Evidence from Anne Bonnar to Education, Culture and Lifelong Learning Committeeconsidering Stage 1 of the Public Services Reform (Scotland) BillPage 1

Evidence from Anne Bonnar to Education, Culture and LifelongLearning Committee considering Stage 1 of the Public ServicesReform (Scotland) Bill

1.Statement of Support and Overview

I believe that Creative Scotland, as described in the PSRB, has the potential toprovide for the creation of a 21

century cultural agency to contribute towardsthe Scottish Government’s “core purpose to create a more successful Scotlandwith opportunities for all through increasing sustainable economic growth”

andto deliver the Scottish Government’s stated objectives

“Scotland to be a truly creative nation..with a strong national identity which our vibrant arts and culture help to reflect, shape and define...to encourage and support artists, creative practitioners and enterprises, as well as to attract increasing numbers of creative people to Scotland, and to build Scotland’scultural profile as part of a broader international reputation.. to ensure that thework of Scotland’s artists and creative practitioners is accessible to as many people as possible, and equally that the opportunity to participate in arts and creative endeavours of all kinds is open to all”

These policy objectives, and the core purpose, differ in several respects fromthose which governed the establishment of the Arts Council and Scottish Screenand describe aspects of the changing context for cultural publicbodies. Thereare also other significant changes to the world in which artistic and creativeexperiences happen which are driven by changes in technology andcommunications and economic, social and cultural trends.Creative Scotland, as a single public agency for the arts and culture embracingthe creative industries, has the potential to deliver the policy objectives and toimprove local, national and international arts and creative experiences. It hasthe potential to be a 21

century cultural body delivering for Scotland throughchampioning, supporting, brokering and investing in artists, creative enterprisesand creative experiences and participation. The documentation describes the rationale, role and functions of CreativeScotland and enshrines the arms length principle.

2.Positive Progress since June 2008

Last year, I was engaged by the Joint Board of Scottish Arts Council and ScottishScreen as Transition Director for Creative Scotland, at a time when it wasproposed to establish the new body through the Creative Scotland Bill. Thesubsequent decision to create a transition company, Creative Scotland 2009 Ltdand to establish Creative Scotland as a public body through the Public ServicesReform (Scotland) Bill has enabled not only development and refinement, butalso appropriate time for consultation around the concept and operations of Creative Scotland. The benefits of this approach are manifest in the detailed

Policy Memorandum 5

Policy Memorandum 127 - 131

Evidence from Anne Bonnar to Education, Culture and Lifelong Learning Committeeconsidering Stage 1 of the Public Services Reform (Scotland) BillPage 2

memoranda and notes concerning the rationale, purpose, role, operations andfinancial implications of Creative Scotland contained in the PSRB. The documents make reference to the Creative Industries PartnershipAgreement

, the framework for a coordinated approach to supporting Scotland’screative industries, to which the primary public agencies have committed(Scottish Enterprise, Highlands and Islands Enterprise, COSLA and CreativeScotland). This Partnership Agreement defines the complementary roles of theagencies and encapsulates a consensus and clarity previously absent. Thearticulation of CS’ role, “to provide research, intelligence and advocacy” and “lead coordination of support to the creative industries” has facilitated a clearerunderstanding of the likely resources required to operate Creative Scotland andthereby the likely costs of establishing CS and merging the resources of SAC andSS.

3.Why Creative Scotland should be concerned with the creativeindustries and their role in the creative economy

Perhaps most importantly for Scotland’s creative economy, although lessimportant for the PSRB, the Agreement signals the recognition by all parties of the vital importance of a coordinated approach to supporting Scotland’s creativeindustries for the cultural and economic success of our nation. The evolvingconcept of the creative economy is a global priority, as articulated by the UnitedNations

, as also for the UK

, because it is one area of the economy where thereis sustained growth and where there is fierce global competition for markets.Success is measured not only by direct economic return but also culturalinfluence. The creative economy refers to the cycle of creation, production anddistribution of goods and services that use knowledge, creative and intellectualcapital as their primary productive resource.

Arts, culture and creativeindustries are major drivers of the creative economy and so are creative workersand innovation embedded in other social and economic activities.

The concepts of the creative economy and creative industries have given rise tofears from some artists that there is too much emphasis on the economicbenefits of arts and culture and the important point is made

that CreativeScotland can (and should) support some arts and culture wholly for intrinsic,cultural value. The creative economy does not exist without talent and the creative contentgenerated by artists and creative practitioners. Art and creative products do notexist without artists and creators. Creative experiences don’t happen without acreative contract between participants or consumers and artists or creators. The

creative-scotland/partnership-report

Inter alia United Nations reports UNCTAD, 2004, 2008:Creative economy report

Creative Britain Report 2008

Inter alia United Nations reports UNCTAD, 2004, 2008:Creative economy report

NESTABeyond the Creative Industries 2008

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Evidence from Anne Bonnar to Education, Culture and Lifelong Learning Committeeconsidering Stage 1 of the Public Services Reform (Scotland) BillPage 3

concepts of the creative industries and the creative economy in no way deny thevalue of the artist but rather signpost the wider benefits of creative activity inthe 21

century . The concepts are also useful as descriptors of how arts andcreative experiences are fast evolving at a time of convergence in platforms.We live in a digital age. Last week Ofcom

published data illustrating theprogress towards the tipping point where consumers chose digital andpersonalised experiences in their own homes as opposed to entertainmentbroadcast or performed in venues. Nearly half of people will cut back on nightsout – which includes visits to theatres and concerts, one third will cut back onmusic, books and DVDs, one fifth on newspapers and magazines rather than cutback on internet and communications.