4.1 This section summarises the views, themes and issues to arise from the responses sent in by letter or email from around 350 people. The responses came from a wide range of individuals, independent organisations and associations as well as from major national institutions and non-government organisations, local authorities and trade unions.
4.2 Some were short e-mails or hand-written letters. Others were lengthy and detailed responses enclosing relevant research. Some responses dealt with single issues, some answered the specific questions raised in the consultation document, some responded to the submissions of others and some did not directly address any issues but rather enclosed information as to their own organisation’s activities.
4.3 Although there was wide variation in the responses, there were clear primary themes which arose.
4.4 These primary themes were:
4.5 Certain areas in the consultation document prompted confusion. These were:
4.6 Respondents welcomed the idea of having a National Cultural Strategy and its aspiring nature was applauded. Several commented on the importance of such a strategy and many agencies explicitly stated their desire to be actively involved in the formation of the Strategy as it moves from broad brush ideas to detail.
4.7 Respondents expressed the belief that the Strategy has the potential to change attitudes to culture and to promote culture within and outwith government. There was a hope expressed that the Strategy could recognise culture as part of life, as an asset to be celebrated and valued in Scotland and not an optional extra. The need for enthusiastic leadership was expressed.
4.8 More specific aims for the Strategy were suggested as:
4.9 There were many comments and definitions which we have grouped into three:
4.10 This definition, ‘all distinctive spiritual and material, intellectual and emotional features which characterise a society or group’, encompasses a wide range of spiritual, behavioural and physical elements. The definition can accommodate the majority of suggestions made by respondents including:
4.11 It encompasses all aspects of the natural and built heritage. Several respondents commented on a perceived imbalance in the consultation document as far as all aspects of the built and natural heritage are concerned including archaeology, town planning and industrial heritage.
4.12 Likewise, science and invention and innovation were specifically mentioned by several as being important parts of our culture which should be included.
4.13 The definition of the arts here is also broad including all performing and exhibiting arts, presentation and participation and the full range of design, architecture and applied creative activities like fashion.
4.14 It is likely that this type of definition would be supported by the majority of respondents.
4.15 This definition is compatible with the holistic, UNESCO definition, but differs in that it is specific both in terms of the activities it includes and the people it aspires to include. It was suggested by The Council of Scottish Local Authorities (COSLA) and other public sector agencies.
4.16 It specifically includes sport and a range of activities engaged in by young people, and information technology, advertising and other creative industries, amongst others.
4.17 It is also similar to the definition adopted by the Department of Culture Media and Sport (DCMS) in Westminster. This includes arts, heritage, libraries, sport, play, leisure, tourism and the arts.
4.18 Artists and arts organisations, on the whole, thought culture synonymous with the arts.
4.19 The Scottish Arts Council, while subscribing to an holistic definition of culture, described its own broad definition of the arts as including, in addition to performing, visual, film and media, amateur and professional arts, the areas of graphic and industrial design, fashion, multimedia, built and other environment, broadcasting and IT.
4.20 While the holistic and inclusive definitions are compatible with each other, the definition of culture as art is not. Further, it may perpetuate the idea of culture as exclusive.
4.21 Several areas which effect the cultural life of Scotland are held under reserved powers in Westminster, including the National Lottery, broadcasting and tax issues. Respondents commented on the importance of including these areas within the Strategy.
4.22 Many respondents remarked on the importance of identity. Scottish identity now is diverse. Our heritage, history and traditions are important to identity but many respondents commented on our general lack of understanding and knowledge. Many, if not most, people living in Scotland now have not been taught about their history or heritage at school or at home. Many of us do not have a rounded understanding of what it means to be Scottish. This was largely attributed to the lack of teaching of these aspects within the school.
4.23 A view expressed often was that we have to understand where we come from before we can move on. The views of individuals were echoed by the Scottish Consultative Committee on the Curriculum which considered that Scottish culture should be integrated into the curriculum.
4.24 Specifically, there was a strong plea for music tuition in traditional instruments in school. More support for the traditional arts was requested by several respondents including piping and other traditional music, and brass bands.
4.25 A number of respondents were concerned primarily with the importance of the Scots language. These included lobby groups, associations and some individuals. All of these wanted the status of Scots to be improved so that we are proud of the language and can go on to improve its use in public life, and the removal of the ‘cringe’ factor associated with Scots.
4.26 Specific suggestions for change included: the measurement of the extent to which Scots is spoken through a question in the census; the upgrading from Part II to Part III in the European Charter for Regional or Minority languages; to making the Scottish Parliament bilingual.
4.27 Several comments were made about the importance of Gaelic and the need for bilingualism. Reference was made to the need for integrated funding systems in the gaeltacht relating to Gaelic culture and development.
4.28 There were dissenters as to the importance of Gaelic and Scots but the weight of opinion was that these languages are an important asset and should inform the Strategy. Specific areas where intervention was suggested to promote these languages included broadcasting and publishing.
4.29 Almost every respondent mentioned the importance of Scottish culture in education and it was overwhelmingly the most important point for many. There was a strong view that it was important for Scottish culture to be an intrinsic part of the formal education system. The Scottish Consultative Council on the Curriculum sought a curriculum which recognises the value of Scottish culture and promotes knowledge and understanding of all its aspects.
4.30 Specifically, respondents emphasised the importance of history, Scottish arts and literature, media and design. There was a view that culture should include not only the traditional but also the very contemporary.
4.31 In higher education, the universities and colleges wanted their contribution to cultural life to be in some way integrated into the general strategy, particularly picking up on their international links and history of inventions. They also hold key cultural assets such as university museums which are not currently seen as part of the overall national asset.
4.32 Several respondents stated that training in the cultural sector needs to be addressed, particularly in entrepreneurial and business skills and in film. A wide range of potential partners was mentioned including the Scottish Enterprise Network.
4.33 There were several references to the importance of the built and natural heritage and a plea for heritage to feature more prominently in the Strategy.
4.34 Specific areas mentioned as assets include buildings, town planning, industrial heritage, environmental heritage and archaeology, geography and natural science.
4.35 Dissatisfaction was expressed with current structures and resource allocation in this field, specifically the role of the Heritage Lottery Fund in Scotland, the role and resources of Historic Scotland, local authorities and others. There was a perceived fragmentation and duplication in some areas and a concern that some aspects of cultural heritage are not preserved locally, in particular historic buildings and archives, artefacts and records.
4.36 There was a view that national treasures should not all be held centrally.
4.37 Most of the issues about museums related to the need to review structures. Connected to this are problems with the roles, status and resources of local and regional museums, the wide disparity within the sector, the lack of consensus as to what constitutes a national museum and the relative balance between what is held and controlled nationally and in the regions.
4.38 The sector as a whole called for review and specific and detailed issues were suggested including:
4.39 Libraries’ concerns included the need for a national strategy for Scottish materials including archives, records and literature, and resource bases like dictionaries.
4.40 Specifically a commitment was sought to support Scottish publishing.
4.41 Other respondents sought an improvement in the core funding of libraries as a basic service, recognising their changing role in communities as providers of information and a social resource.
4.42 Tax breaks for library donations were suggested.
4.43 SCRAN, the Scottish Cultural Resources Access Network, was cited as a successful model by several respondents in the way it provides access through digitised images.
4.44 Most responses from individual artists were concerned to emphasise the intrinsic value of art, its universality and its lack of parochialism. There was a degree of cynicism about the idea of a National Cultural Strategy and a fear that already unacceptable levels of bureaucracy would be increased with even less control for the artist. True art cannot be contained within a strategy and it is the artist’s role to subvert and to challenge, it was stated.
4.45 Because many arts respondents equated culture with arts, the responses were primarily about the role of art, its intrinsic value, the need for more funding and criticisms of the funding system.
4.46 Visual artists amongst others were critical of SAC, its structures, the amount of money spent on its own infrastructure, its processes and systems and above all its perceived power base founded on its own tastes. This taste was explicitly not shared by several respondents.
4.47 Specifically, respondents wanted more resources to be allocated on a continuing basis to sustain core activity and less to be granted by SAC on short–term project grants which were believed to be unsustainable and less effective.
4.48 Several arts organisations cited residual problems since local authority reorganisation, particularly where the venue has a regional remit.
4.49 The SAC scheme Awards for All was cited as an example of a simple and effective scheme which reached members of the community.
4.50 Those involved in the arts believed that the arts have a contribution to make in delivering social and economic agendas but also that the arts have an intrinsic value which should be recognised.
4.51 There were some suggestions of ways to improve life for artists which would encourage them to remain in Scotland, including introducing tax breaks for writers and artists, a minimum weekly wage or bursaries.
4.52 Tax incentives for those investing in art and an artloan scheme were suggested.
4.53 Those in the arts sought better and different international promotion.
4.54 There was a plea for recognition of community arts.
4.55 More support for Scots publishing was sought.
4.56 More support for rock and pop was also sought.
4.57 Respondents had various views about constitutes what a national company or institution. Some people gave their views on the commonly-called national companies - the four performing arts companies which are given the status of national company and funded to have a national remit (Scottish Opera, Scottish Ballet, Royal Scottish National Orchestra and the Scottish Chamber Orchestra).
4.58 The general comments on these companies reflected fatigue and intolerance of the high profile funding troubles. Suggestions range from a move either to fund them properly or to remove funding from them altogether. If they are to be funded, several respondents suggested that this should not be through SAC but either directly from central government and/or in new funding agreements with the local authorities. This should take into account the costs of travel to remote areas, particularly the islands.
4.59 Some of the national companies themselves made a plea for more funding and new funding arrangements, and for their role as international ambassadors to be recognised. It was argued that the BBC Scottish Symphony Orchestra should be subject to the same influences as the other national companies.
4.60 Some respondents challenged the notion that these four companies should be so named. It was suggested that these companies neither reflect the Scottish nation, nor have a Scottish repertoire, nor do they perform nationally. Currently, no national company is indigenous - there is no national pipe band, for example.
4.61 The need for a Scottish national theatre was expressed from the campaign group and several other individuals and organisations.
4.62 It was argued that there are other national companies which might be recognised as having a remit which covers Scotland including the National Gaelic Arts Agency - Proiseact nan Ealan, Scottish Publishers Association, Traditional Music and Song Association and Scottish Dance Theatre.
4.63 There were also perceived anomalies in the definition of national in the museum sector. National museums include not only the centrally funded National Museums of Scotland and National Galleries of Scotland but also other museums with a national focus, which do not receive central funding. These include the National Mining Museum, Fisheries Museum and Maritime Museum.
4.64 Specific issues in the film sector included the need for focussed investment with specific suggestions made for funds, incentives, infrastructure and training. The argument was made that Scotland has the potential to become a major production centre were the right investment to be made.
4.65 The Strategy could deliver this through specific economic measures including establishing a public/private investment fund.
4.66 Investment was sought in talent and training and commitment to a film school and film studios.
4.67 A Scottish Film Charter for the industry to include links with broadcasting was suggested.
4.68 There was demand for a review of the support for access to film and media at a community and local level.
4.69 Respondents thought that the Strategy should include broadcasting, although it is not part of the powers devolved from Westminster. Some parts of Scotland do not have access to all the terrestrial channels and this was mentioned as a problem.
4.70 It was felt particularly important that broadcasting in Scotland be used to support new and emergent Scottish contemporary (music) talent and to improve the standard of Scots output.
4.71 Some people suggested a quota for culture in Scotland as exists in some other countries.
4.72 Some cited the opportunities created by digitisation for new language channels.
4.73 Others identified the potential of television to promote Scotland abroad.
4.74 The role of community radio was deemed important particularly in rural areas. It was suggested that the Strategy should include a review of its status.
4.75 There was strong support for the principle of using new technologies, primarily through the Internet to improve distribution, communication and access, building on the success of SCRAN and other ventures.
4.76 One idea to which almost everyone subscribed was the creation of a Scottish web site. This could have an internal and external purpose, promoting Scotland’s diverse cultures abroad and providing resources at home. It also presents an opportunity to commission artists.
4.77 The Internet was seen as an opportunity to encourage enterprise in art companies.
4.78 Several respondents stated that access to digitised images should not be a substitute for physical and social access.
4.79 The Consultation Document sought responses to the commercial creative industries and their links with the arts and cultural industries.
4.80 These industries, which were so defined in Westminster and include the arts, the record industry, crafts, film and media, broadcasting, architecture, design and fashion, advertising, software design and publishing, have a major export value to the British economy and represent one of the fastest growing employment sectors.
4.81 The Scottish Enterprise Network and in particular the Glasgow Development Agency and others involved in the areas of architecture, design and other creative industries, believed that the Cultural Strategy could have an important role in providing the performance of this sector.
4.82 There were perceived gaps in skills and training in enterprise. Potential economic interventions were suggested to create stronger and more competitive centres of distribution outside of London, particularly in the film, television and design industries.
4.83 A centre for product design was suggested.
4.84 A plea was made for more support for the crafts sector and business support of craft workers.
4.85 The importance of the New Deal and National Training Organisation was mentioned by respondents.
4.86 Many respondents affirmed their belief that the Strategy should work to achieve access for all. In particular, rural communities should be supported with infrastructure, regional arts development officers and special funding arrangements. (The need for additional infrastructure was mentioned primarily in the Highlands and Islands).
4.87 The role of museums, arts, heritage and sports was cited as a means of combating social exclusion and improving health and it was suggested this be built into the Strategy aims and delivery.
4.88 Respondents expressed the need to develop cultural capital as well as economic capital, building knowledge, understanding and the capacity to experience (largely through education).
4.89 Several mentioned the importance of young people and also of children. Specific mention was made to include the disabled minority cultures and gay and lesbians.
4.90 Our self-image as a nation and the way in which it is projected concerned many. There was a strong view that Scottish identity should be inclusive and go beyond narrow images of tartan and shortbread, that its plurality and diversity, tradition and contemporary innovation should be communicated, particularly using new technologies. Equally, there is an opportunity to celebrate pipes and tartan.
4.91 Several respondents commented on the opportunity for culture to make a more positive contribution to tourism including attracting more young people to Scotland as tourists through marketing its contemporary culture. The Scottish diaspora and existing UK, European and world-wide alliances were also presented as opportunities.
4.92 Some arts organisations commented on a rather negative relationship with tourism agencies.
4.93 There was widespread support for emphasising Scotland’s links internationally, both in terms of the historic links with Nordic and other cultures, and in terms of Scotland’s contemporary culture.
4.94 Several emphasised the need to avoid parochialism and the importance of international links. This included the need to contextualise the presentation of Scottish arts and culture in an international setting.
4.95 It was also linked to the role of culture in representing Scotland abroad. Several respondents had ideas for promoting Scotland including developing cultural ambassadors, extending the ‘Taste of Scotland’ idea to the arts and creating a dynamic web page.
4.96 There was criticism of the activities of existing agencies and the fragmentation of others. The British Council was thought unable to promote Scotland to the full extent and Scottish Trade International, Trade Initiative, Scotland Europa, Scotland the Brand and SAC were all mentioned as potentially useful.
4.97 A suggestion was made for a Caledonian Institute to promote Scottish culture.
4.98 Local authorities formed a major part of the response and responded jointly, through COSLA, and individually. For local authorities, an approach consistent with DCMS was important (including sport, leisure and play) and with the principles of Best Value.
4.99 Issues arose concerning local authorities, in particular in connection with statutory responsibilities and funding.
4.100 Since local government reorganisation, expenditure on cultural and leisure services has reduced by around a quarter. Organisations with regional or national roles have received reduced funding from fewer authorities since this time across the arts and museums. It was suggested that local authority funding for the arts be reviewed bearing in mind local, regional, national and international dimensions – and that sometimes more than one local authority should be involved in funding certain organisations.
4.101 There was a lack of clarity from respondents as to the nature of the statutory obligations on local authorities for aspects of culture and COSLA itself suggested this be reviewed.
4.102 COSLA made a detailed submission which specifically included:
4.103 Individual authorities wrote in support of COSLA, emphasised aspects or exempted themselves from particular aspects of the submission.
4.104 There was a general view that structures and mechanisms for culture were in need of review. Many agencies and individuals believed that the current structures and practices are ineffective now. This would be compounded in the context of a cultural strategy which is concerned with a broad definition of culture and ‘joined up’ action.
4.105 Structures in the museum and heritage sectors were widely thought to be inadequate.
4.106 Arts structures were criticised and the existing quangos generally regarded to be outmoded in terms of delivering government by objectives across a wide range of policies. There were perceived problems with cross-sector initiatives.
4.107 There were varying views as to the relative strengths of the current system and the principle of arm’s length funding bodies in specialist sectors, as against direct and decentralised structures.
4.108 COSLA and most local authorities wanted the national cultural quangos to be largely replaced by a single national cultural agency working in partnership with local authorities, which would have an increased role.
4.109 The existing agencies wanted to work more in partnership.
4.110 Several anomalies in the funding structure were mentioned, with film, arts and museums structures differing from each other in terms of what they fund, how they are constituted and the role they play.
4.111 It was considered necessary to review roles, responsibilities and relationships with UK bodies including the new Museums, Libraries and Archives Council, the National Lottery, DCMS, the new Film Council and National Training Organisation. It was suggested that there are specific missed opportunities in Scotland for funding operated by the Museums and Galleries Commission on behalf of DCMS.
4.112 Respondents also thought that Gaelic structures should be reviewed as well as the role of the British Council.
4.113 Some regional development structures were posited as successful models including in the Highlands and Islands.
4.114 Organisations currently charged with supporting culture responded with detailed submissions.
4.115 SAC submitted not only a detailed response but also included a significant body of its own research and consultation recently undertaken, particularly Creative Scotland (the Case for a National Cultural Strategy published by SAC and other agencies) and Scottish Arts in the 21st Century.
4.116 SAC supported an holistic definition of culture and a wide definition of the arts. It wanted the Strategy to include the National Lottery, broadcasting and tax issues, which are currently designated reserved powers. It wanted the Scottish Executive to collect cultural statistics, for the Strategy to be clear and regularly reviewed.
4.117 SAC expressed support for: holistic partnership working; the arts and culture to deliver social inclusion and other government agendas through additional resources for partnership working; to the arm’s length principle.
4.118 SAC’s submission included suggestions for improved access, support for artists, international activity, legislation, national companies, education, tourism, training, lifelong learning, children, new technology and minority cultures.
4.119 Outside of SAC, there were strongly held views that it should be more of an enabler and supporter rather than a large powerful organisation with its own agenda, or that it should be abolished.
4.120 Scottish Screen’s (SS) submission included a range of suggestions for the development of screen industries in Scotland including investment, training, access and education and enterprise.
4.121 It also sought the clarification of the remit of cultural bodies in the UK and a review of culture, specifically film and media, in local authorities, economic development agencies and within the government.
4.122 It suggested concordats with local authorities, other agencies and DCMS, and the establishment of a cultural forum.
4.123 Like SAC and SS, SMC supported a broad view of culture, a clear framework, and integrated approach to education, inclusion, lifelong learning and other government agendas. It made specific suggestions about access, education, new technologies and funding.
4.124 SMC’s detailed response also referred to its own National Strategy for Museums in which the sector sought change to meet the need for a framework, to align funding and planning, collections, geographic and cultural diversity.
4.125 SMC sought a fundamental review of national roles and responsibilities and this view was largely shared by the sector.
4.126 Current structures were deemed incoherent by small and large museums and organisations in Scotland and the UK.
4.127 One of the problems was considered to be the lack of a proactive and strong organisation representing the sector. The SMC is a membership organisation and has a limited remit.
4.128 Issues included the separate structures for national museums, local museums, industrial and heritage centres, and sites and monuments and the roles of Scottish Natural Heritage and Historic Scotland.
4.129 Respondents also suggested that roles and policy in art collection need to be clarified.
4.130 Clarification and review was also suggested in the area of sites and monuments, portable antiquities and treasure trove.
4.131 The submission from SLA suggested a review of structures, and agreed with others that statistics should be collected.
4.132 Existing agencies stressed the importance of partnerships, with additional funds being made available if required in order to achieve objectives. Some suggested a cultural forum.
4.133 The point was made several times that culture has a role to play in improving the health and wealth of the nation, through delivering economic impacts like new jobs and attracting tourists, and social impacts like helping people to feel more confident and healthier.
4.134 However, there was a strong view expressed that the role of culture in delivering economic and social policies should not overwhelm the intrinsic values of cultural and creative activity.