FINAL REPORT. Client and Stakeholder Survey. Arts Council of Wales. May 2014

Transcription

1 FINAL REPORT Client and Stakeholder Survey Arts Council of Wales 4 Park Court Mews, Park Place Cardiff, Wales CF10 3DQ Tel: ++44 (0) research@strategic-marketing.co.uk

2 Section Page 1. Executive Summary... 3 Clients and Stakeholders Introduction and Methodology... 7 Introduction... 7 Methodology Clients and Stakeholders... 9 Awareness and Perception of the Arts Council Services and Support Contact and Dealings with the Arts Council Enquiry service Decision Making and Funding Keeping Clients and Stakeholders Informed Overall impressions Stakeholders Depth Feedback Perceptions of the Arts Council Arts Council Services Contact and interaction since reorganisation Overall improvements Page 2 of 60

3 1. Executive Summary 1.1 This survey presents the results of extensive research amongst the Arts Council s clients, stakeholders and staff conducted during November 2013 February 2014 involving an initial consultation via an online survey with follow up depth interviews and focus groups. Clients and Stakeholders Perceptions and reputation 1.2 There is general agreement that the Arts Council actively raises the profile of the arts in Wales (61%), is a strong advocate for the sector (61%), proactively encourages the use of Welsh in the arts (58%), works effectively in partnership with the sector (55%) and actively works to widen participation (54%). There were few outright negative views but some respondents do not think of the Arts Council primarily as a funding organisation (11%) and some feel that it is not effective in supporting artists and organisations to develop income streams (12%). This latter point is an area for attention as the need for a more sustainable sector is apparent, especially in light of public sector funding cuts. 1.3 Many respondents describe the Arts Council in a positive light as effective (84%), approachable (83%), accessible (81%) and trustworthy (79%). Some associations are less positive such as exclusive (24%), lacking transparency (18%), inflexible (19%) and unresponsive (17%). Services and Support 1.4 Overall, more than two in five respondents (44%) rated the relevance of services very good and the majority of the remainder fairly good (37%). Few gave negative ratings (2%). 1.5 Almost two fifths (38%) suggest that the Arts Council s reputation in the sector is very good and a third more (34%) think it is fairly good. A fifth (19%) think the Arts Council has a mixed reputation giving a some good and some poor response. 1.6 The most effective Arts Council activities are raising the profile of the arts in Wales (87%), promoting equality and diversity (85%), providing advice and expertise (82%), widening participation support (82%) and developing the arts in local communities (76%). 1.7 The least effective activities are influencing planners and decision makers, support for entrepreneurship and income generation, support for arts in education and providing research and information services for which around 15% say the Arts Council is not very or not at all effective. Working on these issues should be of high priority for the Arts Council as they reflect the major challenges which the Council will have to face in the coming years. 1.8 Overall, since the reorganisation around a third noticed improvement in communications (34%), the ability to deal with enquiries and requests (31%) Page 3 of 60

4 and access to advice and expertise (30%). Face to face contact has deteriorated for 13% and the ability to deal with enquiries and requests by 9% but other interactions have seen minimal deterioration. There are a high proportion of don t know responses mainly because many respondents don t have regular interactions with the Arts Council and only come into contact when applying for funding. 1.9 Overall, the quality of service provided by the Arts Council has improved since reorganisation with two in five (41%) suggesting it is either much or slightly improved. Less than one in ten (7%) say that overall service quality has deteriorated but most of these say it is only slightly worse The main areas where services can be improved are: Improve the applications process Ability to have more personal contact with staff More knowledgeable staff Better communication Provision of more networking opportunities Contact and dealings with the Arts Council 1.11 Most respondents are positive about their relationship with the Arts Council and almost 88% are either very or fairly satisfied. Just 4% had a negative impression of their relationship % have made at least one telephone enquiry since the changes, mostly related to funding (56%) rather than for general information (24%). 53% of enquirers had their query resolved by the person who answered their call but 39% were referred on to another person or team % are very or fairly satisfied with query handling but 7% were not satisfied with their experience. Improvements in the enquiry service could generally made through better staff training to improve knowledge and awareness of services, availability of staff, better response times and providing clarity on who to contact. Decision making and funding % have made at least one funding application since the reorganisation and 91% of those applying have had a successful application although many comment that they have also had unsuccessful applications % said that funding advice ahead of the application was very or fairly helpful although 3% said they didn t receive any advice. 4% did not find the advice helpful Most applicants used the online application process (93%). Two thirds (66%) found it very easy or easy to follow but 14% experienced difficulties. 91% found the guidance notes useful to some degree but 8% did not find them useful % said that the budget template was very or fairly useful but a significant minority (16%) did not. Page 4 of 60

5 1.18 Overall, most applicants said they had enough information and advice throughout the application process (81%) whilst a significant minority did not (14%) The application process is generally considered efficient (91%) with 4% finding that it isn t. 79% think the application assessment process is fair but 5% disagree % received useful feedback at the end of the application process. A very significant 14% did not find feedback useful and a further 20% said they had not received any feedback The main improvements in the application process should be: Communication Simplify and amend the online form Deal with technical issues regarding the online forms and resources Improve clarity and information on decision making and assessment Improve and simplify the guidance notes Review the budget template Provide better feedback irrespective of outcome 1.22 Overall, the Arts Council communicates very well according to 41%. One in ten (9%) said that communication was handled either fairly or very poorly Respondents mainly use the website (84%), word of mouth (53%) and direct contact with staff (53%) to keep up to date with Arts Council activities. The newsletter is used by just 27% and a quarter said they keep informed through Arts Council events The website is by far and away the most useful source of information with 47% saying it is very useful and 46% fairly useful. Comments from users suggest, however, that it is not easy to navigate and could be used more creatively Event attendance is relatively low but the Annual Conference is the most popular event (23%) followed by Funding Advice Sessions (20%) and Sgwrs events (18%). The Marketing Symposium is least popular with just under one in ten (9%) having attended. Awareness of events is quite low and this needs to be addressed through better communication and advance notice Funding Advice Sessions were the most useful type of event - 69% found them very useful and most of the remainder fairly useful. The Marketing Symposium is also considered very useful by 41% and fairly useful by 54% Sgwrs regional events have mixed feedback. Most say they are fairly or very useful (79%), but almost one in five (17%) found them not very or not at all useful. Events can be improved through: Better coverage of Wales Promoting events more and as early as possible Considering the relevance of the subject matter Page 5 of 60

6 Improved facilitation More focused events More creative events Better networking opportunities 1.28 Communication in general can be improved through: Improved distribution of the newsletter or through bulletins More opportunity for personal contact Making better use of social media Allowing the development of better relationships with staff Overall impression and areas for improvement 1.29 Most clients and stakeholders (86%) have a very good or good impression of the Arts Council overall. Only 3% have a negative overall impression Overall areas for improvement include Advocacy with the Welsh Government and others such as local authorities and other decision makers. Promoting the value of the sector and its contribution is key. Better communication as covered earlier this includes newsletters, website, general communication with the sector. Funding and investment safeguarding funding for the arts. International work continue to identify opportunities and build links internationally. Artist and venue support. Support arts in education. Better advice during the application process. Encourage collaboration across the sector Arts Council has a unique position to facilitate this. Deal with internal staff issues clients and stakeholders are sometimes aware of issues affecting delivery. Develop stakeholder partnerships. Additional feedback from stakeholders 1.31 Depth interviews were carried out with stakeholders. These reveal a number of key areas for action which are similar to those outlined above. Many of the issues covered in this work have already been discussed above. Full details are in Section 5 of the report. Page 6 of 60

7 2. Introduction and Methodology Introduction 2.1 Following a reorganisation of service delivery in May 2012, The Arts Council of Wales ( the Council ) wished to commission an independent survey of the views of internal and external stakeholders about the services provided and the relationships with those individuals and organisations. 2.2 The specific objectives of this project were to obtain the views of the Council s stakeholders and partners on the following range of issues: Methodology the extent to which the Council is with external clients, stakeholders and partners overall knowledge and understanding of the Council, its role and goals characteristics and behaviours enabling successful relationships between the Council and external partner organisations perceived high value/high priority services and activities, and those considered a lesser priority areas of good performance and where improvements could be made trust and confidence in the Council, and perceptions of accountability understanding and views of decision-making, funding and other processes effectiveness of how the Council promotes the use of the Welsh language, internally and externally views of the impact and effectiveness of the Council in terms of goals and day-to-day activities identify new services or activities that could be provided in the future look at new ways of working that the Council should be investigating Clients and Stakeholders Consultation Online survey 2.3 Clients and stakeholders were initially asked to take part in a bilingual online survey launched in early December 2013 and live for a month until early January Sample 2.4 Client and stakeholder contacts were compiled by the Council. The list of clients was based on applicants to the Council in and The contacts provided included both successful and unsuccessful applicants. The data was de-duplicated to identify a list of unique contacts. In some cases client contacts Page 7 of 60

8 overlapped with the stakeholders list in which case they were classed as stakeholders for the purposes of the survey. 2.5 A range of different types of clients were invited to take part in the survey including individual practitioners, arts organisations of all sizes and Revenue Funded Organisations (RFOs). Stakeholders included local authorities, National Advisers, Communities First Organisations, Council Members, Welsh Government and other organisations. 2.6 The table below shows details of the clients and stakeholders invited to take part in the survey and the response rates. Respondent Group Contacts invited to respond Response Clients (38%) Stakeholders (33%) Total (38%) 2.7 Almost two fifths (38%) of respondents took part in the survey. 60% of RFOs responded to the survey. Client Focus Groups 2.8 Some of the initial findings of the research were explored in more depth with three client focus groups which were conducted each of the three Arts Council regions during January 2014: Aberystwyth ( 8 participants) Caernarfon (11 participants) Caernarfon (11 participants) 2.9 Group participants were selected to ensure that a range of clients from different disciplines and backgrounds were consulted. Stakeholders Depth Interviews 2.10 Follow up telephone depth interviews were carried out amongst stakeholders during January and February The 40 respondents selected for interviewed distributed as follows: Local Authorities (14) National Advisers (14) Communities First (5) Committee or Council Members (4) Other stakeholders (3) Page 8 of 60

9 3. Clients and Stakeholders 3.1 In this section we discuss the findings of the online survey of clients and stakeholders. 3.2 The sample is predominantly made up of clients along with 55 respondents from the stakeholder sample. Feedback from depth interviews with stakeholders are presented in Section Where relevant, charts and comments refer to various client groups. In the original sample, there were two broad types of respondent Clients and Stakeholders. For many of the charts, however a more detailed breakdown has been used which shows differences in more specific types of respondent including individuals, RFOs, Other Arts Organisations, Local Authorities, National Advisers (NAs) and Other Stakeholders. Please note that some respondents may have ticked more than one category. Page 9 of 60

10 Role, Services and Support Awareness and Perception of the Arts Council Familiarity with the Arts Council varies How much do you know about the work of the Arts Council of Wales? Know a lot Know a fair amount Know a little Heard of, but know little about All 21% 57% 21% Individual Artists/Practitioners 16% 57% 27% Revenue Funded Organisations 52% 45% Other Arts Organisations 19% 63% 18% National Advisers 36% 55% 9% Local Authorities 31% 56% 8% Other Stakeholder 19% 43% 38% Base: Overall, there is a good perceived awareness of the work of the Arts Council and over three quarters (78%) say that they know a lot or a fair amount about the Arts Council s work and this rises to 91% for respondents which were in the original stakeholder sample. 3.5 Unsurprisingly, RFO s show the highest level of awareness (97%) along with National Advisers (91%). 3.6 Some other groups are less familiar with the Arts Council s work, particularly other stakeholders where around two fifths (38%) say they only know a little. It is worth noting that 13% of Local Authority contacts have little knowledge of activities or have only heard of the Arts Council. 3.7 Typically, individuals are also less familiar with the Arts Council and just over a quarter (27%) say they only know a little about its work. Page 10 of 60

11 Role and Objectives Arts Council's Current Role and Objectives Strongly Agree Slightly Agree Neither Slightly disagree Strongly disagree Don't know Actively raises the profile of the arts in Wales 61% 31% Is a strong advocate or spokesperson for the sector 61% 31% Works effectively in partnership with the sector 55% 35% Actively works to widen participation and enjoyment of the arts 54% 35% 7% Proactively encourages the use of the Welsh language in the arts 58% 29% 8% Promotes arts and culture in local communities across Wales 46% 35% 9% 5% Provides expert advice and knowledge on the arts in Wales 41% 35% 11% 6% Is primarily a funding organisation 27% 49% 11% 7% Actively works to develop collaboration in the sector 38% 37% 13% 5% 6% Proactively works to develop international opportunities for the arts 36% 38% 10% 12% Effectively supports arts organisations and artists to develop income streams 27% 38% 15% 9% 8% Base: Varies between Respondents were asked to indicate the extent to which they agreed or disagreed with a series of statements relating to the Arts Council s role and objectives. 3.9 There is strong agreement that the Arts Council actively raises the profile of the arts in Wales (61%), is a strong advocate for the sector (61%), proactively encourages the use of Welsh in the arts (58%), works effectively in partnership with the sector (55%) and actively works to widen participation (54%) Respondents expressed most disagreement over the Arts Council being seen primarily a funding organisations (11%) and on effective support of artists and organisations to develop income streams (12%). This latter point is an area for attention as the need for a more sustainable sector is apparent, especially in light of public sector funding cuts. Page 11 of 60

12 Generally positive but some areas to work on Perceived Attributes of the Arts Council Very positive Fairly positive Neutral Fairly negative Very negative Effective 33% 51% 12% Ineffective Approachable 49% 34% 9% 6% Unapproachable Accessible 36% 45% 11% 7% Inaccessible Trustworthy 44% 35% 17% Untrustworthy Fair 34% 39% 19% 6% Unfair Creative 30% 37% 24% 7% Not creative Responsive 20% 44% 19% 17% Unresponsive Efficient 17% 41% 30% 13% Inefficient Flexible 13% 42% 26% 16% Inflexible Innovative 15% 40% 32% 10% Slow to change Transparent 21% 32% 29% 15% Not transparent Inclusive 13% 35% 28% 22% Exclusive Unbureaucratic 9% 26% 54% 9% Bureaucratic Base: Varies from Respondents were presented with a range of attributes which may or may not be associated with the Arts Council and were asked to indicate which most closely matched their opinion. These have been regrouped into positive and negative attributes above Many respondents describe the Arts Council in a positive light as effective (84%), approachable (83%), accessible (81%) and trustworthy (79%) Bureaucracy is generally expected for an organisation such as the Arts Council which is driven by the need for accountability due to the public funding involved. The need for appropriate systems and procedures is understood by most Some associations are less positive such as exclusive (24%), lacking transparency (18%), inflexible (19%) and unresponsive (17%). Page 12 of 60

13 Services and Support Services considered relevant Rating of Relevance of the Services Provided Very good Fairly good Some good, some poor Fairly poor Very poor Don't know All 44% 37% 14% Individual Artists/Practitioners 49% 31% 14% Revenue Funded Organisations 41% 38% 20% Other Arts Organisations 41% 39% 15% National Advisers 23% 55% 23% Local Authorities 41% 36% 18% 5% Other Stakeholder 30% 54% 8% 5% Base: Based on their knowledge and experience of the Arts Council, respondents were asked to give a rating of the relevance of the services provided Overall, more than two in five respondents (44%) rated the relevance of services as very good and the majority of the remainder as fairly good (37%). The highest ratings are from individual artists or practitioners with almost half giving a very good rating (49%). Around two fifths of both RFOs and Other Arts Organisations rated this very good Few gave negative ratings (2%) highest amongst Other Stakeholders (8%). Page 13 of 60

14 Generally good reputation but some variation amongst groups Reputation amongst organisations in the arts and culture sector Very good Fairly good Some good, some poor Fairly poor Very poor Don't know All 38% 34% 19% 5% Individual Artists/Practitioners 44% 31% 16% 6% Revenue Funded Organisations 29% 39% 27% Other Arts Organisations 37% 31% 23% 4% 4% National Advisers 14% 50% 32% 5% Local Authorities 33% 36% 26% Other Stakeholder 22% 54% 14% 8% Base: Almost two fifths (38%) suggest that the Arts Council s reputation in the sector is very good and a third more (34%) think it is fairly good. Looking at the combined very good and fairly good ratings, the most positive perceptions are amongst Other Stakeholders (76%) and Individuals (75%) compared to NAs (64%) A fifth (19%) think the Arts Council has a mixed reputation giving a some good and some poor response. Page 14 of 60

15 Overall effectiveness good, but some work to do To what extent do you feel the following aspects of the Arts Council's activities are carried out effectively? Very effectively Fairly effectively Not very effectively Not at all effectively Don't know No opinion Raising the profile of the arts in Wales 37% 50% 8% 3% Providing advice and expertise on arts in Wales 29% 53% 9% 1% 6% Support for widening participation/reaching new audiences 35% 47% 9% 2% 5% Support for development of the arts in local communities 34% 42% 7% 14% Advocate for arts in Wales to the Welsh Government 33% 31% 7% 24% Support for arts in education 24% 39% 12% 19% Support for entrepreneurship and income generation for arts economy 20% 37% 11% 24% Influencing planners and decision makers 18% 37% 13% 27% Base: The most effective of these Arts Council activities are raising the profile of the arts in Wales (87%), providing advice and expertise (82%) with most fairly effective, widening participation support (82%) and developing the arts in local communities (76%) The least effective activities in this group are influencing planners and decision makers, support for entrepreneurship and income generation and support for arts in education - all of which 15% say the Arts Council is not very or not at all effective. These issues are high priority and are some of the major challenges which the Arts Council faces in the coming years Supporting the development of arts in education is a particularly important issue given the recent Education Review which is now being considered by the Welsh Ministers. Page 15 of 60

16 Effective in some areas, others need work To what extent do you feel the following aspects of the Arts Council's activities are carried out effectively? Very effectively Fairly effectively Not very effectively Not at all effectively Don't know No opinion Promoting equality and diversity 39% 46% 9% Bringing international arts and culture events to Wales 22% 47% 8% 16% Support for developing sector collaboration 21% 46% 10% 19% Help the international development of the arts in Wales 21% 45% 9% 19% Activities to promote good governance, financial management and business planning 25% 38% 8% 25% Developing new ideas and projects using digital technology 19% 39% 8% 30% Providing research and information services 16% 40% 12% 27% Sustaining partnerships with local authorities 14% 36% 9% 35% Base: Varies from Delivery of activities relating to equality and diversity, bringing international arts and culture events to Wales, supporting sector collaboration and helping develop the arts internationally are particularly effective However, the highest negative ratings on effectiveness are for providing research and information services (14%), helping with international development of the arts (13%) and sustaining local authority partnerships (11%). Page 16 of 60

17 Some improvement in interactions but many unsure Changes in interaction with the Arts Council since reorganisation Improved Stayed the same Deteriorated Don't know Communications (print, digital and web site) 34% 30% 32% Ability to deal with enquiries and requests 31% 30% 9% 30% Access to advice and expertise 30% 29% 7% 33% Support for arts development across Wales 26% 27% 5% 41% Level of face to face contact 26% 27% 13% 34% Services provided in language preference 24% 30% 45% Advocacy and the promotion of the arts in Wales 23% 34% 41% Understanding the needs of the sector 23% 29% 6% 43% Consultation with artists and organisations on policy 23% 24% 5% 49% Arts Council conferences and events 21% 24% 6% 50% Base: Varies from All respondents were asked about what changes they had noticed in their interaction with the Arts Council since its reorganisation in May The most striking thing to notice is the number of don t know responses. Many respondents don t have regular interactions with the Arts Council and only come into contact when applying for funding Some suggested that although the reorganisation was a significant event for the Arts Council, they find it difficult to notice a difference before and after this date specifically because it is not so significant to them Overall, around a third noticed improvement in communications (34%), the ability to deal with enquiries and requests (31%) and access to advice and expertise (30%) A slightly higher than average 33% of individuals thought there was an improvement in access to advice and expertise. RFOs have mixed views with a third saying it has improved (34%) and one in ten (11%) deteriorated but most (45%) think it has stayed the same. Other Arts Organisations are the least positive group with 27% seeing an improvement and 12% a deterioration Almost two in five (39%) RFOs have seen an improvement in the ability to deal with enquiries and requests, 13% see a deterioration and 39% say it has Page 17 of 60

18 stayed the same. Other Arts Organisations are again mixed in their views with a quarter (26%) noticing improvement, 14% deterioration but a third (34%) seeing no change Views are more mixed on changes to the level of face to face contact with a quarter suggesting this has improved (26%) and 13% deteriorated. RFOs and Local Authorities say the service has improved most (41% each) compared to around a fifth to a quarter in other groups. The largest deterioration is amongst Other Arts Organisations (18%). Page 18 of 60

19 Improved quality of service since reorganisation Change in overall quality of service since the reorganisation Much improved Slightly improved About the same Slightly worse Much worse Don't know All 17% 24% 18% 6% 33% Revenue Funded Organisations 26% 37% 19% 11% 7% National Advisers 5% 36% 27% 32% Local Authorities 15% 26% 33% 8% 18% Other Arts Organisations 14% 25% 19% 8% 33% Other Stakeholder 19% 19% 14% 49% Individual Artists/Practitioners 17% 21% 16% 6% 38% Base: Overall, the quality of service provided by the Arts Council has improved since reorganisation with two in five (41%) suggesting it is either much or slightly improved. This is felt most strongly by RFO respondents (63%) Less than one in ten (7%) say that overall service quality has deteriorated but most of these say it is only slightly worse. RFOs (11%) and Other Arts Organisations (10%) were most negative but none of the NAs or Other Stakeholders think it has changed for the worse. Page 19 of 60

20 Opportunities to improve services 3.33 Respondents were asked how the Arts Council could improve the service it offers. Views were extremely varied but the following themes were the most commonly mentioned: Improve the applications process help with applications, better feedback and improve the process. The process is complicated and onerous for many. Ability to have more personal contact with staff finding the right person to speak to is often difficult and online services have limitations. More knowledgeable staff some feel the difference in the levels of expertise since reorganisation particularly relating to the knowledge of their art form; consistency is needed in application of policy. Better communication about its own activities and the arts in Wales, advance warning of upcoming events and news, communications in general, liaising with stakeholders and partners. Provide more networking opportunities e.g. surgeries, events etc. Page 20 of 60

21 Contact and Dealings with the Arts Council Most satisfied with their relationship with the Arts Council Overall, how satisfied are you with the relationship between you or your organisation and the Arts Council? Very satisfied Neither satisfied nor dissatisfied Very dissatisfied Fairly satisfied Fairly dissatisfied Don't know All 55% 33% 7% Individual Artists/Practitioners 61% 27% 6% Revenue Funded Organisations 55% 30% 11% 4% Other Arts Organisations 49% 38% 7% National Advisers 23% 64% 9% 5% Local Authorities 46% 41% 8% Other Stakeholder 51% 35% 5% 5% Base: Most respondents are positive about their relationship with the Arts Council and almost nine in ten (88%) are either very satisfied or fairly satisfied Individuals are the most positive about the relationship with six in ten very satisfied (61%) but for most groups this is around half. NAs are generally fairly satisfied (64%) with just under a quarter saying they are very satisfied (23%) some suggest that relationships are variable depending on the individual officer and feel that they could be better used by the Arts Council. There are further details on this in Section Overall just 4% expressed a negative view but Other Stakeholders are the least satisfied (8%) with their relationship with the Arts Council. Page 21 of 60

22 Relationships similar or improved since reorganisation How has this relationship changed, if at all, since the reorganisation in May 2012? Much improved Slightly improved About the same Slightly worse Much worse Don't know All 14% 18% 36% 6% 26% Individual Artists/Practitioners 15% 10% 35% 4% 34% Revenue Funded Organisations 16% 34% 36% 7% 7% Other Arts Organisations 14% 21% 36% 7% 21% National Advisers 14% 18% 41% 5% 23% Local Authorities 5% 33% 31% 8% 23% Other Stakeholder 14% 19% 33% 33% Base: Almost a third (32%) said the relationship had improved in some way since reorganisation and just 7% that it had deteriorated RFO respondents are particularly positive with half seeing improvement. Local Authorities are also aware of a change for the better (38%) albeit a slight change for most but this is a step in the right direction considering the need for the stronger relationships and collaboration which will be required to deliver community and education agendas Again, high proportions of respondents are undecided, particularly amongst individuals (34%) and Other Stakeholders (33%). Page 22 of 60

23 Most are not familiar with Council Members How familiar are you with the appointed members of the Arts Council? Very familiar Fairly familiar Not very familiar Not at all familiar Don't know All 7% 24% 32% 33% 5% Individual Artists/Practitioners 6% 23% 34% 31% 6% Revenue Funded Organisations 9% 39% 30% 21% Other Arts Organisations 7% 19% 31% 37% 6% National Advisers 36% 45% 18% Local Authorities 8% 31% 31% 26% 5% Other Stakeholder 27% 27% 43% Base: Around three in ten (31%) say they are fairly or very familiar with Council Members, especially RFO respondents (48%) and Local Authorities (39%) compared with a quarter of Other Arts Organisations (26%) Two thirds of respondents are not very or at all familiar with Council Members (65%), particularly Other Stakeholders (70%) and Other Arts Organisations (68%) Further comments suggest that being familiar with appointed Members is not necessarily too important in terms of their relationship with the Arts Council overall but visibility at events would be beneficial. Page 23 of 60

24 Enquiry service Most have made a telephone enquiry, typically for funding Have you made a telephone enquiry using the main Arts Council number since May 2012? Yes - a funding enquiry Yes - a general information enquiry No All Individual Artists/Practitioners Revenue Funded Organisations Other Arts Organisations National Advisers Local Authorities Other Stakeholder 24% 29% 21% 28% 33% 33% 24% 25% 56% 61% 46% 60% 18% 41% 55% 45% 50% 28% 35% 24% 46% Base: Seven in ten respondents have made at least one telephone enquiry, mostly related to funding (56%) rather than for general information (24%). NAs and Other Stakeholders are least likely to use the main line and as they would tend to go straight to a known contact within the organisation rather than the enquiry line Funding enquiries are most common amongst individuals (61%) and Other Arts Organisations (60%) which is unsurprising as they have the least face to face contact with staff General information enquiries are highest amongst Local Authorities (50%) and NAs (41%) and comments during the follow up exercise suggest that when they are unable to reach or do not have a designated contact, they may ring the general information line when they are unable to find information on the website, for example. Page 24 of 60

25 Enquiries often referred on to others Was your query resolved by the first person you spoke to? Yes No - referred to another person or team Can't remember All 53% 39% 8% Individual Artists/Practitioners 57% 36% 7% Revenue Funded Organisations 37% 58% 5% Other Arts Organisations 50% 39% 11% National Advisers 60% 30% 10% Local Authorities 55% 45% Other Stakeholder 65% 20% 15% Base: 343, respondents making an enquiry 3.46 Over half of all respondents had their query resolved by the person who answered their call (53%), most often amongst Other Stakeholders (65%), and NAs (60%). Please note that the base for these two groups is very small due to routing However, two fifths were referred on to another person or team (39%). RFO respondents were the least likely to have their query resolved by the first person they spoke to (58% referred), perhaps reflecting the need for more detailed knowledge in order to respond Appropriate briefing and training of first line enquiry staff would help to manage these referrals more often on first answer. Page 25 of 60

26 Majority satisfied with overall query handling How satisfied were you with the way in which your query was handled overall? Very satisfied Neither satisfied nor dissatisfied Very dissatisfied Fairly satisfied Fairly dissatisfied Can't remember All 65% 22% 5% 6% Individual Artists/Practitioners 67% 19% 6% 5% Revenue Funded Organisations 65% 24% 5% Other Arts Organisations 59% 25% 5% 7% National Advisers 50% 30% 10% 10% Local Authorities 55% 38% 7% Other Stakeholder 80% 10% 5% 5% Base: 341, those making a telephone enquiry 3.49 There are relatively high levels of satisfaction with query handling with almost nine in ten (87%) very satisfied or fairly satisfied Less than one in ten (7%) were not satisfied with their experience, slightly more amongst Other Arts Organisations (9%). Page 26 of 60

27 Improvements in enquiry service 3.51 Respondents were asked for suggestions on how the enquiry service could be improved. Almost half had no suggestions for improvement and some of these were complementary about the service: My queries have always been received in a very Helpful, supportive and informative manner I was referred to my local advisor, so I don t think that the person dealing with the enquiry could have done more at this point When I spoke to the ACW team member on the phone. they didn't know the answer to my question but were very quick to find the people to help me. I am always happy with the help from the team over the phone. The staff were friendly and very helpful. Phone enquiries are handled very well, but a face to face drop in shop might attract a more diverse community of practitioners Staff training was one of the main areas for improvement: Empowering and training reception staff. My query did get sorted out OK, but the person I spoke to didn't seem to be very well informed and was confused. I got the impression the person was a trainee perhaps. This might have been a one off, other times my queries have been efficiently answered. I spoke to people not long after the reorganisation and the staff themselves weren't sure at that time about their own responsibilities or how much they could be contacted. My call was 'fielded' and I felt that I wasn't important enough. When I did eventually speak to a specific officer they were unsure too. I'm hoping that this has settled down and changed now that people are more secure in their jobs and in what they are doing. Reorganisation affects both internal and external and some relationships that were built over many years were lost when staff left, leaving us all feeling a bit high and dry. I was wrongly advised to apply as an individual when I found out later I should've applied as an organisation. It was later resolved but I felt the person I spoke to had no training on the Music Industry Development Fund - which should be addressed. Staff answering the telephone on the main switchboard need to be more informed about pragmatic issues such as the timings of schedules and meetings. There is a problem with the changes and the enquiry service fits in with this. The specialists have all gone, so there is no corporate memory or understanding of what the Council actually does that is commonly owned across its entire staff. The refusal to admit ignorance is frustrating. I would prefer a staff member to say they didn't know than to mumble until I go away. The call handlers could be more positive, with the intention of leaving you feeling optimistic rather than deflated. The opinions of the call handlers can sometimes be vague and definitions can be cloudy when it comes to funding queries being answered. This can lead to a feeling of "opening a can of worms" when asking a question. Page 27 of 60

28 3.53 Other comments relate to availability of staff, better response times and knowing who to contact. Although many of these comments may not be referring to the enquiry service, it suggests that enquirers don t necessarily see a distinction: Staff could be at their desks more frequently. Seem to spend a lot of time out of the office or at meetings. Most enquiries are met by an answer phone which is a capacity issue within ACW. More quick web links to the relevant information (ACW or elsewhere) could help. For the person who I was told to phone to ring back, sometimes that hasn't happen. Sometimes officers do not respond to messages or return calls. Dedicated post holders for each fund stream, and a clear path to their contact and door... most importantly a clearer road of funds available, from whom and what they are available for... it is still very difficult to track down the RIGHT person who knows what funds do what and then find who s the boss. I would like to go back to the system where I could phone the local office and speak to someone that understood my organisation; it seems harder to find an officer/someone that knows you recently. More upfront about contact information and pathway on ACW website, make site less bureaucratic Several mention the link between difficulties in finding information on the website which leads to phone calls to the enquiry line. If the website was easier to navigate and more user-friendly it could alleviate pressure on the enquiry service. Page 28 of 60

29 Decision Making and Funding Most have made funding applications Have you made one or more funding applications to the Arts Council since May 2012? Yes No All 87% 13% Individual Artists/Practitioners 89% 11% Revenue Funded Organisations 93% 7% Other Arts Organisations 94% 6% National Advisers 59% 41% Local Authorities 78% 23% Other Stakeholder 70% 30% Base: The majority of respondents (87%) have made at least one funding application since the reorganisation, most often amongst Other Arts Organisations (94%) and RFO respondents (93%). NAs have made the fewest applications (59%) Of those applying for funding, 91% have had one or more successful applications since the reorganisation in May % of individual artists or practitioners have had a successful application compared with 91% of other arts organisations and 85% of other shareholders. By definition, all RFOs have been successful It is clear both from the database provided and responses during the course of interviews and focus groups that applicants have often applied more than once during this period Many commented in the focus groups that they have also had unsuccessful applications. It is also a common experience for applicants to be unsuccessful on their first attempt then to take on board feedback and reapply with success. Page 29 of 60

30 Funding advice generally helpful How helpful was the funding advice you received ahead of your application? Very helpful Fairly helpful Not very helpful Not helpful at all Don't know Didn't receive advice All 68% 24% Individual Artists/Practitioners 71% 23% Revenue Funded Organisations 66% 23% 6% 4% Other Arts Organisations 69% 22% 4% 4% National Advisers 62% 38% Local Authorities 55% 42% Other Stakeholder 77% 19% 4% Base: 422, respondents making funding applications 3.59 Funding advice ahead if the application was generally very helpful or helpful for most (92%) although around 3% said they didn t receive any advice Overall, just under one in twenty (4%) said the advice was not very or not at all helpful, rising to 6% for RFOs and 5% for Other Arts Organisations. Page 30 of 60

31 Online process used by most Have you applied for a grant using the online application process? Yes No All 93% 7% Individual Artists/Practitioners 96% 4% Revenue Funded Organisations 89% 11% Other Arts Organisations 96% 4% National Advisers 77% 23% Local Authorities 84% 16% Other Stakeholder 77% 23% Base: 422, respondents making funding applications 3.61 Most applicants have used the online application process (93%). Some say that they have not used the online process including NAs (23%), Other Stakeholders (23%) and Local Authorities (16%) Feedback suggests that some respondents find the online application process very difficult. Whilst most applications can be made online, there will be genuine reasons why this is not possible for some e.g. disability Some commented in the focus groups that the form can be quite daunting, particularly for young people or those approaching it for the first time. This can become off-putting unless sufficient guidance is available either directly from the Arts Council or from other individuals or organisations acting as mentors. Page 31 of 60

32 Online application form difficult for some How easy was it to follow the online application form? Very easy Easy Neither easy nor difficult Difficult Very difficult All 26% 40% 20% 11% 3% Individual Artists/Practitioners 30% 36% 19% 12% 4% Revenue Funded Organisations 19% 55% 15% 11% Other Arts Organisations 24% 40% 22% 9% 5% National Advisers 30% 40% 20% 10% Local Authorities 15% 46% 27% 12% Other Stakeholder 35% 40% 10% 10% 5% Base: 395, respondents using online application form 3.64 Around a quarter of online applicants (26%) found it very easy to follow the application form and a further two fifths (40%) said it was easy. Fewer Local Authorities managed the process easily (61%) compared with Other Stakeholders (75%) and RFOs (74%) who were the most positive However, there are some difficulties for some and 14% overall found the form difficult or very difficult. This was highest amongst individuals (16%) and Other Stakeholders (15%) and lowest for NAs (10%) and RFOs (11%). Page 32 of 60

33 Guidance notes useful but some difficulties How useful were the online application guidance notes? Very useful Fairly Useful Not very useful Not at all useful Can't remember Didn't use the guidance notes All 44% 47% 6% Individual Artists/Practitioners 48% 41% 7% Revenue Funded Organisations 38% 51% 4% 4% Other Arts Organisations 45% 47% 4% National Advisers 60% 20% 10% 10% Local Authorities 27% 69% 4% Other Stakeholder 47% 47% 5% Base: 393, respondents using online application form (NAs=10) 3.66 Over two in five (44%) found the guidance note very useful and almost half fairly useful (47%). The extent to which they are very useful varies between groups ranging from a quarter of Local Authorities (27%) up to six of the ten NAs Just under one in ten (8%) said the notes were not very or not at all useful, highest amongst NAs (2 of 10 respondents) and lowest amongst Local Authorities (4%), Other Stakeholders (5%) and Other Arts Organisations (6%). Page 33 of 60

34 Mixed response to the budget template If you used the budget template during your application, how useful did you find it? Very useful Not very useful Can't remember Fairly Useful Not at all useful Didn't use the budget template All 34% 45% 10% 6% Individual Artists/Practitioners 42% 37% 10% 8% Revenue Funded Organisations 19% 64% 11% Other Arts Organisations 30% 45% 12% 6% National Advisers 20% 30% 10% 40% Local Authorities 19% 65% 8% 4% 4% Other Stakeholder 30% 55% 5% 5% 5% Base: 394, respondents using online application form (NAs=10) 3.68 The budget template is very useful according to over a third of online applicants (34%), particularly individuals (42%), Other Arts Organisations (30%) and Other Stakeholders (30%) However, a significant minority (16%) did not find it useful. Five of the ten NAs responding to this question took a negative view, but more widely, almost a fifth of Other Arts Organisations (18%) and individual applicants (17%) said it was not useful In the focus groups, views were also mixed here. Some felt it was a useful tool to enable them to become more business minded something that does not necessarily sit easily with some people in the creative sector. Others found it very frustrating to try and make the spreadsheets add up properly because using spreadsheets was outside of their comfort zone. Page 34 of 60

35 Adequate information and advice for most applicants, but some issues Did you have access to adequate information and advice during the application process? Yes No Don't know All 81% 14% 6% Individual Artists/Practitioners 80% 15% 5% Revenue Funded Organisations 83% 6% 11% Other Arts Organisations 77% 17% 6% National Advisers 85% 8% 8% Local Authorities 93% Other Stakeholder 81% 8% 12% 0% 50% 100% Base: 422, respondents making a funding application 3.71 Overall, most applicants said they had enough information and advice throughout the process (81%) but a significant minority did not (14%) Other Arts Organisations had the greatest need for more information (17%) along with individual applicants (15%). These two groups form almost nine in ten of those interviewed, so it is important that this point is considered. These are the groups who have least access to specific individuals or teams within the Arts Council. Page 35 of 60

36 Efficient application process Was the overall application process concluded efficiently? Yes No Don't know All Individual Artists/Practitioners Revenue Funded Organisations Other Arts Organisations 91% 91% 96% 87% 4% 5% 4% 5% 4% 5% 7% National Advisers 92% 8% Local Authorities Other Stakeholder 94% 88% 6% 8% 4% Base: 421, respondents making a funding application 3.73 There is a general consensus amongst respondents and most groups that the application process is efficient (91%) Just under one in twenty applicants (4%) thought the process was not efficient, particularly Other Stakeholders (8%) and Other Arts Organisations (7%). Page 36 of 60

37 A fair process for most but many unsure Do you think that the application assessment process was fair? Yes No Don't know All 79% 5% 16% Individual Artists/Practitioners 74% 6% 20% Revenue Funded Organisations 85% 6% 10% Other Arts Organisations 77% 6% 17% National Advisers 77% 23% Local Authorities 90% 7% Other Stakeholder 88% 4% 8% Base: 421, respondents making a funding application 3.75 Four in five (79%) consider the application assessment process fair and this is highest amongst RFOs (85%), Other Stakeholders (88%) and Local Authorities (90%) One in twenty (5%) do not agree A significant one in six (16%) were not sure and this was higher still amongst NAs (23%) and individuals (20%). Some commented that they are unsure because they are not necessarily party to the assessment process so are unable to decide on its fairness. This links in with issues of transparency and feedback on funding decisions. Page 37 of 60

38 Usefulness of feedback is variable Did you receive useful feedback at the end of the application process? Yes No Don't know No feedback received All 60% 14% 6% 20% Individual Artists/Practitioners 51% 15% 8% 26% Revenue Funded Organisations 81% 10% 10% Other Arts Organisations 63% 14% 6% 17% National Advisers 69% 15% 15% Local Authorities 77% 13% 7% Other Stakeholder 62% 12% 15% 12% Base: 422, respondents making a funding application 3.78 According to six in ten applicants (60%) feedback is useful. There is a clear division on this issue across the different respondent groups However, a very significant 14% did not find feedback useful and a further 20% said they had not received any feedback There is a clear difference on this issue across respondent groups. Particularly high numbers of RFO respondents (81%) find feedback useful as do Local Authorities (77%) and NAs (69%). At the other end of the scale, only half individual artists (51%) found useful feedback and over a quarter said that they did not receive any feedback on their application Almost two thirds (63%) of Other Arts Organisations received useful feedback and 17% had none. Page 38 of 60

39 Improvements in the application process 3.82 Respondents were asked how the application process could be improved. The main suggestions were: Simplify and amend the online form Deal with technical issues regarding the online forms there are issues which mean applicants then have to ring for advice and be talked through; broken templates and glitches need to be addressed Decision making and assessment despite the online form, some sense checks would be useful based on a follow up phone call; consistency in the advice provided. Improve and simplify the guidance notes Review the budget template Provide better feedback whether successful or unsuccessful in the application Simpler application which would be adapted to different genres of the arts. Having one overall application is confusing as much of it is not relevant. Some of the questions are very broad and often repetitive. They are not always relevant and it can be hard to tailor information to fit the available space for answers. Statistical information (gender etc etc)and organisation details could be kept on file to remove need to re-enter every time, with an opportunity to update it during the application if necessary. Seriously look at streamlining the application forms, budget forms and guidelines. The whole thing at the moment is very confusing. There are too many versions of the guidelines to read - from the main website and then during the actual application - and one ends up repeating answers all the time. More friendly system for those low-techs that still exist in the world. When I applied for a grant your template was broken, this was reported at the time of application but it was declined, over a budget mismatch of 1 this was ridiculous, a simple phone call could have sorted it, the application was resubmitted, another 6 weeks went by and it was accepted... ABSOLUTE PEN PUSHING STUPIDITY. Improve consistency of advice and communications by officers; respond more quickly Page 39 of 60

40 Keeping Clients and Stakeholders Informed Communication more effective with some than others Overall, how effectively does the Arts Council communicate with you? Very well Fairly well Fairly poorly Very poorly Don't know All 41% 47% 8% Individual Artists/Practitioners 41% 45% 8% 5% Revenue Funded Organisations 51% 42% 7% Other Arts Organisations 38% 51% 8% National Advisers 32% 50% 14% 5% Local Authorities 35% 50% 8% 5% Other Stakeholder 42% 42% 17% Base: Overall, the Arts Council communicates very well according to two in five respondents (41%) with the best ratings from RFOs (51%) compared to NAs (32%) and Local Authorities (35%) rate its communication very highly Typically, one in ten (9%) said that communication was handled either fairly or very poorly except for Other Stakeholders (17%) and NAs (14%). Page 40 of 60

41 Website, word of mouth and direct contact with staff are most used How do you find out about the Arts Council's activities? Arts Council Website 84% Word of mouth Direct contact with Arts Council staff 53% 53% Monthly Newsletter Arts Council open conferences, seminars Media/press reports Arts Council Strategy Documents Annual Report Arts Council social media channels Other Arts Council publications and reports Arts Council Operational Plan Arts Council Corporate Plan Do not hear about Arts Council activities Other 27% 25% 21% 20% 12% 12% 11% 6% 5% 3% 3% Base: Overall the website, word of mouth and direct contact with staff are the most popular means of keeping up to date with Arts Council activities. There is significant variation amongst different client and stakeholder groups, however The website is the most popular means of finding out about activities (84%) and even more so for Local Authorities (90%) and RFOs (88%) but less so for Other Stakeholders (78%) but even then it is still the main source of information Direct contact with Arts Council staff is much more popular amongst some groups including RFOs (86%), NAs (82%), Local Authorities (70%) and Other Arts Organisations (62%) but much less so for individual artists or practitioners (37%) The newsletter is used by just over a quarter overall (27%) but more extensively by RFOs (44%) and NAs (36%) A quarter also said they use Arts Council events to keep up to date. Again, there is great variation amongst client groups with just 15% of individual artists/practitioners stating this compared with 63% of RFOs, 55% of NAs and 45% of Local Authorities. Page 41 of 60

42 Little appetite for other information sources Would you prefer to use other ways of finding out more about Arts Council activities? Yes No Don't know All 15% 52% 33% Individual Artists/Practitioners 17% 47% 36% Revenue Funded Organisations 9% 58% 33% Other Arts Organisations 13% 54% 33% National Advisers 9% 73% 18% Local Authorities 15% 57% 28% Other Stakeholder 22% 35% 43% 0% 50% 100% Base: One in seven (15%) would prefer other ways of finding out about activities but over half are not interested in alternatives. Other Stakeholders show the most interest in other ways of communicating (22%) A third are unsure (33%) Three quarters of NAs do not want to find out about activities by new means (73%). Page 42 of 60

43 Website most useful How useful do you find the following forms of communication? Very useful Fairly useful Not very useful Not at all useful Don't know Not applicable Arts Council web site 47% 46% Monthly newsletter 16% 27% 7% 3% 20% 28% Press releases 10% 31% 9% 3% 19% 28% Arts Council Annual Report 8% 26% 11% 5% 22% 28% Social media channels 9% 19% 13% 4% 22% 33% Corporate Plan 5% 16% 12% 6% 27% 34% Base: Varies The website is by far and away the most useful source of information and almost half consider it very useful (47%) and most of the remainder fairly useful (46%) Whilst the website it the most useful source of information and is the most extensively used channel, it is clear from comments on the survey and in the follow up work that it is not necessarily easy to use or navigate. We discuss this later under areas for improvement in communication Social media is useful to some degree for almost three in ten (28%) but not useful by 17% The high level of don t know and not applicable responses for all forms of communication other than the website is very striking. This suggests awareness and use of these communication channels is low Between 10% and 18% of respondents rate all communication methods other than the website as not useful to some degree. Page 43 of 60

44 Awareness of newsletter is low for many groups Usefulness of newsletter Very useful Fairly useful Not very useful Not at all useful Don't know Not applicable All 16% 27% 7% 20% 28% Individual Artists/Practitioners 21% 23% 7% 20% 26% Revenue Funded Organisations 16% 42% 9% 16% 16% Other Arts Organisations 12% 27% 7% 19% 32% National Advisers 5% 48% 5% 5% 19% 19% Local Authorities 13% 34% 5% 5% 24% 18% Other Stakeholder 16% 11% 5% 8% 24% 35% Base: Further analysis of the monthly newsletter responses shows that some client groups such as RFOs and NA s find it more useful than others although a fifth of individuals (21%) find the newsletter very useful The high proportion of don t know and not applicable responses along with more in depth feedback suggests that awareness of the newsletter is quite limited. Some suggest that putting in place an automatic sign up when making a funding application would help to address the awareness issue. The Arts Council could explore the possibility of an opt out rather than opt in system for the newsletter Further feedback suggests that the main improvements should be to raise awareness of the newsletter and to improve the content to make it more user friendly and easier to find information through the use of links etc. Page 44 of 60

45 Limited attendance at events and lack of awareness Which of the following, if any, have you attended in the last two years? Have attended Did not attend I wasn't aware of this event Don't know RFO Development Programme Seminars* 60% 19% 17% Annual Conference 23% 44% 32% Funding Advice Sessions 20% 49% 28% Sgwrs Gelfyddydol Regional Meetings 18% 39% 41% Marketing Symposium 9% 48% 41% Base: Varies , *52 for RFOs only Six in ten respondents from RFOs said they attended an RFO development programme seminar. This does not imply that 60% of RFOs had representation, however as there could be more than one respondent from each RFO responding to the survey and not all RFOs took part Other than this, the Annual Conference is the most popular event (23%) with the Marketing Symposium being the least popular where just under one in ten (9%) attended It is notable that awareness of events is low for the four main open events although better for the Annual Conference and Funding Advice Sessions. Two in five (41%) were not aware of the Sgwrs events or the Marketing Symposium Funding advice sessions would only be relevant if a funding application was under development but one in five have attended and awareness of these sessions is best compared to the other open events This suggests that communication regarding events should be improved. Events will not be appropriate to all but clients and stakeholders do need to be made aware that events are taking place. This could take the form of both direct and indirect communication e.g. through third parties. Page 45 of 60

46 Events attended by type of respondent Events attended in the last two years Annual Conference Sgwrs Gelfyddydol Regional Meetings Funding Advice Sessions Marketing Symposium All 9% 23% 20% 18% Individual Artists/Practitioners 12% 8% 3% 21% Revenue Funded Organisations 35% 40% 57% 76% Other Arts Organisations 8% 21% 17% 17% National Advisers 6% 18% 37% 67% Local Authorities 14% 17% 33% 50% Other Stakeholder 6% 3% 15% 20% 0% 20% 40% 60% 80% Base: Varies Relatively few individual artists or practitioners said they attended an event in the last two years although a fifth (21%) attended a funding advice session compared with a third of RFOs (35%) and 14% of Local Authorities Sgwrs events are most popular amongst RFOs (57%) and Local Authorities (50%) but less so amongst individuals (8%) and Other Arts Organisations (17%) The Annual Conference is most popular amongst RFOs (76%) and NAs (67%), but less so for individuals (12%) and Other Arts Organisations (21%). Page 46 of 60

47 Events are generally useful, but regional meetings slightly less so How useful have you found the events you have attended? Very useful Fairly useful Not very useful Not at all useful Don't know Funding Advice Sessions 69% 26% Marketing Symposium 41% 54% 5% RFO Development Programme Seminars 42% 48% 10% Annual Conference 31% 59% 9% Sgwrs Gelfyddydol Regional Meetings 38% 41% 13% 4% Base: Varies All of those who said they attended an event were asked about how they useful they found it. Due to the relatively small number of respondents who have attended events, please note that the base figures for this question are relatively small The most useful events are the Funding Advice Sessions where seven in ten of those attending (69%) found them very useful and most of the remainder fairly useful. This is a positive response to a new type of event brought in as a result of the reorganisation Although attendance and awareness is relatively low, the Marketing Symposium is also considered useful by the majority of respondents and two fifths (41%) find it very useful Specifically looking at RFOs, the Development Programme Seminars are broadly well received although one in ten said they were not very useful Sgwrs regional events have mixed feedback. Whilst most think they are fairly or very useful (79%), almost one in five (17%) found them not very or not at all useful. Page 47 of 60