THE ANNUAL SURVEY Guidance. National Portfolio Organisations For completion of surveys from April 2019 onwards. Version 1.

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1 THE ANNUAL SURVEY Guidance National Portfolio Organisations For completion of surveys from April 2019 onwards Version 1.1 (January 2018)

2 Contents INTRODUCTION TO THE ANNUAL SURVEY 3 SECTION A ORGANISATIONAL PROFILE & WORKFORCE 4 Staff type definitions 5 Permanent staff 6 Contractual, freelance or commissioned staff 7 Volunteers 8 Sponsorship 9 Board/governing body 9 Training and skills 10 Accessibility 11 SECTION B FINANCIAL STATEMENTS 12 Income 12 Expenditure 14 Balance sheets 15 Analysis of funds 15 Tax relief 16 SECTION C YOUR FUNDED ACTIVITY 17 Type of activity 17 Number of activities 20 Commissions, productions and presentations, residencies and loans programmes 21 SECTION D YOUR AUDIENCES 24 Audience numbers 25 Live to digital distribution 25 Tickets 27 Accessibility 28 Social online engagement 28 SECTION E LEARNING & PARTICIPATION 30 SECTION F INTERNATIONAL 34 SECTION G TOURING & INTERNATIONAL ACTIVITY (Locations) 36 SECTION H SECTOR SUPPORT 38 SECTION I BRIDGE ORGANISATIONS 38 USEFUL LINKS 39 2

3 INTRODUCTION TO THE ANNUAL SURVEY Thank you for completing this survey. This year s version has been refreshed to align better with your funding agreement and to allow for a more user-friendly experience. We are grateful for the time you spend sharing your information with us through the survey, which we use to get a good understanding of what you do, how you do it, and who benefits from it. The survey is not an advocacy tool; we want you to complete it as honestly and accurately as you can. We will check the validity and accuracy of the data you submit, in line with the Office of National Statistics guidelines. We have made changes to the survey in relation to accessibility, children and young people, engagement, and digital content. We have removed the museums specific section, and integrated museums alongside other disciplines throughout the survey. We have restructured the activity section to reflect changes in how you might distribute your work digitally, and have tried to be very clear about what we re asking and why, and what we intend to do with the information you share with us. There is a data survey and a written annual report for your submission. This guidance relates to the data survey only. Due to the variety of organisations across our portfolio in terms of size and output, some of the language we use in the survey might not fully align with the way you talk about your workforce, finances or activity. Please take this into consideration when completing the survey, and complete the sections as best fits with your work. DATA COLLECTION We ve introduced a new online system to collect the data we are asking for. The new system allows us to automatically validate some of the data you enter and enables you to provide context around it. This will reduce the number of queries we might have, and the time taken to confirm your information after submission. We want the data to be as accurate and usable as possible, so that we can openly share the datasets and be confident in the story we tell with your information, and so that you can benchmark against your peers, using the data for self-evaluation. Where Arts Council England funds a business plan, you should report on your entire activity. Where we are funding a specific programme plan, you should only report on that funded activity. For any general queries, please contact our Customer Services team. For queries about the survey in relation to your organisation, please contact your Relationship Manager. For any other queries, please NPO.Survey@artscouncil.org.uk. 3

4 SECTION A ORGANISATIONAL PROFILE AND WORKFORCE We are committed to having an accurate picture of the diversity of our national portfolio. This is why there are questions about ethnicity, disability, age, gender and sexual orientation in this survey. We use this data to compile our annual Diversity report, including breakdowns of the organisations that employ 50 or more permanent staff. We use the Office for National Statistics (ONS) definitions for ethnicity categories, in order to have a dataset that is consistent with other sectors and population data. This allows us to better understand your organisation and the people your work involves, and how this compares with national trend analysis. We work to the concept of the Social Model of Disability. The social model of disability was developed by disabled people in the 1970 s and its basic principle states that people with impairments are disabled by society and its structures, organisational practices and barriers in the environment; these factors are socially constructed and lead to a complex and institutionalised system of barriers which has a negative and discriminatory impact on disabled people. We collect data on gender identity. This includes non-binary, for those whose gender identity does not conform to conventional notions of male and female. We also ask for the number of staff whose gender is different to that which it was assumed to be at birth. We have adopted a consistent measure across all our funding programmes, and whilst we recognise there may be limitations in this data, we are continually reviewing guidance and best practice around this monitoring. We ve asked for a breakdown of the sexual orientation of both paid and voluntary staff. Whilst there is no legal obligation for you to collect this data, it is in line with best practice guidance, as published by the charity Stonewall. We understand this information may not yet be available, so please only complete this if you have the data. The information must be obtained through official monitoring exercises and held confidentially. It should not be based on assumptions or informal knowledge. We will never release information that could potentially identify individuals by any characteristic and expect our organisations to safeguard the confidentiality of all staff with regard to any personal information. If you are conducting any staff surveys, or introducing new monitoring for new staff, please reflect this in your answers. We ask for this information because we want to better capture and understand the diversity, both visible and invisible, of the workforce in the sector. We will treat this information in confidence and release data in an aggregated format or, as part of our commitment to open data and the General Data Protection Regulation (GDPR), anonymised where individuals could be identifiable. Usually, where workforce is concerned, we will anonymise where less than five individuals are counted in a category. 4

5 Staff type definitions Each member of staff should only be represented once; for example, if someone has both specialist and management responsibilities, please assign them to the role that takes up the greater part of their time. Once you have assigned an employee to a category, please ensure that you assign them consistently throughout the rest of the questions. Where indicated, totals should be the same in all tables. Specialist staff Managers Artists Other Staff Volunteers Board/governing body Refers to those working within an area of specialism. This would include directors, choreographers, producers, programmers, curators, conservators etc., and includes the artistic/museum director. This category also includes educational, marketing and audience development staff. Refers to executive or senior management staff, for example chief executive, executive director, finance director, chief accountant, general manager, human resources manager and legal advisor. Refers to artists, dancers, actors, singers, musicians, writers, composers and designers, as well as any other producing artists. Refers to both administrative and technical staff, for example finance, reception, box office or ticketing staff, and lighting or sound technicians. Refers to those who receive no wages or salary, or who receive no more than basic expenses, for example travel costs. Refers to elected or appointed members who oversee your organisation s activities. 5

6 PERMANENT STAFF Please do not include any paid internship information in this section as this will be collected in question A22. A1: Please enter the total number of permanent paid staff employed by your organisation as at 31 March by gender identity. Number of permanent paid members of staff, both full and part-time (including the chief executive under managers ), as at 31 March, reported by staff type. Please count staff on fixed term contracts of 52 weeks or more as permanent. Staff working a total of 35 hours a week or more should be counted as full time. Those working less than 35 hours a week should be counted as part time. Each subsequent table in the permanent staff section should total the figures given in this question. A2: Please complete the table to show the diversity of the paid permanent staff in your organisation as at 31 March. Please record the sexual orientation, age, ethnicity and disability status for all of your full and part time permanent workforce, by staff type. Please ensure the total number of staff in each section of this table is equal to that recorded in A1. Age groups should be reported based on the individual s age as at 31 March You may choose to add more detail into the disability and impairment free text cell, but this is optional. A3: Please enter the number of part-time paid permanent staff that identify as having a disability or impairment. Please enter a figure for your permanent part-time staff. This is so we can look at trends in working patterns and national comparisons. A4: Please enter the number of paid permanent staff whose gender is different to the sex they were assumed to be at birth. Please give, where known through official monitoring channels, the number of staff whose gender identity is different to the sex they were assumed to be at birth. 6

7 CONTRACTUAL, FREELANCE AND COMMISSIONED STAFF Please do not include any paid internship information in this section as this will be collected in question A22. A5: Please complete the table to show how many paid contractual, freelance or commissioned staff were employed between 1 April and 31 March by gender identity. This includes temporary staff hired for a particular programme on a short-term contract, e.g. consultants and self-employed people. If an individual was hired more than once in the reporting year, please count them only once. Each subsequent table in the contractual, freelance or commissioned staff section should total the figures given in this question. A6: Please complete the table to show the diversity of all paid contractual, freelance or commissioned paid staff, in your organisation as at 31 March. Please record the sexual orientation, age, ethnicity and disability status for all of your full and part time contractual workforce, by staff type. Please ensure the total number of staff in each section of this table is equal to that recorded in A5. Age groups should be reported based on the individual s age as at 31 March You may choose to add more detail into the disability and impairment free text cell, but this is optional. A7: Please enter the number of part-time paid contractual, freelance or commissioned staff that identify as having a disability or impairment. Please enter a figure for your contractual part-time staff. This is so we can look at trends in working patterns and national comparisons. A8: Please enter the number of paid contractual, freelance or commissioned staff whose gender is different to the sex they were assumed to be at birth. Please give, where known through official monitoring channels, the number of staff whose gender identity is different to the sex they were assumed to be at birth. 7

8 VOLUNTEERS Please do not include any unpaid internships/apprenticeships/work experience placements in this section as this will be collected in question A22. A9: Please complete the table to show the number of volunteers who worked at your organisation between 01 April and 31 March by gender identity. Number of unpaid volunteers, both full and part time. This refers to volunteers who had an active role in the financial year, not those who were available to help. Do not include members of your board or governing body here; they will be counted later in the survey. Volunteers should only be counted once, regardless of how many times they volunteered during the period. A10: Please give the total number of hours worked by all volunteers at your organisation between 1 April and 31 March. Round your answer up to the nearest hour. Total number of hours worked by volunteers between 1 April and 31 March. Your answers to this question will enable us to calculate the value of volunteer work. A11: Please complete the table to show the diversity of the volunteer staff in your organisation as at 31 March. We ask you this question so that we can use your response to monitor trends in the diversity of the voluntary workforce, and to help us to understand where there may be barriers for particular groups of people. We will also be able to map this data to other sources held by the voluntary sector. It is good practice to collect this information about the people who volunteer for you. There is no legal obligation for you to do this however, so please only complete this table if the data is held. Where this data is not held, please report not known. Age groups should be reported based on the individual s age as at 31 March You may choose to add more detail into the disability and impairment free text cell, but this is optional. A12: Please enter the number of part-time volunteer staff that identify as having a disability or impairment. Please enter a figure for your part-time volunteer staff. This is so we can look at trends in working patterns and national comparisons. A13: Please enter the number of volunteer staff whose gender is different to the sex they were assumed to be at birth. Please give, where known through official monitoring channels, the number of staff whose gender identity is different to the sex they were assumed to be at birth. 8

9 SPONSORSHIP A14: Between 1 April and 31 March did your organisation hold a UK Border Agency Sponsor Licence, enabling it to sponsor migrant workers under the points based system? Please indicate whether your organisation held a UK Border Agency (UKBA) Sponsor Licence. These licences enable organisations to sponsor migrant workers under the points based system and are part of the UKBA register of sponsors. The data from this question will help us to understand to what extent the arts and museum sectors bring in international talent. A15: How many certificates of sponsorship did your organisation issue between 1 April and 31 March under the following tiers. If you answered yes to A11, please provide the number of certificates of sponsorship your organisation issued between 1 April and 31 March under Tier 2 and Tier 5. Please only include certificates that were used, i.e. for migrant workers who started work. BOARD/GOVERNING BODY A16: Do you consider your organisation s mission and objectives to be: BME led Disability led LGBT led Female led If your organisation defines itself and its mission as being Black or Minority ethnic led, please answer yes to this question. If your organisation defines itself and its mission as being disability led, please answer yes to this question. If your organisation defines itself and its mission as being lesbian, gay, bisexual or trans* (LGBT) led, please answer yes to this question. If your organisation defines itself and its mission as being female led, please answer yes to this question. Please note, for analysis purposes, we may monitor the numbers of your management and board that are counted within the above diversity characteristics, and base our reporting on these figures as an evidence-based dataset. A17: Please give the number of board members. Please enter the total number of board members, as at 31 March. Please ensure that all subsequent monitoring sections total the figure given here. Do not include volunteer staff here, they should be counted in the volunteer section of the survey. A18: Please complete the table to show the diversity of the board at 31 March. Number of board members as at 31 March reported by gender identity, sexual orientation, age, ethnicity and disability. Age groups should be reported based on the individual s age as at 31 March

10 You may choose to add more detail into the disability and impairment free text cell, but this is optional. A19: Please enter the number of board members whose gender identity is different to the sex they were assumed to be at birth. Please give, where known through official monitoring channels, the number of staff whose gender identity is different to the sex they were assumed to be at birth. A20: Please complete the table below for your Chief Executive, Artistic Director, and Chair. We are asking this question with specific regard to the leadership of the portfolio. We are asking for high level information, and will treat the responses in complete confidence, and only release information in an aggregated format. Please complete the table for the relevant positions held within your organisation. If your organisation does not have these posts, please complete for the three most senior positions in your organisation we re looking at the senior leadership of your organisation here. Please do not double count an individual, for example, if your Chief Executive also takes on the role of Artistic Director, please assign them to the role that takes up the greater part of their time, and provide an alternative senior position as a second leadership post. Use the text boxes to tell us the positions you have completed for. Ethnicity Disability Gender Identity Sexual Orientation BME, White, Not Known, Prefer not to say Disabled, Non-disabled, Not Known, Prefer not to say Female, Male, Non-Binary, Not Known, Prefer not to say Bisexual, Gay man, Lesbian/Gay woman, Heterosexual/straight, Not Known, Prefer not to say TRAINING AND SKILLS A21: Does your organisation have a professional development plan? Please indicate, as at 31 March, whether your organisation has a professional development plan. A22: Please complete the following table to show how many people took part in the following schemes, and how many of these individuals are now employed by your organisation as a result. Indicate whether your organisation offered the following schemes between 1 April and 31 March of the reporting year and how many of these led to employment within your organisation: 10

11 Paid internships Unpaid internships Formal apprenticeships Unaccredited apprenticeships Work experience This refers to paid internships or work placements of longer duration offering work experience, allied to training that may include in-house programmes devised by the hosting or partner organisation(s). This refers to unpaid (except for travel/subsistence costs) internship opportunities or work placements of longer duration offering work experience, allied to training that may include inhouse programmes devised by the hosting or partner organisation(s). This refers to on the job training leading to nationally recognised qualifications, usually NVQs, developed by industry and delivered in partnership with further education colleges. The National Apprenticeship Service supports, funds and coordinates the delivery of apprenticeships throughout England. This refers to on the job training that is not linked to nationally recognised qualifications. This refers to students in school, further education or higher education working in an organisation alongside staff for short periods of time, usually set up through schools/colleges, local business partnerships or informal contacts. ACCESSIBILITY A23: Do you offer a flexible working pattern? Please indicate whether you offer flexible working patterns for staff, for example flexible start and finish times, home working and shared parental leave. A24: Do you offer quiet spaces/prayer rooms for staff? Please indicate whether there is provision for staff to use quiet spaces and access to space for prayer. A25: Do you have an induction package for new staff? Please indicate whether you have an induction package for new staff and whether this includes Equality and Diversity training. A26: Do you carry out an access audit for new starters to assess reasonable adjustments? Please indicate whether you carry out an audit to establish whether all equipment is accessible for staff, and adjustments can be made where necessary. 11

12 SECTION B FINANCIAL STATEMENTS These sections should be completed by all organisations, and should relate to all activity, not just that which is funded by Arts Council England. If your organisation is a subsidiary or is operated by a parent organisation (such as a local authority or university) with a separate operational business plan, please only report on the funds utilised by your organisation, not the parent. Statutory accounts: Please complete financial information for the previous year from your statutory (e.g. certified or audited) accounts. This should be the period 1 April 2017 to 31 March Actual/Provisional accounts: Please provide data that is as accurate as possible for the reporting financial year, using statutory accounts where available, or provisional accounts. This should be the period 1 April 2018 to 31 March Arts Council England collects information on the financial year from 1 April to 31 March. We report on our activity and funding on that basis and funding for organisations is the most significant part of our annual investment. For these reasons, National portfolio organisations and Major partner museums must report on an April to March basis, irrespective of their own financial year. This does not necessarily mean that an organisation with a different financial year has to prepare their information from scratch. Providing you can make appropriate assumptions to generate April-March information, you may do this. Record the basis for the calculation as additional information. INCOME B1: Please complete the table below for the financial year running from 1 April to 31 March, rounding figures to the nearest. Earned income Core activity Educational activity Please give the figure for income generated by your core activity. This should include box office receipts; engagement and other fees; entrance charges for exhibitions, screenings, readings and other activities, sales of books and magazines; and workshop fees etc., where such events form your core activity. All income from sales should be entered excluding VAT. If your organisation s core activity is education, please complete all income within the educational activity boxes Give details of the income generated from educational activity or events in addition to core activity. Educational activity is about learning skills and techniques and gaining knowledge and appreciation of arts, museums and culture. It can also include using arts and culture to develop in other areas such as personal and social skills or history 12

13 Of this, Children and young people specific Supplementary activity International earned income International inward investment Of the figure entered in educational activity, please state how much of this came from activities specifically targeted at children and young people Give details of income generated from trading activity, for example catering (excluding VAT) as well as bank interest and any other earned income Of the total amount of earned income, please state how much of this was earned internationally, for example through international touring and ticket sales Of the total amount of earned income, please state how much of this came from international investment into your organisation, for example through partnership or collaborative working Arts Council England investment This section collects details on funding from Arts Council England. If you are not sure whether a grant that we have given you comes from Lottery or grant in aid (GIA) money, or under which heading it should be categorised, please contact your relationship manager or our customer services team. NPO funding Other Arts Council investment Give details of the total NPO funding grant received from Arts Council England. This field should be pre-populated with the figure taken from our records. If this differs from the figure you have, please contact your Relationship Manager. Give details of any other Arts Council investment received. This could include one-off project grants, development projects, other revenue awards or capital investment, from both Lottery and Grant in Aid sources. Contributed income Sponsorship Give details of any sponsorship from business organisations as well as income from corporate member schemes. Fundraising events Give details of any income generated through specific fundraising events held by your organisation. Trusts Please include all money received from trusts, foundations and legacy bequests. Donations regular Please give details of money received through regular giving. giving By regular giving we mean friend and member schemes. Donations one off gifts Include all money received from the general public or friends for which no benefit is received in return. 13

14 Other public investment Local authority grants Include any money received from local authorities Of this, capital funding Of the total Local authority grants, please state how much of this was given for capital purposes Other public grants Include grants from other arts and culture funding bodies, grants from universities or research boards, health trusts, local economic partnerships (LEPs), revenue and/or development funding direct from central and/or European governments. Of this, capital funding Of the total Other public grants, please state how much of this was given for capital purposes B2: Does your organisation claim gift aid (where possible) on donations? Please indicate if you are claiming gift aid, and to what extent. B3: Do any of your organisation s board members offer financial support? This includes monetary or in-kind support, over and above regular board or committee meetings. For example, a solicitor sitting on your board may offer free legal advice. EXPENDITURE B4: Please complete the table below for the financial year running from 1 April to 31 March, rounding figures to the nearest. Total expenditure Artistic programme or other main activity Marketing Education programme Overheads Generating funds Governance Other costs Collections care and conservation (if applicable) Collections acquisitions (if applicable) Please enter the total costs of your artistic programme or main activity Enter the total costs of your marketing activity Enter the total costs of your education programme, where relevant Enter the costs of overheads, such as administration costs (post, telephone, insurance, etc.) and premises costs (rent, heating, lighting, etc.) Enter costs of involved in generating funds Enter costs involved in governance Enter other costs not included above, including irrecoverable VAT Enter the separate costs that are directly involved in the care and conservation of collections Enter the separate costs that are involved in the acquisition of collections 14

15 BALANCE SHEETS B5: Are you a local authority or a local authority-run venue? If you are a local authority or a venue run by a local authority, answer yes to this question. If you are not, answer no and you will be sent to question B7. B6: Do you have a balance sheet that sets out your assets and liabilities? If you are a local authority and you have a balance sheet, answer yes and you will be sent to question B7. If not, you will be sent to question B8. B7: Please complete the table below for the financial year running from 1 April to 31 March, rounding figures to the nearest. Where a field is not applicable, please enter 0. Please show values as they would be shown in your financial statements for the financial year running from 1 April to 31 March. ANALYSIS OF FUNDS B8: Are you a registered charity? This includes university museums. If you are a charity registered with the Charities Commission, or a university museum answer yes to this question. If not answer no and you will be sent to question B10. B9: Please complete the table below providing figures as at 1 April and 31 March, rounding figures to the nearest. Show values as they would be shown in your financial statements as at 31 March. Endowment funds Restricted funds Unrestricted funds: designated funds Unrestricted funds: undesignated funds An endowment fund is a transfer of money donated to an organisation that may be used for the operation of the organisation Restricted funds are those funds that are donated or granted for specific purposes stated by the funder and which must only be expended for these purposes. Sometimes a charity has the power to restrict its own funds but this is rare Designated funds are those unrestricted funds that are designated by the organisation itself for a specific purpose and as such the designation can be removed. Where a funder expresses a preference for the use of funds but does not set a requirement, this can also form a designated fund Undesignated funds are unrestricted funds that are not designated for a particular expenditure, and can be used for any purpose. 15

16 TAX RELIEF B10: Have you reclaimed any tax under any of the tax relief schemes? Please tell us whether you reclaimed any tax under any of the tax relief schemes. For example, the Theatre or Orchestra tax relief schemes. B11: What was the total value of any tax relief claimed? If you answered yes to B10, please give the value of tax relief claimed in the 2017/18 financial year, and the actual/provisional value for the 2018/19 financial year. 16

17 SECTION C YOUR FUNDED ACTIVITY In this section, we d like to know more about the scale and type of activity delivered against our investment. We use it to identify trends and possible areas for development, which may feed into policy decisions. We also use it to report aggregated activity to other bodies (e.g. DCMS), and to complete our annual Official Statistic. Where Arts Council England funds a business plan, you should report on your entire activity. Where we are funding a specific programme plan, you should only report on that funded activity. TYPE OF ACTIVITY C1: Between 1 April and 31 March, did your agreed programme have a major or minor focus on the groups below? By focused activity we mean activity that is directed at enhancing participation in arts and culture through specific activities. Major focus Minor focus Not applicable the activity represents 50% or more of your agreed programme there is specific activity, however it is less than 50% of your agreed programme your agreed programme does not include specific focused activity for these groups If activity is focused across two groups, for example a major focus of your work is aimed at Black and minority ethnic and older people, record major under both groups. C2: Where did most of your agreed programme of activity take place between 1 April and 31 March? Please select from the list the primary distribution method for you programme of activity last year. If your activity took place across multiple sites, please select where the majority took place. If it was split equally across two sites, please provide a secondary option. C3: Please select which of the following your organisation used to show/deliver work between 1 April and 31 March. Tick all relevant boxes. This allows us to monitor the scope of work across the portfolio. Within this section, please only select the primary distribution mechanism for your activity. We have now introduced a Live to Digital* section to the survey (Section D: Audiences); this is where we will capture any secondary distribution of your activities through digital means, for example, screenings of recorded performances or online experiences of exhibitions. *Definition: Live to digital Distribution and Exhibition the use of technologies to deliver artistic or cultural experiences, or content, in new ways through online and offline environments. 17

18 Example 1: You have staged a performance for an audience in a theatre. You have made a recording of this performance, as you are going to screen it in a cinema to extend your audience reach. You would record the data from your live performances as a performance in this section, and your cinema screening as a film screening in the Live to Digital section of the survey. Example 2: You have staged a performance, which has been recorded for the primary function of sharing it via a television broadcast. You would record the data as a television broadcast in this section. Example 3: You have an exhibition, which is open to the public. You have created a digital walkthrough version of this exhibition, which is available on your website. You would record the live exhibition as an exhibition in this section, and the web version as an online element in the Live to Digital section of the survey. Example 4: You have staged an orchestral concert for an audience in a concert hall. You have made a recording of this performance, as you are going to broadcast it via radio and then have it available on BBC iplayer in order to extend your audience reach. You would record the data from your live performance as a performance in this section, the radio broadcast data as a radio broadcast in the Live to Digital section, and the BBC iplayer data as an online element in the Live to Digital section of the survey. If you are a development organisation only and have not produced any work under these categories, please select development to complete the section. Physical Audiences Performances Exhibitions This includes activities where a performance takes place, for example theatre productions, dance pieces, concerts, readings or museum performance events. Please do not include performances which were created purely for online or broadcast consumption here, as they will be captured in either Broadcasts or Webbased activity. If a performance (with a physical audience) is also being streamed elsewhere (e.g. online or in a cinema), please only enter the data relating to the physical attendance here. We will capture the rest of the information in the Live to Digital section of the survey. Please do not include any work that was performed as part of a festival/carnival here; include that in the festivals section. This includes all types of exhibition, (visual arts, museum collections etc.) and can be permanent, temporary or touring. If an exhibition is also available to view online, please enter only the data relating to the 18

19 Traditional Broadcasts Web-based activity Festivals Film Screenings Television Radio Online physical attendance here. We will capture the rest of the information in the Live to Digital section of the survey. Please do not include any exhibition that was part of a festival/carnival; include that within festivals. This includes any festival/carnival activity, where your organisation either hosted the event, or staged a production as part of a wider event. If the activity (with a physical audience) is also being streamed elsewhere (e.g. online or in a cinema), please enter only the data relating to the physical attendance here; we will capture the rest of the information in the Live to Digital section of the survey. Film screenings relates to screenings of film or video, where there is a physical audience. Please do not include activity where the screening is the secondary output of one of your own activities, for example a live performance that has been recorded and then screened. This should be included in the Live to Digital section of the survey. Please do not include any screening that was shown as part of a festival; include that in the festivals section. Please do not include film screenings that are not part of your Arts Council agreed programme of activity, for example, commercial film programmes. Any television piece created specifically for television broadcast. This includes live and recorded broadcast. Any radio piece created specifically for radio broadcast. This includes live and recorded broadcast. Please include creative content products that were specifically created for online consumption. This includes video, audio, games, applications, podcasts, online exhibition, online publishing. Please do not include documentation of an activity that has existed elsewhere. Publishing Publishing This includes books, e-books, magazines and journals. This does not include accompanying material for a performance, exhibition etc. where the content is documentation of the work produced. Development Development Development only activity; non-public facing. 19

20 NUMBER OF ACTIVITIES C4: Please indicate the total number of activities that took place between 1 April and 31 March, and how many of these were specifically aimed at children and young people*. Please enter the number of products and then the number of performances that were given/days the event ran for. By days, we mean the number of days in which the event was open for view, regardless of the amount of time in that day it was open for. For example, if your exhibition was open for three hours per day across five days, this would count as five days. *Definition: Children and Young people by this we mean anyone aged between 0-19 years old. C5: Please indicate the total number of products that were produced and aired between 1 April and 31 March specifically for television and radio, and how many of these were specifically aimed at children and young people. Please enter the number of products and then the number of times that they were aired, including any repeats. C6: Please indicate the total number of products that were created and published online between 1 April and 31 March, and how many of these were specifically aimed at children and young people. This should be for content that was produced specifically for online consumption. Please enter the number of products. C7-10: Please complete the tables below for any publications produced between 1 April and 31 March. Where a field is not applicable, please enter 0. Printed books Total number of new titles Enter the total number of new book titles published, and the number of copies made. Book sales total Enter the total sales of all book titles published; this should include new titles and any backlist titles. This figure should include any complimentary/free publicity distribution. This is about how many individual units were sold/produced, it is not a monetary figure. Book sales new titles Of the total above, enter the sales of those that were new titles. This is about how many individual units were sold/produced, it is not a monetary figure e-books* Of the above, indicate how many of each were also made available for sale or download as e-books 20

21 *Definition: e-books - By e-books we mean a book-length publication in digital form, consisting of text and/or images, and produced on, published through and readable on computers or other electronic devices. E-books e-books only (nonprinted) Enter the total number of titles and sales/downloads of publications that were created as e-books only. These titles should not have been counted for in the above tables. C10: Magazines and Journals Total number of new publications Total number of sales Give the number of individual publications that you produced during the year, and the number of copies made. Enter the total number of distribution figures for magazines and journals including any complimentary or free publicity. Give the number of sales, and the distribution, where applicable. This is about how many were sold/distributed, it is not a monetary figure. Please include members and subscription sales. C11: How many of the books and publications recorded in the above tables were produced specifically for, by or with children or young people aged 0-19? Please tell us how many of the publications in the previous tables were specifically for children and young people, and how many were produced specifically for schools. C12: How many titles have you translated from other languages into English between 1 April and 31 March? Please tell us, if relevant, how many titles you have translated from other languages into English. COMMISSIONS, PRODUCTIONS AND PRESENTATIONS, RESIDENCIES AND LOAN PROGRAMMES C13: New work Please complete the table below. Where a field is not applicable, please enter 0. Number of commissions This is about works commissioned and paid for by your organisation, not work that your organisation is commissioned to do. Please enter the number of new commissions, including work commissioned in the year but not yet published or presented. In the case of performing, producing and presenting organisations, exclude 21

22 Expenditure Number of those that were public art commissions Number of UK artists commissioned Number of non-uk artists commissioned Public art postcodes / country new productions of established repertoire, new translations and adaptations. If your organisation has received a single grant to commission more than one piece of work, for example, a dance commission for music and choreography, and there is a strong possibility that a discrete part of that work may be performed separately in the future, count that element as an additional commission. Please enter the amount of money committed to the commission, including artist fees and expenses. By public art commissions we mean art in the public realm in its widest sense. It involves artists responding to their environment and creating temporary or permanent work for a range of urban and rural locations that are open to the public, for example in schools, hospitals, public buildings, parks, squares, markets, beaches or on public transport. Enter the number of individual UK resident artists commissioned as a result of funding received in the year. One artist commissioned for two works would count as one artist commission. A UK resident is a person living legally within UK but who may not be a UK citizen. For example, an Australian person working in England on a two-year working visa is a UK resident. Enter the number of different non-uk artists commissioned as a result of funding received in the year. If you have completed public art commissions, provide the full postcodes of the location of this work. This will enable us to map the public art commissions that we fund. If the public art is based in an international location, please provide the country. 22

23 C14: Type of Productions Please complete the table below. Where a field is not applicable, please enter 0. Productions includes plays, operas, musicals, ballets, full-length dance pieces and other full-length pieces. Double, triple bills etc. count as one production. Orchestras may use this section to enter the number of different programmes. Productions of new commissions Productions of other new work New productions of established repertoire Revivals Productions by visiting organisations Enter the number of productions of new commissions, that is the number of new commissions first presented between 1 April and 31 March. This may include productions created as a result of funding received in previous years and will not necessarily include all newly commissioned pieces created as a result of funding received for the current year. Enter the number of new productions of other new work, such as devised work, translations and adaptations for soleand co-productions only (excluding visiting productions). Enter the number of productions of established repertoire. Enter the number of revivals. This relates to the number of productions rather than the number of performances. Enter the number of productions delivered by visiting organisations. C15: Residencies Please complete the table below for residencies for individual creative practitioners completed between 1 April and 31 March. Where a field is not applicable, please enter 0. These should be residencies organised by your organisation and not through a third party. Residencies for UK creative practitioners Residencies for non-uk creative practitioners Expenditure A UK resident is a person living legally within the UK but who may not be a UK citizen. For example, an Australian person working in England on a two-year working visa is a UK resident. Enter the number of residencies for non-uk creative practitioners. Please give the amount of money spent on residencies, including practitioner fees and expenses. C16: Individual loans Please complete the table below for incoming and outgoing individual object (physical or digital) loans completed between 1 April and 31 March. Where a field is not applicable, please enter 0. Please complete the appropriate box, depending on where the loan originated from, or was going to. This is based on the location of the organisation/individual it was loaned from, not the original origin of the object. 23

24 SECTION D YOUR AUDIENCES In this section, we will ask you about your audience numbers, how you have extended your audience reach by creating digital versions of your activity, information about your use of tickets and associated income, your audience accessibility and how you interact with your audiences using online social engagement. We re asking you this information because: We will use this information to evaluate the reach of the portfolio and identify trends in audience engagement. If you have completed the sector-wide Digital Culture Survey (an annual research survey produced in partnership with Nesta, tracking the changing uses and impact of technology among arts and cultural organisations), you may recognise some of the questions we ask in this section and the terminology used. We have aligned some of our data collection with this survey to get a full picture of portfolio involvement across this area of activity, whilst being consistent with existing surveys. Unfortunately, we are not able to align your responses from the Digital Culture Survey, so please make sure you still complete all applicable questions in this section, even if you have completed the questions through the other survey. As in the Activity section, where Arts Council England funds a business plan, you should report on the audiences for your entire activity. Where we are funding a specific programme plan, you should only report on audiences for that funded activity. We will ask you to give estimated and/or known attendance figures. These figures are added together by Arts Council England to get the total attendance. Known Where you know the exact number of people attending your event / consuming your content. These figures are an actual audience count, ticketed (including complimentary tickets) or counted by some other precise method e.g. online analytics. Estimated Where you do not know the exact number of people in attendance and you are providing an estimate. Do not include the known attendance already entered. This might apply to non-ticketed events such as festivals or exhibitions. If you know exactly how many people attended your event this should be recorded as known attendance, and the estimated attendance should be entered as zero. Please do not repeat actual attendance figures in the field for estimated attendance figures as this will lead to double counting. For support on estimating your audiences, please visit the Audience Agency website where there are resources available. 24

25 Please ensure you have signed up to Audience Finder ( as set out in your funding agreement. We encourage you to use this tool as fully as possible, and to supply as much data to it as you can. It will allow you to benchmark your organisation against others, and to see where your audience is coming from so you can target your ticket sales. AUDIENCE NUMBERS D1: Attendances Please enter the known and where not know, estimated, number of attendances for the activities reported in your Activity section. D2: Broadcast Audiences Please enter the known and estimated number of viewers and/or listeners for your television and radio broadcasts as reported in your Activity section. D3: Online interactions Please enter the known and estimated online interactions for your online products as reported in your Activity section. We class an interaction as a unique download, view, listen, play or visit. If using online analytics, we expect most, if not all, of your audience figures for this question to be known. D4-6: Children and Young People specific activity Of the audiences listed above, how many were audiences from activity specifically related to children and young people, as reported in your Activity section. LIVE TO DIGITAL DISTRIBUTION In this section, we d like to know more about where you have made a created and distributed a digital version of your activity, the platform it was distributed on and your audience numbers. The audiences here should not be duplicates of figures you have already entered; they should be new audience figures. Live to Digital activity could include: - Simulcast / livestream performances / event cinema - Make existing recordings of archive material / exhibits available for digital consumption - Provide online interactive tours of real-world exhibitions / spaces - Provide Virtual Reality / Mixed Reality experiences of existing work D7-10: Please enter the number of products (performances, exhibitions etc.) where a digital version was created and/or distributed between 1 April and 31 March. This should include distribution of products within the reporting year that were created prior to this period. This should not include activities that were specifically and originally created for these distribution methods, these should be captured in the Activity 25