Contents Page

RDNC Creative Arts and Industries ConsultancyGeorgina PorterCALIM(The Consortium of Academic Libraries in Manchester)Contents PageSection Page Number Acknowledgements3Introduction11Executive Summary14 Methodology21The changing environment27Scoping study35 Stakeholder identification49On the Web54Demand for a new hub59Hub content61Hub structure and design67Financial implications70Marketing75Key recommendations77References79AcknowledgementsCALIM would like to formally acknowledge and express its gratitude to the individuals and organisations below who contributed to the consultancy: Adlington, Robert Dr, Lecturer, Music Department, University of Nottingham Allen, Bill, fine arts practitioner and student of Enterprise Management for the Creative Arts, The London InstituteAnderson, John, Senior Performing Arts Officer, Scottish Arts Council Andrews, Judith, Director of Library Services, University of Central England Applied Arts ScotlandArchitectural AssociationArnold, Stephen Dr, Director, PADS (Performing Arts Data Service) Aspinall, Ian, IT Officer, Yorkshire Arts BoardAtha, Christine, Education Officer, ICA (Institute of Contemporary Arts) Auckland, Mary, Director of Library and Learning Resources, The London InstituteBailey, Chris Professor, Head of School of Humanities, University of NorthumbriaBarbour, Lyn, Arts and Culture Policy Officer, Economic Initiatives Department, Manchester City CouncilBell, Will, New Media and Broadcasting Officer, Arts Council of England Bilton, Chris Dr, Director of MA in Creative and Media Enterprises/Lecturer, Centre for Cultural Policy Studies, University of WarwickBollenn, Hilde, Development Manager, International Cultural DeskBotting, Geoff Dr, Programme Director, RSA (Royal Society of Arts, Manufactures and Commerce)Bradshaw, Rebecca, ADAM (Art, Design, Architecture and Media Information Gateway) Project LeaderBrooke, Jon, Public Relations Manager, Virgin Interactive Entertainment Bragan-Turner, Deborah, Humanities Librarian, University of NottinghamBritish Printing Industries FederationBrown, Bruce Professor, Dean of Faculty, Faculty of Arts and Architecture, University of Brighton/Director, LTSN Centre for Art, Design and CommunicationBryce, Sonia, Co-Director, African and Asian Visual Arts ArchiveCasely, Glenn, Operations Director, Arts about ManchesterCentre for Performance ResearchClews, John, Music Cataloguer, Royal Northern College of MusicCollett, Marc, Director, Merseyside ACME (Arts, Culture and Media Enterprise)Cooke, Ruth, Secretary, The British Society of Master Glass Painters Council for Dance Education and TrainingCrawley, Julie, Web Manager, International Association of Music Libraries, Archives and Documentation Centres/Music Faculty Library, University of OxfordDance UKDavison, Elizabeth, Head of Learning Resources, London College of Printing, The London InstituteDillon, Janette Dr, Reader in Drama, English Studies Department, University of NottinghamDodds, D, Acting Chief Librarian, National Art Library, Victoria and Albert MuseumDrori, Jonathon, Head of Commissioning, BBC OnlineEdwards, Adam, Head of Learning and Information Services, Central School of Speech and DramaElphick, Suzanne, Design and Technology AssociationFisch, Sylvia, Information and Technology Manager, National Disability Arts ForumFletcher, Karen, Slide Librarian, Central Saint Martins College of Art and Design, The London InstituteFrance, Ruth, student of MSc in Product Realisation, University of SalfordGarrow-Smith, Judith, International Projects Officer, Arts Council of Wales Gomes, Maryann, Director, North West Film ArchiveGoodman, Lizbeth, Director, The Institute for New Media Performance Research and Senior Lecturer, Theatre and Performance Studies, University of SurreyGreenall, Matthew, Director, British Music Information CentreGreenwood, Sarah, student of MA in Architecture, Manchester Metropolitan UniversityGrennan, Simon, Director of Public Art Forum/international artistGriffin, Jonathan, Heritage and Tourism Services, Export Promotion Unit, British CouncilGrout, Catherine, VADS (Visual Arts Data Service) ManagerHabbeshon, Paul, Customer Service, BBC ResourcesHalcrow, Caroline, Creative Industries Unit, DCMS (Department of Culture, Media and Sport)Hammond, Paul, Project Manager, Digital Media Centre, University of Central EnglandHarding, Lisa, Development Officer, CIDS (Cultural Industries Development Service)Harman, Sarah, Arts Training Project Officer, Arts Council of WalesHarris, Colin Professor, Librarian, Manchester Metropolitan University Haslam, Dave, club dj and writerHebb, Diane, Senior Development Officer, Arts Council of Wales Henshall, John Dr, Librarian, University of WarwickHewitt, Marian, Assistant Director, North West Film ArchiveHitchens, Sara, Arts Profile Manager, British CouncilHoek, Marjorie, Project Manager, Joblink and Skillslink, Continuing Professional Development Unit, Department of Continuing Education, City UniversityHolder, Paul Dr, Humanities Librarian, John Rylands University Library of ManchesterHolland, Stephen, Secretary, Scottish Visual Arts Group/National Library of ScotlandHolt, Jane, Collections Librarian, London College of Fashion, The London InstituteHomden, Michelle, Acquisitions Assistant, Library, Tate Gallery Houghton, Beth, Head of Department, Library, Tate GalleryHoyle, Neil, Chief Executive, Incorporated Society of MusiciansInns, Tom Professor, Chair of Design, Duncan of Jordanstone College of Art and Design, Faculty of the University of DundeeIrvine, Shonagh, Performing Arts Officer, Scottish Arts CouncilIvey, Marlene, Acting Course Director, Design History and Contemporary Studies, Duncan of Jordanstone College of Art and Design, University of DundeeJaffray, Darryl, Director Of Education and Access, Royal Opera House Jarvis, Andrea, Principal Curator, Gallery of Costume, Manchester City Art GalleriesJohnson, Jane, Research and Information Officer, Euclid Eureka! Service for the ArtsJubb, Michael Dr, Director of Programmes, AHRB (Arts and Humanities Research Board)Kamen, Ruth, Director, British Architectural LibraryKostrzewa, Gerri, Principal Administrative Officer, AxisLamont, Ros, Audience and Sales Development Manager, Scottish Arts CouncilLeigh, Caroline, Director of Continuing Professional Development Unit, Department of Continuing Education, City UniversityLi, Wen Zhou, Lecturer, Royal Northern College of MusicLord, Clive, Head of Strategic Planning, SothebysLovatt, Andy, Director, CIDS (Cultural Industries Development Service)Lumley, Anthony, Visual Arts Officer, Arts Council of EnglandMcKay, John, Head of Information Services, Glasgow School of Art/Scottish Visual Arts GroupMcKinney, Nairin, Creative Arts, Arts Council of Northern Ireland MacPherson, Rob, Marketing Director, Warwick Arts Centre, University of WarwickMaxwell, Eamonn, Student Union President, The London InstituteMedley, Frances, Planning Director, Arts Council of Wales,METIERMiller, George, Editorial Director, Trade Books Department, Academic Division, Oxford University PressMills, George, Director, Leavey, Channon, Mills and BeaumontMorgans, Joseph, student of MSc in Industrial Design, University of Salford Morris, Lesley, Senior Manager, Higher Education and Business, Design CouncilNational Council for Drama TrainingNational Resource Centre for DanceNorthern ArtsO’Connor, Justin, Director, MIPC (Manchester Institute for Popular Culture) Olafsson, Helen, Design Librarian, Duncan of Jordanstone College of Art and Design, Faculty of the University of DundeeOlsson, Tania, Site Librarian (Lime Grove), Chelsea College of Art and Design, The London InstituteOwen, Cath, Collections Manager, PADS (Performing Arts Data Service) Padwick, Richard, Director, AN (formerly Artists Newsletter)Patel, Uma, Research and Development Director, Information Communications Technology, Continuing Professional Development Unit, Department of Continuing Education, City UniversityPaterson, Richard, Head of Knowledge, British Film InstitutePerkins, Richard, Assistant Librarian, University of WarwickPirnie, Sue, Visual Arts Officer, Scottish Arts CouncilPrior, John, Community Touring Manager, Arts Council of WalesPulleine, Chris, Director, Arts and Business NorthReed, Sandra, Systems and IT Librarian, London College of Fashion, The London InstituteReeves, Anthony, student of MA in Creative Technology, University of Salford Ridgeway, John, Subject Librarian, University of Central EnglandRoyal Photographic SocietySalfield, Hannah, freelance print designerSargant, Helen, student of MA in Creative Technology, University of Salford Schenk, Paul, Director of Postgraduate Studies in Design, Duncan of Jordanstone College of Art and Design, Faculty of the University of Dundee Schofield, Viv, Academic Administrator, Leeds College of Art and Design Senior, Andrew, Head, Creative Industries Export Promotion, British Council Shaw, Neil, student of MSc in Industrial Design, University of Salford Shelley, Janet, Course Director, Constructive Textiles, Duncan of Jordanstone College of Art and Design, Faculty of the University of DundeeSinden, David, Arts Programme Co-ordinator, ArtecSlade, Sue, AIS Faculty Co-ordinator, University of SalfordSlater-Dickenson, John, Faculty Librarian, University of Central England Smart, Anna, Senior Assistant Librarian, Royal Northern College of Music Smith, Barry, Professor, Director of the Digital Research Unit, Nottingham Trent UniversitySmith, Gaye, Senior Subject Librarian, Art and Design, Manchester Metropolitan UniversitySmith, Kate, Arts Information Co-ordinator, British CouncilSmith, Nicola, student of MSc in Industrial Design, University of SalfordSmith, Wilson, Principal Librarian, Edinburgh College of Art/Scottish Visual Arts GroupSnape, Carol, Teleworking and Mentoring Project Manager/Marketing Consultant, Continuing Professional Development Unit, Department of Continuing Education, City UniversitySociety of British Theatre DesignersStanding Conference of Arts and Social SciencesSpaeth, Donald Dr, Director, LTSN (Learning and Teaching Support Network) History, Classics and ArchaeologyStanley, Nick, Professor, Director of Research, BIAD (Birmingham Institute of Art and Design), University of Central EnglandTarazi, Samar, student of MA in Landscape Architecture, Manchester Metropolitan UniversityTaylor, Mark, Director, Museums AssociationTurnbull, Graham, Publishing Manager, SCRAN (Scottish Cultural Resources Access Network)Unger, Mike, Station Manager, Jazz FM North WestVale, Ceri, Presentations and Information Officer, Arts Council of WalesVan der Merwe, Pieter, Chair, The Society for Theatre ResearchWarran, Jeremy, National Association of Decorative and Fine Arts Societies Waterworth, Lewis, student of MSc in Industrial Design, University of Salford Watson, Chris, Head of Business Planning, Granada TelevisionWebb, Vicky, Assistant Librarian, Chelsea College of Art and Design, The London InstituteWeston, Murray, Director, BUFVC (British Universities Film and Video Council)Whidett, John, Library and Reference Officer, Crafts CouncilWhistlecroft, Lisa, Associate Director, PALATINE (the Performing Arts Learning and Teaching Innovation Network)/LTSN (Learning and Teaching Support Network) Performing ArtsWignarajah, Vajaira, Exchange Librarian, Tate GalleryWilks, Marion, Head of Academic Services, The Surrey Institute of Art and Design/ADAM (Art, Design, Architecture and Media Information Gateway) DirectorWilliams, Alex, Dr, MSc Course Leader, University of Salford Williamson, Rosemary, Dr, Librarian, Royal Northern College of Music Wilson, Anthony, Factory Records/television presenterWilson, Sally, PA to the Vice Principal, Royal Northern College of Music Wood, Helen, Interactive Entertainment Officer, BAFTA (British Academy of Film and Television Arts)Worthington, Stuart, Head of Manchester City Music Network, independent trainer and small business advisor to the creative and cultural industries1.1Introduction1.1.1. Quotable quotes1.1.2.The Consortium of Academic Libraries in Manchester (CALIM) has undertaken the Creative Arts and Industries Consultancy on behalf of the Resource Discovery Network Centre (RDNC) between November 1999 and May 2000. The main aims of the consultancy were to:•Scope the creative arts and industries sector•Identify and categorise stakeholders•Explore the potential demand for a new hub•Establish patterns of Internet usage within the creative arts and industries field•Identify user needs and contributions with regard to the content and design of a new hub•Determine marketing and funding issues•Identify technical requirements•Discover emerging trends within the sector•Consider the role of ADAM within the above contexts.1.1.3.The consultancy has been a practical rather than a research-based exercise. To this end, therefore, issues raised within the report are based upon the current views, activities and expectations of a wide range of individuals andorganisations within the sector: higher education students and staff; artsorganisations (including organisations funded from other arts bodies andthose with funds to allocate); commercial organisations within the creative industries sector; SMEs within the creative industries sector; charities; independent bodies; freelance artists; voluntary organisations; short-term funded arts projects; subject associations; government departments and government-funded bodies. The issues raised also reflect the changing arts and technology context and the varying plans for the future that are held by the individuals participating in the consultancy.1.1.4.The creative arts and industries sector is both challenging and diverse. Its diversity alone brings many challenges. At best it is innovative, inspiring, collaborative, dynamic, exciting and giving: at worst it is isolated, impoverished, cynical, non-communicative, reactionary, precious and defensive.1.1.5.Reaching an approved definition of the creative arts and industries sector is a challenging exercise. The DCMS (Department of Culture, Media and Sport) recently mapped the creative industries sector and this is proving to be a recognisable benchmark. The creative arts, however, is more difficult to define. Individuals often hold conflicting views and this is reflected in the responses within the consultancy interviews and the organisational structures of the various arts organisations. Terminology and definitions of terminology used can also be conflicting and vague. However, a core consensus can be reached on the constituents of the arts with difficulties overcome through use of effective descriptors. It is also important to note that for many users, defining and segmenting the various subject disciplines of the arts, may not be as important as the provision of quality content across its broad spectrum.1.1.6.The stakeholders within the arts and creative industries sector are numerous and varied. Key stakeholders are often perceived as large commercial organisations or arts organisations, such as the Arts Council of England, which have significant funding to allocate. Individuals interviewed for the consultancy often restricted their stakeholder identification list to those within their own subject discipline of the arts or to individuals who create. However, it is apparent that there is significant rich content, research and practice that can be shared across all disciplines and that there is a genuine thirst for information on the work of organisation and individuals, both nationally and internationally.1.1.7.There has never been a more appropriate time to create a hub on the creative arts and industries. The Government is promoting the creative industries as a significant contributor to the existing economy and as part of the new knowledge economy. Raising the profile of the creative industries is an integral part of the DCMS’ business plan and this is being strengthened by the newly created RDAs (Regional Development Agencies) and RCCs (Regional Cultural Consortia). Both the Government and organisations such as the Design Council are currently seeking initiatives that will strengthen the linksbetween higher education and industry and so seek to enhance the relevance of curriculum content and graduate skills.The RDNC has created a series of hubs in subject disciplines outside of the creative arts and industries sector and this leaves a significant gap. Regular users of ADAM are concerned about the potential loss of valuable data and there is a general consensus amongst the interviewees for the consultancy that there is significant demand for a hub in this area.Several major organisations are currently working on or about to launch key major online arts initiatives: the Arts Council of England is currently working on an ArtsOnline project which will be soft launched in November; the DCMS is considering an initiative to develop a United Kingdom arts and cultural industries Internet service which would act as a high profile focal point for practitioners in the arts and cultural industries in the United Kingdom and which would complement the related “ArtsOnline” initiative; the BBC is about to launch a new arts portal as part of BBC Online;Resource is planning to develop its own portal. Clearly, there is much to gain from collaborative work if higher education were to commence working on its own hub alongside these major service providers.1.1.8.Patterns of Internet usage and access fluctuate between two extremes. Usage is not only related to access, but also to skill level and awareness. This will be a major factor to consider as part of the marketing and technical infrastructure for a new hub in this area.1.1.9.Emerging trends within the sector are dominated by issues of funding, media convergence, digitisation, copyright and the significant application and distribution potential of the web. These trends must be seen within the context of a growth in student numbers and an ever-increasing national profile for the creative industries.1.1.10.It has been important to undertake this consultancy in order to raise the complexities of the sector and the complex issues that it is currently facing. The consultancy has also served as both an initial user needs analysis and a marketing tool that will support the design of a new hub and the creation of appropriate alliances.1.1.11The interview and postal survey responses of all the contributors to this consultancy are detailed in a separate report. Double numbers, for example, 34/14, reference quotations taken from the interviews. The first number refers to the interview question, the second to the interviewee reference number.2.1Executive SummaryThe following is a summary of the key issues for each section of this consultancy.2.1.1. Methodology•This consultancy has been based upon the contribution of 150 individuals from the education, arts and creative industries sector: 71 interviews were conducted on an individual and group basis; 28 postal surveys werereturned from a total of 77.2.1.2. The changing environment•Arts organisations and practitioners will be exploiting the Internet more as an art medium, deliverer of content, for e-commerce and as a marketing tool. The market for this activity will expand with convergence but there will also be significant competition, not least from the technology itself ashome entertainment.•There will be more cross-sectoral creative alliances to enhance funding opportunities and to undertake interdisciplinary work. These alliances will become an important component of regional development.• The Net’s arts audience and consumer base will increase.•Working practices and roles will change – a new hybrid role of “artist technologist” will become more apparent.•The creative industries are a growth sector and being given high profile and support by the government. This profile will increase.•There is a strong demand for industry and higher education to collaborate in the arts and creative industries field. This will be supported bygovernment initiatives.•Creative industries have a strong regional base.•Internet access and speed will continue to grow and improve. Media convergence will be a key development.•There will be an increased demand and expectation for rich content in all formats – text, radio, graphics, music and video – and advancements in technology, especially bandwidth, will support this.•There will be a move to personalised, specialist Internet services.•There is a strong demand for employment and training information in the arts and creative industries field.•Higher education will further its activity in flexible delivery and in teaching and learning on-line and will secure partners to achieve this.•There is a strong demand for arts graduates to have multi-skills, particularly in the areas of IT and business and management.•There is a significant demand for up-to-date information on the creative industries.2.1.3. Scoping study•The term creative arts tends not to be used in higher education degree programme titles or arts organisations.•Interviewees found the term creative arts and industries confusing, but were more comfortable in trying to define the terms creative arts andcreative industries separately. Many of the interviewees preferred the term arts and creative industries.•The DCMS definition of creative industries is starting to embed itself asa benchmark and gain a high profile.•Some interviewees felt that the terms creative arts and industries and definitions of these terms should include cultural activities and industries such as heritage and night-time economy and/or humanities subject areas.•The broad range of higher education programmes can be mapped onto the DCMS definition of creative industries.•Most interviewees were familiar with and used the terms of visual and performing arts within a general arts context.•The arts cannot be packaged into neat sections and there will inevitably be disagreement on terminology used and information structure. It is therefore vital that terminology is defined and boundaries are identified as early and as easily as possible.•There is a view that rigid definitions and structures are not as important as encouraging interdisciplinary activity and taking an inclusive approach.•Many interviewees wanted to search by theme or by form, for example, by image.•It will be challenging for one hub to cover effectively such a vast sector. Consideration therefore needs to be given to the role ofservices and data already in existence, such as ADAM, VADS, PADSand the LTSNs. It is also evident that a radical design and structureare needed for the hub; one that will demystify terminology, facilitatetheme searching and encourage collaboration between education andindustry, for example, classification by the creative industriesdefinitions.2.1.4. Stakeholder identification•The arts sector is dominated by funding issues and this influences perceptions of key stakeholders i.e. the key stakeholders are often seen as those with significant funding to allocate, for example, the Arts Council of England. As a result, there is a real demand for information on arts organisations and funding sources and how to apply for funding, regionally, nationally and internationally.•Funding systems and sources of support are currently changing with the creation of the Regional Development Agencies, the Regional Cultural Consortia and organisations such as the new Film Council, which will allocate funding to the BFI. More emphasis is being placed on funding for cross-sectoral alliances, encouraging collaboration between arts activities and regeneration/social inclusion activities.•There is often a lack of communication and conflict between large national arts organisations, government departments and large businesses and small regional arts organisations, independent/voluntary bodies and SMEs/freelancers. This raises the issue of breadth of content provision.•There is a view that education is key within the creative arts and industries sector but that the majority of information is produced outside the higher education system. This places more emphasis on the need for cross-sectoral alliances, collaboration and a range of content providers.•Individuals tend to identify and network with key stakeholders from within their area of the arts, for example, music, or from within their region, such as Scotland, Manchester, London etc and then tend to name large and/or famous organisations or venues as key stakeholders. This raises the issue of the need for substantial specialist information and service provision within the hub.•It could be said that:•creativity lies with the practitioners;•control lies with the funding providers;•content lies with the major producers;•choice lies with the consumer.The potential to collaborate and influence should lie with education.2.1.5. On the Web•The Internet is increasing in usage, but there are still issues in the areas of access, skill development and marketing of useful sites.•There is a shortage of information on the Web about creative industries.•Users will always like to search randomly and for additionality. Therefore, there could never be a single one-stop-shop for the creative arts and industries – the key to attracting regular usage lies in metatagging, promotional techniques, links and associations, the hub’s domain name, currency, matching of content and services to market needs and a hub’s perceived and actual value.•Using search engines is proving frustrating for users as too many results are being generated. There is therefore an acknowledgement that hubs and gateways, containing quality data and links, are, and will be, useful in this area.•There is confusion over the purpose of a new hub with regard to the role of ADAM, PADS, VADS and the new LTSNs and this consultancy should be considered alongside their roles and reviews.•There is a view that ADAM contains valuable data, which should not be lost but could be incorporated into a new hub.•There is a view that a new hub could either link out to PADS, VADS and the new LTSNs etc or that it could be an umbrella for their work.•It would be beneficial to collaborate with and negotiate partnership and/or branding opportunities with the new initiatives of the BBC, the Arts Council of England and the DCMS. It is important to undertake this as soon as possible.2.1.6. Demand for a new hub•75% of the interviewees questioned were positive about the demand for and/or potential of a new Creative Arts and Industries hub; 14% did not respond; 11% felt the demand was low or the project too ambitious.•The interviewees who responded negatively were often organisations which felt that a hub of this vein would be of little relevance to their work, that the project was too ambitious in the light of the size of the sector or that there was too much competition.•Interviewees felt that the success of a new Creative Arts and Industries Hub would be dependent on the following factors:• Marketing.• Content.•Relationship with other general or specialised content providers and/or sites, hubs etc. in this area.• Avoiding duplication.•Meeting the needs of its audience and managing a potentially very broad appeal.•Having a specific focus – not trying to do too much for all people.• Accessibility.• Perceived value.•Proving its worth.•Covering a vast sector effectively.• Quality.•Adding value over the competition.• Long-term funding.•Flexibility of use.•Effective involvement of stakeholders from the arts and creative industries community.•Its capacity to continue to inform, sustain and entertain.2.1.7. Hub content•There is a clear demand for both content and services within a hub, for example, links to what’s on, employment and training information. Some of these services are being effectively provided by other organisations, such as METIER, for example. There are therefore clear opportunities for collaboration to meet need. Commercial organisations and SMEs are also very interested in a job and skills mart.•There is a strong demand for information in the areas of funding, statistics, copyright, business advice and information, arts organisations and news.•There is a significant demand for the opportunity to search for images.•There is a significant demand for research and sector mapping material.•Individuals are interested in the ability to use the hub as a creative and interactive space for information exchange and exhibition of work.•There is a view that the majority of information within the hub will need to originate from outside of higher education.•There is a demand for both general and specialist information to facilitate both interdisciplinary work and advanced research. The balance of providing this package of information to users within a diverse sector will be challenging.•There is a demand for information to be available and organised on a regional, national, European and international basis.。