................................................................................................................. 68 Clarity, coherence and consistency ......................................................................................... 71 Respect and confidence ........................................................................................................... 74 Partnership working................................................................................................................. 78 Investment decisions ............................................................................................................... 81 Funding and monitoring processes.......................................................................................... 84 Feeling informed (1)................................................................................................................. 86 Feeling informed (2)................................................................................................................. 87 Communication channels ........................................................................................................ 88 Length of contact with the Arts Council .................................................................................. 89 Priorities for the next year keep doing ................................................................................. 90 Priorities for the next year need to do or change ................................................................ 92
Executive Summary
Arts Council England is a public body, responsible for significant public investment in the arts sector. As such, it has a wide range of stakeholders who have an interest in the choices it makes and in the results and impacts of those choices. It functions within a complex ecology, engaging with government, a range of public infrastructures, a diverse organisational sector and with individuals pursuing artistic practices. It is also funded by the tax-payer. Understanding how the Arts Council serves its stakeholders is key to understanding its relevance as a public body. Arts Council England commissioned DHA and ICM Research to explore the relationships between the Arts Council and its stakeholders, building on previous phases of stakeholder research from 2009 and 2011. The fieldwork included a survey of the general public, an online survey of the arts sector and partners and a series of semi-structured interviews with opinion-formers. The fieldwork took place between September 2012 and January 2013.
Overall perceptions of the Arts Council

The Arts Council is seen as having a crucial role on behalf of the arts and cultural sector, in developing the sector and in communicating on its behalf to a range of key stakeholders. The Arts Council is seen as having improved its ability to make investment choices, and to explain those choices. Stakeholders understand that there are potentially difficult choices to be made, and feel that the Arts Council is, on the whole, trying to get things right. There is significant concern for the future capacity of the Arts Council, and the significant potential for loss of on-the-ground relationships and of strategic partnerships.
Role and Impact

The Arts Council is perceived as having a complex and broad role, which has changed significantly with new responsibilities for libraries and museums, responsibilities for music education hubs, and a range of new emerging strategic partnerships and funding streams. Opinion-formers are clear that the Arts Council has a unique and important function, particularly in relation to both central and local government, and that the arms-length principle is crucial to this. There is uncertainty about whether the new responsibilities help to consolidate this function, or may serve to diffuse its focus. There was particular emphasis this year on a range of strategic areas in which the Arts Council can play a crucial role. These include its overview of the developmental needs of the arts and cultural sector, and its role in championing the value of arts and culture to government, as well as in building alliances and partnerships with the public infrastructure. The Arts Councils mission and strategic framework, including the new publication for museums and libraries, are widely known. Broadly speaking, the mission and framework are felt to bring focus to the Arts Councils communications and
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relationship with the sector. There is, however, uncertainty about the plans for achieving the Arts Councils aims, and about the relationship betwe en government policy and recent and forthcoming changes, and the mission. The Arts Council is felt to have a positive impact on arts and culture across the regions. Where relationships are good, the Arts Council is characterised as a strategic partner, and its continued presence across the different regions is felt to be crucial. Some opinion-formers still identify a tension between a focus on London and the other regions, whilst others identify a tension between larger and more established organisations, and smaller, newer organisations.
Working Relationships
Working relationships are varied and complex across the range of different stakeholders. Whilst a significant group of stakeholders have a main, single point of contact, more have a range of different relationships, including engagement with both a regional and head office. Working relationships are rated in a similar way to previous years. The quality of relationships is closely linked to experiences and engagement with individual staff, and the way in which those staff operate and are viewed. This year fewer respondents feel that their relationship with the Arts Council has got worse, and more feel that it has stayed the same. On the whole, working relationships are described by opinion-formers as friendly, constructive, committed and honest. Frankness and clarity are particularly prized by respondents, as is the enthusiasm and expertise of individual officers. There are also significant concerns about the capacity of the Arts Council to maintain these relationships and continue to build new partnerships, particularly with key sectors such as local government. There are also significant concerns about the Arts Councils future presence in different areas and the degree to which individual officers and offices will be able to maintain regular on-the-ground contact with organisations and individuals, and the potential lack of local knowledge which may follow. These concerns are directly related to forthcoming change in structure at the Arts Council, which comes into place in July 2013.
Values and behaviours

The Arts Council is felt by stakeholders to be open and honest, though for some this is either an area for improvement or something which is necessarily limited by its role. The Arts Council is seen as inviting feedback and opinion-formers feel they can be honest with it. However, some opinion-formers feel that the Arts Council does not necessarily make use of that feedback. In addition, several opinion-formers feel that then Arts Council is limited in the way in which it learns from experience and that more could be done in a range of areas to build this learning. For some, this opportunity is being limited by the amount of new requirements and the pace of change taking place as a result of changes in public investment. The improvement seen in last years findings in the Arts Councils confidence in making and defending decisions has been maintained. Opinion-formers cited
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examples of the national portfolio organisation funding process, and also examples of sophisticated engagement with partnerships. There is, overall, confidence in the current leadership at the Arts Council; this does not always necessarily mean head office, but in some cases regional leadership. There is limited understanding and some uncertainty about the role of National Council itself, and Regional Councils, though several opinion-formers reference both the current and the forthcoming chair in their discussions of leadership. The way in which the Arts Council works is important for many in the arts and cultural sector and partners. Many feel that there will be a growing emphasis on the need to work in partnership with key areas, such as local government. The Arts Council role beyond funding is crucial here, particularly in its ability to build sustained partnerships and to facilitate partnership across different sectoral areas. Opinion-formers had praise for some of the recent examples of partnership by the Arts Council, but some raise significant concerns about the coherence and direction of strategic funds. There is some sense that the Arts Council finds it difficult to evidence and explain the value of some of the choices it makes. Respondents are unsure whether the Arts Council makes good use of the data it collects, and opinion-formers raise issues concerning the recent process of developing key performance indicators as an indication that the potential burden of monitoring data is becom ing more substantial.
Communication
Overall, stakeholders feel sufficiently well informed about the Arts Council work. Inperson relationships are still considered to be the most important and useful by the majority of respondents, and opinion-formers cite the qualities of individual members of staff as sources of information in their day-to-day relationships.
Future priorities
The arts and cultural sector and partners and opinion-formers suggest a wide range of future priorities for the Arts Council. The overwhelming issues identified are the need for continued investment and questions about the future capacity of the Arts Council to continue to support organisations, individuals and partnerships in the future.
General public
Support for public funding of arts and culture is stronger than in 2011, returning it to a level similar to that of 2009. This may reflect a correction to the downturn in 2011, when the question was asked in a period in which significant discussions about all areas of public investment were taking place.1
It is important to note that in this year the phrasing of questions in the public survey were altered to reflect the Arts Councils new responsibilities. Thus, those questions which in 2009 and 2011 previously asked about views relating to the arts, in 2012 asked about views relating to arts and culture. dha & ICM 3
Support for lottery funding of arts and culture is stronger than support for public funding through taxes.2 There is a small rise in the proportion of people who feel that they, their friends and family benefit from public funding of arts and culture. As with support for public funding of arts and culture, this returns the proportion of people who agree that they see benefit to levels similar to those from 2009. Members of the public feel that public funding of the arts should primarily be used to improve access to the arts. Interesting in this year, the Arts Councils role in developing new artistic talent is also highlighted by respondents as a first priority, slightly more than in the previous year.
Issues to explore
There remains uncertainty for some about the way in which the mission and strategic framework will be made tangible through plans and activities, about the cohesion of new areas of responsibility and about the place of strategic funds and partnerships in the context of the mission and the Arts Councils overall direction. There are concerns about the new structure, and its potential impact on the quality of working relationships, on local knowledge and on the ability of the Arts Council to provide the necessary expertise and facilitation in complex areas, such as engaging with local government. Partnership working is considered key to the Arts Councils ability to develop the sector in the future, but there are concerns about the organisations capacity to support further work in this area. The Arts Councils ability to learn, and to use the data and evidence it collects to develop future practice, is considered important. There have been some challenges relating to recently developed processes for monitoring, and again there are concerns about the Arts Councils capacity to engage dynamically in this area in the future. There remain diverse views concerning the Arts Councils role in relation to the public, and particularly concerning the question of how the value of the Arts Council (both through its investment and through its strategic role) is communicated to the public. This is connected to the way in which stakeholders feel that the wider case for public investment in arts and culture should be made, which is felt to be a crucial challenge for the sector.
Respondents were asked to reflect on the principle of different kinds of funding sources, but were not given information about the criteria attached to these different types of funding, or the different uses to which they are put. dha & ICM 4
Introduction
Introduction
1.1 Objectives
DHA and ICM Research were commissioned to follow-up on a first phase of stakeholder research undertaken in 2009 by Ipsos Mori (there was no fieldwork in 2010). In the summer of 2011 a second phase of fieldwork was undertaken, and in Autumn 2012 a third. For this third phase the questionnaires, methodology and stakeholder sample have been updated where appropriate.3 The research aims were to: ensure that the Arts Council is in touch with the view of its external stakeholders and the public explore what characteristics and behaviours enable successful relationships between the Arts Council and its stakeholders measure overall knowledge of the Arts Council, and understanding of its role and goals measure recognition of the Arts Councils mission and understand its relevance identify areas where the Arts Council is performing well and where there are areas for improvement explore levels of trust and confidence in the Arts Council, and perceptions of accountability assess stakeholders understanding and views of decision-making, funding and other processes assess stakeholders views of the impact and effectiveness of the Arts Council, both in relation to its goals and in its day-to-day activities produce transparent findings using a replicable methodology, enabling trends to be recognised and understood over a number of years
These are included in Appendices. dha & ICM 6
1.2 Context
The period for this years fieldwork was the autumn of 2012. We noted in the 2011 report the range of high profile activities and processes, relating to public investment, which had provided a particular context to the 2011 fieldwork. As significant developments continued to take place in the year between the 2011 and 2012 fieldwork, it is valuable to acknowledge these developments in order to understand the background to this years findings. The National Portfolio funding agreements commenced in April 2012, following an application process in late 2010/early 2011. Some arts organisations moved from being a Regularly Funded Organisation to being a National Portfolio Organisation. Others were new additions to Arts Council revenue funding, whilst others lost their revenue funding. The ten Bridge organisations, focusing on children and young people, also commenced their new remit in April 2012. In September 2011 the Arts Council published Culture, knowledge and understanding: great museums and libraries for everyone, which sought to integrate the Arts Councils new responsibilities for museums and libraries into the ten -year strategic framework already established in Achieving great art for everyone. The museums and libraries formally transferred to Arts Council England on 1 st October 2011. New funding programmes administered by Arts Council England included the Renaissance in the Regions major grants programme for museums and the Libraries Development Initiative. The Arts Council took on responsibility as the fund holder for the music education hubs, part of the Department of Educations response to Darren Henleys Review of Music in England and the subsequent national plan for music education, The Importance of Music. The application process for hubs was undertaken in late 2011/early 2012, and hubs commenced their activities as part of the new network from August 2012. In October 2012 the Arts Council announced the details of its new structure, designed in response to the details of the 2011-15 settlement from government. The new structure would come into place in July 2013. Following the Autumn Statement 2012 (December), the Arts Council received notification of a revised funding settlement for the period 2013-15, detailing a budget cut of 1% for 2013-14 and 2% for 2014-15. These last two items occurred within and after the period of the fieldwork. The fact of the Arts Council moving to a new structure was known in advance of the October details being published. A range of activities highlighting the value of investment in arts and cultural funding also took place across the arts and cultural sector in advance of the Autumn statement. Both items are, therefore, relevant elements of the context within which this years fieldwork took place.
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1.3 Fieldwork
DHA and ICM Research worked with staff from the Arts Council to review the questions used in 2011, and to: identify where findings had been useful, or less useful refine questions, where possible align the questions with the Arts Councils, especially with regards to museums and libraries, and with providers working across the new music education hubs and other areas of delivery for children and young people such as the bridge organisations consider the best period and approach for the fieldwork to ensure full and meaningful responses, particularly in the light of complex public investment timescales There were three separate elements to the fieldwork: an online survey with members of the general public; an online survey with stakeholders from amongst the arts and cultural sector and partners; and a series of semi-structured interviews with opinion-formers. As with the previous wave of research, the first and second of these elements allow us to track changes in some areas from the data collected in 2009, and in most areas against the second phase of data collected in 2011, whilst the interviews supply more detailed and rich information about peoples experiences of the Arts Council amongst individuals within and connected to the sector. An online survey of the general public as part of the ICM Research Online Omnibus took place. 1,750 adults aged 18+ from England were questioned, and data was weighted to match the profile of the population of England. The survey took place in September 2012. DHA and ICM Research carried out an online survey with the arts and cultural sector and partners. The potential sample included arts organisations and artists who were or had been recently funded by the Arts Council, as well as museums, libraries and delivery organisations for the music education hubs and other work with children and young people. Local authorities and a range of other contacts were also included, from higher educational institutions, economic development agencies and the creative and tourism industries. The sample was compiled by the Arts Council, with substantial input from regional offices. In total there were 762 responses, from a possible total of 2,550 invitations, a response rate of 30%. An initial invitation was sent from the Arts Council, signed by Alan Davey, Chief Executive. Two reminder emails were sent to those who had not completed the survey. The survey took place between 20th September and 24th October.
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When considering the quantitative data from the arts and cultural sector and partners survey in this report, and particularly when considering differences in results between different groups or types of respondents, it is important to remember that: sample sizes for different types or groups of respondents are often quite small, affecting the statistical validity of comparisons. All comparisons should, therefore, be treated carefully. respondents were self-selecting, deciding for themselves whether to take part in the survey or not. There will, therefore, be differences in results caused by this selfselection bias which are likely to affect potential comparisons between different subsets within the overall sample. the context within which respondents engage with the Arts Council varies. For example, when considering potential differences in results between regions, it is important to reflect upon the infrastructural differences between those regions, within which the relationship between the individual/organisation and the Arts Council takes place. Regions have different local governmental structures, different economic bases, urban/rural makeup, and different artistic and cultural assets. These issues affect the different kinds of circumstances in which arts and cultural support is delivered by the Arts Council, and should be borne in mind when considering any comparison. comparisons offered within this report focus predominantly on different types of stakeholders and on regional differences. These are most valuable in setting the context for the variable circumstances in which the arts and cultural sector and partners, and the Arts Council itself, operate. DHA conducted 25 semi-structured interviews by telephone with a range of opinionformers. Arts Council staff supplied a list of 149 individuals perceived to have a major influence on or particular experience of the arts and cultural sector or the policy environment in which the Arts Council operates. This list was made up of politicians, journalists, chairs and chief executives of major arts and cultural organisations and other relevant national and regional agencies. DHA selected and recruited a sample of 25 opinion formers from this list to take part in the research, ensuring a regional, art-form and organisational spread, where suitable. The interviews took place between 20th September 2012 and 21st January 2013.
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1.4 Defining stakeholders

Stakeholder groups Within this report a number of terms are used to refer to different stakeholder groups for the Arts Council. These groups are as follows: Stakeholders: everyone who has an interest in or is affected by the Arts Councils work. This is used on occasion as a collective term for respondents in this research, including members of the public. Opinion-formers: senior individuals within the arts and cultural sector or related areas who are considered to be influential, or to represent a particular experience of the sector. This group were interviewed. The general public: members of the public who took part in the Omnibus survey The arts and cultural sector and partners: individuals and organisations with whom the Arts Council has a regular working relationship. This group took part in the online survey of arts and cultural sector and partners. Within this arts and cultural sector and partners group, there are a number of sub-groups: Arts organisations - NPOs: members of the National Portfolio - Not NPOs: organisations which are not part of the National Portfolio Arts individuals, predominantly artists Music Education Hubs and other - predominantly organisations involved in delivering the music education hubs Museums Libraries Local authorities Organisations engaged in economic development activities, including the creative industries and tourism development, and Local Enterprise Partnerships.
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Sample The following table shows a breakdown, by type of respondent and Arts Council region, of the sample for the quantitative survey of the arts and cultural sector and partners. The arts and cultural sector and partners Type of respondent Arts individuals Arts organisations Local authorities Music education hubs and other organisations
Museums Libraries Economic Development Other
2012 % 12 66 7 4 5 1 1 4
2011 % 14 76 8 2
Region East East Midlands London North East North West South East South West West Midlands Yorkshire Not region specific
2012 2011 % % 7 7 26 6 9 8 12 9 13 3 6 8 26 8 9 9 13 9 12 0.4
The inclusion, in 2012, of a significant number of museums, libraries and music education hubs and other organisations has contributed to a small difference from the 2011 sample in the overall proportion of respondents in the sample who are arts individuals or from arts organisations. The regional spreads remain similar between the two years. In total, 25 interviews were undertaken with key opinion formers. The following table shows the numbers of interviews by type of respondent and region, and the comparison with the 2011 sample. It is worth noting that some respondents were categorised differently in the two samples, and so the type of respondent is not strictly comparable between the two years. In addition, in the 2012 sample we specifically sought to include a wider range of respondents from different kinds of arts organisations, including different sizes of organisation and organisations with different levels of funding relationship. This was done to ensure that the interviews cover a sample which could be said to be more closely representative of those respondents to the online survey, thus supporting the analysis of interview data to elucidate findings from the online survey.
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Opinion formers 2012 2011 Type of respondent No. No. Arts and cultural sector 13 12 Representative and significant organisations/ individuals 4 Arts sector associations 2 Central government 2 3 Creative industries 1 2 Local government 4 5 Press 1 1 Region East 2012 No. 1 2011 No. 2
East Midlands London Not region specific North East North West South East South West West Midlands Yorkshire
1 4 9 3 2 1 1 2 1
2 1 13 1 1 1 1 2 1
1.5 Acknowledgements
DHA and ICM Research would like to thank Alexandra Albert, Richard Russell, Rachel Smithies, Samantha Lavender and James Doeser at the Arts Council for their input and engagement with this research. We are also grateful to the members of the public, arts sector and partners and opinion-formers who took part in surveys and interviews.
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The General Public
2 General public attitudes

The survey of the general public, undertaken via an online omnibus survey, looks at a range of broad attitudes to and views of arts and culture. It explores responses to public funding of arts and culture, responses to lottery funding of arts and culture, knowledge of the Arts Council and views on what public funding of arts and culture should achieve. The findings from this research provide useful context to the detail of the survey of the arts and cultural sector and partners, and the views of opinion-formers, with whom the Arts Council has significantly more contact and direct engagement. It also provides a useful baseline against which to understand discussions within the arts and cultural sector about the value of its activity, and about the mission and goals of the Arts Council.4 2.1 Attitudes towards arts and culture Respondents to the public survey were asked to indicate whether they had attended or participated in the arts in the last year, attended a museum or gallery, or used a public library. This question was primarily asked not to supply data about arts and cultural engagement per se, but to enable us to understand the potential relationship between arts and cultural engagement and responses to other questions in the survey. Social grade is the factor which correlates most strongly with arts attendance and participation, and visiting museums and galleries. This is not the case with use of public libraries. Women (48%), also show higher levels of arts and cultural engagement across all activities than men. There is some small regional variation, with London and the East Midlands generally showing a higher level of engagement than other areas. The survey asked members of the general public how they feel about arts and culture.5 It is important to note that in 2012 this question, and a number of other questions, were asked in a different way. In previous years (2009 and 2011) the questions had focused upon attitudes to the arts. In this years survey the wording in these questions has been changed to test attitudes to arts and culture, in line with the Arts Councils broader portfolio of responsibilities. Whilst comparisons with previous years data are shown here, this change in wording must be borne in mind when drawing any conclusion about these comparisons. Just over a quarter (27%) say that they like arts and culture but prefer to spend my leisure time in other ways (2011: 36%; 2009: 30%). Just under a fifth (18%) say they are not interested in arts and culture (2011: 18%; 2009: 22%) and a small proportion (7%) say that the arts are not for people like me (2011: 7%; 2009: 5%). More than a quarter (27%) say that they would like to have more to do with the arts if they could (2011: 23%; 2009: 19%); a further 24% say that the arts are an important part of their lives (2011: 16%; 2009: 21%). A fifth (20%) say that there are lots of opportunities for them to get involved in the arts, if they chose to do so (2011: 17%). It seems likely that some of these changes may reflect, at least to some extent, the change in the wording for these questions, and suggest that the
4
A more detailed picture of public engagement and enjoyment of the arts, and of the relationship between demographic and other factors and public engagement, is available through DCMS Taking Part data, the Active People Survey and through the Arts Councils own segmentation work, Arts audiences: insight. 5 In 2011 and 2012 respondents were encouraged to select more than one statement, if they wished hence, comparisons with 2009 findings should be treated with care.
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addition of culture is perhaps understood as indicating a broader range of activity. In considering a year-on-year comparison, interest in engaging with arts and culture appears to have increased, while active disinterest has stayed the same. 1 General public view of the arts Which of the following statements do you agree with?
I'd like to have more to do with arts and culture if I could I like arts and culture but prefer to spend my leisure time in other ways Arts and culture are an important part of my life There are lots of opportunities to get involved with arts and culture if I want I'm not interested in arts and culture Arts and culture are not for people like me 7% 7%
Source: dha & ICM
27% 23% 27% 36% 24% 16% 20% 17% 18% 18% 2012 2011*
Weighted Base: All England adults 18+ 1,750, 7-9 September 2012; All England adults 18+ 1,732, 15-16 June 2011
* Please note that there was a change in question wording between 2011 and 2012. In 2012 the words and culture were added to the statements.
There is a clear correlation between social grade and identifying arts and culture as an important part of a respondents life, as with engagement in arts and culture activity. Generally speaking, those aged 18-34 and those aged 55+ are most likely to say that the arts are an important part of their lives. 34% of those aged 18-24 would like to have more to do with arts and culture if they could, compared to 19% of over 65s. BME adults (35%) are more likely to say that they would like to have more to do with the arts if they could than white adults (26%). Respondents from London and the West Midlands are most likely to say that they believe that there are lots of opportunities to get involved in arts and culture (25% and 27% respectively). 56% of respondents selected one statement only; 30% of respondents selected more than one statement. Of the total response, 3% of people say that they are not interested, and arts and culture are not for them. 5% say that they prefer to spend leisure time in other ways, but that they would like to have more to do with arts and culture. 15% say that arts and culture are important to them, and that they would like to do more of it.
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Attitudes towards public funding of arts and culture 49% of the general public support public funding of the arts (2011: 44%; 2009: 52%), showing a slight rise on the previous year. 15% strongly support it (2011: 12%; 2009: 16%). 14% of the general public oppose public funding of the arts (2011: 19%; 2009: 14%), and 5% strongly oppose it (2011: 7%; 2009: 5%). A third of respondents neither support nor oppose the principle, a similar finding to both 2011 and 2009. 2 General public views on public funding of arts and culture, 1 As you may know, some arts and culture in England are funded by the taxes we all pay. To what extent do you support or oppose this public funding of arts and culture?
49% 44% 34% 32%
2012
2011*
33% 33%
19% 15% 12% 9% 12% 5% 7% 14% 4% 4%
Total support
Strongly support
Tend to Neither Tend to support support nor oppose oppose
Strongly oppose
Total oppose
Don't know/no opinion
Source: dha & ICM
There is a slight statistical increase in support for public funding of arts and culture. We noted in 2011 the potential effects of the context of global economic conditions and domestic fiscal circumstances against which discussions concerning public funding were taking place. The change in this year may indicate a correction of sorts, bringing the response closer to that seen in 2009. As with the previous question, it is worth noting the change of wording from the arts to arts and culture when reflecting upon these year -onyear comparisons. The following figure shows the year-on-year comparison for total support and total opposition to public funding of the arts.
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3 General public views on public funding of arts and culture, 2

60% 50% 40% 30% 20% 10% 0% 2009 2010 2011 2012
Source: dha & ICM Source: Ipsos MORI
Total Support Total Oppose
Weighted Base: All England adults 18+ 1,750, 7-9 September 2012; All England adults 18+ 1,732, 15-16 June 2011 2009 Base: 1,001 adults aged 15+ in England
Attitudes towards lottery funding of the arts In this year a new question was added, to ask the general public about their views on lottery funding of arts and culture. In comparison with views about public funding through taxes, there is significantly higher support (62%) for lottery funding, with more than a quarter (27%) of respondents indicating that they strongly support lottery funding. There is also less opposition to lottery funding of arts and culture, than to public funding through taxes, as well as fewer neutral responses.
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4 General public views on lottery funding of arts and culture, comparison with public views on public funding of the arts Some arts and culture in England are funded through the National Lottery. To what extent do you support or oppose this use of National Lottery funds?
62% 49% 34% 35% 27% 15% 9% 5% 5% 3% Strongly oppose
33% 26% 14% 8%
Total Support
Strongly support
Tend to support
Neither support nor oppose
Tend to oppose
Total Oppose
Public funding of arts and culture
National Lottery funding of arts and culture
Weighted Base: All England adults 18+ 1,750
Source: dha & ICM
Social grade remains significant in support of both public funding through taxes and lottery funding. 61% of those of social grade ABC1 support public funding through taxes, and 69% support lottery funding. Amongst those of social grade C2DE, 39% support public funding through taxes, rising to 56% in support of lottery funding.
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Who does public funding of the arts benefit? Respondents were asked to consider who they felt public funding benefited. This year a single question was included, to understand the views of the general public on the impact of public funding of the arts on themselves and their friends and family.6 Overall, 43% of the general public agree that they themselves or their friends and family do benefit from public funding of arts and culture (2011: 36%); 23% of respondents disagree (2011: 33%) , resulting in a net agreement of +19%7, and 30% neither agree nor disagree. Net agreement in 2009 was +17%, so as with support for the principle of public funding there may be some degree of correction taking place here. Again, the change in wording to refer to arts and culture must also be borne in mind. 5 Does public funding benefit you or your friends and family?, 1 To what extent do you agree or disagree that public funding of the arts and culture benefits you or your family and friends?
9%
4%
12%
Strongly agree Tend to agree
14% 31%
Neither agree nor disagree Tend to disagree Strongly disagree Don't know
30%
Source: dha & ICM
As with engagement in arts and cultural activities, and support for public funding, there is a correlation between social grade and agreement that public funding of arts and culture benefits a respondent or their family and friends. Interestingly, 25-34 year olds are more likely than any other
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In the previous year two questions had been asked of the general public, exploring benefits to you or your friends and family and benefits to everyone in England (the latter of which was included in 2009). The responses to both questions were very similar, and thus one question only has been included in this years survey. 7 Net agreement is calculated as the percentage of respondents who agreed minus the percentage of respondents who did not agree. This may result in a plus figure where the percentage of those agreeing is higher than the percentage of those disagreeing or a minus figure, where the reverse is the case.
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age-group to strongly agree that this is the case (17%). Londoners are also more likely to say
that public funding benefits them, their friends and family and everyone. In comparison, respondents from the South West are the least likely to agree that this is the case. A strict year-on-year comparison of responses to this question is not available, because of changes to the wording of the question.8 However, the minimal differences shown in responses between different wordings suggest that the results can be compared meaningfully. The figure below shows this year on year comparison, which exhibits a similar, small change to that shown in the findings on support for public funding of arts and culture. As noted previously, the change from arts to arts and culture may be partially responsible for this alteration. It is also possible that some degree of reversion, following an acute period of discussion about public investment across all areas, may be in evidence. 6 Does public funding benefit everyone/you, your friends and family?, 2
50% 45% 40% 35% 30% 25% 20% 2009 2010 2011 2012
Total Agree Total Disagree
Weighted Base: All England adults 18+ 1,750, 7-9 September 2012; All England adults 18+ 1,732, 15-16 June 2011 2009 Base: 1,001 adults aged 15+ in England
In 2009, the question asked respondents about the benefit to everyone in England; in 2011, the question was asked twice, one concerning the benefit to everyone in England, and one concerning the benefit to you, your friends and family. There were minimal differences between the results to the two questions in 2011, and so in 2012 the question concerns benefit to you, your friends and family.
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What public funding should achieve Using a range of statements coherent with the Arts Councils goals and priorities, respondents were asked what public funding of the arts should achieve, by ranking the statements according to importance. In this year two additional statements were added to reflect the Arts Councils new responsibilities for museums and libraries. The three aims selected as most important are: Giving every child the opportunity to access art and culture and artistic and cultural experiences (most important: 13%) Developing new artistic talent (most important: 10%) Encouraging more ordinary people to engage with arts and culture (most important = 10%) The most important aims chosen by the public are largely concerned with access to the arts, though the aim developing new artistic talent shows a small increase this year in being selected as most important. The least popular aims are: Supporting artists and arts and cultural organisations to take risks and try new things out (most important = 0%) Enabling more people to have a say in the kinds of arts and culture and artistic and cultural experiences available in their communities (most important = 1%) Both responses to the most important and least popular aims are similar to those in 2011,
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The following chart shows the mean scores for the different aims; mean scores are calculated on the basis of the number of respondents selecting a statement as the most important, second most important, third most important, and so forth. These numbers providing a weighting score against each level of importance for a statement, which is then converted to a mean. Those statements with a higher mean score gained more selections at the higher levels of importance. 7 What should public funding of the arts achieve? What do you think public funding of the arts should achieve?
Giving every child the opportunity to access arts and culture and artistic and cultural experiences Encouraging more ordinary people to engage with arts and culture Enabling access to arts and culture for people who would not normally have that opportunity Ensuring access to knowledge and learning experiences for all Developing new artistic talent Supporting arts and cultural organisations such as theatres, orchestras, galleries, museums, libraries and dance companies to run themselves more successfully Supporting excellent and high quality arts and culture, and artistic and cultural experiences Preserving and caring for our cultural collections Supporting a diverse range of arts and culture, and artistic and cultural experiences Enabling a wider range of people to develop careers in arts and culture Enabling more people to have a say in the kinds of arts and culture and artistic and cultural experiences available in their communities Supporting artists and arts and cultural organisations to take risks and try new and innovative things out 4.49
Mean importance score out of 10
Source: dha & ICM
8.56
8.21
7.96
7.73
7.25
7.22
6.4
6.31
6.26
5.58
5.41
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Knowledge of the Arts Council Knowledge of the Arts Council remains relatively low amongst the general public, with only 31% of respondents indicating that they know a little bit or a fair amount about the Arts Council (2011: 31%; 2009: 32%). Half the general public say that they have heard of the Arts Council, but know nothing about it (2011: 51%; 2009: 39%). One in seven (15%) say that they have never heard of it (2011: 15%; 2009: 28%).
Views of the Arts Council There is a small increase in the proportion of the general public who agree that the Arts Council is important for enabling access to arts and culture and that it has a positive impact upon arts and culture (2011: both 21%). 15% agree that the Arts Council is a respected organisation (a drop on the previous year), and only 7% of respondents feel that the Arts Council communicates the value of arts and culture well. There is also a small reduction in the proportion of the general public who believe that the Arts Council only benefits a small number of people. The following table shows the percentage of respondents agreeing with each statement: 8 General Public views on the Arts Council
The Arts Council is important for enabling everyone to access arts [and culture]* The Arts Council has a positive impact on artists and arts [and cultural] organisations* The Arts Council only benefits a small number of people The Arts Council is a respected organisation The Arts Council spends public money poorly and inefficiently The Arts Council is good at communicating the value of arts [and culture]* 9% 11% 7% 7% 15%
24% 21% 24% 21% 19% 23%
20%
2012 2011
Source: dha & ICM
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18-34 year olds are less likely (10%) than those aged 55-64 (19%) and 65+ (22%) to feel that the Arts Council is a respected organisation. A similar pattern is the case across respondents who agree that the Arts Council is important for enabling access. 25% of respondents agree with more than one statement. 4% of all respondents agree that the Arts Council only benefits a small number of people, and that it spends money poorly and inefficiently. 14% of all respondents agree that the Arts Council enables access and positive impacts upon provision.
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The Arts and Cultural Sector and Partners
3 General perceptions of the Arts Council 3.1 Knowledge

There is a high level of knowledge of the Arts Council amongst the arts and cultural sector and partners and the opinion-formers who were interviewed for this research, though it is worth noting that the introduction of respondents from newer areas of the Arts Councils portfolio particularly museums and music education hubs and other organisations means that there is a slight reduction in the overall proportion of respondents who feel that they know the Arts Council well. Knowledge of the Arts Council is related to the length of contact respondents have had with the Arts Council, how well informed they feel about its work and how well they feel they understand the Arts Councils goals (all of which are asked about elsewhere in the survey). In total, 87% of respondents say they know the Arts Council at least fairly well (2009: 94%; 2011: 91%). 9 Knowledge among the arts and cultural sector and partners How well, if at all, do you feel you know the Arts Council?
2% 11% 9% 17% 35% 56% 59% 67% 48% Very well 31% 32% 13%
Overall 2012 Overall 2011 Arts Arts individuals organisations
100 90 80 70 60 50 40 30 20 10 0
3%
1% 7% 8% 5% 13% Not at all well Not very well 56% Fairly well
54%
38% 25% 10%

Museums Local authorities
Base: All stakeholders (762), 2012; All stakeholders (785), 2011.
Source: dha & ICM
Length of relationship has a direct correlation with respondents knowledge of the Arts Council. Only 2% of those respondents who have had contact or worked with the Arts
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Council for less than a year report knowing the Arts Council very well.9 For those with more than four years contact with the Arts Council, 93% report knowing the Arts Council fairly or very well. A good understanding of the Arts Councils goals also correlates with knowledge of the organisation. Arts organisations are more familiar with the Arts Council than other types of respondents. Generally speaking, opinion-formers have substantial knowledge of the Arts Council. Opinion-formers tended, on the whole, to fall into one of two groups. Many had a multilayered relationship, which might include a formal funder-fundee relationship with their regional office, engagement through a relationship manager and with an art-form director or a regional director, engagement in consultation processes or sub-regional and regional partnerships, and contact through broader networking. On the whole, those with a multilayered relationship were predominantly those with a direct funding relationship with the Arts Council. Others as with the 2011 findings cited particular knowledge which came through very specific relationships, or which was predominantly concerned with one or two aspects of the Arts Councils activity. Reflecting partly the inclusion of museums and libraries in this years sample, and the inclusion of a wider range of arts organisations in terms of size and relationship, more stakeholders indicated that they did have a relationship with a number of officers, but that this did not extend to head office at the Arts Council. most of the time we only really have contact with [name], our officer from the regional office. Whereas for other funded clients, there are relationships at all levels: The chief exec has been to visit us, and I've had email correspondence with him, so even at the most senior level. Their team in the [region].I really feel like they're consistently present, coming to see events Some opinion-formers specifically referred to the limits of their knowledge about National or Regional Council: I know the officers and officials of the Arts Council very well, I can't say that I know the actual Council. I think that's a bit faceless, so we deal with the people who implement the decisions, but we tend not to meet the people who make the decisions. Several stakeholders referred to a sense of having previously known the Arts Council, but feeling that current and potential future changes would affect this knowledge: I used to know them very well *Im+ feeling a little bit anxious. It's the sheer volume of change, combined with the regularity of new programmes, changing in functions, the funding and development balance changing in their work, and the forthcoming
9
This sub-group is a small sample size, at 54.
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large-scale administrative cuts. And how that will impact upon the relationship that we have with individual officers, and what we're expected to do in return to satisfy Arts Council's changing priorities. I know bits of the Arts Council well, but one of the things that's always been tricky with the Arts Council, and it's particularly accentuated with all the change that's about to happen, it's the sense that I don't actually know where the organisation as a whole is going...
3.2 Favourability
73% of the arts and cultural sector and partners are favourable towards the Arts Council (2011: 71%) with 15% regarding it very favourably (2011: 19%). 12% of respondents regard the Arts Council either mainly or very unfavourably (2011: 13%); this increases significantly for those arts organisations who are not NPOs. These results show no significant change from 2009 findings.
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10 Favourability among the arts and cultural sector and partners, 1 We are interested in your overall impressions, how favourably or unfavourably do you regard the Arts Council?
Very unfavourably 100 90 80 70 60 52% 50 40 30 20 10 0 Overall 2012 Overall 2011 Arts Arts individuals organisations Museums Local authorities 29% 19% 15% 17% 25% 18% 54% 56% 56% 48% 55% 2% 10% 15% 3% 10% 15% Mainly unfavourably Neither 2% 3% 12% 14% Mainly favourably 2% 11% 5% 3% 20% 9% 18% Very favourably
Source: dha & ICM
How favourably respondents regard the Arts Council is linked to their knowledge of the Arts Council and their understanding of its goals. As already noted, there has been little change on the overall findings between the different years (2009, 2011 and 2012) of fieldwork. The figure on the following page shows the trend across the three years for all those who indicated that they regarded the Arts Council mainly or very favourably, and all those who indicated that they regarded the Arts Council mainly or very unfavourably. What is perhaps worth noting is that the findings alter only very slightly, despite both significant changes at the Arts Council and to some participants funding relationships, and despite the influx of organisations like museums, libraries and music education hubs who are relatively new in their relationship with the Arts Council.
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11 Favourability among the arts and cultural sector and partners, 2

80% 70% 60% Total Favourable 50% 40% 30% 20% 10% 0% 2009 2010 2011 2012
Source: dha & ICM Source: Ipsos MORI Base: All stakeholders (762), 2012; All stakeholders (785), 2011. 2009 Base: Arts sector and partners: all respondents (946)
Total Unfavourable
Most opinion-formers regard the Arts Council favourably. Some situate this in the context of good communications, either through discussion or more corporately: I think our relationship with the Arts Council is one of a critical friend. They seem much less secretive, they are much less about the control of communication...more 'we want to try and communicate well', not 'we want to communicate on our own terms'. There is a sense of clarity about what their ambitions are.Once you understand what their limitations are, it becomes easier. Other opinion-formers particularly focus on the structural importance of the Arts Council: Without them it would be a lot worse. Someone's got to do that job. *I+ regard them very favourably, because they are our partners and, you know, they are the way into helping both them and DCMS get a bigger chunk of funding and a stronger voice round the cabinet table.... A small number of opinion-formers regard the Arts Council less favourably. Some raise specific issues concerning elements of the Arts Councils current activity:
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Well, there's two answers to that really. One relates to day-to-day relationships in which I would regard them favourably, and one is in the process of the [strategic fund] application, in which I would have to say is quite unfavourable. Whilst for others, the significant changes taking place are a problem: There are issues about the way it sees itself, and it feels a bit under siege.they've got to get sorted out, otherwise they'll begin to lose a bit of credibility, when it looks as if theyre much more interested in getting their own raison d'etre
3.3 Advocacy
More than half (55%) of the arts and cultural sector and partners say they would be advocates of the Arts Council, a slight increase on 2011 (49%), with 22% saying they would speak highly of the Arts Council without being asked and 33% if asked. By comparison, 16% would be critical (2011: 20%) and only 3% would be critical without being asked. 12 Advocacy, 1 Which of these phrases best describes the way you would speak of the Arts Council to other people?
I would speak highly of the Arts Council without being asked
22%
I would speak highly of the Arts Council if I were asked
33%
I would be neutral towards the Arts Council
27%
I would be critical of the Arts Council if I were asked
13%
I would be critical of the Arts Council without being asked
3%
Base: All stakeholders (762)
Source: dha & ICM
Respondents who feel more informed and familiar with the Arts Council and who understand the Arts Councils goals were more likely to be advocates for the Arts Council.
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Arts individuals are more likely than other types of respondents to say that they would be advocates without being asked. Groups which are new to this survey and to the Arts Council museums and music education hubs and other and local authorities are more likely than arts individuals and arts and cultural organisations to say that they would be neutral. There were also some differences in advocacy between respondents from different areas, with net advocacy scores ranging from +60% to +22%, with a mean overall net advocacy of +39% (2011: +30%).10 Net advocacy by Arts Council regions is given in the following table: Net advocacy by Arts Council region 2012 East +47% East Midlands +60% London +27% North East +22% North West +37% 2011 +51% +54% +26% +10% +17% 2012 South East +33% South West +39% West +47% Midlands Yorkshire +50% 2011 +10% +32% +32% +47%
The following figures looks at the year-on-year comparison of respondents who identified that they would either be advocates (speak highly of the Arts Council) or critics (be critical of the Arts Council). As with the trend for favourability towards the Arts Council, there is relatively little movement in the findings between different years. 13 Advocacy, 2
60% 50% 40% 30% Total Critics 20% 10% 0% 2009 2010 2011 2012
Total Advocates
Base: All stakeholders (762), 2012; All stakeholders (785), 2011. 2009 Base: Arts sector and partners: all respondents (946)
10
Net advocacy scores look at those respondents who indicate that they would speak positively of the Arts Council, and subtracts those respondents who indicate that they would be critical. This leaves an overall net score for advocacy.
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The majority of opinion-formers would speak highly of the Arts Council. Positive views of the 2011 application process remain a significant driver: I think the NPO process was a very radical thing really As do positive responses to the ten-year strategic framework: .they've been very clear about where they are going. And more generally to the Arts Councils approach to its core activities: The Arts Council does have an element of risk, they believe in the artist and theyre curious about the project, and when you combine those two things together you have a wonderful outcome. Other opinion-formers raised issues concerning the current degree of change taking place, and the ability of the Arts Council to manage that change: They work incredibly hard to do the right thing, but unfortunately they've got their hands tied behind their backs. I do think they've bitten off a lot The danger is taking on too much wo rk, and not doing any of it properly. Generally speaking, there was still a sense, however, of the structural importance of the Arts Council: Yes [I would speak highly], because I think they're a supportive organisation and I actually think that if you're going to not speak well of them you have to have an idea of what the alternative should be, and I think that there isn't really a good alternative.
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3.4 Image
The arts and cultural sector and partners were asked to select words from a list, developed by Ipsos Mori in conjunction with Arts Council staff and subsequently added to in order to reflect the Arts Councils corporate values, which fit their current impressions of the Arts Council, and then to select again according to what they thought the Arts Council should be seeking to be. Of the ten most selected words reflecting the current impressions of the Arts Council, eight are positive, including helpful (43%), strategic (41%), supportive (39%), accountable (30%), useful (27%), knowledgeable (25%), credible (21%) and collaborative (17%). 44% of respondents chose bureaucratic and 18% distant. The following chart plots the relationship between current ideas or impressions of the Arts Council, and what respondents felt that the Arts Council should be seeking to be. Quadrant lines have been inserted at the average (mean) level of response across all words, to each question.
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14 Impressions of the Arts Council For each of the following words and phrases please tick those which fit your ideas or impressions of the Arts Council? For each of the following words and phrases please tick those which fit your ideas of what the Arts Council should be seeking to be? You may pick a maximum of six
50
45 Collaborative
Strategic
40
The Arts Council should be seeking to be %
Supportive 35 Creative Accountable 30 Bold Nurturing Flexible 20 Dynamic 15 Confident Passionate Open Diverse Expert Honest Credible Innovative
Responsive
Knowledgeable
Helpful
25
10
Trustworthy Democratic
Authoritative
Useful
Decisive 5 Old fashioned 0 0 5 Weak 10 Elitist 15 Impermeable Closed Distant 20 25 30 35 40 Bureaucratic 45 50
Current image of the Arts Council %

Base: All stakeholders (762) Source: dha & ICM
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Those words ringed in the top right-hand quadrant are those where there is a close correlation between the current image and what respondents feel the Arts Council should be seeking to be. Strategic and supportive are the first and third most chosen words for what the Arts Council should be seeking to be, and are in the top four words relating to current impressions. In this year strategic has replaced collaborative as the most selected word for what the Arts Council should be seeking to be. Both accountable and knowledgeable are selected in the top eight words for both current impressions, and what the Arts Council should be seeking to be. Between 2011 and 2012 there have been small statistically significant rises in the proportion of respondents selecting strategic and bold as things which the Arts Council should be seeking to be. Creative and collaborative are both in the top four words which respondents feel the Arts Council should be seeking to be, and both score 20 or more percentage points higher on this axis than on respondents view of the current image of the Arts Council. Other facets which indicate some discrepancy between what the Arts Council is, and what it should be seeking to be, include innovative, bold, responsive and nurturing. The bottom right-hand quadrant shows characteristics which the arts and cultural sector and partners think apply to the Arts Council, but do not think it should seek to be. Bureaucratic, with 44% of respondents identifying it as part of their current impressions, remains the most significant of these characteristics (2011: 48%). Specifically in terms of the Arts Councils five corporate values, responses are as follows: The Arts Councils corporate values: stakeholder views of what the Arts Council is, and what it should be Values Passionate Knowledgeable Accountable Collaborative Nurturing Bold Current impressions 2012 8% 25% 30% 17% 9% 3% 2011 7% 24% 25% 15% 6% 2% Should be 2012 15% 27% 35% 41% 24% 26% 2011 17% 28% 34% 41% 22% 21%
The following chart offers a comparison of the current impressions of the Arts Councils corporate values, with a comparison with 2011.
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15 Impressions of the Arts Council, Year on Year Comparison of Corporate Values For each of the following words and phrases please tick those which fit your ideas or impressions of the Arts Council? You may pick a maximum of six
Accountable 30% 25% 25% 24% 17% 15% 9% 6% 8% 7% 3% 2%
Source: dha & ICM
Knowledgeable
Collaborative
2012 2011
Nurturing
Passionate
Bold
Opinion-formers were asked to reflect both on their overall impressions of the Arts Council, and also on what they felt the organisations strengths and weaknesses were. Some opinion-formers indicated, as with the question on the online survey, a range of characteristics which they identified with the Arts Council: Integrity. Commitment. Communication. Vision. Creativity. Committed, political, over-stretched, bureaucratic. Large. Bureaucratic. But suppportive, listening and open to change. Further to this sense of bureaucracy, some opinion-formers raised doubts about whether an organisation like the Arts Council can actually function in the ways in which stakeholders might wish it to: I do think it's institutionally dysfunctional on some levels [but] I think the people within it are often really, really good people.. I just sense that there's something about the institution that doesn't quite work, and almost never could. It's got a difficult path to tread.
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This is similar to the sense in the 2011 findings that, for some opinion-formers, the bureaucratic nature of the Arts Council is something of a necessity, albeit an unfortunate one. Many opinion-formers overall impressions are tied closely to concerns about what the role of the Arts Council is: I see them very much as playing quite an active role in promoting the arts and being advocates for the arts, so, and very supportive of initiatives. For some, this revealed a sense of the changing the priorities of the Arts Council, though different opinion-formers see these changes differently: I think they have responded to changing times and different agendas....I think they are much more connected with some of the agendas that are relevant to us, in terms of digital agendas and community-based agendas. So yeah, I'm very encouraged by that. I think its strengths are that in the last few years it appears to be more focused on the art. It's feeling a bit more, how can I put it, actually customer-focused...and by that I don't mean artists and the things, but actually the public. Several opinion-formers highlighted the difficulties of the Arts Councils role, and of the current circumstances in which it operates: It's got a challenging remit, it's got fingers in lots of different pots... Well, they're doing a good job, you know, and I think they handled the last spending round very well. Very competent, but also rather in on itself, because they're having to cut themselves in half. I think one of the weaknesses it may have is not necessarily of its own making, but is being forced upon it by government, that it's been given too much to do. For some opinion-formers whose engagement with the Arts Council takes place predominantly through a regional office, there are questions about the overall direction of the Arts Council: I think the main thing as far as we're concerned is you know we're just wondering about the effectiveness at a national level, I think I'm not saying that that's not happening, but it is a concern.... With other opinion-formers, some of the challenges are about understanding the way in which the Arts Council operates:
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Whilst I feel I'm quite engaged with the regional structure.some of the actual structures and functions and the processes of grant-making and the relationship with that, that side of the structure, are less transparent to me at the moment. When asked about the Arts Councils weaknesses, some opinion-formers feel that the forthcoming structural changes were necessary, and would be beneficial: Sometimes I think they actually got too big. I think it's overly complex, interestingly, in many areas I think there are too many of them and that actually a more focused approach to who they are and what they do would be helpful. Whilst, where cited, the 2011 national portfolio organisation application process is widely felt to be a positive process, some opinion-formers still feel that the Arts Council could be bolder in its approach to funding: Also there's still that challenge that the really large, established, traditional organisations... In the major change up that just happened recently it would have been interesting to see a bit more challenge to some of those larger organisations and bit more of those resources spread to smaller organisations and mid-size organisations. Other areas of weakness for some opinion-formers include the range of recent strategic funds which have been launched by the Arts Council: Instituting quite a lot of new funding streams, without making sure that kind of, it's not all about new all the timethere's needs to be some sustainability going on. In an ideal world, I'd like to see fewer strategic commissioning funds, and basically more trust placed in those that do enjoy revenue funding, to fund them properly and just let them get on with the job. Some opinion-formers cite very specific areas of weakness, such as evaluation and learning within the organisation: It's [the Arts Council] under-invested in research...and evaluation as well It's quite tired in its approach to evaluationI think it looks at it in 1990s perspectives of impact, and doesn't really think about itself as a dynamic learning organisation. Whereas for other opinion-formers, what is most important is the degree to which the Arts Council can be seen to be successfully engaging with government: I think its a bit toothless, when it comes to it. I don't think it's in a position where it can lobby and fight it's corner. It is more and more as time goes on a kind of arm of government, if you know what I mean. I think they haven't always proved perhaps as politically adept as they might be.
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When asked about the Arts Councils strengths, opinion-formers cite both the specialist expertise of officers, the connection with the sector and the confidence which the sector has in the Arts Council: Genuine expertise, and also genuine commitment. As funders go they're pretty light touch really A lot of backing from the arts industry sector. I think it's done a good job in changing perceptions of the relationship between it and the national government funding, some of which has not been the Arts Council's responsibility. Having people with different specialisms, and that's again kind of a concern that I would have if everything becomes too centralised that you kind of lose the ability to have that real specialist advice. Sheer dedication and quite a long of creative strength going on there. they [the Arts Council] also understand arts organisations and understand the artistic and creative process, so when things go wrong and need sorting out, they're grown-up about how you can sort those things out. For some opinion-formers, the widened responsibilities of the Arts Council are a strength, enabling an overview which joins up different areas of cultural activity: I think the fact that it provides a single authoritative voice for arts and more wider culture, including museums and libraries. Clearly its funding position, and the fact that its increased its remit to include museums and music hubs and things like that, which helps it sort of consolidate its position. For others, the ten-year strategic framework provides clarity: Its mission statement is very clear, I think that's its main strength, in that everybody I think understands what they're there for. The focus, the arts for everyone, I think we've clear about the vision. Finally, for some opinion-formers the structural principal of the Arts Council as an armslength funding organisation is its biggest strength: Well, I believe in the Arts Councilin a mechanism which is at arms-length from government. Well, the arms-length principal. I think that's a massive strength. To actually keep that is vitally important.
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4 The Arts Councils role and impact 4.1 The Arts Councils role
Opinion-formers were asked to consider what they felt the Arts Councils role and remit should be. Many opinion-formers view the Arts Councils role as primarily to advocate for the arts across different sectors and stakeholders and more specifically to government: *The Arts Councils role is to+ absolutely advocate for the arts and to get as much money to come into the arts as they possibly can. For some opinion-formers, that advocacy role extends to a responsibility to engage with the public and to ensure that the perceived unique contribution of arts and culture is communicated: I think actually that the Arts Council has a really big role to play, particularly at the moment, in making the public more aware of what the arts can do for them. One of the things that worries me hugely is the public perception of the arts, and quite frankly the fact that government seems to be fuelling that. *The Arts Councils role is+ to find an audience for it [arts and culture] and explain But actually, never lose sight of the fact that at the heart is the stuff itself. In our desperation to convince people that this stuff is important we tend to focus either on the education or on the economic, all which is important, but less on the thing itself. I think we should be braver, they should be braver about the thing. Some opinion-formers particularly stress the Arts Councils responsibility as a development agency for arts and cultural practices: Well, I guess it's [role is] to encourage best practice across a wide range of cultural endeavour.and funding to stimulate best practice and innovation. It's [the Arts Council] there to ensure the positive, strategic development of the sector. In terms of this development role, a few opinion-formers stress very particularly the way in which the Arts Council can gain an overview, and act upon it: *The Arts Councils role is + Trying to join different parts of the country together, so that we've got a united arts infrastructure[It] can deal with the bigger issues. Not all opinion-formers, however, agree that the Arts Council should take the leadership in developing the arts and cultural sector: The thing that I have often wavered over is the Arts Council often likes to say that it's an artform development agency, and I would actually say, personally, that it isn't; it's an arts funding body. I wish in a way that it would be more confident to say that it's
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that, and.... I really believe that the pioneers are the artists, and sometimes that gets into trouble a little bit, 'cause actually the people that are defining the art are the artists, and to some degree the Arts Council needs to follow and fund, rather than try and take an inherently leading role itself. To help the sector position itself within the wider economy.but leaving the sector to get on and deliver. The key issue, in the conceptualising of the Arts Councils development role, appears to be whether this role is fundamentally one of facilitating or delivering: Its role is to support creative people's curiosityto realise some curious ideas that wouldn't otherwise happen. Other respondents focus particularly upon the Arts Councils role as a funder: Well, it's practical role and remit is to redistribute government money. It's there as a funding body I suppose, first and foremost.
4.2 The Arts Councils mission

Mission and relevance In November 2010 the Arts Council published a ten-year strategic framework, laying out its plans to achieve its mission of great art for everyone and outlining five goals. Following the Arts Councils adoption of responsibilities for specific areas of development with museums and libraries in October 2011, the Arts Council also published a companion publication, to integrate museums and libraries into that ten-year framework. The survey asked the arts and cultural sector and partners to reflect upon the mission and goals. 72% of respondents agree that the Arts Council has a strong sense of mission (2011: 70%; 2009: 62%), with 27% strongly agreeing. The proportion of respondents agreeing that the Arts Councils goals and priorities are relevant to and will meet the needs of the wider public has slightly increased on the previous year, at 58% (2011: 53%; 2009: 30%); and 47% agree that the goals and priorities are based on the needs of artists and arts organisations (2011: 40%). A new statement was added in this year, to understand perceptions of the Arts Councils use of resources. 53% of respondents agree that the Arts Council uses its resources effectively to achieve its aims.
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16 Mission and relevance Thinking about the Arts Councils work to achieve great art, libraries and museums for everyone, to what extent do you agree or disagree with each of the following statements?
Strongly agree Tend to agree Neither Tend to disagree Disagree strongly Don't know/no opinion
2%
The Arts Council has a strong sense of mission The Arts Council's goals and priorities are relevant to and will meet the needs of the wider public The Arts Council uses its resources effectively to achieve its aims The Arts Council sets its goals and priorities based on the needs of artists and arts and cultural organisations
27%
44%
16%
8% 3%
Net agreement: +62%
14%
44%
22%
13%
4% 3%
Net agreement: +41%
10%
43%
23%
15%
3% 5%
Net agreement: +35%
10%
37%
21%
24%
5% 3%
Net agreement: +18%
0%
20%
40%
60%
80%
100%
Source: dha & ICM
Looking at the responses by Arts Council region, respondents from the East Midlands are consistently more likely to agree with the four statements from the chart above. Of the different types of respondents, local authorities are more likely to strongly agree that the Arts Council has a strong sense of mission, though their net agreement overall is similar to that of other groups. Local authorities are more likely than other groups to disagree that the Arts Councils goals and priorities are relevant to and meet the needs of the wider public, but also have a similar agreement level to other groups (with the result that fewer local authorities neither agree nor disagree). Arts organisations are more likely than arts individuals to disagree that the Arts Council uses its resources effectively. Overall, arts individuals show the highest net agreement concerning the effective use of resources. Respondents from areas of economic development are the only group to show negative net agreement with this statement (it should however be noted that this sample size is very small).
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Local authorities and arts individuals are more likely than arts organisations to strongly agree that the Arts Council sets its goals and priorities based on the needs of the sector. Overall, local authorities show the highest net agreement with this statement. Most opinion-formers feel that the Arts Council has a strong sense of mission, and the majority of these responses show knowledge of the five goals, and either or both of the publications Achieving great art for everyone and Culture, knowledge and understanding I think it has a very strong sense of that mission, I think it articulates it fairly well. We're always very clear what the Arts Council's there for. A number of opinion-formers suggest that the mission still requires some further clarification or resolution: I find a lot of it very arts-centric, rather than people-centric. There is a strong sense there, but the unresolved tension is the 'great art' and the 'everyone', it's the excellence versus the engagement. Whilst some opinion-formers feel that the Arts Council has explained its mission well, there are others who place a particular emphasis on the need to advocate and share the mission more widely: I think it could articulate it a lot better.these are very hard things, because I think articulating your mission, you have to repeat it and repeat it and repeat it until people are fed up with it. Opinion-formers disagreed about whether the goals and priorities reflect the needs of different stakeholders, and whether they should do so: I think they probably reflect those organisations which it funds. I'm not sure as a body they reflect the public voice at all, I'm not sure how they should. It still feels like an organisation that's very focused on art and the artist, and less so on audiences apart from young people, which is one of the things that we find a bit anomalous. For some opinion-formers, this accommodation of different needs suggested that the mission covers a very broad canvas: they're [the priorities] so big, I kind of think that if you can't find anything within those five priorities that you can fit your project into, then it must be very, very specialised.
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As with the findings in 2011, several opinion-formers feel that there is still some work to be done to make the Arts Councils mission tangible, and to determine how it will be carried out: *whether there is a clear plan+ is not clear to me, partly because of the plethora of initiativesI think it has a plan, but it's not clear to me what that plan is because I just see multiple emails launching new initiativesI can't discern a clear, single strategic aim behind all these multiple strands. Though some opinion-formers feel that the Arts Council is providing as much clarity as is possible within the current circumstances: The plan is as clear as it's reasonable to expect it to be at the moment.At the moment they're going in the right direction. Overall, the Arts Councils mission has been broadly well-received by opinion-formers. There remains a clear sense that more work is required to make the mission tangible, and to lay out plans for achieving it. In addition, there is some significant concern that current and future changes to the Arts Council could hinder the development of that tangible plan: I think it has a plan, sometimes.like any organisation it can get side-tracked a little bit by things like its own internal structure and the fact that they've got to cut costsIn the current financial climate, you can't achieve everything. I think it does [have a clear plan], but I think it's obliged to change them all the timebecause of this imposition [reduced investment and new responsibilities from government].
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Effectiveness in achieving mission Respondents were asked whether they felt that the Arts Councils effectiveness in achieving its mission great art for everyone - had changed over the last year. As in 2011, a small majority of the arts and cultural sector and partners feel that it has stayed the same, with 33% selecting this option (2011: 34%; 2009: 45%). 21% of respondents feel it has got better (no significant change from 2011), and 29% of respondents think it has got worse (2011: 27%; 2009: 15%). The significant change seen between 2009 and 2011, which may be attributable in part to changes in investment opportunities and reduced public funding, seem to have been maintained in this year. The chart below shows the responses of all arts and cultural sector and partners, and the different responses of individuals, organisations and local authorities. 17 Effectiveness in achieving mission, 1 The Arts Councils mission is great art for everyone. Do you think that the effectiveness of the Arts Council in achieving this mission has got better, worse or stayed the same over the past year?
100% 80% 60% 40% 20% 0% -20% -40% Overall Arts Arts Museums individuals organisations Local authorities
Source: dha & ICM
21%
15% 30%
20%
40%
25%
Better
33%
33%
25% 15%
33%
Stayed the same Worse
29%
23%
33%
27%
Arts individuals are again the group most likely to say that they didnt know or had no opinion, with one in three selecting this option (this was the case in 2009 and 2011). This year the three largest groups of respondents show negative net scores: arts individuals, net agreement = -8%; arts organisations, net agreement = -13%; local authorities, net agreement = -2%. These responses are all more negative than those in 2011. On the whole, newer stakeholders are more positive. Museums, for example, show a positive net agreement (+25%).
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Respondents from the East Midlands region are more likely than those from other regions to say that the Arts Councils effectiveness in achieving its mission had got better. They were also less likely than those from London, the North East, North West and Yorkshire to say that things had got worse. The figure below shows the year on year comparison between responses to this question. The significant movement between 2009 and 2011 in respondents indicating that the Arts Councils effectiveness in achieving its mission has got worse is clear here, though it is also worth noting the lack of change in the proportion of respondents who believe that the Arts Councils effectiveness has got better. Changes to levels of investment and to the Arts Council structure are the factors most often cited by those who say it has got worse in both the 2011 and 2012 fieldwork, and this change coincides with significant changes in government funding. 18 Effectiveness in achieving mission, 2
50% 45% 40% 35% 30% 25% 20% 15% 10% 2009 2010 2011 2012
Better Worse Stayed the same
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Respondents who had selected better or worse were asked to indicate the reason s for their selection. The chart below shows the reasons given for saying that the Arts Councils effectiveness in achieving its mission had got better. 19 Reasons for improvement of effectiveness in achieving mission Why do you say it has got better?
The Arts Council has made a good case for continued public investment in arts and culture The vision and goals are ambitious and bring focus The Arts Council is using its funding well, to invest in a balanced portfolio The Arts Council is increasing peoples awareness of and access to the arts and culture The Arts Council has improved the way it makes and communicate decisions There is strong leadership at the Arts Council The structure at the Arts Council has improved things
50% 49% 49% 43% 41% 21% 15%
Other
Base: All those who said it has got better (259)
20%
Source: dha & ICM
Popular responses include the case which the Arts Council has made for continued public investment, the vision and goals and perceptions of the Arts Councils performance in the context of revising its funding portfolio.
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20 Reasons for deterioration of effectiveness in achieving mission Why do you say it has got worse?
There is less funding available than there was previously The structure of the Arts Council has made things worse The Arts Council has made a poor case for continued public investment in the arts and culture The Arts Council is too inward-looking The Arts Council is using its funding poorly and not making the most of the available resources The vision and goals have not been communicated well There is poor leadership at the Arts Council The vision and goals are uninspiring The Arts Council wastes money
69% 45% 38% 32% 26% 21% 20% 15% 13%
Other
33%
Base: All those who said it has got worse (107)
Source: dha & ICM
The most popular reasons suggested included: the reduction of available funding; the new structure making things worse; and the perception that the Arts Council had failed to make the case for public investment in ars and culture. 86% of the arts and cultural sector and partners felt they understand the Arts Councils goals and priorities fairly or very well (2009: 86%; 2011: 90%); 32% say they understand them very well (2009: 18%; 2011: 36%). Overall, the majority of opinion-formers feel that the Arts Councils effectiveness in achieving its mission has improved: I think it's improved quite, quite significantly, and continues to improve. There's been some real progress I think they have done some bold steps. There's a maturity and subtly about their operations now, and they're more confident actually. They're talking to people better, they're being more honest. It's not perfect, and people still complain, but it's getting there.
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Not all opinion-formers agree, and for some recent funding schemes are an indication of a lack of prioritisation from the Arts Council: I think it's been patchy, because they're on a journey and at the same time as needing to perhaps go away, quietly think about, evolve, 'where are we going, what's the future of our organisation', they've also gone hell for leather in launching new funding streams. it [the Arts Council] just kind of feels its now gone back to having a number of different funding programmeswhich I think kind of confuses it a little bit. It feels that it priorities haven't really reduced in line with the reduced investment it receives, and its priorities reduced in line with the savings it s being asked to make at the moment. Whereas for others, changes to investment have suggested that the Arts Council is more focused than previously: I think, to a certain extent, because of the changes that are taking place, they have got much clearer about what they're funding and what they're not funding, and their objectives. They've been prepared to reduce or cut funding altogether with some [organisations], and take on new projects with others, so I think that is more of a sense of active choice and active strategy. As with other questions, several opinion-formers explain their negative reactions, or qualify their positive reactions, with concern about the future capacity of the Arts Council: I think it's got worsebecause it's cutting itself to pieces on the demands of the government and it doesn't have the resources it did, and neither can it really focus because it's constantly being restructured. I think the effectiveness at the very top level has got much better, I think the effectiveness down the Arts Council is very variable.
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21 Understanding the Arts Councils goals and priorities How well would you say you understand the Arts Councils goals and priorities?
100 90 80 70 60 50 40 30 20 10 10% 0
Overall 2012 Overall 2011 Arts Arts Museums individuals organisations Local authorities
Source: dha & ICM
2% 11%
1% 7% 1%
3% 3% 26%
1% 7% 23%
5% 15%
Don't know/no opinion Not at all well
54%
54%
53% 43% 53%
Not very well
58%
Fairly well
32%
36%
39%
33%
27%
Very well
There are correlations between a good understanding of the Arts Councils goals and priorities and how well informed respondents feel, familiarity and length of contact with the Arts Council and with both favourability and advocacy also. Those indicating that they did not know the Arts Council well show a negative net response to understanding the goals and priorities well. Interestingly, those who say they would be critical of the Arts Council are more likely than those who are neutral to say that they understand the goals and priorities well. Arts organisations are again the most confident in their understanding of the Arts Council s goals and priorities, with 92% reporting a good understanding and 39% that they understood them very well. Within this group, there is less understanding amongst those who are not part of the national portfolio. There appears to be a slight reduction in understanding amongst arts individuals between the 2011 and 2012 results, though the small sample size means that this is not quite statistically significant. One in five local authorities (20%) and one in four museums (25%) do not have a good understanding of the goals and priorities.
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4.3 Impact
Whilst most of the arts and cultural sector and partners and opinion-formers feel that the Arts Council makes a positive impact, at least in certain aspects of its work, responses to the question of where and upon whom that impact falls are more varied. Respondents were asked to consider both the geographical focus of impact, and the beneficiaries of the work of the Arts Council. They were also asked how the Arts Council is progressing in different areas of activity, and particularly in relation to its goals. Where does the Arts Council have an impact? Across the arts and cultural sector and partners, 80% of respondents agree that the Arts Council makes an impact in their region (2011: 83%; 2009: 84%), and 86% agree that the Arts Council makes an impact in England (2011: 89%; 2009: 80%). 61% of the arts and cultural sector and partners agree that the Arts Council makes an impact in their local area (2011: 64%); this drops to 36% for impact it makes internationally (2011: 38%), with almost one in five respondents (22%) saying that they dont know, and just over a quarter (28%) neither agreeing nor disagreeing. 22 Impact at geographical levels To what extent do you agree or disagree that the Arts Council makes a positive difference to the arts?
Strongly agree Tend to agree Neither Tend to disagree Strongly disagree Don't know/no opinion
In your local area
29%
32%
17%
13%
6% 4% agreement:
+43%
Net
2%
In your region
42%
38%
10%
5% 2% agreement:
+72%
Net
2%
In England
44%
41%
7% 3% 3% agreement:
+81%
Net
Internationally
11%
25%
28%
10% 4%
22%
Net agreement: +23%
0%
20%
40%
60%
80%
100%
Source: dha & ICM
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There is some variation between different types of stakeholders in the perception of where the Arts Council has a positive impact. Arts individuals are, on the whole, slightly more positive than other groups, particularly in their overall net agreement: 85% net agreement that the Arts Council has a positive impact in England, 80% net agreement in the region, 58% net agreement locally and 30% net agreement internationally. By contrast, arts organisations were 81% in net agreement that the Arts Council had a positive impact in England, 73% net agreement in the region, 46% net agreement locally and 20% net agreement internationally. Local authorities were more confident that the Arts Council has an impact in England (net agreement =78%) than regionally (net agreement = 73%), locally (net agreement = 35%) or internationally (net agreement = 36%). New stakeholders, including museums and music education hubs and other organisations were more likely, on the whole, to say that they did not know. When asked about impact on their region, respondents from the East Midlands, London, the South West and West Midlands are the most positive; respondents from South East are the least likely to agree that this the Arts Council makes a positive difference in their region. Net agreement about impact on their region breaks down as follows: Net agreement on regional impact, by Arts Council region 2012 East East Midlands London North East North West +64% +80% +78% +65% +66% 2011 +76% +82% +84% +63% +70% 2009 +74% +66% +83% +77% +86% South East South West West Midlands Yorkshire 2012 +57% +76% +76% +72% 2011 +58% +80% +79% +82% 2009 +88% +64% +82% +92%
The majority of opinion-formers feel that the Arts Council makes a different to arts and culture in their area, and most of those respondents based outside London are clear about the value of both the investment and the presence of the Arts Council in different regions. As has been the case with previous phases of fieldwork, several opinion-formers reflect particularly on the potential conflict between a focus on London and the understanding of arts activities in the other regions: I think it's very important [to build investment in the other regions], because clearly the whole population doesn't revolve around London.I hope its going to be able to carry onI do think that's been successful. I think it's right that the balance of funding is in London actually, because that's where the national organisations areI think one of the questions is whether the national organisations sufficiently benefit the whole of the country.
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Other opinion-formers are particularly keen to see the Arts Council focus on and build on the kinds of partnerships which can be developed going forwards, to support positive impact: I think that I understand the investment portfolio in the [region] more clearly than I do anywhere else.partly because it's more clearly transmitted by the *regional+ office, so I know that they build on existing strengths, they invest in ongoing or developing talent or things that are working, and they try and make those investment vehicles or partners work hard for them in spreading the benefit. I have to say I think there's one major problemwhich is that the Arts Council's relationship with local authorities is frankly broken....given that local government has no statutory obligation to support the arts, it's too easy for local authorities to say 'we're not going to invest in that, because we don't have to'...the Arts Council's reaction to the threat of that has been wholly inadequate. Finally, some opinion-formers feel that there is an absence of the recognition of the impact which the Arts Council makes: We know they're making a difference I'm not sure it's truly spelt out necessarily enough. Who does and should benefit There is a significant difference between those whom the arts and cultural sector and partners think should benefit, and those whom they think do benefit. More than half of the respondents (52%) believe that cultural organisations benefit the most, and only 16% believe that they should.11 Comparatively, 59% believe that the public should benefit the most, but only 25% feel that they do. These findings are similar to the results from the 2011 survey.
11
It is worth noting that the wording has changed for this question, to reflect the new responsibilities of the Arts Council. In 2009 and 2011 this question referred to arts organisations benefiting. This was changed to cultural organisations in 2012.
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23 Comparison of those who currently benefit and those who should benefit Which of the following groups do you think currently benefits most from the Arts Councils work? Which of the following groups do you think should benefit most from the Arts Councils work?
Cultural organisations 52% 16% 25% 59% 9% 21% 7% 0% Does benefit the most 7% 3% Should benefit the most
The public
Artists
The government
Other
Source: dha & ICM
When asked who currently benefits most, museums were less likely than other groups of respondents to select cultural organisations. Local authorities were less likely than arts individuals and organisations to select the public. When asked who should benefit the most, 78% of local authorities, museums and libraries select the public, as do 77% of music education hubs and other organisations; 60% of arts organisations select the public; and 55% of artists select artists. Opinion-formers views range from identifying the end user the public as the primary beneficiary, to identifying both artists and arts and cultural organisations as the primary beneficiaries. Answers to this question from opinion-formers depend sometimes upon the way in which a respondent conceptualises of the process of benefit. Many identified organisations as primary beneficiaries because they had a direct relationship with the Arts Council, and were in direct receipt of funding. This was not necessarily viewed as a failure by the Arts Council in benefiting the public, rather a conceptualising of benefit in which the organisations themselves are responsible for the relationship with the public: It's obviously got to be the organisations they fund, because it's the organisations they fund that deliver the great art for everybodyI'm really clear about that, it's not
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about the Arts Council delivering that, it's about the Arts Council supporting and enabling it. In their responses, opinion-formers raise two particular concerns about beneficiaries in the future. The first relates to the public: At the end, they've got to look at audiencesand I would say a bit more on audiences would be where they need to take things, i.e. a bit more understanding on audiences. Data about audiences, trends on audiences is definitely a gap... There needs to be a level of accountability if you're going to throw half a million pounds or whatever and if you look at what the gallery delivers, it delivers to a certain part of society.they should be held to ransom *to be accountable+...at the moment they're given this carte blanche to do whatever they like. Respondents to the online survey were asked why they felt different groups should benefit the most. Those suggesting that artists should benefit the most give reasons such as: artists are at the frontline and without artists there would be no art/arts organisations. Those suggesting that arts organisations should benefit the most give reasons such as: arts organisations provide a link between artists and the public. Those suggesting that the p ublic should benefit the most give reasons such as: art should be for everyone/benefit the wider public, the Arts Council is funded by taxpayers/public money and arts council/ organisations should be less focused on their own agendas/sustaining themselves. What is Arts Council England achieving? Respondents were asked to consider the level of impact that the Arts Council was achieving against key activities set out in the five goals from Achieving Great Art for Everyone. Two additional statements were added to reflect the new responsibilities for museums and libraries, and the vision and goals in the publication: Culture, Knowledge and Understanding. There is significant variation in the perception of impact between different goals. Whilst a significant majority of respondents feel that the Arts Council is having some impact in all areas (with combined scores for any impact from 84% to 97%), those respondents attributing at least some impact varied from 87% for supporting and promoting excellence in arts and culture to 51% for ensuring access to knowledge and learning experiences for all. The chart on the following page shows the levels of impact that the arts and cultural sector and partners feel the Arts Council is having on each of twelve key activity areas. 12
12
Where results shown in this graph do not add up to 100%, it is due to rounding.
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24 Impact against key activities and goals Thinking about how the Arts Council works to achieve its aims, please tell us in response to the following statements how much impact you think the Arts Council has?
Goal 1: Talent and artistic excellence are thriving and celebrated Supporting excellence in arts & culture Enabling artistic talent to thrive Promoting arts & culture that reflect diversity of England Goal 2: More people experience and are inspired by the arts 25% 19% 29% 15% 20% 15% 46% 46% 51% 29% 51% 49% 31% 22% 36% 51% 51% 19% 1% 23% 18% 1% Encouraging greater public awareness about arts & culture Goal 3: The arts are sustainable, resilient and innovative Encouraging innovation and experimentation Supporting organisations to become more sustainable & resilient Goal 4: The arts Developing the knowledge & skills of arts & cultural leadership & workforce leadership and workforce are diverse and highly skilled Developing a more diverse arts & cultural leadership & workforce Goal 5: Every child & young person has the opportunity to experience richness of the arts Enabling every child to experience arts & culture Libraries Museums Ensuring access to knowledge & learning experiences for all Preserving & caring for our cultural collections 0%
10% 1%
2% % 3% Strong impact
4% 3% 2% 6% 2%
Enabling more people to experience arts & culture
Some impact
4% 3% 5% 5%
Limited impact
11%
10% 13% 8% 43%
50%
42% 50% 34%
28%
5%
8%
6%
6% 4% 4%
No impact
30% 38%
6%
5%
25%
20% 40%
46%
60%
Source: dha & ICM
13%
2% 80%
14%
100%
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The majority of respondents agree that the Arts Council is achieving some impact in supporting and promoting excellence in arts and culture and enabling artistic talent to thrive. There are more significant differences in respect of promoting arts and culture that reflect diversity, where arts individuals are more likely than arts organisations and local authorities to agree that a strong impact is being made. In terms of access to arts and culture, arts individuals are more likely to select strong impact in relation to enabling more people to experience and be inspired by arts and culture and in encouraging public awareness; in respect of this latter goal, local authorities are more likely than other groups to select no impact. Looking at innovation, local authorities were slightly more positive than other groups about the Arts Council impact on encouraging innovation and experimentation in arts and culture and were less likely than other groups to select limited impact. Arts individuals, local authorities, museums and music education hubs and other organisations were all more likely than arts organisations to say that they did not know if the Arts Council was making an impact upon supporting organisations to become more sustainable and resilient. Arts individuals and museums were most likely to say that they do not know about the impact the Arts Council is making on developing the knowledge, skills and diversity of the cultural leadership and workforce. Across both statements, respondents are, on the whole, less positive about the impact which is being made upon develop a diverse leadership and workforce. On the whole, different groups across the arts and cultural sector and partners are fairly similar in their views of the Arts Councils impact upon enabling every child and young person to have the opportunity to experience arts and culture. Arts individuals are sl ightly more likely than arts organisations and museums to say that they do not know. Arts individuals are slightly more positive than other groups about the Arts Councils impact upon ensuring access to knowledge and learning experiences for all and pr eserving and caring for our cultural collections. Local authorities and museums are more likely than some other groups to say that the Arts Council only has limited impact upon preserving and caring for our cultural collections.
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The chart below shows all those respondents who indicated some or strong impact against key goals which were tested in both 2011 and 2012. 25 Impact against key goals, year on year comparison 2011 and 2012
Enabling every child to experience arts & culture Developing a more diverse arts & cultural leadership & workforce Developing the knowledge & skills of arts & cultural leadership & workforce Supporting organisations to become more sustainable & resilient Encouraging innovation and experimentation Encouraging greater public awareness about arts & culture Enabling more people to experience arts & culture Promoting arts & culture that reflect diversity of England Enabling artistic talent to thrive
61% 57% 78% 76% 70% 67% 76% 78% 87% 85% 63% 58% 52% 47% 61% 56% 61% 62% 71% 71% 2012 2011
Supporting excellence in arts & culture
0% 10% 20% 30% 40% 50% 60% 70% 80% 90% 100%
Base: All stakeholders (762), 2012; All stakeholders (785), 2011. 2009 Base: Arts sector and partners: all respondents (946) Source: dha & ICM Source: Ipsos MORI
There has been relatively little movement year on year. Most significant are 5% increases in reporting some or strong impact for the following three statements: Developing the knowledge and skills of arts and cultural leadership and workforce Developing a more divers arts and cultural leadership and workforce Enabling every child to experience arts and culture It will be important to return to this comparison in 2013, and consider whether the change in sample has prompted this movement, or whether more stakeholders feel that the Arts Council is making progress.
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5 Working Relationships 5.1 Overall attitudes

This year a new question was introduced, to understand the different kinds of working relationships which different stakeholders have with the Arts Council. 40% of respondents have a working relationship which is focused through a specific relationship manager. A further fifth (21%) have a variety of relationships, including with relationship managers, executive and artform directors and head office. 18% have a relationship structured through a number of relationship managers. 15% have no regular point of contact. Only a small proportion of respondents have a relationship which is focused upon a single executive director, national director or regional director. 26 Working relationships type of relationship Which of these phrases best describes the most regular contact and working relationships which you have with the Arts Council?
Don't know, 1% Most of my engagement with the Arts Council is thorugh one Executive Director, national director or regional director, 2%
I do not have a regular point of contact, 15% Most of my engagement with the Arts Council is through a specific relationship manager, 40%
Most of my engagement with the Arts Council is thorugh a range of relationship Most of my managers, 18% engagement with the Arts Council is through a variety of routes, including a relationship manager, a national/regional director and Head Office, 21%
Source: dha & ICM
Relationships which are focused through a single relationship manager are most common for arts organisations and music education hubs and other organisations. Arts individuals are least likely to have relationships which include a variety of routes, including perhaps a mixture of regional and head office contacts. Local authorities are more likely than other
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groups to identify a range of relationship managers as their contacts. Arts individuals and museums are more likely than other groups to say that they do not have a regular point of contact. Amongst the arts and cultural sector and partners, the majority of respondents (77%) rate their working relationship with the Arts Council as fairly or very good (2011: 77%; 2009: 87%). 42% of respondents rate their working relationship as very good (2011: 41%; 2009: 46%). 7% of respondents rate their relationship as fairly or very poor (2011: 10%; 2009: 5%). 27 Working relationships quality of relationship How would you rate the quality of your working relationship with the Arts Council overall?
100 90 80 70 60 50 40 30 20 10 0
Overall 2012 Overall 2011 Arts individuals Arts organisations Museums Local authorities
Source: dha & ICM
1% 4% 15% 2%
3% 7% 14% 2%
2% 1% 17%
2% 5% 13%
3% 5% 8%
4% 4% 11% Don't know 2%
30% 35% 36% 39% 36% Very poor 45% Fairly poor 25% Neither Fairly good 42% 41% 39% 44% 30% 35% Very good
Overall, there is net agreement of +70% that the working relationship is good (2011: +68%). Agreement that the working relationship is good is closely correlated with: understanding the Arts Councils goals; feeling favourable towards the Arts Council; feeling familiar with it, and informed about it; and being prepared to speak in favour of the Arts Council. There are some statistically significant differences between the respondents from different regions. The North East has a statistically significantly lower net agreement (+46%) that the working relationship is good than all other regions. The South West (+80%), the West Midlands (+78%) and the East Midlands (+78%) are amongst the most positive about the working relationship with the Arts Council. It is worth noting that these results are based on what is, in statistical terms, a relatively small base within each region, and therefore care should be taken in comparing results between different regions.
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Overall, museums give less positive net agreement that the relationship is good than other groups, at +43%. Within the group of arts organisations, national portfolio organisations are significantly more positive that non-NPOs. On the whole, opinion-formers feel that their working relationships with the Arts Council are good. Common cited characteristics are positive, friendly and frank or honest. This whole idea of a 'critical friend'That's a healthy relationship...A mature, healthy dialogue. Positive, friendly, problem-solving, perhaps ambitious. Some opinion-formers experience multiple working relationships. This is not in itself particularly positive or negative, though it some cases the relationships can be very different: On a day-to-day level with individuals who we know, I would say our working relationship is excellent, on the other hand with more distant people, with decisions being made on a national level, I actually find the relationship - well, very odd and verging on disgraceful in its anonymity and its inability to allow anyone to speak to members of the panels that are making decisions or present or have any contact with. It all goes through intermediaries, and I find that personally unhelpful. For other opinion-formers, their relationship is very focused, which potentially has its own challenges: I've got very open and constructive relationships with a small number of individuals, but the vast number of individuals I have no relationship [with] whatsoever, and I think that's the problem. I think that's reflecting unfortunately the fact that they're a dinosaur of an institution...maybe more important than that is that they're segmented, hugely segmented.... Both these last two quotations indicate the difficulties for individual and organisations in navigating and engaging across the breadth of the Arts Council. This year, some opinion-formers also specifically cite difficult experiences in negotiating what kind of data the Arts Council requests from the organisations which it funds, and the ways in which funding must be accounted for: A fading honeymoon.the experience is that the light-touch is turning into a heavy hand There's been a misunderstanding about KPIs. We're finding them very much more narrow-minded about the way in which their funding works, than we had initially thought the case would be. I fear that the requirements on us to provide data to them is growing, and sometimes it is not at all obvious why we're giving that dataI think they have to fight back,
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they've talked about a culture change, and a different relationship with their national portfolio organisations, I fear that we're going back into even more bureaucracy and they [the KPIs] keep changing. Opinion-formers were also specifically asked what the most and least effective elements of their working relationship with the Arts Council are. Opinion-formers particularly praise the Arts Council where working relationships are undertaken in the spirit of partnership, and where there is sustained shared working towards strategic ends: I think there are limitations to what we can do with our core funding, these other kinds of funding pots allows us to have shared goals. It's [most effective] around strategic planning for particular areas of delivery. It's around policy areas really. A lot of the partners have come and gone....[e.g. RDAs]...but the Arts Council has been constant and has seen that through from beginning to end. So it's much more than just putting money on the table. As with the findings in 2011, the importance of the individual to the quality of the working relationship, and the individuals ability to operate within the Arts Council, is still very important: I think the Arts Council at the top is extremely effective. Some of the local people I've met working in various regionshave been extremely good, but it's variable. Where it's works best.is where the people I'm working with are left by their bosses to get on with it When they run into bureaucracies, i.e. when their committees take overthings can go very, very slow, and also wrong. There are a small number of people who are really talented, and I don't think the Arts Council seem to exploit that... Opinion-formers were also asked about potential areas of improvement in their relationship with the Arts Council. Most opinion-formers who cite areas for improvement focus on either very recent changes or concern about forthcoming changes, including changes in investment levels, types of investment, the administrative format of relationships and to the structure and potential capacity of the Arts Council. I think the Arts Council shouldn't really pretend to be able to do more than it can. It's much better to be able to focus on a realistic set of deliverable ambitions, and be clear about those. we've had a lot of one-off, strategic initiatives where there has been funding looking at it from a sort of longer term planning angle, that isn't the most - I don't believe - the most effective way of dealing with it because it's quite short term.
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[It] is going to be challenging for the Arts Council to keep the level of lobby they've been able to create and the level of leverage they've been able to achieve with partners in places, you know, when you're doing this sort of work, regeneration work, you have to be much more than just signing a funding agreement.
5.2 Changes in the last 12 months

34% of the arts and cultural sector and partners say that their working relationship with the Arts Council has improved (no significant change from 2009 and 2011) however, 14% say that it had got worse (2011: 23%; 2009: 13%). 2011 results seems particularly to reflect what was, at the time, recent restructuring and, in some posts, a significant turnover of staffing, as well as the outcomes of the 2011 funding review. This years responses seem to suggest that some of these issues have been resolved. 28 Changes in working relationships in the last year Do you think your working relationship with the Arts Council overall has got better or worse over the last 12 months?
100%
80% 34% 37% 22% 34%
60%
48%
42%
Better
40% 45% 52% 37% 47% 35% 36% Stayed the same
20%
0% 14% -20% 23%
9%
5% 16% 16%
Worse
-40%
Overall 2012 Overall 2011 Arts individuals Arts Museums organisations Local authorities
Source: dha & ICM
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In 2011, arts organisations were the main contributors in saying that their relationship had got worse; this year they are significantly less likely to say so. Arts individuals are less likely than other groups to say that their relationship has improved. Respondents who had selected better or worse were asked to indicate the reasons for their selection. The following charts show the reasons given for saying that the working relationship with the Arts Council had got better or worse. 29 Reasons for improvement of working relationship Why do you say it has got better?
The Arts Council has a better understanding of my/my organisations aims I find the staff at the Arts Council very helpful and supportive The Arts Council has got better at sharing appropriate and useful information The Arts Council has got better at working in collaboration with partners The new structure has improved my communication with the Arts Council The Arts Council is more open and honest 21% 18% 14% 34% 66% 64%
Other
16%
Base: All who say it has got better (259)
Source: dha & ICM
The most popular reasons given by the arts and cultural sector and partners for a better working relationship are an improved understanding by the Arts Council of me/my organisations aims and helpful and supportive Arts Council staff. A number of the responses suggest a more open and engaging Arts Council better at sharing information, communicating and undertaking work in a collaborative fashion.
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30 Reasons for deterioration of working relationship Why do you say it has got worse?
The Arts Council has got worse at working in collaboration with partners The Arts Council does not understand or share my/my organisations aims There is no continuity of contact at the Arts Council The Arts Councils communication with me is poor The Arts Council does not share information well I do not find the staff at the Arts Council helpful or supportive 30% 29% 25% 18%
43% 42%
Other
Base: All who say it has got worse (107)
47%
Source: dha & ICM
Reasons for the working relationship getting worse include the perception that the Arts Council has got worse at working in collaboration with partners (a slight rise on the previous year). Other reasons include the view that the Arts Council does not share or understand me/my organisations aims and the lack of continuity of contact. Other responses focus on poor communication and lack of information, and a sense that there had been a lack of support from the Arts Council. Most opinion-formers do not indicate that their relationship with the Arts Council has changed significantly in the last year. A small number of respondents specifically cite steady relationships with their regional office, and it appears that the problems which were cited in 2011 fieldwork relating to the high turnover of Arts Council staff have somewhat settled down in this year. A number of opinion-formers are keen to express concern, however, over the possible forthcoming changes to the structure of the Arts Council, and the effect that this is already having on working relationships: I think we were all looking forward to a period of stability which just hasn't happened.
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6 Values and behaviours 6.1 Openness and clarity

Overall, the majority of the arts and cultural sector and partners (62%) agree that the Arts Council seeks feedback from stakeholders and partners (2011: 56%; 2009: 58%). A slightly smaller proportion (55%) say that the Arts Council is not afraid to challenge organisations to help them to improve (2011: 56%; 2009: 58%). 42% of respondents feel that the Arts Council listens to and understands stakeholders views (2011: 45%; 2009: 48%) and 49% say that it is open and honest with stakeholders (2011: 47%; 2009: 44%). 44% of the respondents agree that they find it difficult to challenge the Arts Council, if they do not agree with it (2011: 46%; 2009: 47%). This years findings confirm the significant improvement seen between 2009 and 2011 in the perceptions of the Arts Councils confidence in making and defending decisions: from 39% in 2009 to 59% in 2011, and 55% in this year. 31 Openness, 1 Thinking about how the Arts Council works as an organisation, to what extent do you agree or disagree with each of the following statements?
Strongly agree Tend to agree Neither Tend to disagree Strongly disagree
Don't know/no opin
The Arts Council is open with its stakeholders and partners The Arts Council is confident in making and defending decisions The Arts Council is not afraid to challenge my organisation to help us to improve The Arts Council seeks feedback from its stakeholders and partners I find it difficult to challenge the Arts Council if I do not agree with it The Arts Council listens to and understands my views
10%
40%
24%
15%
4% 9% Net agreement:
+31%
15%
40%
23%
12% 3% 7% Net agreement:

+41%
18%
37%
24%
9% 2% 10% Net agreement:

+44%
18%
44%
16%
13% 2%7% Net agreement:

+47%
16%
28%
24%
18%
+20%
8%
34%
27%
21%
+16%
Source: dha & ICM
On the whole, arts individuals, museums and music education hubs and other organisations were more likely than other groups to say that they did not know or had no opinion about these statements. Arts organisations were the most likely to feel that the Arts Council does not listen and understand their views, and (with music education hubs and other organisations) to say that they find it difficult to challenge the Arts Council if they do not
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agree. Local authorities are more confident that arts individuals about the Arts Council s ability to make and defend decisions. The figure below shows three statements from this question against which there has been the most significant change in the proportion of respondents agreeing with the statement, year on year. 32 Openness, 2 The Arts Council seeks feedback from its stakeholders and partners The Arts Council listens to and understands my views The Arts Council is confident in making and defending decisions
65% 60% 55% 50% 45% 40% 35% 30% 2009 2010 2011 2012
Seeks feedback
Listens and understands Confident decisions
The change in responses in relation to the Arts Councils confidence is the most significant finding by far. It seems likely that this reflects, at least to some extent, the 2011 national portfolio organisation funding process, and the perceived improvement on previous funding processes which was notable throughout the 2011 findings. Opinion-formers were asked whether they find that the Arts Council is open with the individuals and organisations it engages with. On the whole, opinion-formers are positive about the openness of their own relationships, though many stress that they feel this often comes down to individual relationships. Notably, some respondents feel that this is particularly a two-way process: It's open if the organisations are prepared to be open, and I suppose it comes down to individuals within the Arts Council, as well as individuals within the organisation, because it's always about the people you feel you can deal with.
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Some opinion-formers also indicated that the Arts Council sometimes behaved differently, in different contexts: We've got good relationships in all sorts of areas. We had a bad relationship on a *specific project+people involved in *specific project+ felt very, very bad about the way in which the Arts Council handled them. They took lots of data, never gave any credit, never talked about what was going on, announced stuff without them being involved That wasn't very clever. When asked what the Arts Council could do to be more open, several opinion-formers believe that the Arts Council is probably as open as it is able to be, given the kind of organisation it is: I don't think *it could be more open] really, I always want people to be more openI think there are things that happen behind closed doors, that I don't know about and I'd love to know about, but I mean I think it's probably quite right that I don't, on the whole. Opinion-formers offer a range of views on the Arts Councils confidence in making and defending decisions. In respect of decision-making and challenging arts and cultural organisations, some opinion-formers feel that the Arts Council could be bolder: I personally think that the Arts Council should be even more ambitious with its refreshment of the portfolio. I still thinkthere are a number of companies who are funded because they're funded. No, I don't think it challenges enough. Even though it should be the organisation that is best at challenging quality. I don't think that's demonstrated, I don't think they've got the right tools for that and I think that's one of the thing they've got to recognise and change. Even those opinion-formers who feel that things have improved are concerned about how confident the Arts Council may be able to be in the future or the areas of influence it can exert: It's got more confident certainly over the last couple of years but I think it's not still totally confident, and I can understand why. They've got a lot of stakeholders, a lot of people breathing down their neckand probably if they had less of that, they may be able to be a bit more sort of forceful sometimes. what I think it's not confident enough to do is challenge the government, and I think that's a pity. I think that's the role of the chairman, I'm not sure that that happens effectively.
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On the whole, opinion-formers feel that the Arts Council does ask for feedback, though fewer opinion-formers are convinced that the Arts Council is responsive or takes action in response to feedback: Well, in the sense that we have fairly robust conversations, yes, that's fine. It's not always yielding. They're very open as an organisation, you know, they're not just there saying 'well this is the only way it can be done'. If anything, that's what's slightly frustrating because they will listen and make all the right noises, they're very open to it, but things don't change quickly. They're often very happy to sit and listen, very good listeners actually, but not perhaps dynamic enough to go with it, sometimes not quite brave enough.... Clarity The arts and cultural sector and partners were asked to respond to a number of statements exploring the clarity, coherence and consistency of messages, communications and positioning from/of the Arts Council. 67% of respondents say that the Arts Councils goals and priorities are clear and easy to understand (2011: 71%), and 47% say it uses language that is inclusive and easy to understand (2011: 54%; 2009: 46%). 42% of respondents disagree with the statement the Arts Council is not always clear about what it stands for, though a third (33%) agree with the statement (2011: 32%; 2009: 46%). When asked about the consistency of the messages they received from the Arts Council, 37% say that the Arts Council does not act as one organisation (similar to the 2009 and 2011 findings). There are two interesting changes from the 2011 findings. More respondents (41%) say they see the Arts Council as first port of call for guidance and advice on funding (2011: 34%); and fewer (45%) say that the Arts Council is a useful source of intelligence and information (2011: 60%).13
13
Please note that the wording for this latter statement has slightly changed, from the Arts Council is a useful source of intelligence and information to the Arts Council is a useful source of intelligence and information that helps me to do my job better.
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33 Clarity, coherence and consistency Thinking about how the Arts Council engages and communicates with you and your organisation, to what extent do you agree or disagree with each of the following statements?
Strongly agree Tend to agree Neither Tend to disagree Disagree strongly Don't know/no opinion
The Arts Council does not really act as one organisation - I have received mixed messages depending on who I speak to The Arts Council is not always clear about what it stands for
13%
25%
25%
24%
7% 6% 4%
Net agreement: +6%
7%
27%
21%
32%
10% 2%
Net agreement: -9%
The Arts Council uses language that is inclusive and easy for others to understand
8%
39%
23%
22%
6% 2%
Net agreement: +19%
The Arts Council's goals and priorities are clear and easy to understand
17%
49%
17%
12% 2% 2%
Net agreement: +52%
I see the Arts Council as a first port of call for guidance and advice on funding The Arts Council is a useful source of intelligence and information that helps me to do my job better
13%
28%
23%
27%
7% 2%
Net agreement: +7%
12%
33%
27%
19%
7%
Net agreement: +19%
Source: dha & ICM
Arts organisations are more likely than other groups to agree that the Arts Council gives mixed messages (net agreement = +10%). There is little difference between different respondent groups when considering whether the Arts Council offers clarity about what it stands for. Arts individuals are more positive than other groups about the language which the Arts Council uses. Local authorities and music education hubs and other organisations are the least positive, both showing negative net agreement scores. Generally speaking, most arts and cultural sector and partners are positive about th e clarity of the Arts Councils goals, though arts organisations are, overall, more positive than arts individuals. Arts individuals are the most likely to agree that they see the Arts Council as a first port of call for guidance and advice on funding. Local authorities and arts organisations also show positive net agreement, though to a lesser extent. There is negative net agreement from some of the Arts Councils new stakeholders, including museums, libraries and music education hubs and other organisations. This may reflect the relative newness of these
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relationships, as well as the different kinds of funding structures which continue to be important to those groups. Arts individuals and local authorities are more positive than other groups of respondents about the Arts Council as a useful source of intelligence. Opinion-formers are, on the whole, quite positive about the Arts Councils clarity of communication. When asked whether they are clear about what the Arts Council stands for, most opinion-formers indicate that they are, and suggest that they have seen efforts in this area to improve clarity and communication. There are, however, fears about whether this improvement can continue if there are future changes: It's being clearer about what its mission is. But it seems to be changing thatthere's a risk it becomes more instrumental in other people's agendas, than in prosecuting its own primary objectives. The question of with whom the Arts Council should be communicating, and how, also troubles some opinion-formers: There's maybe a bit of work to do in terms of the more person that access the arts on a day-to-day level I think it does if youre a bureaucrat, yeah Creative people are not really into bureaucraciesjust simplify some of the hurdlesthe language could be slightly simplified as well. For others, the Arts Council struggles to gain profile for its communications in the current circumstances: I think it [has] definitely made an attempt to communicate its values. Sometimes that gets lost just in the myriad of things happening, and sometimes there's too much paper on it talking about what the values are. Opinion-formers were also asked to reflect upon how coherently and consistently they feel the Arts Council communicates. Most opinion-formers think that the Arts Council is okay at this, although a few made specific criticisms: Well, no. I don't think the comms team is the strongest part of the national set-up. I suppose I doI still think their website could be an awful lot better, but I do get a sense of what the Arts Council thinks are its priorities. There is also, as with other questions, some concern from individual opinion-formers about the Arts Councils role in communicating directly with the public: [there is a] lack of public understanding of what the Arts Council does, that hinders the expression of its work and its kind of achievements.
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I'm not sure how much it needs to a lot of the time. When you look at how much money the Arts Council gets from government, it's virtually petty cash, and therefore how interested are the public? I think the best way of communicating what is actually happening, is for the organisations to be communicating what they're doing. Opinion-formers also have different experiences of the clarity concerning funding, structures and processes: To be honest, you know, I've got of sympathy for the Arts Council officers because even they don't have a coherent story, because they just don't know. And some people sometimes get a little bit of an edge, know a little bit more than others, and we're constantly being told things off the record. Absolutely, I mean, they are so concentrated on their structures and transparency That whole information is very, very, very clear, readily available and consistent.
6.2 Respect and Confidence

The survey explored the views of the arts and cultural sector and partners on a range of issues relating to their confidence in the Arts Council, how confident they feel it is, the way in which the Arts Council builds relationships and whether it is a respected organisation. Opinion-formers were prompted to consider the reasons for their confidence in the Arts Council and what was, or was not, respected about the Arts Councils activities and behaviours. Amongst the arts and cultural sector and partners, 62% agree that they respect how the Arts Council goes about its work (2011: 59%; 2009: 53%); only 13% disagreed (similar to 2009 and 2011). The sense that relationships with the Arts Council are built on mutual understanding and benefit is confirmed by 58% of respondents (no significant changes from 2009 and 2011). A significant majority of respondents agree that the Arts Council is an organisation that people in the arts want to influence (83%). 44% of respondents have confidence in the current leadership, and feel that the Arts Council makes bold decisions. In both cases, about a third of respondents neither agree nor disagree.
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34 Respect and confidence Thinking about your relationship with the Arts Council, to what extent do you agree or disagree with each of the following statements?
The partnership between me/my organisation and the Arts Council is based on mutual understanding and benefit I respect how the Arts Council goes about its work The Arts Council is an organisation that people and organisations in the arts sector want to influence The Arts Council makes bold decisions in the interests of the arts and culture in England I have confidence in the current leadership of the Arts Council
22%
36%
18%
12% 6% 7% 3%
Net agree: +40% Net agree: +49%
17%
45%
22%
10% 3% 1% 4%
35%
48%
11% 1%
Net agree: +80%
11%
33%
32%
16%
4% 4%
Net agree: +24%
11%
33%
33%
11% 5%7%
Net agree: +28%
Source: DHA & ICM
Arts organisations are more positive than arts individuals and museums about the basis upon which their partnership operates, as are respondents from the East Midlands in comparison with those from the East, London, the North East and the South East. In terms of respect for the Arts Council, arts individuals are more positive than arts organisations and local authorities. Again, respondents from the East Midlands are also more positive than other areas. Arts organisations and local authorities are the most likely to agree that the Arts Council is an organisation that people want to influence, as are respondents from the North East. In comparison with arts individuals and local authorities, arts organisations are more likely to disagree that the Arts Council makes bold decisions. Respondents from the South West are also amongst the most likely to disagree. Arts organisations are also more likely that other groups to not have confidence in the current leadership at the Arts Council, as are respondents from the North East. On the whole, opinion-formers feel that the Arts Council is respected by stakeholders, although many qualify this view by indicating that it varies according to the type of stakeholder:
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Depends which stakeholders you're talking about.... For some opinion-formers, there is a sense that recent decision-making processes have prompted greater respect for the Arts Council: I think overall there's a kind of grudging respect that often happens when you have a funder who has to be pretty tough with people. Aspects of the Arts Council which opinion-formers feel are well-respected include its overview and ability to build partnerships, and the processes it runs for funding and investment: I think its strategic sense, its capacity to forge strategic alliances across political and geographical boundaries is incredibly useful for a number of stakeholders on the ground. There's a transparency in their decision-making which is well respected...I really highly regard that. I think its processes are quite good, its criteria for grants are clear, the timetable is pretty clear, they do come back and consult and they have questions on. I think for an organisation that runs a process they do it well. For some opinion-formers, there is a particular feeling that the Arts Council is making significant efforts to affect positive change in difficult circumstances: There's a sense that they're trying to get it right. I think just the balancing act that they have to do [is well-respected+. Reflecting on aspects of the Arts Council which are less well respected, some opinionformers cite challenges in ensuring coherence across the organisation: Sometimes the national profile of the Arts Council can be very different to the local profile. And the congruence between the two perhaps occasionally needs a bit of work. Individual opinion-formers raise some issues across both the new responsibilities and new areas in which the Arts Council is engaging, including provision for children and young people, engagement with digital activities and with museums and libraries. Most of these concerns focus on the degree to which the Arts Council needs to learn about new areas and ensure a strategic and sustained approach, in order to ensure credibility with its work in these areas.
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For other opinion-formers, there are issues concerning the transparency of some areas of the Arts Council structure: the machinations of the Council and how it reaches decisionsI think it could be more open on its processes. It's easy to understand what executive directors for each of the regions do, it's slightly more difficult for people to grasp what some of the central functions that were necessarily added do. Finally, as with some other questions, the issue of the Arts Councils relationship with the public was also raised by an opinion-former: I think one area where they could possibly step up what they do is actually, you know, they're spending a lot of public money; are they getting enough sort of credit and recognition for, you know, the tax payers' contribution. Opinion-formers were asked to consider how influential they feel the Arts Council is in determining opportunities for arts and culture in England. For some respondents, influence was seen as a direct effect of the Arts Councils funding capacity. One opinion-former suggests that this focus on influence through funding limits the influence which the Arts Council can exert: It could have much more impact, but it still tends to look after the bit of money that it gives, and not look at it in the round. Other opinion-formers are more inclined to think that the Arts Council exerts influence through mechanisms other than direct funding: I think it's getting more influential, because they are using partnerships much better than they used to. For other respondents, the question of influence is entirely about the relationship which the Arts Council engages in with government: It is not the Arts Council's job to be the slave of government policy, it is the Arts Council's job to interpret government policy.I think the Arts Council should be able to be a strong enough organisation to say to the DCMS or to any ministerial intervention, 'no, hold on, I think you've got that wrong, we should be doing it another way'. Its certainly highly influential, but it's not as influential as some individual organisations and their leaders who have the ear of ministers and government directly. Opinion-formers were also asked whether they have confidence in the current leadership at the Arts Council, and where they view leadership as taking place within the organisation.
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The majority of opinion-formers cite the chief executive and senior officers in the head office in response to this second question. There are also opinion-formers who talk about leadership predominantly within the context of their regional office, referring to senior officers within their region. Several opinion-formers also speculate about the change in chairmanship of the Arts Council, and some refer to leadership specifically in this context. Overall, most of the opinion-formers expressed some confidence in the leadership at the Arts Council, though in many cases it is qualified either by some concern over the current and future direction of the organisation, or by the lack of confidence in making a judgement about the organisations leadership: Clearly I've met a limited number of people, people nationally and in this region, certainly every confidence in those people I've come into contact with. I think that sometimes it too easy for them to stand behind objectives and so on, and sometimes just standing up for the brilliance of the art that's in the country, and for the decisions they've made reallyand actually how we look forward, I think that's where it's going to be really important. With the chair relationship I'm much less certain there, I much less certain how the regional chairs coming together will work as well.
6.3 Partnership
This year some changes were made to the question about partnership, to try and understand specific facets of the partnership activity which the Arts Council undertakes, including: Partnerships outside the arts and cultural sector The Arts Councils own collaborative practices The Arts Councils ability to support and facilitate partnerships between other organisations/individuals The impact of stakeholder and national partnerships on the arts and cultural sector With almost a third (30%) of respondents indicating that they neither agree nor disagree that the Arts Council knows how to work with partners outside the arts and cultural sector, and further fifth (22%) indicating that they dont know, th ere is a sense that there is room for improvement in not only developing relationships, but also in making stakeholders aware of them. The net agreement score across all arts and cultural sector and partners is +1%, similar to that in 2011. More respondents feel that the Arts council can work collaboratively, though almost a quarter (24%) agree that they are not very good at it. There is a small positive net agreement (+5%) that the Arts Council can broker and facilitate for the benefit of the sector. Both of these findings are similar to those in 2011. The new statement relation to stakeholder and national partnerships shows a positive response, with a net agreement of +21% that these partnerships have improved, and benefit the arts and cultural sectors.
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35 Partnership working Thinking about how the Arts Council relates to other organisations working to support the arts, to what extent do you agree or disagree with each of the following statements?
Strongly agree
Tend to agree
Neither
Tend to disagree
Strongly disagree
The Arts Council knows how to work with partners from outside the arts and 4% cultural sector in my area/region
21%
30%
18%
5%
22%
Net agree: +1%
The Arts Council is not very good at working collaboratively towards shared 4% objectives
20%
30%
28%
5% 13%
Net agree: -10%
The Arts Council is well connected and able to broker and facilitate relationships between my organisation and others
7%
29%
25%
23%
5% 12%
Net agree: +8%
The Arts Council has improved its partnerships with stakeholders and national partners, and these benefit the arts and culture sectors
7%
29%
29%
13%
3% 18%
Net agree: +21%
Source: dha & ICM
Responses to questions about partnership vary to some extent by type of respondent and by region. Music education hubs and other organisations (small sample) were more positive than other groups about the Arts Councils ability to work with partners outside the arts and cultural sector. Net agreement from respondents in the East was significantly higher than that of most other regions. Responses to the Arts Councils ability to work collaboratively are fairly similar across types of respondents; those from the East Midlands are most likely to disagree that the Arts Council is not very good at this. Local authorities are slightly more positive than arts organisations about the ability of the Arts Council to broker and facilitate relationships. Respondents from the East are, overall, the most positive about this facet, with respondents from the West and East Midlands also being more positive than other regions. Local authorities, museums and music education hubs and other organisations are more positive than arts organisations about the improvement in the Arts Councils partnerships, and their benefit to the sector. Respondents from the North East are the most likely to disagree with this. Across the statements, arts individuals were the most likely to say that they did not know or had no opinion, followed by museums. Other new stakeholders, including libraries and
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music education hubs and other organisations, were also more likely than other groups to indicate this. Opinion-formers were asked if they feel that the Arts Council is good at working in partnership. On the whole, opinion-formers have a favourable view of the Arts Councils partnership working, with a range of specific examples including the partnership with the BBC, the Cultural Olympiad and regionally focused partnerships, amongst others, being cited: Yes, I think that was a really healthy partnership [BBC/Space], the BBC brought a very different approach, actually really refreshingI think that was a really good example of them leveraging a relationship.we really benefited from that. I think that, from my point of view in the [region], it's been instrumental in bringing together local authorities, arts organisations and external partners, to both leverage funds and influence, make conversation happen, in a very effective way that none of the other bodies have been able to manage. Not all of the opinion-formers views of partnership are exclusively positive: My impression of it is that it works much more as a solo organisation than in partnership with others. I may be wrong about that, but it's my strong impression. Some opinion-formers were also unsure what the basis of future partnerships might be: It's easier to have a relationship if youre funding something, I'm not quite clear what that relationship becomes when youre not *funding something+. However, many opinion-formers also expressed a desire to work more in partnership with the Arts Council in the future: I think there's more we could do with them, and I'm sure they could, I think, be more active in looking out for other organisations they could work with across the public sector, but you know, where they do engage, they can make it work. When asked about areas for potential improvement in the Arts Councils partnership working, some opinion-formers suggest specific types of partner with whom the Arts Council should seek to build more knowledge and credibility: There's a long way to go.They're going to have to get a lot more savvy about working with the private sector For most respondents, however, the most important thing is for the Arts Council to develop its own role in partnerships, beyond the funding it supplies:
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The most important thing is to understand what it is they're taking into the partnership, not what the partners bring, but what they bring. And I don't think they're clear enough about that. I think maybe not always thinking that these relationships need to be based on funding. I think they've got to be much more trusting of people, and seeing their role as enablers, I think that's very important. Opinion-formers were asked to consider whether the Arts Council is good at contributing to, or supporting other partners in contributing to, social and economic agendas. For some respondents, this has improved significantly: I think that's demonstrably one of the changes that has come about in the last couple of years, that it has very much shifted from what you might describe as a more narrowly cultural agenda to one which has a lot more instrumental objectives attached to it, which I think...can only benefit the relationship that we have with them. I think our agendas are quite similar, around culture-led regeneration and so on..I think they're pretty much trying to bring it into line, and that's what you have to do in the current climate Were not in an era when we can say 'this is for arts alone'... However, some opinion-formers are less confident about the Arts Councils activity in this area, or see the emphasis of the Arts Councils work as being elsewhere: I don't see it as a major headline, they seem to focus very much on the art and the artist. I think it's very poor, and I think the reason why it's poor is going back to the point that it's only just beginning to do partnership work. I don't think they're very good at it. In my utopia, it would spend a lot more time on research. I think it's based on which individuals are aware at any one time.
6.4 Accountability
The arts and cultural sector and partners view the Arts Council as an organisation which holds the organisations it funds to account, links its decisions to its visions and goals and can explain them. They also feel that the Arts Council is aware of future challenges and opportunities for the sector. There is still a sense that the Arts Council is not always able to explain the value of some of the choices it makes, suggesting perhaps more of a challenge in ensuring accountability outside the sector. 67% of the arts and cultural sector and partners
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agree that the Arts Council is aware of future challenges and opportunities for the arts, showing broadly positive belief and similar to the previous years findings. 64% agree that the Arts Council holds organisations it funds properly to account, also a reduction of positive views on previous years responses. In accounting for its own decisions through its vision and goals, 60% of respondents feel the Arts Council does well. More respondents agree than disagree that the Arts Council finds it difficult to demonstrate the value of its investments; but more respondents also agree than disagree that its decisions are informed by sound evidence. 37% of respondents disagree that the Arts Council explains its investment decisions poorly; 27% agree that this is the case. Just less than a quarter of the arts and cultural sector and partners feel that the Arts Council does not learn from experience (similar to 2009 and 2011 findings); 36% feel that it does (2011: 39%; 2009: 30%). 36 Investment decisions The Arts Council is a public body which invests public money in the arts. To what extent do you agree or disagree with each of the following statements?
The Arts Councils decisions are clearly linked to its vision and goals The Arts Council explains its investment decisions poorly The Arts Councils decisions are informed by sound evidence The Arts Council holds the organisations it funds properly to account The Arts Council finds it difficult to demonstrate the value of its investments The Arts Council does not learn from experience The Arts Council is aware of the future challenges and opportunities for the arts and culture in England
17%
44%
23%
8% 6% 2%
Net agree: +50% Net agree: -10% Net agree: +10% Net agree: +52% Net agree: +11% Net agree: -12% Net agree: +59%
4%
23%
26%
30%
7% 10%
4%
27%
36%
16%
4% 13%
19%
45%
17%
9%
6% 3%
7%
30%
26%
20%
6% 11%
6%
17%
27%
28%
8%
13%
18%
49%
16%
6% 2%
8%
Source: dha & ICM
Arts organisations are slightly more likely than other groups to disagree that the Arts Councils decisions are linked to its vision and goals; respondents from the East Midlands are more positive than some other regions. Arts organisations and local authorities are both
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more likely than arts individuals to agree that the Arts Council does not explain its investment decisions well, as are respondents from the North West, North East, South West and London, in comparison with other regions. Arts organisations are more confident in expressing a view about the evidential basis for the Arts Councils decisions than most other groups, and more likely than arts individuals and museums to disagree decisions are based on sound evidence. On the whole, respondents from the South West are the least positive about this basis. Across different types of respondents most are positive that the Arts Council holds the organisations it funds properly to account; respondents from the West Midlands show a higher net agreement than other areas that this is the case. Arts organisations are more likely to agree than other significant sub-groups that the Arts Council finds demonstrating the value of its investments difficult; there are few differences between regional responses. Arts organisations are also more likely to say that the Arts council does not learn from experience, with 30% of respondents indicating that they believe this. However, arts organisations, music education hubs and other organisations and local authorities are all more likely than arts individuals to agree that the Arts Council is good at horizon -scanning, in terms of its awareness of opportunities and challenges; respondents from the East Midlands are the most positive about this. 71% of the arts and cultural sector and partners feel that they have a good understanding of what funding is available for different activities. 38% agree that the funding process is less complicated than that of other funders, a third (33%) feel that the process is bureaucratic and prohibitive. 31% feel that the Arts Council is flexible and responsive in its funding approach (2011: 39%). Just over a fifth of respondents say the Arts Council makes good use of the data it collects; a fifth feel it does not; a further quarter say that they dont know or have no opinion; a third neither agree nor disagree. Opinion-formers were asked how confident they were that the Arts Council makes decisions with a clear rationale that can be linked to its vision and goals. Some opinion-formers are reasonably confident, and feel that there is a clear process and strategy supporting the Arts Councils decisions: I think because of the assessment that they do and the annual reviews, I think there's a good healthy interrogation of the assessment. Generally speaking theyre quite clear about that. They publicising what they're judging against. For others, the Arts Council is not consistently good at making decisions with a clear rationale, and this can lead to a lack of transparency in some areas: I think that when it does it well, it does it very well. When it does it poorly, it does it very poorly. When asked whether the Arts Council learns from experience, opinion-formers express a range of views. Some are unsure:
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I don't know if it does.Some things have stayed the same for a very long time. Others feel that that the Arts Council is not being given the time or opportunity to build upon previous learning: In some sense it's not been given a chance to learn in relationship to the dispersal of managed funds and non-lottery funds, it been forced to shoot out enormous chunks of money in an unprepared fashion, but I don't think that's its faultIt's just actually not cooked. It's gone through far too much change, too quickly I think. Not good change, not evolving change, but just, you know, things thrown at it, here's a different policy, here's a slice of money, here's a different priority. For other opinion-formers, there is a sense that the Arts Council is not making the best use of learning which might be available: No, not the best at that [learning from experience]. They're very poor at data. No, the same mistakes are made. New funding programmes are dreamt up, and they're the same *as previous ones+ There must be bags of research and learning in the Arts Council.. No I don't [think the Arts Council learns from experience]. The reason is that the Arts Council tends to value individuals and people, and that's good. The downside of that is that they don't have a corporate memory and they don't have systems and things in place in order to build on experience in a co-ordinated way. Whereas others, as was the case with the 2011 findings, refer positively to the way in which the Arts Council changed and conducted the application and award process for revenue funds: I think the Arts Council learnt extremely quickly and very effectively from that. I don't think they got it entirely right the next time round, but who could. I think they've had to make some very brave decisions in the last few years. Opinion-formers were also asked how aware they feel the Arts Council is of future challenges and opportunities for the arts and cultural sector. The majority of opinionformers do feel that the Arts Council has significant awareness: I think they are very well aware of the dangers that lie ahead. Opinion-formers, however, raise two significant challenges for the Arts Council. The first is the question of to what degree the future can be understood at this stage, and the second is
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the extent to which the Arts Council is able to have an impact upon or respond to those future challenges and opportunities: Depends what the future holds, really, doesn't it. I think they're aware that budgets are getting tighter. What I'm not sure on is how we change any of that. I think it could be doing a lot more thinking about, for want of a better word, foresightstructured thinking about what the future could hold. 37 Funding and monitoring processes The Arts Council operates a range of funding and monitoring processes. To what extent do you agree or disagree with each of the following statements?
The Arts Council makes good use of the data it collects from funded organisations and projects The Arts Councils funding application process is less complicated than other funders The Arts Council is not flexible or responsive in its approach to funding The process of applying for funding is bureaucratic and prohibitive I understand what funding is available for different activities
3%
19%
32%
13%
7%
26%
Net agree: +1% Net agree: +14% Net agree: -9% Net agree: -9% Net agree: +56%
9%
30%
30%
19%
6% 7%
7%
24%
22%
34%
6% 7%
8%
24%
21%
35%
7% 5% 3%
17%
53%
11%
13% 2%
Source: DHA & ICM
Arts organisations (probably the most significant suppliers of information) are more likely than other groups to disagree that the Arts Council makes good use of the data it collects. In terms of net agreement, music education hubs and other organisations, local authorities and museums are, on the whole, less positive about the complexity of the Arts Council funding applications process. Arts organisations are more negative than arts individuals and museums about the Arts Councils flexibility in funding; music education hubs and other organisations (small sample) are less positive about the bureaucracy of the Arts Council processes. Arts organisations and local authorities are particularly confident that they understand what funding is available. Across the regions, there are some small differences. Perhaps most notable is the high proportion of agreement from North West respondents about the relatively limited complexity of the Arts Council funding application process.
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The majority of opinion-formers indicate that they feel able to understand funding processes, and that information about funding is readily available. However, as noted elsewhere in this report, there has been some specific criticism relating to the emergence of some of the recent strategic funds.
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7 Communication 7.1 Feeling informed

Overall, the arts and cultural sector and partners feel well informed about the Arts Councils work, with 75% saying they feel either fairly or very well informed, an increase on the previous years findings (2011: 68%). 16% say that they feel very well informed (similar to 2009 and 2011). However, 23% of respondents feel that they do not know much about the work of the Arts Council. 38 Feeling informed (1) How well informed do you think the Arts Council keeps you about its work?
100 90 80 70 60 50 59% 40 30 20 10 0 Overall 2012 Overall 2011 28% 16% 16% 18% 9% Arts Arts Museums individuals organisations 13% Local authorities
Source: dha & ICM
2% 5% 18%
2% 8% 22% 8%
1% 3% 14%
2% 8% 10% 13% 16% 30% Don't know/no opinion Not at all well
32%
63% 52% 51% Fairly well Very well 25% 56% Not very well
Arts organisations are significantly more likely to feel informed than arts individuals, local authorities or museums. NPOs are better informed than non-NPOs. Respondents from the East are the least likely to feel informed of all the Arts Council regions, and are significantly less informed than London, North West, West Midlands and Yorkshire.
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A new question was included in this years research, to determin e whether the amount of information being received by stakeholders was felt to be appropriate. Almost a third (32%) of respondents indicated that they would like more information, but more than half (52%) suggested that the volume of information received is about right. 39 Feeling informed (2) Does the Arts Council supply you with enough, too little or too much information?
I receive more information that is useful to me, 6%
Don't know, 10%
I only receive a limited amount of information and I'd like more, 32%
I receive the right amount of information, 52%
Museums are more likely than other significant sub-groups to indicate that they would like more information. On the whole, opinion-formers feel well informed about the Arts Council activities.
7.2 Satisfaction with Arts Council communications

The most useful form of communication for the arts and cultural sector and partners was contact with Arts Council relationship managers. Contact with staff more generally, through a regional office, was also felt to be important. The Arts Council website is more popular than networking or capacity building events. Email updates from the chief executive show a positive net useful score, where updates through social media channels actually show a negative net useful score.
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40 Communication channels How useful do you find the following channels of communication for meeting the different needs of you/your organisation with 1 being very useful and 5 being not useful at all?
1 - Very useful 2 3 4 5 - Not at all useful Don't know/no opinion 3% Contact with your relationship manager Contact with staff at your regional Arts Council office The Arts Council website, including funding guidance, online publications & research reports Email updates from the Chief Executive 13% 53% 17% 10% 5% 3% 34% 26% 19% 8% 11% 2% 26% 38% 22% 9% 4% 26% 26% 15% 7% 13% 12%
Updates through social media channels
7%
15%
26%
20%
15%
17%
Networking or capacity building events

18%
28%
25%
12%
6%
12%
Source: dha & ICM
Contact with relationship managers is most useful for arts organisations, and is seen as useful across all the regional areas. On the whole, most respondents found contact with regional staff useful, though respondents from London were less positive than other areas. Arts individuals particularly find the website useful. Arts organisations are more positive than other groups about email updates from the chief executive; both arts individuals and music education hubs and other organisations (small sample) show a negative net useful score. Respondents from the North East, South West and Yorkshire are also more positive about email updates. There are no significant differences across groups in terms of the responses to social media updates; respondents from the North East are slightly more positive than other areas about social media as a useful route for Arts Council information. Networking and capacity building events are less favoured by arts individuals, and by respondents from the South East.
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More than half of all respondents had been in contact or had worked with the Arts Council for more than ten years. 41 Length of contact with the Arts Council How long have you been in contact or working with the Arts Council?
100 90 80 70 60 50 40 30 20 10 0 11% 12% 7% 13% 13% 3% 9% 29% 16% 17% 16% 10% 6% 2% 28% 11% 20% 5%
Local authorities
Source: dha & ICM
26% 52% 54% 19% 65%
13% 5% 15% 42% More than 10 years 7-10 years 35% 20% 4-6 years 1-3 years Less than 1 year
17%
Overall 2012 Overall 2011
Arts individuals Arts Museums organisations
Amongst arts individuals, 38% of respondents have only had contact or worked with the Arts Council for up to three years. A quarter (25%) of local authorities have only been in contact for up to three years. Amongst new stakeholders, these numbers are higher. 63% of museums, 56% of libraries (small sample) and 67% of music education hubs and other organisations have only known the Arts Council for up to three years.
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8 Future priorities
This year, the following two questions on the arts and cultural sector and partners survey were changed from open ended, to multiple choice questions with an other, please specify option. Respondents could select up to three options. Things to continue Making the case for investment in the arts and culture is the most popular item chosen for the things which it is important for the Arts Council to keep on doing (39%). Continued investment remains as important as in 2009 and 2011 (29%). Supporting and nurturing artists and organisations remains important, but overall it appears that the main focus of respondents is the overall funding settlement which the Arts Council receives from government, and the Arts Councils ability to affect other funding streams. 42 Priorities for the next year keep doing Thinking about the next 12 months, what is the one thing you most value about the Arts Council and that you want it to keep on doing? Please select the most important.
Making the case for investment in the arts and culture Continued investment Supporting and nurturing artists Supporting and nurturing organisations Arts Council staff to maintain regular and open communication with me/my organisation Provide expertise and specialist advice and intelligence about arts and culture 1% 5% 12% 10% 29% 39%
Dont know/no opinion Other

1% 4%
Source: dha & ICM
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Arts organisations and local authorities are particularly concerned about the continued case for investment. Artists are more likely to say that nurturing artists is the most important thing. Communication is particularly important for local authorities. There are few significant regional variations. Opinion-formers cite a range of activities which they feel are crucial for the Arts Council to keep doing. Amongst these, a key area is continued communication, both with partners and external stakeholders: The main thing is that we need to keep talking....The whole thing around advocacy and championing arts is a huge one....It needs to play to those wider agendas, the likes of economy and employment. Other key areas of interest for opinion-formers include maintaining contacts and networks, and bringing learning out for the benefit of the wider sector: I value the set of connections at the national, regional and local level, I think it s [the Arts Council] tremendously capable of bridging those gaps in the way that there's no other organisation doing that. I really worry about the loss of that facility. Providing good quality research, and not just doing the research but publishing the research, in a good timely fashion. Learn the lessons of the cultural Festival [London 2012 Festival]. For others, there is significant concern about the potential impact of structural changes upon the Arts Councils own capacity to engage in certain ways: It is impossible for the Arts Council to remain a valid, dynamic, vision-making, campaigning organisation if it doesn't see the work, and that is a tremendous pressure for people that work there. Not to economise on the partnership workthere's a risk of that. I would like it to keep on having relationship officers.I wouldn't want it to cut down its operations regionallywe really value our *regional+ office.
Things to do or change Again, as with the findings from 2009 and 2011, the most common aspect cited by the arts and cultural sector and partners as the most important area for improvement is better/clear/more personal contact/communication (21%). A further 15% of respondents say they need more or clearer advice on funding. Improvements in partnership and collaboration are also seen as important (19%).
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43 Priorities for the next year need to do or change And thinking about the next 12 months, what is the one thing you think the Arts Council most needs to do or change to improve its service to your organisation? Please select the most important.
Better and clearer personal contact with Arts Council staff Better at partnership and collaboration Better and clearer advice on funding Listen to me/my organisation more Change the way it funds activity
21% 19% 15% 15% 12%
Dont know/no opinion Other

10% 7%
Source: DHA & ICM
Arts individuals are again particularly keen to see improved personal contact and more/clearer advice. Partnership and collaboration are particularly important for arts organisations, music education hubs and other organisations and local authorities. Several opinion-formers indicate that there is nothing particular they would like the Arts Council to do differently; some qualify this by suggesting specifically that there is nothing which they could realistically expect the Arts Council to change. For those respondents who make suggestions, the primary concern is the future situation of the Arts Council itself, and the ways in which it may need to operate in order to continue to fulfil its responsibilities: I think it needs to have a really good look at the volume of stuff it's trying to do. It needs to get clarity from government on its library role. They take on education, participation, diversity, the whole gambit of digital - now it's all important, but actually they need to be talking to the organisations about how they can do it It's got to deliver more things through its partners, and I would say it needs to think very carefully about losing connections on the ground in the non-arts world.
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Conclusions and Recommendations
9 Conclusions and recommendations

Following on from last years stakeholder research, the findings again reflect specifically perceptions of the ways in which the Arts Council is dealing with significant changes in public investment, both within its own budgets and within the wider context of changes elsewhere, such as in local government. For the arts and cultural sector, significant changes have included the transfer of responsibilities for museums and libraries to the Arts Council, the development of music education hubs, and the development of a range of partnerships and strategic funds. For the public, the wider debate about limited resources and competing priorities will have continued to be important, although, perhaps, not as acute as in 2011. Whilst this is useful context, it is also important to note the degree of concern about the future which was voiced by opinion-formers. The research in 2013 will go some way to determining how the Arts Council is perceived to have navigated these areas of concern. Overall, there are a range of positive findings from the stakeholder research in this year. The Arts Council has maintained the positive views about its confidence in decision-making which - in the current context - seems a particularly important facet of its activity. There are other indications that stakeholders feel progress has been made. Whilst there are challenges in making it tangible, the mission and strategic framework are widely and regularly referred to, and provide a point of shared focus between the Arts Council and its stakeholders. Partnerships are felt to be crucial the Arts Councils future activities, as well as to stakeholders own ambitions, and there are indications that stakeholders feel recent partnership projects show encouraging signs in this area. As with the findings in 2011, the importance of individuals and individual relationships is key to stakeholders, and is the basis for positive working relationships. This conclusion discusses a range of findings, both positive and negative, from the research and highlights some recommendations for the future.
9.1 Headline findings

There are a number of key headline findings from the arts sector and partners and opinionformer research: The Arts Councils mission and strategic framework, with the new addition of a publication for museums and libraries, is widely understood and used as a reference point across the sector. There is less certainty about the way in which it translates into a clear plan for achieving aims, or how some areas of strategic funding fit into an overall direction. Stakeholders feel that the Arts Council has maintained the improvement in its confidence in making and defending decisions. The Arts Council is perceived as having a complicated and difficult role, which has changed significantly due to new responsibilities for museums and libraries, and for music education hubs. In addition, the Arts Council is seen as having particularly crucial responsibilities on behalf of the sector for engaging with central and local government. Opinion-formers are divided in their views of the formal addition of new responsibilities is beneficial for the Arts Council and its stakeholders.
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Working relationships are, on the whole, felt to be positive, and fewer stakeholders believe that they have got worse in the last year. There are, however, very significant concerns about working relationships in the future. These include concerns about the degree of local presence which the Arts Council can maintain, the style of relationship management and the extent to which the Arts Council can continue to build and broker partnerships at local, regional and national levels. These concerns are specific to the forthcoming restructuring of the Arts Council. Partnership working is felt to be crucial to the Arts Council ability to impact on a range of both thematic and geographical areas. The Arts Council is understood to bring value as a facilitator of such partnerships, but as noted above there is significant concern about its capacity to continue to grow activity in this area. At a local level, partnerships with local government are seen as fundamental to the future of the arts and cultural sector. Whilst there is praise from opinion-formers for some of the recent partnership work at the Arts Council, there are concerns about the range and direction of some of the strategic funds. Generally speaking there is confidence in the current leadership at the Arts Council, though this does not always necessarily mean head office, but in some cases regional leadership. On the whole, there is an absence of awareness and understanding of the role of the National Council and Regional Councils, though both the current and forthcoming Chairs are referred to in the context of leadership. There is a general understanding that the Arts Council necessarily requires funding to be accounted for using formal processes, both for application and monitoring. Opinion-formers, however, raise some concerns over new monitoring requirements, and more generally over the way in which the Arts Council engages in data collection and use. Further to this, there is a sense that the Arts Council has significant learning, collects feedback, intelligence and data, but is not always able to apply it. For some, this is an indication of the circumstances in which the Arts Council finds itself at present and its capacity for reflection. There are also some key findings from the survey of the general public: Support for public funding of arts and culture has returned to a level similar to that in 2009. Support for lottery funding of arts and culture is significantly higher than support for public funding through taxes.14
14
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Members of the public feel that public funding of the arts should primarily be used to improve access to the arts. This is also reflected in the views of Arts Council sector stakeholders.
9.2 Issues to explore

From these findings, there are a range of issues for the Arts Council to explore in depth: Converting the mission to a coherent plan: there remains uncertainty for some about the way in which the mission and strategic framework will be made tangible through plans and activities. A key tension is still seen to exist between the great art and for everyone, though opinion-formers disagree about where the emphasis should lie. There is also uncertainty for some about the place of recent strategic funds and partnerships in the context of the mission and the Arts Councils overall direction. Finally, there are different views about the addition of new responsibilities to the Arts Council, and the question of whether these consolidate the Arts Councils overview of the sector, or may divert focus away from a clear direction. The impact of the new structure: perceptions of the Arts Council by stakeholders are largely governed by the quality of individual relationships which the Arts Council has with stakeholders. Where stakeholders have confidence in the credibility and influence of an individual member of staff, relationships are good. There is significant concern about the potential impact of the new structure on: local on -the-ground presence, the range of available expertise, capacity for complex partnership working and knowledge of different policy areas, such as local government. Partnerships and collaborative working: building on the previous point, for many the Arts Councils future impact depends particularly upon its ability to develop real partnership working. Partnerships are understood in a broad range of contexts, from partnerships with funded organisations and individuals to project-specific partnerships, strategic relationships with fellow funders and tactical relationships with central government. Whilst opinion-formers are able to cite good examples of partnerships, there are also examples of poor relationships or partnership working, or areas in which stakeholders feel the Arts Council needs to do more. In addition, as noted above, there is significant concern about the Arts Councils capacity to undertake this kind of work in the future, particularly within an environment which many feel will become more complex. Learning: whilst there is good evidence that stakeholders believe the Arts Council has succeeded in changing for the better in certain areas such as the revenue funding process opinion-formers raised concerns about the Arts Councils ability to learn, to build upon data and evidence which it collects and to consider possible response to feedback which it solicits. Opinion-formers demonstrate an appetite for learning themselves, but concern over the potential burden which some monitoring processes can bring. There was also concern over the degree to which the Arts Council has the capacity to take the time and space to reflect upon previous experience and existing data.
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Public engagement: there remain diverse views concerning the Arts Councils role in relation to the public. Indeed, within this research there is something of a tension about the role of the findings from the public survey, and what kinds of propositions can be reasonably tested. The question of to what degree the Arts Council should communicate directly with the public was less of a concern for opinion-formers in this year. In this year, opinion-formers give more emphasis to the ways in which the Arts Council might work with those it funds to ensure that the public understands where public funding is supporting activities and opportunities.
9.3 Next steps

Having commissioned this research, it is now crucial that the Arts Council digests these findings and considers the range of views expressed within. The key issues to consider when the Arts Council reflects on this data will be: What has changed from 2009 and 2011, and what new information has emerged in these findings that can be used by the Arts Council to understand and explore its performance and future approaches; Where does other research, existing performance data and local knowledge support, illuminate or challenge the findings from this study; Where does the research open up further questions, which should be explored either in the next year of stakeholder research, or through other channels; How will the Arts Council explain its response to this research for the benefit of participants, and to encourage future participation in similar research? There is a further year of stakeholder research planned (2013), allowing the Arts Council to track trends and continue to build a body of knowledge based on a regular cycle of fieldwork. It will be particularly valuable to understand how the impact of changes due to take place in the next six months are perceived by stakeholders, as well as the degree to which new responsibilities have become embedded in the Arts Councils practices and strategic direction.
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Appendices
10 Appendices 10.1 Statistical reliability Statistical reliability

The respondents to this research are only samples of the total population in the case of the arts sector and partners survey and the general public survey, so we cannot be certain that the figures obtained are exactly those we would have if everybody in these two groups had been interviewed (the true values). We can, however, predict the variation between the sample results and the true value from knowledge of the size of the samples on which the results are based and the number of times that a particular answer is given. The confidence with which we can make this prediction is usually chosen to be 95% that is, the chances are 95 in 100 that the true value will fall within a specified range. The table below illustrates the predicted ranges for different sample sizes and percentage results at the 95% confidence interval15, assuming an infinite population The arts and cultural sector and partners sample Size of sample on which survey result is based Approximate sampling tolerances applicable to percentages at or near these levels 10% or 90% 30% or 70% 50% 5.9% 9.0% 9.8% 4.2% 6.4% 6.9% 3.4% 5.2% 5.7% 2.6% 4.0% 4.4% 2.1% 3.3% 3.6%
100 interviews 200 interviews 300 interviews 500 interviews 762 interviews the arts sector and partners sample General public Size of sample on which survey result is based
100 interviews 200 interviews 300 interviews 500 interviews 1,000 interviews 1,750 interviews general public sample
Approximate sampling tolerances applicable to percentages at or near these levels 10% or 90% 30% or 70% 50% 5.9% 9.0% 9.8% 4.2% 6.4% 6.9% 3.4% 5.2% 5.7% 2.6% 4.0% 4.4% 1.9% 2.8% 3.1% 1.4% 2.1% 2.3%
For example, with a sample of 1,750 of members of the general public where 30% give a particular answer, the chances are 19 in 20 that the true value (which would have been
15
It should be noted that these figures assume a simple random possibility sample design with no design effects; in reality, with quota surveys these are likely to occur and widen the margin of error, so this should be treated as a guide.
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obtained if the whole population had been interviewed) will fall within the range of 2.1% from the sample result. When results are compared between separate groups within a sample, different results may be obtained. The difference may be real, or it may occur by chance (because not everyone in the population has been interviewed). To test if the difference is a real one i.e. if it is statistically significant, we again have to know the size of the samples, the percentage giving a certain answer and the degree of confidence chosen. If we assume the 95% confidence interval, the differences between the two sample results must be gre ater than the values given in the table below. Size of samples compared Differences required for percentage levels significance at or near these 10% or 90% 30% or 70% 50% 8.4% 12.8% 13.9% 7.2% 11.0% 12.1% 4.8% 7.3% 8.0% 4.3% 6.6% 7.2% 3.7% 5.7% 6.2% 2.8% 4.3% 4.7% 7.9% 12% 13.1%
100 and 100 100 and 200 300 and 300 300 and 500 500 and 500 895 and 855 (male compared to female in general public survey) 97 and 135 (North East and East Midlands in general public survey) 500 and 55 (Arts organisations and Local authorities in arts sector and partners survey) 200 and 92 (London and South West in arts sector and partners survey
8.4%
12.9%
14%
7.4%
11.4%
12.4%
Presentation and interpretation of data

Quantitative fieldwork Both the survey with the general public and the survey with the arts sector and partners are based on samples and are therefore subject to sampling tolerances. The appendices include a section on statistical reliability which should be consulted, particularly if differences between subgroups are considered. Broadly speaking, figures based on the total sample are accurate to within + 3 percentage points for the stakeholder survey and + 2 percentage points for the general public survey. Data from the survey of the general public is weighted, giving a weighted sample size of 1,750 (from an unweighted base of 1,750). Data from the arts sector and partners is not weighted.
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In some cases, percentages will not add up to 100%. This is because some questions allow respondents to offer multiple answers, or because the decimal point of a result(s) has been rounded up or down. The term net figures is used a number of times in this report. The phrase is used where questions ask respondents to indicate agreement or a graded response to a question. Usually, the figure will refer to the net positive response: so, in the case of a net agreement figure, the calculation will be the percentage of respondents who agreed minus the percentage of respondents who did not agree. This may result in a plus figure where the percentage of those agreeing is higher than the percentage of those disagreeing or a minus figure, where the reverse is the case. With the arts sector and partners survey, it is important to note that the sample does not reflect the overall arts sector, but predominantly those who have a relationship with the Arts Council, with a significant focus on those with a funding relationship. This applies to a lesser extent to local authorities and other partners, but overall it is important to note that a relatively high level of knowledge of the Arts Council could be anticipated amongst this group, in comparison to the wider sector. Where comparative data between the two years of data (2011 and 2012) or between different regions or types of respondents is shown, most comparisons focus only on differences which are statistically significant. Statistical significance in this instance is calculated on a pairwise basis, comparing two results with each other. As stated earlier, it is important to recognise the relatively small sample sizes when considering such differences, particularly for variables such as region. It is also important to note the other kinds of bias which may affect results from different regions or types, as noted in the introduction to this report. There is also a degree of self-selection in terms of response which has taken place within this sample. Finally, it is important to remember that these surveys seek to understand the views of the respondents, their attitudes and perceptions. How much these perceptions fit with other evidence about the activities and performance of the Arts Council is outside the scope of this particular exercise. Qualitative fieldwork The qualitative fieldwork undertaken as part of this study focuses on understanding the detailed views of opinion-formers, the reasons for the views they hold and what kinds of experiences these views are based upon. The interviews are necessarily very individual, but enable the researcher to probe further than the quantitative fieldwork allows. The findings from these interviews are included within this report. Verbatim comments are predominantly used, and care should be taken in understanding the individual nature of these responses. Where comments have been selected, they have been chosen to illustrate a particular view. They therefore do not represent the views of all participants, or the views of participants in the quantitative fieldwork.
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Sample profile
General Public Gender Male Female Age 18-24 25-34 35-44 45-54 55-64 65+ Government office regions Eastern East Midlands London North East North West South East South West West Midlands Yorkshire & Humberside
% 49% 51% % 11% 19% 19% 18% 13% 20% % 11% 8% 15% 5% 14% 16% 10% 11% 10%
Ethnicity White BME Social grade AB C1 C2 DE
% 89% 9% % 24% 28% 21% 27%
Working status Full time Not full time/not working
% 46% 54%
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The arts sector and partners Type of respondent Arts individuals Arts organisations Local authorities Children and Young People
Museums Libraries Economic Development Other
% 12 66 7 4 5 1 1 4
Region East East Midlands London North East North West South East South West West Midlands Yorkshire Not region specific
% 7 7 26 6 9 8 12 9 13 3
Length of relationship Less than 1 year
% 3%
1-3 years 13% 4-6 years 13% 7-10 years 17% More than 10 years 54% Don't know 1%
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Opinion formers Type of respondent No. Arts and cultural sector 13 Representative and significant 4 organisations/individuals Central government Creative industries Local government Press 2 1 4 1
Region East East Midlands London Not region specific North East North West South East South West West Midlands Yorkshire
No. 1 1 4 9 3 2 1 1 2 1
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10.2 Interview guide and questionnaires

Arts Council England Customer Focus Research Semi-structured opinion formers interview guide
Introduction and background Good morning/ afternoon/ evening, my name is Tamsin Cox. I am calling from DHA, an independent research company. I would like to thank you for agreeing to take part in the Arts Council research into stakeholder relationships. We are conducting the survey on behalf of the Arts Council to help inform future plans to improve these relationships. The interview should take no longer than 30 minutes and we are very grateful for your time. Can I just check, is now still a convenient time to do the interview? IF NO, RE-SCHEDULE APPOINTMENT I would also like to let you know that all responses are anonymous and that information about individual cases will not be passed on to the Arts Council or any other third party. Indicate that all comments will be kept anonymous and ask and whether willing for the Arts Council to know they took part; offer to re-ask question at the end of the interview, if more appropriate. I would also like to let you know that we will be recording this interview, to ensure that we have an accurate record; is this okay? START DIGI RECORDER
Q1.
IF APPROPRIATE: Just briefly, can you tell me about your current role and responsibilities?
Q2.
How much contact do you have with the Arts Council at present? PROBE: How regularly are you in contact with the Arts Council? Who do you tend to be in contact with? How long have you had a relationship with the Arts Council? How well, if at all, do you feel you know the Arts Council?
Q3.
Overview of the Arts Council Q4. When you think of the Arts Council, what words or phrases come to mind? What kind of an organisation is it? PROBE FOR EACH PHRASE MENTIONED: Why do you say that?
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Q5.
What are the Arts Councils strengths as an organisation, in your view? PROBE FULLY FOR EXAMPLES And what are its weaknesses? PROBE FULLY FOR EXAMPLES
Q6.
Q7.
And how favourably or unfavourably do you regard the Arts Council, bearing in mind I am interested in your overall impressions? Would you say you speak highly of the Arts Council to other people? PROBE FULLY
Q8.
Q9.
Why do you say that? PROBE FULLY
The Arts Councils work and impact Q10. What do you think the Arts Council is there to do? PROBE FULLY
Q11.
The Arts Councils works to achieve great art, libraries and museums for everyone. Do you agree or disagree that the Arts Council has a strong sense of mission? PROBE: Why/ why not? Do you think that the effectiveness of the Arts Council in achieving its aims has got better, worse or stayed the same over the past two-three years?
Q12.
Ask all who say the Arts Council is either better or worse at previous question Q13. Q14. Why do you say it has got better/ worse? Do you think that the Arts Council is clear about what it stands for? Prompt: is it easy to understand what the Arts Council wishes to achieve? Prompt: is the Arts Council good at communicating its values? Q15. Do you think that the Arts Council has a clear plan for achieving its goals and priorities? Prompt: Are you able to understand how the Arts Council intends to go about achieving its goals and priorities? Prompt: Is it clear to you where you/your organisation fits into this plan? Q16. Do you think that the Arts Councils goals and priorities reflect the needs of different stakeholders, such as artists, arts and cultural organisations and the wider public?
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Q17. Do you think the Arts Council makes a positive difference to the arts in your local area? What about in your regional area? And nationally? And internationally?
Q18.
Who do you think currently benefits the most from the Arts Councils work , and who do you think should benefit? Why do you say that? PROBE FULLY
Q19.
Working Relationships
Q20.
How would you describe the working relationship you and your organisation have with the Arts Council in just a few words? PROBE: Why do you say that? PROBE FOR SPECIFIC EXAMPLES: Where do your impressions come from?
Q21. Q22.
Overall, how would you rate the quality of your relationship with the Arts Council? In your experience, where are the working relationships between the Arts Council and you most effective? PROBE FOR EACH EXAMPLE: Why do you say that? Prompt: How well does the Arts Council engage and communicate with you? PROBE FOR EXAMPLES Prompt: How could it improve how it engages and communicates with you?
Q23.
And where are they less effective? PROBE FOR EACH EXAMPLE: Why do you say that?
Q24.
What are the main things you think might be improved? PROBE FOR EACH EXAMPLE: What difference would this make?
Q25.
Do you think your working relationship with the Arts Council has got better or worse over the last 12 months?
Q26.
Why do you say that? PROBE FULLY
Values and behaviours Q27. Do you agree or disagree that the Arts Council is open with the individuals and organisations it works with? PROBE: Why/ why not?
Q28.
In what ways could it be more open?

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Q29.
How confident is the Arts Council in its decision-making? Is the Arts Council confident enough to challenge arts organisations when it needs to?
Q30.
To what extent is the Arts Council responsive to the views of its stakeholders? Does it invite challenging feedback?
Q31.
On the whole, do you think the Arts Council is respected by its stakeholders?
Q32.
Which aspects of what it does are most respected? PROBE FOR EXAMPLES
Q33.
And which aspects are least respected? PROBE FOR EXAMPLES
Q34.
How influential do you think the Arts Council is in determining opportunities for arts and culture in England? How confident are you that the Arts Council makes decisions about public investment with a clear rationale, linked to its visions and goals? Why do you say that? PROBE FOR EXAMPLES Do you have confidence in the current leadership at the Arts Council?
Q35.
Q36.
Q37. Q38.
How well does the Arts Council learn from experience? Do you agree or disagree that the Arts Council is good at working in partnership with other organisations? PROBE: Why/ why not?
Q39.
What could improve the way it works in partnership? PROBE: What else?
Q40.
To what extent does the Arts Council know how to contribute to, or support partners in contributing to, social and economic agendas beyond arts and culture? Do you think this is an important aspect of the Arts Councils role?
Communications Q41. How far does the Arts Council communicate with stakeholders in a consistent, coherent way? PROBE: When is it inconsistent/less coherent?
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Q42. How well do you think the Arts Council communicates its decisions beyond its immediate stakeholders?
Q43.
How far do you understand what funding is available and how funding decisions are made at the Arts Council? And how far do you understand the Arts Councils structures and processes how it works on a day-to-day basis? How well informed do you think the Arts Council keeps you about its work? Why do you say that? IF APPROPRIATE: Are there any areas where you feel it would be useful for you to have more information about the Arts Council and its work?
Q44. Q45.
Future priorities Q46. How aware is the Arts Council of future challenges and opportunities for the sector?
Q47.
Thinking about the next 12 months, what is the one thing you most value about the Arts Council and that you want it to keep on doing? What is the one thing you think the Arts Council most needs to change in the next 12 months to improve its service to your organisation?
Q48.
Q49.
Is there anything else that you would like to add?
Thank interviewee. Explain the next steps (i.e. will be used to give the Arts Council an overview of stakeholder perceptions and will feed into the results from a wider survey of stakeholders views).
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Arts Council England Customer Focus Research Online questionnaire September/October 2012 [Landing Page Text] This survey is part of research which will let the Arts Council know how it is perceived by you and others, how well it understands and responds to your needs, and exactly where and how it can improve. It is being undertaken by DHA and ICM, both independent research agencies. If you have any queries or would like further information, please contact Tamsin Cox at DHA on 0151 709 0505 (or email tamsin@dhacommunications.co.uk). If you would like to talk to someone at the Arts Council about the aims of the research please contact Alexandra Albert on 020 7973 5332 (or email alexandra.albert@artscouncil.org.uk). Thank you for taking part. We understand your time is limited, but we do hope you are able to participate in this valuable research, which will help shape how the Arts Council works with its partners in future.
Overall Perceptions First of all we would like to ask you some questions about your overall perceptions of the Arts Council. Q1. How well, if at all, do you feel you know the Arts Council? Please select one only. REVERSE SCALE Very well Fairly well Not very well Not at all well Have heard of it but know nothing about it Never heard of it Dont know 1 2 3 4 5 6 7
THANK AND CLOSE THANK AND CLOSE
[If never heard or know nothing, CLOSE]
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Q2.
How long have you been in contact or working with the Arts Council? Please select one only. Less than 1 year 1-3 years 4-6 years 7-10 years More than 10 years Dont know 1 2 3 4 5 6
Q3.
We are interested in your overall impressions, how favourably or unfavourably do you regard the Arts Council? Please select one only. REVERSE SCALE Very favourably Mainly favourably Neither favourably nor unfavourably Mainly unfavourably Very unfavourably Dont know/No opinion 1 2 3 4 5 6
Q4.
Which of these phrases best describes the way you would speak of the Arts Council to other people? Please select one only. REVERSE SCALE I would speak highly of the Arts Council without being asked I would speak highly of the Arts Council if I were asked I would be neutral towards the Arts Council I would be critical of the Arts Council if I were asked I would be critical of the Arts Council without being asked Dont know/No opinion 1
2 3 4 5 6
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Q5.
For each of the following words and phrases please tick those which fit your ideas or impressions of the Arts Council. You may pick a maximum of six. MULTICODE Accountable Authoritative Bold Bureaucratic Creative Closed Confident Collaborative Credible Decisive Democratic Distant Diverse Dynamic Elitist Expert Flexible Helpful Honest Impermeable Innovative Knowledgeable Nurturing Old fashioned Open Passionate Responsive Strategic Supportive Trustworthy Useful Weak None of these Dont know 1 2 3 4 5 6 7 8 9 10 11 12 13 14 15 16 17 18 19 20 21 22 23 24 25 26 27 28 29 30 31 32 33 34
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Q6.
For each of the following words and phrases please tick those which fit your ideas of what you think the Arts Council should be seeking to be? You may pick a maximum of six. MULTICODE Accountable Authoritative Bold Bureaucratic Creative Closed Confident Collaborative Credible Decisive Democratic Distant Diverse Dynamic Elitist Expert Flexible Helpful Honest Impermeable Innovative Knowledgeable Nurturing Old fashioned Open Passionate Responsive Strategic Supportive Trustworthy Useful Weak None of these Dont know 1 2 3 4 5 6 7 8 9 10 11 12 13 14 15 16 17 18 19 20 21 22 23 24 25 26 27 28 29 30 31 32 33 34
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Work and Impact Q7. The Arts Council works to achieve great art, libraries and museums for everyone. Do you think that the effectiveness of the Arts Council in achieving this has got better, worse or stayed the same over the past year? Please select one only. Better Worse Stayed the same Dont know/No opinion 1 2 3 4
Ask all who say the Arts Council has got better at Q7. Q8a. Why do you say it has got better? You may pick as many or as few as you like. MULTICODE, ROTATE ORDER The Arts Council is increasing peoples awareness of and access to the arts and culture The structure at the Arts Council has improved things The vision and goals are ambitious and bring focus The Arts Council has made a good case for continued public investment in the arts and culture The Arts Council is using its funding well, to invest in a balanced portfolio The Arts Council has improved the way it makes and communicate decisions There is strong leadership at the Arts Council Other (please specify) 1
2 3 4
5 6 7 8
Ask all who say the Arts Council has got worse at Q8b.
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Q8b.
Why do you say it has got worse? You may pick as many or as few as you like. MULTICODE, ROTATE ORDER There is less funding available than there was previously The Arts Council is too inward-looking The structure at the Arts Council has made things worse The vision and goals have not been communicated well The vision and goals are uninspiring The Arts Council has made a poor case for continued public investment in the arts and culture The Arts Council wastes money The Arts Council is using its funding poorly and not making the most of the available resources There is poor leadership at the Arts Council Other (please specify) 1 2 3 4 5 6
7 8
9 10
Q9.
To what extent do you agree or disagree that the Arts Council makes a positive difference to arts and culture... Please select only one for each item. REVERSE SCALE Strongl y agree Tend to agree Neither agree nor disagree Tend to disagre e Strongl y disagre e Dont know/ No opinion
...Internationally ...in England in your region ...in your local area
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Working Relationships Wed now like to ask you a few questions about your working relationship with the Arts Council. Q10. Which of these phrases best describes the most regular contact and working relationships which you have with the Arts Council? Please select one only. ROTATE ORDER Most of my engagement with the Arts Council is through a specific relationship manager Most of my engagement with the Arts Council is through a range of relationship managers Most of my engagement with the Arts Council is through one Executive Director, national director or regional director Most of my engagement with the Arts Council is through a variety of routes, including a relationship manager, a national/regional director and Head Office I dont have a regular point of contact Other (please specify) Dont know 1
5 6 7
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Q11.
How would you rate the quality of your working relationship with the Arts Council overall? Please select one only. REVERSE SCALE. Very good Fairly good Neither good nor poor Fairly poor Very poor Dont know 1 2 3 4 5 6
Q12.
Do you think your working relationship with the Arts Council overall has got better or worse over the last 12 months? Please select one only. Better 1 Worse 2 Stayed the same 3 Dont know/No opinion 4
Ask all who say it has got better at Q12. Q13 a Why do you say it has got better? You may pick as many or as few as you like. Please select all that apply. ROTATE ORDER
The Arts Council has got better at working in collaboration with partners I find the staff at the Arts Council helpful and supportive The Arts Council has got better at sharing appropriate and useful information The Arts Council has a better understanding of my/my organisations aims The structure has improved my communication with the Arts Council The Arts Council is more open and honest Other (please specify)
1 2 3 4
5 6 7
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Ask all who say it has got worse at Q6. Q13 b Why do you say it has got worse? You may pick as many or as few as you like. Please select all that apply. ROTATE ORDER
The Arts Council has got worse at working in collaboration with partners I do not find the staff at the Arts Council helpful or supportive The Arts Council does not share information well The Arts Council does not understand or share my/my organisations aims There is no continuity of contact at the Arts Council The Arts Councils communication with me is poor Other (please specify) Values and Behaviours Mission led
1 2 3 4 5 6 7
Now, thinking about what the Arts Council is trying to achieve: Q14. How well would you say you understand the Arts Councils goals and priorities? Please select one only. REVERSE SCALE Very well Fairly well Not very well Not at all well Dont know/No opinion 1 2 3 4 5
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Q15.
Thinking about the Arts Councils work to achieve great art, libraries and museums for everyone. To what extent do you agree or disagree with each of the following statements? Please select only one for each item. REVERSE SCALE ROTATE ORDER Strongl y agree Tend to agree Neither agree nor disagree Tend to disagre e Strongl y disagre e Dont know/ No opinion
The Arts Council uses its resources effectively to achieve its aims The Arts Council has a strong sense of mission The Arts Council sets its goals and priorities based on the needs of artists and arts and cultural organisations The Arts Councils goals and priorities are relevant to and will meet the needs of the wider public
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Q16.
Which of the following groups do you think currently benefits most from the Arts Councils work? Which benefits the most? Which benefits the second most? Which benefits the third most? Which benefits the fourth most? Which benefits the fifth most? Artists Cultural organisations Government The public Other - SPECIFY No other groups benefit 1 2 3 4 5 6
OPTION ADDED FROM SECOND MOST
Q17.
Which of the following groups do you think should benefit most from the Arts Councils work? Which benefits the most? Which benefits the second most? Which benefits the third most? Which benefits the fourth most? Which benefits the fifth most? Artists Cultural organisations Government The public Other - SPECIFY No other groups benefit 1 2 3 4 5 6
OPTION ADDED FROM SECOND MOST
Q18.
[Only triggered if answers to Q10 and Q11 are different from each other; and if answers to either Q10 or Q11 are Other SPECIFY] In response to question 10 you say the benefit mostly goes to [X]; and in response to question 11 you say that [Y] should benefit the most. Why? OPEN ENDED
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Q19. Thinking about how the Arts Council works to achieve its aims, please tell me whether you think the Arts Council has a strong impact, some impact, limited impact, no impact or you dont know/have no opinion in response to the following statements: Strong impact Some impact Limited impact No impact Dont know/n o opinion
Supporting and promoting excellence in arts and culture Enabling more people to experience and be inspired by arts and culture Enabling artistic talent to thrive Supporting organisations to become more sustainable and resilient Encouraging innovation and experimentation in arts and culture Developing the knowledge and skills of arts and cultural leadership and workforce Developing a more diverse arts and cultural leadership and workforce Promoting arts and culture that reflect the diversity of contemporary England Enabling every child and young person to have the opportunity to experience arts and culture Encouraging greater public awareness of and enthusiasm about arts and culture Ensuring access to knowledge and learning experiences for all Preserving and caring for our cultural collections
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Openness Q20. Thinking about how the Arts Council works as an organisation, to what extent do you agree or disagree with each of the following statements? Please select one only for each item. REVERSE SCALE Strongly agree Tend to agree Neither agree nor disagree Tend to disagre e Strongly disagre e Dont know/ No opinion
The Arts Council is open with its stakeholders and partners The Arts Council is confident in making and defending decisions The Arts Council is not afraid to challenge my organisation to help us to improve The Arts Council seeks feedback from its stakeholders and partners I find it difficult to challenge the Arts Council if I do not agree with it The Arts Council listens to and understands my views
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Clarity and Communications Q21 . Thinking about how the Arts Council engages and communicates with you and your organisation, to what extent do you agree or disagree with each of the following statements? Please select one only for each item. ROTATE ORDER, REVERSE SCALE Strongl y agree Tend to agree Neither agree nor disagree Tend to disagre e Strongl y disagre e Dont know/ No opinion
The Arts Council does not really act as one organisation I receive mixed messages depending on who I speak to The Arts Council is not always clear about what it stands for The Arts Council uses language that is inclusive and easy for others to understand The Arts Councils goals and priorities are clear and easy to understand I see the Arts Council as a first port of call for guidance and advice on funding The Arts Council is a useful source of intelligence and information that helps me to do my job better
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Q21.
How useful, if at all, do you find the following channels of communication for meeting you/your organisations needs, with 1 being very useful and 5 being not useful at all? ROTATE ORDER, REVERSE SCALE 1 2 3 4 5 Dont know/no opinion
Contact with your relationship manager Contact with staff at your regional Arts Council office The Arts Council website, including funding guidance, online publications & research reports Email updates from the Chief Executive Updates through social media channels Networking or capacity building events
Q22.
How well informed do you think the Arts Council keeps you about its work? Please select one only for each item. Very well informed Fairly well informed Not very well informed Not at all well informed Dont know/No opinion 1 2 3 4 5
Q23.
Does the Arts Council supply you with enough, too little or too much information? Please select one only for each item. I receive the right amount of information I only receive a limited amount of information and Id like more I receive more information than is useful to me Dont know/No opinion 1 2
3 4
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Respect Q23 . Thinking about your relationship with the Arts Council, to what extent do you agree or disagree with each of the following statements? Please select one only for each item. ROTATE ORDER, REVERSE SCALE Strongl y agree Tend to agree Neither agree nor disagree Tend to disagre e Strongl y disagre e Dont know/ No opinion
The partnership between my organisation and the Arts Council is based on mutual understanding and benefit I respect how the Arts Council goes about its work The Arts Council is an organisation that people and organisations in the arts sector want to influence The Arts Council makes bold decisions in the interests of the arts and culture in England I have confidence in the current leadership of the Arts Council
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Partnership Q24 . Thinking about how the Arts Council relates to other organisations working to support the arts and culture, to what extent do you agree or disagree with each of the following statements? Please select one only for each item. ROTATE ORDER, REVERSE SCALE Stron gly agree Tend to agree Neith er agree nor disagree Tend to disagr ee Stron gly disagr ee Dont know/ No opinio n
The Arts Council knows how to work with partners from outside the arts and cultural sector in my area/region The Arts Council is not very good at working collaboratively towards shared objectives The Arts Council is well connected and able to broker and facilitate relationships between my organisation and others The Arts Council has improved its partnerships with stakeholders and national partners, and these benefit the arts and culture sectors
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Accountability Q25 . The Arts Council is a public body which invests public money in the arts. To what extent do you agree or disagree with each of the following statements? Please select one only for each item. ROTATE ORDER, REVERSE SCALE Strongl y agree Tend to agree Neither agree nor disagree Tend to disagre e Strongl y disagre e Dont know/ No opinion
The Arts Councils decisions are clearly linked to its vision and goals The Arts Council explains its investment decisions poorly The Arts Councils decisions are informed by sound evidence The Arts Council holds the organisations it funds properly to account The Arts Council finds it difficult to demonstrate the value of its investments The Arts Council does not learn from experience The Arts Council is aware of the future challenges and opportunities for the arts and culture in England
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Q26 .
The Arts Council operates a range of funding and monitoring processes. To what extent do you agree or disagree with each of the following statements? Please select one only for each item. ROTATE ORDER, REVERSE SCALE Strongl y agree Tend to agree Neither agree nor disagree Tend to disagre e Strongl y disagre e Dont know/ No opinion
The Arts Council makes good use of the data it collects from funded organisations and projects The Arts Councils funding application process is less complicated than other funders The Arts Council is not flexible or responsive in its approach to funding The process of applying for funding is bureaucratic and prohibitive I understand what funding is available for different activities
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Future priorities Finally, thinking about the future: Q27. Thinking about the next 12 months, what are the most important things for the Arts Council to continue doing? Please select and rank three options from the list below. Continued investment Supporting and nurturing organisations Supporting and nurturing artists Making the case for investment in the arts and culture Arts Council staff to maintain regular and open communication with me/my organisation Provide expertise and specialist advice and intelligence about arts and culture Dont know/no opinion Other, please specify 1 2 3 4
7 8
Q28.
And thinking about the next 12 months, what do you think the Arts Council most needs to change to improve its service to your organisation? Please select and rank three options from the list below. Better and clearer personal contact with Arts Council staff Better and clearer advice on funding Listen to me/my organisation more Change the way it funds activity Better at partnership and collaboration Dont know/no opinion Other, please specify 1 2 3 4 5 6 7
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[Finishing Text]
Thank you for taking part in this research, which will help shape how the Arts Council works with its partners in future. The results of this years research will be published on the Arts Council website in November 2012 as official statistics and later this year as a full report. The results will continue to provide an essential benchmark to chart the Arts Councils progress over time.
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Arts Council England Customer Focus Research General Public Questionnaire September 2012 Id like to ask you some questions about the arts, libraries and museums, by which I mean painting, photography, sculpture, crafts, music, literature, dance, drama and the theatre, carnivals and art festivals, libraries, museums and film. This might include professional, amateur or voluntary activities; and performances that you attend, venues you visit or activities in which you participate. Personal participation in and engagement with the arts and culture Q1 . During the last 12 months, have you: Attended any creative, artistic, theatrical or musical events or activities in the last 12 months? Yes No Dont know
Attended a museum or gallery at least once?
Used a public library at least once?
Spent time actually doing any creative, artistic, theatrical or musical activities?
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Attitudes towards the arts Q2. Which of the following statements do you agree with? You may select more than one. MULTICODE Arts and culture are an important part of my life Id like to have more to do with arts and culture if I could There are lots of opportunities to get involved in arts and culture if I want. I like arts and culture but I prefer to spend my leisure time in other ways Im not interested in arts and culture Arts and culture are not for people like me Other - SPECIFY Dont know 1 2 3
5 6 7 8
Attitudes towards public funding of the arts and what it achieves Q3. As you may know, some arts and culture in England are funded by the taxes we all pay. To what extent do you support or oppose this public funding of arts and culture? SINGLE CODE
Strongly support Tend to support Neither support nor oppose Tend to oppose Strongly oppose Dont know
1 2 3 4 5 6
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Q4.
Some arts and culture in England are funded through the National Lottery. To what extent do you support or oppose this use of National Lottery funds? SINGLE CODE
Strongly support Tend to support Neither support nor oppose Tend to oppose Strongly oppose Dont know
1 2 3 4 5 6
Q5.
To what extent do you agree or disagree that public funding of the arts and culture benefits you or your family and friends? SINGLE CODE Strongly agree Tend to agree Neither agree nor disagree Tend to disagree Strongly disagree Dont know 1 2 3 4 5 6
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Q6.
What do you think public funding of arts and culture should achieve? Please rank in order of importance. Which is the most important? Which is the second most important? Which is the third most important? Which is the fourth most important? Which is the fifth most important? Which is the sixth most important? Which is the seventh most important? Which is the eighth most important? Which is the ninth most important? Which is the tenth most important? Supporting excellent and high quality arts and culture, and artistic and cultural experiences Developing new artistic talent Supporting a diverse range of arts and culture, and artistic and cultural experiences Encouraging more ordinary people to engage with arts and culture Enabling access to arts and culture for people who would not normally have that opportunity Enabling more people to have a say in the kinds of arts and culture, and artistic and cultural experiences available in their communities Supporting artists and arts and cultural organisations to take risks and try new and innovative things out Giving every child the opportunity to access arts and culture, and artistic and cultural experiences Ensuring access to knowledge and learning experiences for all Enabling a wider range of people to develop careers in arts and culture Supporting arts and cultural organisations such as theatres, orchestras, galleries, museums, libraries and dance companies to run themselves more successfully Preserving and caring for our cultural collections
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Awareness of and attitudes towards the Arts Council Q7. The Arts Council is a public body which invests public money in arts and culture, and in artists and arts organisations, museums and libraries in England. How well, if at all, do you feel you know the Arts Council? SINGLE CODE A fair amount Just a little bit Have heard of it but know nothing about it Never heard of it Dont know 1 2 3 4 5
Q8.
The Arts Council is a public body which invests public money in arts and culture, and in artists and arts organisations, museums and libraries in England. Which of the following statements do you agree with? You may select more than one. MULTICODE The Arts Council is important for enabling everyone to access arts and culture The Arts Council has a positive impact on artists and arts and cultural organisations The Arts Council only benefits a small number of people The Arts Council is good at communicating the value of arts and culture The Arts Council spends public money poorly and inefficiently The Arts Council is a respected organisation Dont know/No opinion 1
3 4
6 7
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ACE Stakeholder Focus 2012

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dha & ICM Research

Arts Council England Stakeholder Focus Research March 2013

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Arts Council Stakeholder Research

Arts Council Stakeholder Research

Overall perceptions of the Arts Council

Role and Impact

Arts Council Stakeholder Research

Values and behaviours

Arts Council Stakeholder Research

Arts Council Stakeholder Research

Arts Council Stakeholder Research

These are included in Appendices. dha & ICM 6

Arts Council Stakeholder Research

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Arts Council Stakeholder Research

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Arts Council Stakeholder Research

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Arts Council Stakeholder Research

1.4 Defining stakeholders

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Arts Council Stakeholder Research

2012 2011 % % 7 7 26 6 9 8 12 9 13 3 6 8 26 8 9 9 13 9 12 0.4

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Arts Council Stakeholder Research

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The General Public

Arts Council Stakeholder Research

2 General public attitudes

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Arts Council Stakeholder Research

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Arts Council Stakeholder Research

49% 44% 34% 32%

19% 15% 12% 9% 12% 5% 7% 14% 4% 4%

Tend to Neither Tend to support support nor oppose oppose

Don't know/no opinion

Source: dha & ICM

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Arts Council Stakeholder Research

3 General public views on public funding of arts and culture, 2

Total Support Total Oppose

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Arts Council Stakeholder Research

33% 26% 14% 8%

Neither support nor oppose

Public funding of arts and culture

National Lottery funding of arts and culture

Weighted Base: All England adults 18+ 1,750

Source: dha & ICM

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Arts Council Stakeholder Research

Strongly agree Tend to agree

Weighted Base: All England adults 18+ 1,750

Source: dha & ICM

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Arts Council Stakeholder Research

Total Agree Total Disagree

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