International Exposure of Scotlands Dance and Theatre Artists

Feasibility study
International Exposure for Scotland’s Theatre and Dance Artists
RES020 August 2007

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Prepared by Richard Gerald Associates Ltd (RGA) for the Scottish Arts Council.
The views expressed in this report are those of the authors and
do not necessarily represent those of the Scottish Arts Council.
Scottish Arts Council

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ISBN 13: 978 1 85119 156 7

ISBN 10: 1 85119 156 9
Equal opportunities
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August 2007
© 2007 Scottish Arts Council
No part of this publication may be reproduced in any format
without prior written permission of the Scottish Arts Council.
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ACKNOWLEDGEMENTS
RGA would like to thank the Scottish Arts Council for commissioning this study along
with all organisations and individuals that participated in the research.
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Contents
CONTENTS
PAGE
1. LIST OF TABLES 8
2. REPORTING CONVENTIONS 10
3. EXECUTIVE SUMMARY 11
3.1 Introduction
3.2 Summary of Conclusions
3.3 Recommendations for Improvements
3.4 Indicative Costs
3.5 Next Steps
4. INTRODUCTION 20
4.1 Project Background
4.2 Scope
4.3 Approach
5. STRATEGIC CONTEXT 22
5.1 Introduction
5.2 Scottish Arts Council
5.3 British Council and Scottish Arts Council Joint Strategy
5.4 The Scottish Executive
5.5 Scottish Enterprise
5.6 EventScotland
5.7 Summary of Key Findings
6. RECENT AND CURRENT INITIATIVES 29

6.1 Introduction
6.2 Scotland’s Theatre Gateway 2004-2005
6.3 British Council Showcase
6.4 Scotland Live
6.5 Imaginate
6.6 Edinburgh International Festival and Fringe
6.7 Outward Missions
6.8 Conclusions
7. STAKEHOLDER CONSULTATIONS 37
7.1 Introduction
7.2 Key Themes
7.3 Barriers to the Development of International Work
8. WORKING RELATIONSHIPS 41
8.1 Theatre and Dance’s Artists Community Survey
8.2 Producers and Promoters Survey
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Contents
PAGE
9. HALLMARKS OF SUCCESS 48
9.1 Introduction
9.2 Historic Developments of the Strategy
9.3 International Strategies
9.4 Strategic Engagement with Scotland
9.5 Tactical Approaches
9.6 Implementation
9.7 Resource Allocation
9.8 Recorded Impacts and Measurements
9.9 Future Developments
9.10 Vital Lessons Learned
9.11 Conclusions
10. RESPONSE TO THE RESEARCH FINDINGS 53

10.1 Introduction
10.2 Current Status in the Strategic Context
10.3 Definition Within the Cultural Sector
10.4 Quality of Product
10.5 Sharing and Collaborating
10.6 Conclusions
11. CONCLUSIONS 56
11.1 Strategic Context
11.2 Recent and Current Initiatives
11.3 Key Stakeholder Consultations
11.4 Theatre and Dance Artistic Community Survey
11.5 Producers and Promoters Survey
11.6 Hallmarks of Success
11.7 Response to the Research Findings
12. SUGGESTED IMPROVEMENTS AND DEVELOPMENTS 60

12.1 Introduction
12.2 Summary of Activity
12.3 Recommended Improvements and Development
12.4 Indicative Costs
APPENDICES
APPENDIX ONE: STRATEGIC CONTEXT 73
APPENDIX TWO: ARTISTIC COMMUNITY SURVEY TABLES 94
APPENDIX THREE: PRODUCERS AND PROMOTERS SURVEY 115
TABLES
BIBLIOGRAPHY 128
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1. List of Tables and Figures
1. LIST OF TABLES AND FIGURES
Number Title Page

9.3 Priority Markets for International Hallmarks of Success Countries 41
12.2 Suggested Improvements and Developments 54
12.3 Consolidated Budget 64
1 Status of Scottish Arts Council and British Council Joint Strategy Action Points 70
2 Number of Organisations with Employees Engaged with International 84
Showcasing or Exposure
3 Type of Employment for International Showcasing or Exposure 83
4 Number of Organisations with Employees Responsible for Developing 83
International Sales
5 Type of Employment for Developing International Sales 83
6 Partnerships with Other Organisations 85
7 Partner Organisations 85
8 Importance of Networks and Relationships with International Partners 86
9 Barriers to Fully Engaging with International Networks 87
10 Possibility of Barriers Changing in the Future 87
11 The importance of Selling Work Internationally 90
12 Barriers to Developing International Sales 90
13 Possibility of Barriers Changing in the Future 90
14 Rating International Networking Initiatives 95
15 Those That Have Visited International Showcases 96
16 Rating International Showcasing Initiatives 96
17 Those That Have Visited International Sales Programmes 96
18 Rating the International Sales Programmes 97
19 Markets with the Strongest Networks 97
20 Markets with the Strongest Sales 99
21 Interest to Develop New Markets 100
22 Resources Allocated for Developing International Networks 100
23 Resources Allocated for Developing International Sales and Markets 101
24 Average Spend on Developing International Networks, Sales and Marketing 101
25 Support Received from External Agencies for Developing International Networks 101
and Sales in Scotland
26 Personal Rating of Achievements in Terms of Developing International Networks 102
27 Personal Rating of Achievements in Terms of Developing International Sales and 102
Marketing
28 Support to Assist Developing International Networks and Relationships in the 103
Future
29 Support to Assist Developing International Sales and Marketing in the Future 103
30 Artforms that Respondents Work In 105
31 Those That Import International Work to their Own Country or as Part of a Larger 106
Tour
32 Markets with the Strongest Networks or Developed Sales 106
33 Interest in Attracting Work from a Foreign Country 107
34 Those That Have Imported Work From Scotland in the Past Five Years 111
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1. List of Tables and Figures
35 Relating the Experience of Importing Work from Scotland 112

36 Barriers That Prevent Respondents from Importing Work from Scotland 112
37 Level of Interest in the Work of Scottish-based Organisations that are Developing 112
International Networks and Markets
38 Method of Sourcing International Work 114
39 Attendance at International Arts Markets or Events 114
40 Relating the Experience of Attending International Arts Markets 115
41 Support That Would Help to Develop International Networks and Relationships in 117
Scotland
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2. Reporting Conventions
2. REPORTING CONVENTIONS
Abbreviation Organisation
APAM Australian Performing Arts Market
APAP Association of Performing Arts Presenters
CINARS French acronym for International
Exchange for the Performing Arts
DFAIT Department of Foreign Affairs and
International Trade, Canada
FST Federation of Scottish Theatres
IETM International Network for Contemporary
Performing Arts
IFACCA International Federation of Arts Councils
and Cultural Agencies
SMART objectives Specific, measurable, attributed,
reasonable, timed
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4. Introduction
3. EXECUTIVE SUMMARY
3.1 INTRODUCTION
3.1.1 The Scottish Arts Council is one of the main channels of funding for arts in Scotland. The
Scottish Arts Council is funded by the Scottish Executive and is responsible for the
distribution of National Lottery funding for the arts in Scotland.
3.1.2 In October 2006, the Scottish Arts Council sought to review opportunities for
improvement in the international promotion of Scotland-based theatre and dance artists.
A feasibility study was therefore commissioned with the following objectives:
to assess the recent and current initiatives which promote Scotland-based

performing arts internationally (in Scotland, in the UK and internationally). To
include:
- Previous activity of the Scottish Theatre Gateway Project (STGP)
- Showcase activities carried out/organised by;
The Federation of Scottish Theatre (FST), Scotland Live programme
The British Council Showcase: Edinburgh showcase
- Any other relevant organisations/events
- International Initiatives such as the Adelaide Fringe
to investigate existing working relationships that individual Scotland-based
theatre and dance companies have with other countries.
to identify any existing examples/national approaches of good practice in other
areas/countries.
to recommend improvements that will enhance good practice of international
promotion and to provide estimates of likely costs of these improvements.
3.1.3 In order to address the above objectives, the methodology for this study has included a
review of policy and evaluation reports relating to previous initiatives; consultations with
those already engaged with international markets and those wishing to do so;
consultations with international promoters seeking to engage artists from overseas; and
a review of initiatives undertaken by other countries to promote their artists abroad.
3.2 SUMMARY OF CONCLUSIONS
Strategic Context
3.2.1 The British Council and Scottish Arts Council Joint Strategy 2005 – 2008 aims to satisfy
cultural, economic and political agendas whilst the other key policy makers tend to use
culture as a mechanism for achieving economic exporting and political aims.
3.2.2 Initiatives for developing theatre and dance internationally sit broadly in line with the
Scottish Executive’s International Strategy. These include building strong ties of
economic, political and cultural benefit to Scotland; promoting Scotland’s policy interests;
reinforcing and forging new links across Europe and the development of cooperative
links.
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4. Introduction
3.2.3 At present the stakeholder policies that propose to develop the Scottish touring network
could be further synergised. It is believed that there could be opportunities for effective
collaboration, or joint delivery of some of the recommendations.
Recent and Current Initiatives
3.2.4 An examination of the recent and current initiatives which promote, on an international
basis, performing arts organisations based in Scotland was undertaken. In doing so, a
review of the following initiatives was undertaken:
Scotland’s Theatre Gateway project
British Council showcase
Scotland Live
Imaginate
Edinburgh International Festival
Edinburgh Fringe
and other outward missions
3.2.5 The Gateway project (2004) was a venue at the Edinburgh Festival Fringe dedicated to
showing Scotland-based work. Participants were positive about the production
environment and the concept as a whole but felt that more resources had been required
for audience development. The project did not include measurements of the outcomes.
3.2.6 On the whole, Scottish-based theatre and dance organisations are supportive of the
concept of showcasing Scottish work during the Edinburgh festivals, with a preference
for one dedicated venue. The research findings indicated that some collective marketing
across a range of venues could be just as effective, as long as companies have
appropriate resources to restage work.
Scotland Live, an inward mission for producers and promoters held across
Scotland in March 2006, established a strong set of objectives, all of which were
achieved or exceeded. Delegates and participants were very positive about the
initiative and are supportive of its continued development providing a more
rigorous selection procedure for showcase participants is devised. Scotland Live
could perhaps open up a wider debate in Scotland about international practices.
Imaginate has developed an impressive inward mission programme as part of the

Children’s Festival and there are opportunities to develop stronger relationships
with producers and promoters from Northern Europe and North America with
minimal extra investment.
The British Council Showcase is considered, anecdotally, to be a valuable tool for

the development of international markets. However, participants have raised
concerns about the selection procedure, transparency of the selection criteria,
the timing of the initiative and the exclusion of dance and children’s theatre.
3.2.7 Scottish companies could perhaps benefit from a more co-ordinated approach to
marketing and communications during the Edinburgh festivals to capitalise on the work
of the Fringe, International Festival, Dance Base and the Traverse. Furthermore, there
may be opportunities to highlight other events outside August where promoters and
producers would be encouraged to attend – this might be based around Imaginate,
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4. Introduction
Scotland Live, Tramway (New Moves and National Review of Live Art1) or the National
Companies (Scottish Ballet, Scottish Opera, Royal Scottish National Orchestra, Scottish
Chamber Orchestra and National Theatre for Scotland). This is not an exhaustive list
but provides a flavour of how connections could be developed year-round, through a co-
ordinated approach to communication, marketing and building relationships with
potential buyers.
Stakeholder Consultations
3.2.8 A total of twenty two in-depth consultations were conducted with stakeholders. For the
purpose of this report “stakeholders” were defined as organisations who have
participated in previous showcases (Scotland Theatre Gateway, British Council
Showcase or Scotland Live) Furthermore we included organisations who have funded,
or received funding, to undertake international projects or collaborations.
3.2.9 Overall, organisations have a strong desire to work internationally but often neglect the
development of international markets because responsibility falls to one individual
dealing with a wide range of other aspects of the business. As a result, the process is
often reactive; that is opportunities emerge through chance encounters.
3.2.10 Nevertheless, six organisations were identified through the course of the research that
have taken a very different approach and see internationalism as a central feature of the
growth and development of their company. These organisations operate in the
international arena, collaborate internationally and draw on a wide range of cultures to
create their work. This approach is seen as fundamental to producing work influenced by
international directors, choreographers, writers and artists. For companies developing
such international networks, opening up their work to new markets and generating sales
has been successful. They have created work that is relevant and credible in the
international cultural arena and worked hard to ensure that their work is seen by
potential buyers and collaborators, taking advantage of the showcasing opportunities
described above.
3.2.11 Quality control issues were particularly important to the group above. Promoting only the
most exceptional companies or individuals is seen as essential and respondents
discussed at length the need to develop a way of assessing whether companies were
“export-ready”, or would require further support to develop work that would be seen as
exceptional in an international context.
3.2.12 In order to generate exceptional work, practitioners must be encouraged to think about
outward international exploration of other work, relationships and opportunities so that
artists can assess if their work is of an international standard. This approach is
championed by the Scottish Arts Council in their Corporate Plan 2006-2007, but
respondents still felt that the sector often fails to take full advantage of the opportunities
presented by the wide range of work on offer, particularly during the Edinburgh
International Festival.
3.2.13 Networking and nurturing creative relationships appears to be one of the most effective
ways of achieving international objectives. Some organisations adopt a broad approach
1
Tramway is the venue and New Moves International Ltd is the production company who produces the
National Review of Live Art).
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4. Introduction
to international markets by attending conferences, seminars, showcase events and

building up contacts and relationships so that producers and promoters are confident
about the company, its artistic philosophy,
the quality of the work being produced and the response from audiences. Others are
more specific and focus on the development of close creative relationships in one
particular country so that collaborative activity can take place between performers or
other members of the creative team, allowing projects to evolve through a “partnership”
approach.
3.2.14 Respondents were particularly positive about engaging with the Informal European
Theatre Movement (IETM) a networking group designed for people operating in the
international arena. The Australian Performing Arts Market (APAM) in Adelaide, The
Association of Performing Arts Presenters (APAP) and CINARS, which is the French
acronym for International Exchange for the Performing Arts in Canada, were also
mentioned. With regard to children’s theatre, positive mentions were given to the
International Congress in Montreal and APAM in Adelaide, as well as a number of
European festivals.
3.2.15 The producing approach in Scotland (for adult theatre) is regarded as a barrier. There
are few companies that operate within the repertoire system (the National Theatre,
Dundee Rep and Pitlochry Festival Theatre being the notable exceptions). The
repertoire system, common in many European countries, advocates the development of
a company that performs a range of productions that can then stay in repertoire and be
revived. If productions receive critical acclaim it is easier to revive work for international
touring.
3.2.16 This has been apparent for some companies working abroad; the size and resources of
their company enables them to engage a parallel cast that can continue with a
production whilst touring takes place. For the majority of Scottish companies, operating
within a challenging funding environment, this has been difficult to achieve. However,
companies producing work for children have been able to operate in this manner and
keep work in repertoire. Additional funding to overcome the costs involved in re-staging
work is seen as a priority by the majority of stakeholders.
3.2.17 Consultees also believe that Scottish adult theatre is sometimes perceived,
internationally, as “dense, text-based work”. They reported that companies with a more
visual or cross-artform approach have found it easier to work internationally. Children’s
theatre which by its very nature is not heavily text-based also appears to work well for
international markets. A solution to this is perhaps to focus the export of Scottish adult
theatre to English speaking countries (North America, Australia and New Zealand) rather
than face the additional barrier of translation.
3.2.18 There do not appear to be opportunities or mechanisms for coordinating international

development activity for organisations already exporting or considering exporting.
Respondents feel that there is a lack of information, other resources and identification of
international opportunities as well as practical assistance and advice on issues such as
work permits.
3.2.19 There are concerns about a lack of information about the international buying market.
Contact data from international purchasers has not been collected at showcases and
there is little understanding of buying history or the success of previous funding
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4. Introduction
initiatives. It is therefore difficult to adopt an “informed” approach to international

development activity.
3.2.20 The risks associated with performing at the Edinburgh festivals are perceived as high.
Although Edinburgh continues to be seen as the most effective platform to present work
to producers and promoters already visiting Scotland, companies are cautious about the
costs and the perceived benefits. Some companies are also reluctant to allow their work
to be seen in this environment because of the technical challenges associated with
many of the venues as well as the high levels of competition with other Scottish-based
theatre and dance organisations.
3.2.21 From a political perspective, some organisations are concerned about the “cultural
entitlement agenda”. Many are unsure where their future priorities must lie in relation to
this issue and are looking for a clear statement of direction from their stakeholders in this
regard.
Theatre and Dance Community
3.2.22 Qualitative research was conducted by means of an electronic survey to theatre and
dance’s professional community to determine current levels of activity in the international
arena, support, outcomes and future developments.
3.2.23 There appears to be little strategic focus on developing international markets amongst
the artistic community. Whilst some arts organisations in Scotland have developed
activity in international markets, work tends to be generated reactively to new
opportunities that are presented to them. Despite the limited strategic approach, some
partnerships have been successfully formed with organisations that provide relevant
resources for international development, such as the British Council and Scottish Arts
Council. A number of respondents intend to develop an international strategy in the
forthcoming year, which may suggest anticipation for increased resources from Creative
Scotland. Assumptions such as these should be viewed speculatively at this stage, as it
recognised that the budget for Creative Scotland has yet to be allocated.
3.2.24 Current development activity tends to be focused on networking at events, seminars,

workshops and conferences. Nevertheless, there is a perceived need for inward and
outward showcasing missions.
3.2.25 Any future strategies to develop international markets should be carefully aligned with
the objectives of key policy makers. At present, there appears to be little correlation
between the target markets of the artistic community and those of the public sector
bodies.
Producers and Promoters
3.2.26 Qualitative research was conducted with producers and promoters, international festival
directors, artistic programmers and choreographers by means of an electronic survey.
The aim of the survey was to gain an understanding of the levels of satisfaction with
previous initiatives and motivations to take part in them.
3.2.27 The respondents are active across all artforms and have developed strong networks
worldwide, particularly in Europe and North America.
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4. Introduction
3.2.28 National conferences are popular with producers and promoters, although they also
seek exposure outside of these.
3.2.29 Scotland appears to have a good reputation for providing quality work and international
opportunities are sourced both proactively and reactively. It is likely that a number of
opportunities are being missed in Scotland due to a lack of exposure of its theatre and
dance products to those who are actively seeking them. Scotland therefore needs to
actively raise its profile amongst the international arts community.
3.2.30 Future support for international development is required through financial assistance to
producers and promoters, and the opportunity to attend more inward missions. There is
a perceived need to create opportunities for producers and promoters to view work in
Scotland outside of the Edinburgh festivals.
Hallmarks of Success
3.2.31 A review of practices within the international arts sector was conducted in order to
determine hallmarks of success for developing international cultural exposure. The
countries reviewed were Germany, Australia, the Republic of Ireland and Canada.
3.2.32 At a strategic level, countries reflect several different remits for developing an
international strategy. The public agency bodies that have developed close partnerships
with the sector tend to have adopted a culturally-led approach, rather than using
international artistic activity to achieve political or economic aims. Target markets are
often those countries with existing cultural ties or a common language; these are
regarded as the easiest markets to which to export.
3.2.33 There is a great deal of strategic focus on the UK, although initiatives specifically
targeted in Scotland tend to be tactical and often one-off.
3.2.34 Successful tactical approaches can be seen with Culture Ireland, which has used the
Edinburgh Festival Fringe as one of its showcasing events and thereby successfully
marketed Irish performers in Edinburgh. Canada also regards Edinburgh as an
important platform for Canadian performers to be marketed internationally. Providing
funds for companies to respond quickly to opportunities if promoters are interested and
the performance has been received favourably. For example, a successful approach
has been adopted by the Australian Arts Council which has allowed companies to
respond quickly to market forces and opportunities.
3.2.35 Many countries adopt a partnership approach to strategy implementation, drawing on the
resources of others and the expertise of the sector as a whole. In Canada this has
allowed organisations to take advantage of a wide range of business information and
analytical tools.
3.2.36 Impacts are measured in various ways. The most structured approach appears to be in
Australia, where the Australia Arts Council undertakes major short and long-term
evaluation reports and has reporting formalities set up with partner organisations. The
extent of formal evaluation is variable across the comparator set; Canada, in particular,
acknowledges that their monitoring and evaluation of activity could be greatly improved.
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4. Introduction
3.3 RECOMMENDATIONS FOR IMPROVEMENTS
3.3.1 Based on the research findings, the following recommendations for improving the
international development of Scottish-based theatre and dance have been made. The
recommendations have been based upon the Scottish Arts Council and British Council
joint strategy as a framework and in response to the specific research findings presented
above.
3.3.2 Strategic planning
Findings:
- British Council/Scottish Arts Council Joint Strategy would benefit from some refining so
that the action points are SMART (specific, measurable, attributed, reasonable, timed).
This might include defining more clearly what both parties contributions might be to
international forums or identifying the number and range of delegate visits to and from
Scotland (both noted as action points).
- International development strategies of key policy makers (Scottish Executive, Scottish

Enterprise, British Council and Scottish Arts Council)are not co-ordinated.
- Variable approaches by artists and arts organisations towards international

development.
- Concerns over the effectiveness of quality control.
Recommendations:
- Further develop SMART objectives for the British Council and Scottish Art Council Joint
Strategy.
- Discuss with the key policy makers the opportunities for coordination and assign
responsibilities as appropriate.
- “Qualify” those organisations who are exporting or ready to export - those who require
nurturing to develop exporting activity.
- Develop a quality monitoring system for artists seeking international exposure.
3.3.3 Research
Research Findings:
- Some initiatives currently evaluate their impacts, several do not.
- Artistic organisations are not familiar with these evaluations and they are not used to
inform future activity.
Recommendation:
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4. Introduction
- Utilise existing research findings provided by the International Network for

Contemporary Performing Arts, the International Federation of Arts Councils and Cultural
Agencies and On The Move Network.
3.3.4 Advocacy
Research Findings:
- The profile of theatre and dance is often overshadowed within a cultural context by
other artforms.
Recommendation:
- Raise the profile of theatre and dance as important components of international
diplomacy.
3.3.5 Activity
Research Findings:
- Artistic organisations have a desire to promote work in Edinburgh during the festivals
and at other times across Scotland.
- There is a desire to raise the international profile of children’s theatre in Scotland.
- Artistic organisations seek opportunities to network within the international arena.
Recommendations:
- Make effective use of the Edinburgh festivals as a showcase for Scottish work by
developing a collective approach to marketing to producers, promoters and other
influencers.
- Develop a bi-annual inward mission outside the Edinburgh festival period, following on
from the Scotland Live pilot project. Develop a “curated” showcase of work and a
parallel debate and discussion programme that encourages artists to consider the
implications of international work, themes and issues.
- Continue to support the British Council Showcase and British Dance Edition and work
with organisations to maximise the benefits and opportunities associated with inclusion
in the programme.
- Support Imaginate to attract North American and European delegates to the Children’s
Festival.
- Attend APAM (Australian Performing Arts Market) in February 2008 as a trade or booth
delegate and research the possibilities of presenting a Scottish showcase there in 2010.
- Attend CINARS Montreal (November 2008) as a trade or booth delegate and research
the possibilities of presenting a Scottish showcase there in 2010.
3.3.6 Support and Funding
Research Findings:
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4. Introduction
- Resources are limited for restaging and reviving work.
Recommendation:
- Develop a fund for restaging work either at international showcases or to respond to
producer-led demand.
3.3.7 Information
Research Findings:
- Information regarding cultural exporting activity and opportunities is fragmented and
arts organisations want more support in this field.
Recommendation:
- Develop a central online information portal of cultural exporting activity and
opportunities with associated communications (as an extension of the Scottish Arts
Council’s newsletter and raising awareness of, or restructuring, the content of
www.scottishartstouring.com), including administrative support to provide connectivity to
Scottish-based artists wanting to export.
3.4 INDICATIVE COSTS
3.4.1 We have presented the costings as three options A, B and C.
3.4.2 Option A focuses spending on inward missions only and activity that is already attracting
producers and promoters. This budget includes the development of activity during the
Edinburgh Festival, supporting the delegate programme at Imaginate and the British
Council showcase and British Dance Edition. There is also the potential to progress
some of the Edinburgh initiatives in time for the Edinburgh Festival 2007. The total cost
for option A is £32,500.
3.4.3 Option B maintains all the activity associated with option A but augments this with
development of the Scotland wide inward mission and outward missions to CINARS,
APAM and the development of the information point. The total cost for option B is
£131,502
3.4.4 Option C brings together all elements outlined in options A and B but the budget is
further enhanced by the addition of the restaging budget. The total cost for option C is
£251,502.
3.5 NEXT STEPS
3.5.1 In order to implement the recommended improvements, the following steps are
suggested.
1. Discuss the findings internally

2. Communicate the recommendations and benefits to potential funders
3. Identify and engage with partner organisations
4. Feedback to stakeholders
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4. Introduction
5. Task the activities

6. Implement the recommendations
7. Monitor, review and refine the recommendations
4. INTRODUCTION
4.1 PROJECT BACKGROUND
4.1.1 Between 2004 and 2006 a number of showcases and networking initiatives took place to
further enhance the international profile and exposure of Scotland-based theatre and
dance artists, (some of which were funded by the Scottish Arts Council). Showcases
such as Scotland’s Theatre Gateway (STG) and the bi-annual presentation of
international work at the British Council Showcase, enabled international promoters to
experience examples of Scottish-based theatre work during the Edinburgh Festivals. In
addition, a range of organisations such as the Traverse, Theatre Workshop and Dance
Base, have also presented the work of Scottish-based theatre and dance artists to
international producers and promoters during the Edinburgh festival season.
Opportunities have also been recognised by a number of performing arts companies to
promote Scottish-based theatre and dance artists outside the Edinburgh festivals. For
example, a five-day showcase was developed in March 2006 by the Federation of
Scottish Theatre to promote the work of companies across Scotland.
There are, however at present, no plans to continue with any of these showcases and
the Scottish Arts Council has sought to review opportunities for improvement in this
arena.
4.1.2 The Scottish Arts Council has appointed Richard Gerald Associates Ltd (RGA) to
undertake a feasibility study to recommend ways in which the international profile of
Scotland’s theatre and dance can be improved.
4.2 SCOPE
4.2.1 The aim of the research is to provide a solid body of evidence to develop an effective
strategic approach to increasing the exposure of Scotland’s theatre and dance artists
and organisations internationally.
4.3 APPROACH
4.3.1 In preparing the feasibility study, the consultants have undertaken the following tasks:
Assessed recent and current initiatives which promote, on an international basis,

performing arts organisations based in Scotland. (For the purpose of this study,
international basis has been defined as within Scotland, in the UK and
internationally).
Reviewed international strategic policy.
Investigated existing working relationships between individual theatre and dance
companies based in Scotland and other countries, and explored how this can
best be improved.
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4. Introduction
Consulted with theatre and dance’s artistic communities to identify what support
can be provided to help them develop relationships with companies based in
Scotland. This was conducted with face to face interviews, telephone interviews
and an electronic survey.
Consulted with international producers and promoters to determine their current
satisfaction with sales initiatives, what motivated them to attend, where else they
go, what they might want from Scotland in the future.
Identified existing hallmarks of success in others areas/countries.
Based on the research findings, worked with the client group and other
stakeholders to develop an overall concept for the project.
Recommended improvements for increasing the international exposure of theatre
and dance artists in Scotland and their likely costs.
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5. Strategic Context
5. STRATEGIC CONTEXT
5.1 INTRODUCTION
5.1.1 This Section provides a summary of the key themes with the most relevance to this
Study drawn from the strategic context in which the Scottish Arts Council operates. The
purpose of this Section is to inform the strategic operating environment for Scotland-
based theatre and dance organisations. A more detailed review of the documents
consulted can be found in Appendix One. The documents reviewed were:
Scottish Arts Council Corporate Plan 2006-2007 – International Department

Scottish Arts Council, 2006
Scottish Arts Council - Six Month Review against 2006/07 Scottish

Arts Council Business Plan – International Entries
Scottish Arts Council Theatre Touring Strategy (Draft 2006)

British Council and Scottish Arts Council Joint Strategy
British Council and Scottish Arts Council, 2006
Draft (Scotland) Culture Bill Guidance Document, 2006

Scottish Executive, 2006
Scotland’s Strategy for Stronger Engagement with China (2006)

Scotland’s Strategy for Stronger Engagement with the USA (2006)

A Smart, Successful Scotland: Strategic Direction to Enterprise Networks and

Enterprise Strategy for Scotland, 2004
Scottish Executive and Scottish Enterprise, 2004
International Strategy
Scottish Tourism: The Next Decade – A Tourism Framework for Change

Scotland’s Major Events Strategy 2003-2015: Competing on an International

Stage
Event Scotland, 2003
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5.2 SCOTTISH ARTS COUNCIL

.
Scottish Arts Council - Six Month Review against 2006/07 Scottish Arts Council
Business Plan – International Entries
5.2.1 Corporate objectives relevant to this study are as follows:
Aim 2: To support artists in Scotland to fulfill their creative and business potential
The objectives that follow on from this aim, the following points have been extracted for
their relevance to this study:
5.2.2 To support and develop creativity through programmes, producing organisations,

facilities and workspaces which allow artists to develop innovative and ambitious
practice and enable them to fully exploit their potential.
5.2.3 To support artists to develop their practice in an international context and invest in
strategic international exchanges and showcase opportunities to promote Scottish arts
abroad.
5.2.4 The following points have been actioned:
Work with Dance Base to ensure highly visible Scottish dance presence during the
Edinburgh Festival Fringe. This was augmented in 2006 by the Scottish Arts
Council with an inward mission of promoters.
Support Playwrights Studio to develop play writing, act as brokers between
playwrights and producers, and to promote Scottish playwrights at home and
abroad.
Investigate demand and practicality of holding a Scottish Theatre Showcase at the
Edinburgh Festival Fringe - an outcome of this study.
Research international dance showcases including British Dance Edition and assist
with the development of marketing/promotion material to ensure Scottish artists
have a presence over and above inclusion in the showcase programmes.
Research and collaborate on the development of cultural events overseas which

promote Scotland.
Map Scottish international arts activity to identify opportunities. Mapping

international opportunities is currently a lesser priority than the training needs of
Scotland-based organisations and practical advice for the sector.
Encourage mutual international activity and professional development.
Enable Scottish-based theatre to tour international festivals.
Create opportunities for Scottish artists to meet and collaborate with artists
overseas.
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Scottish Arts Council Theatre Touring Strategy
5.2.5 Included in the Theatre Touring Strategy, the Scottish Arts Council has set several action
points which aim to support information exchange within the touring sector, encourage
cultural and international exchange and support international drama.
To provide a means of information exchange accessible to all parts of the touring

sector.
To encourage cultural exchange, including international collaboration.
To support a wider range of international drama available to the public.
5.3 BRITISH COUNCIL AND SCOTTISH ARTS COUNCIL JOINT STRATEGY 2005-2008
5.3.1 The British Council and Scottish Arts Council Joint Strategy work in partnership “to
establish Scotland as an internationally recognised centre of excellence for arts and arts-
related education and community work across all arts sectors and creative industries”.
Their collaborative working includes a joint Head of International Arts post and together,
the two organisations developed a joint strategy. To achieve their joint vision, the
International Arts Strategy has areas of inter-related development. These include aims
to encourage collaborative working and emphasises the importance of gaining a
strategic fit between the key policy makers. This research finding has been addressed in
the strategic planning recommendation in Section 3.1.
National collaborative projects in partnership i.e. Scottish Arts Council and British
Council Scotland working with VisitScotland and the Scottish Executive
Undertaking research into the impact and effectiveness of international working
5.4 THE SCOTTISH EXECUTIVE
5.4.1 Within the framework of this document, several references are made directly to the
theatre and dance sector. The following examples have been extracted from the
guidance document.
Generic examples of entitlements specific to theatre and dance include “access

to activities involving, e.g. visual arts, craft, dance and drama etc” and providing
“access to dance and drama activities” to improve health and well-being.
Creating “access to music workshops” is used as an example of how to achieve

the broad outcome to engage with young people.
5.4.2 This indicates that the Scottish Executive uses the theatre and dance sector to support
their health and well-being aims.
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5.Strategic Context
Scotland’s strategy for stronger engagement with China (2006)
5.4.3 The document presents a ten-point plan outlining what Scotland needs to achieve from
its engagement with China by 2010 and includes aims to:
Attract increased Chinese tourism to Scotland
Raise the profile and understanding of Scotland in China
5.4.4 Whilst these aims specifically relate to theatre and dance, further consultations with the
Scottish Executive established that the arts sector is used to achieve bilateral
international partnerships with China.
Scotland’s strategy for stronger engagement with the USA (2006)
5.4.5 The strategy identifies key objectives which the Executive will be working towards along
with stakeholders over the next five years, which include aims to:
Attract increased US tourism to Scotland
Strengthen exchanges of best practice with US counterparts
5.4.6 Similar to their China strategy, the Scottish Executive recognise the value of the arts
sector for achieving their strategic goals with the USA.

Enterprise Strategy for Scotland (2004)
5.4.7 This document is organised into three themes, one of which focuses on international
economic benefits:
Global connections - world class locations, part of Europe and connected to the Global
economy.
Increased involvement in global markets: taking Scottish knowledge to the world

and bringing the world’s knowledge to Scotland.
Scotland to be a globally attractive location.
Connecting to the rest of the world.
More people choosing to live, study and work in Scotland.
5.4.8 The proposed initiative to expand international exposure of Scotland’s dance and theatre
appears to have applications to this strategy with regard to the Global Connections
targets.
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5.Strategic Context
Scottish Executive International Strategy, 2004
5.4.9 The Scottish Executive’s International Strategy was launched in October 2004 and last
modified in 2006. The paper updates and develops themes of the External Relations
Policy paper agreed by the Scottish Executive in 2002 and refers to existing strategies
where appropriate, including in particular the Global Connections Strategy and European
Strategy. The International Strategy has two goals:
To position Scotland internationally as a leading small nation, attractive to

potential overseas partners and visitors, and with a thriving and dynamic
economy and;
To bring effective influence to bear on the UK Government, other countries,

regions and institutions on international policy issues affecting Scotland, and
within the scope of the Executive’s devolved responsibilities, to encourage and
support Scotland’s contribution to international development.
5.4.10 To achieve the goals of this strategy, there is a commitment to focus on the following:
Building strong ties of economic, political and cultural benefit to Scotland.
5.4.11 Promoting Scotland’s policy interests, to be accomplished by:

adding value to the UK Government’s efforts by reinforcing and forging new links
across Europe and beyond.
promoting Scotland’s policy interests with overseas institutions and

administrations – this includes developing cooperative links and ongoing
engagement that help to inform best practice in Scotland and to raise awareness
of Scottish policy perspectives.
5.4.12 International dance and theatre initiatives fit primarily with the commitments to: build
strong ties of economic, political and cultural benefit to Scotland; and in the context of
promoting Scotland’s policy interests, to reinforce and forge new links across Europe
and develop cooperative links and ongoing engagement that can help inform best
practice in Scotland.
5.4.13 The Scottish Executive’s Tourism Strategy covers the period 2006-2015 and was
published in March 2006. It consists of a series of targets to set out how the tourism
sector can achieve its goal of 50% growth in tourism revenues by 2015 in a sustainable
manner. These include:
The Tourism Innovation Group (TiG) will foster collaborative working between
tourism operators, encouraging them to use innovation tools to come up with
creative ideas. TiG, groups of tourism businesses and trade associations such as
ASVA will work with local authorities, the enterprise agencies and VisitScotland
to spot emerging trends of visitor needs and progress the product and sectoral
development to meet them. This may include the development and delivery of
product and destination development plans.
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5.Strategic Context
Culture and heritage organisations will also develop new activities and
experiences in response to emerging markets. The result will be an increased
propensity to return and recommend Scotland as a great destination.
Tourism businesses will work with local authorities and culture, heritage and
sport organisations to set up local product development networks for the
heritage, history and events segment of the market. These networks will develop
and market, with VisitScotland support, new products which anticipate and
exceed visitor demands and as a result increase the number of visitors to
Scotland. EventScotland will contribute to this target by attracting and marketing
major events which meet changing visitor demands.
Tourism businesses, culture and heritage organisations, local authorities,

VisitScotland and visitscotland.com will use effective marketing techniques to
increase the number of visitors who come to Scotland.
5.4.14 The rationale behind Scottish Executive support for high-profile events is that they can
be used to generate significant income through the creation of additional tourist
throughputs and the showcasing of Scotland as an attractive place to live and work.
5.5 SCOTTISH ENTERPRISE
5.5.1 Scottish Enterprise’s role in supporting the development of the industry is driven by the
Scottish Executive’s economic development strategy – “A Smart Successful Scotland”
(see Section 5.4.4) and the Scottish Executive’s ambition to increase visitor spend in
Scotland by 50% by 2015. Scottish Enterprise proposes to do this through partnership
working with other public sector organisations and through direct support for industry
initiatives, notably the Tourism Innovation Group and Pride and Passion. Scottish
Enterprise tourism support focuses on several initiatives that bear particular relevance to
this project:
Product development for niche markets. Currently these include: horseracing;

angling; forestry; whisky; country sports; sailing; nature-based tourism; cultural
tourism and ancestral tourism.
Destinations – investing in the infrastructure and product development within
Scotland’s key tourism destinations.
5.5.2 These initiatives present indirect opportunities for theatre and dance organisations to be
supported by Scottish Enterprise through other initiatives.
5.6 EVENTSCOTLAND
5.6.1 EventScotland’s activity is determined by “Scotland’s Major Events Strategy 2003-2015:

Competing on an International Stage.” The strategy sets out key action and priority areas
which relate to this project:
Building Scotland’s international image by maximising the benefits of existing

successes and “icon” events including the Edinburgh Festivals and the Open
Golf.
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5.Strategic Context
Events which showcase Scottish culture and sport.
Events which Scotland can “own”, nurture, develop and (on occasion) export.
Events which are sustainable and which are accessible to a wide range of
communities and groups.
Events which can secure favourable broadcast and print media coverage in key
tourism/investment markets.
Events of an international, prestige and leading status.
Events capable of generating new and/or complementary initiatives within the

same sector at national, regional and grassroots levels.
Events which offer commercial and showcase opportunities for Scottish

businesses.
5.7 SUMMARY OF KEY FINDINGS
5.7.1 There is little collaboration or consistency between the cultural and international
strategies of key policy makers. The Scottish Arts Council and British Council have
developed strategies that aim to satisfy cultural, economic and political agendas whilst
the other agencies tend to use culture as a mechanism for achieving economic and/or
political aims. This lack of strategic alignment can confuse the operating environment for
Scotland-based theatre and dance organisations.
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6. Recent and Current Initiatives
6. RECENT AND CURRENT INITIATIVES
6.1 INTRODUCTION
6.6.1 The purpose of this section is to examine the recent and current initiatives which have
promoted, on an international basis, theatre and dance organisations based in Scotland.
(For the purpose of this study,” international basis” has been defined as within Scotland,
in the UK and internationally). These initiatives may be simple inward and outward
missions where companies or individuals are exploring or cultivating potential contacts,
or programmes where companies have staged or restaged work in order to showcase to
potential producers and promoters. This Section reviews evalutation reports presented
to funders (Scottish Arts Council and UK Trade and Investment - UKTI) and summarises
the meetings with the organisers and consultations with organisations who have taken
part in the initiatives.
6.2 SCOTLAND’S THEATRE GATEWAY 2004 – 2005
6.2.1 Scotland’s Theatre Gateway (STG) was performed in 2004 and, in a modified form, in
2005. STG was created to provide a showcase for the best of Scottish professional
theatre companies to be seen within the context of the Edinburgh Festival Fringe. The
programme was developed for the Gateway Theatre, home to Queen Margaret
University College’s School of Drama and Creative Industries. The project received
funding from the Scottish Arts Council of £45,000 in 2004 and £45,500 in 2005. This
was part of a total operating expenditure per year of £129,124.
6.2.2 The companies programmed for 2004 were Catherine Wheels (Martha), Theatre Cryptic
(Each…And Every Inch), Theatre Babel (Macbeth) and an exhibition of photography by
Douglas McBride. There were also open readings by the Playwrights Studio in the
studio, adjacent to the Gateway, and a debate on the role of the National Theatre for
Scotland.
6.2.3 The project only operated during 2004 and although plans were advanced for the project
to go ahead in 2005, health and safety issues arose and the theatre was closed. The
companies programmed for 2005 either cancelled or transferred to other Fringe venues,
such as George Square Theatre.
6.2.4 As part of the application for public sector funding the following objectives were
established for STG (the objectives considered most relevant to this project are
presented in italics i.e. those focussing on theatre and dance producers, promoters and
practitioners, and international work):
To establish an identifiable home for Scottish theatre within the Edinburgh

Festivals.
To offer marketing and press support to companies.
To offer slots to companies without the usual financial constraints.
To undertake audience development activity for the companies.
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To attract the attention of promoters, scouts and producers visiting for both the
Fringe and International Festival.
To develop touring opportunities internationally for Scottish Companies theatre
showcased by Scotland’s Theatre Gateway.
To develop customer relations both for the companies and Scotland’s theatre
Gateway.
To secure the support of the Federation of Scottish Theatre, Edinburgh Festival
Fringe and the British Council.
6.2.5 A review of the 2004 End of Festival report revealed that the reporting format and
analysis did not relate directly to the objectives outlined above, nor were there any
measurable targets established for each objective.
6.2.6 Ticket sales targets were established in 2004, and these were reported against. The
initiative failed to achieve its ticket sales target. A total of 5,674 tickets were sold against
a budget of 14,040; as a result ticket sales income for participating companies was
reduced by £30,375.
6.2.7 The lack of revenue through ticket sales was compounded by a significant increase in
the staff costs attributed to the project. Staff costs exceeded the budget by £18,874; this
difference is not explained in the accompanying narrative and is substantial given the
duration of the STG project.
6.2.8 Media coverage generated was substantial; the equivalent of £200,000 worth of
coverage was established.
6.2.9 Producer and promoter visits were organised but contact lists or detailed reporting on
numbers or outcomes were not provided. It should also be noted that the Edinburgh
Festival Fringe Office assisted in this process by feeding appropriate producers to the
venue, as they would do with any other venue on the Fringe.
6.2.10 The companies that participated in the initiative have offered the following insights:
Not all Fringe venues around Edinburgh offer facilities and time-slots that are
suitable for companies. Work is often programmed back to back, with companies
working with exceptionally tight get-in and get-out times. As a result, companies
are often constrained and may deliberately produce sets that can be
accommodated in that environment. These constraints do not necessarily
produce the best work. The Gateway provided Scottish companies with a place
to showcase work in the very best environment and at the right time.
The Gateway Theatre had a dedicated technical team with experience of working
in the venue. It was felt that this contributed to enhanced production values and
a better experience for the companies.
There was some concern about the level of marketing and audience
development support provided by STG. Companies felt this had been under-
resourced and in the future they would need to build in a more significant
contribution from their own marketing resources.
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On the whole contributors were positive about their experience in 2004 and found
it difficult to judge the initiative negatively, although it should be noted that there
was only one years programming and no opportunity to refine the initiative in the
second year. (There was no detailed evaluation of activity in 2005, although we
are aware of one organisation that transferred to another venue and was not
satisfied with the outcome).
It would seem that many contributors would continue to be supportive of a

dedicated programme of activity that showcased Scottish work as long as the
quality of the technical support and programming policy was of a similar standard
to that of the Gateway. This however could perhaps be achieved across a range
of venues, rather than just one. What would be essential is a marketing and
communication campaign that packaged the work as Scottish, developed new
audiences, promoted it to the appropriate producers and promoters and then
supported companies to nurture and develop the opportunities that arose. For
such an initiative to be sustainable in the long run it is essential that resources
are sufficiently planned and allocated.
6.3 BRITISH COUNCIL SHOWCASE
6.3.1 The British Council Edinburgh Showcase has been operating biennially since 1997 in the
third week of the Edinburgh Festival. In 2005 there were 28 productions in the
programme, of which four companies were from Scotland.
6.3.2 The aim of the showcase is to present new and innovative work from the UK to markets
such as Western Europe, North America, Australia, New Zealand and the Far East. This
showcase is considered by the British Council to be an effective tool for marketing to
developed markets, as opposed to under-developed markets.
6.3.3 The Showcase is programmed by the British Council’s Performing Arts Department in
consultation with its Drama and Dance Advisory Group, a network of UK theatre
professionals. On average, 200 organisations apply for the Showcase and following a
submission, the advisory group aim to see all work, although in some cases work will be
included without being previewed.
6.3.4 On average there are 500 applications from promoters to join the showcase, with places
limited to 250. The call for submissions comes via the British Council offices overseas
and there is no further marketing to this group. A joining fee of £130 is charged to cover
administration and purchase of tickets. In some cases British Council overseas offices
will provide some financial assistance but very often promoters cover all travel and
accommodation costs themselves. There is no historical data collected on the profile or
purchasing behaviour of promoters who attend.
6.3.5 The overall cost of producing each showcase is approximately £70,000, excluding any of
the additional staff costs incurred by the British Council in London or overseas. The
British Council does not contribute to re-staging costs, but approximately £18,000 per
showcase is made available to assist companies who are deemed to be essential to the
the programme. There is no formal application procedure for this funding.
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6.3.6 There is little formal evaluation of the initiative. It is estimated by the British Council that
approximately 60% of work has toured or developed international collaborations as a
results of the showcase. The British Council stated that by the end of the Showcase in
2003, 110 weeks of overseas touring had been generated, bringing in an income of over
£1 million to the UK theatre industry. However we have not been in a position to
interrogate this data. Despite the absence of evidence/an evaluation, the British Council
Showcase continues to be seen as one of the most effective routes for companies to
show their work and there is a perceived status attached to inclusion.
6.3.7 Participants also identified practical barriers to participation. Companies producing new
work find it difficult to provide a piece of work in April for inclusion in a Showcase in
August. Furthermore, there is no formal funding for attending the showcase or restaging
work, although there are clearly some resources available for those companies
considered essential to the programme. This situation is confusing and contributes to
concerns about the transparency of decision-making. Organisations have to find the
additional resources and feel confident that the platform will provide them with a return
on their investment.
6.3.8 It should also be noted that the Showcase predominately programmes drama or physical
theatre. Dance and children’s theatre is not programmed and this is regarded as
unfortunate by some participants.
6.4 SCOTLAND LIVE
6.4.1 In March 2006, the Federation of Scottish Theatre (FST) piloted a showcase of Scottish
performing arts companies. Using Dundee as a base, FST invited 25 international
theatre and festival promoters to see a variety of work across Scotland. The pilot was
supported by UK Trade and Investment, Dundee City of Discovery and the British
Council. There was a total operating budget of £20,000.
6.4.2 The following aims were established by the FST:
To invite Scottish performing arts companies from the small to mid-scale to

showcase their work and meet international promoters with a view to touring that
work.
To invite international promoters (approximately 20 – 25) in theatre and dance to

participate in this event.
To take visiting promoters to see work in local venues in Edinburgh, Dundee,

Perth, St. Andrews, Stirling, Pitlochry and Glasgow and to visit a range of
Scotland’s best-known theatres.
To build on the modelling projects developed by UKTI in 2004, particularly the

regional multi-venues international visits and seminars.
To enable effective networking between showcase participants, other Scottish

performing arts companies and international promoters through social and
seminar events.
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6.4.3 The FST also set a number of target outcomes. These are summarised below, with
actual achievements presented:
Target: welcoming a minimum of 15 international delegates from at least eight countries

– they received a total of 40 expressions of interest from promoters and were able to
invite 25.
Outcome: delegates came from a total of 13 different countries. It should be noted that
a financial contribution was made by each delegate towards inward travel to Scotland
and that the FST covered accommodation, travel and food while in Scotland.
Target: generating at least 5 expressions of interest in productions within 3 months of

the project.
Outcome: this was achieved with positive contacts for Catherine Wheels, Scottish
Dance Theatre, Citizens Theatre, Dundee Rep and the National Theatre for Scotland.
Target: achieving at least one production touring internationally within 18 months of the
project.
Outcome: the National Theatre for Scotland is to attend the Dublin Festival and Scottish
Dance Theatre is progressing work in Armenia.
6.4.4 FST conducted a detailed evaluation of the pilot and received very positive feedback
from all those involved, in particular regarding the pre-planning, hospitality and
organisation during the pilot. However the most notable feedback related to the
selection criteria for inclusion in the showcase. FST adopted an inclusive policy for work
and in the future would like to consider some selection process or curatorial role that
allowed it to promote work of a high quality that is attractive to exporters.
6.4.5 In the future FST would like to stage a similar event bi-annually, although funding from
UKTI is unlikely because alternative funding streams for such an initiative would be
difficult to source.
6.4.6 The research indicates that there may be opportunities to raise the profile of Scotland
Live throughout the year and during other Showcase activity, such as Imaginate during
the Children’s Festival (see Section 6.4). Producers and promoters who visit Imaginate
are not necessarily just buying children’s work and there are clearly opportunities to raise
awareness of other available products.
6.4.7 It should be noted that the British Council, Scotland has been very supportive of the
initiative. They recognise that it can make a valuable contribution to discussions about
international working, encouraging organisations to consider if they are export-ready and
possibly a wider debate surrounding internationalism and the current themes being
explored by international promoters.
6.5 IMAGINATE
6.5.1 Imaginate, formerly Edinburgh International Children’s Festival, started in 1990 and
attracted about 10 international promoters interested in the programme. As the Festival
evolved, Imaginate was created to undertake a far broader remit than simply
programming the annual festival. As the reputation of the organisation has grown,
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and the quality of the work developed, Imaginate has attracted an increasing number of
producers and promoters.
6.5.2 In 2006 120 promoters attended the festival as part of the official “Imaginate” delegation.
Promoters and producers are invited to attend the festival and to participate in a number
of events designed to encourage networking, sector development and the gathering of
general information. Promoters and producers are selected to attend by Imaginate and
pay for their own travel and accommodation costs as well as tickets to productions. On
average each delegate pays £140 to attend. Imaginate limits the number of delegates to
guarantee that performances are not dominated by adults, although the organisation is
aware that a further 50 producers came in 2006 as “unofficial delegates”.
6.5.3 Over the years Imaginate has been able to provide some assistance to delegates that
they particularly want to attract, but this totals approximately 12 delegates per year. The
majority are from the UK and Ireland, with between 5 and 20 coming from Europe and
North America. Imaginate would particularly like to attract more producers and festival
directors from Europe and North America and from education authorities. In these cases
the organisation may be in a position to contribute towards travel and accommodation
costs.
6.5.4 Although Imaginate starts the process of selection and communication in January, for an
event in May, they do not currently have promoter or producer profiles that can provide
potential companies with buying history or an indication of what they may be interested
in buying. The research suggests that this is common across all initiatives; Imaginate
may consider addressing the issue in 2007.
6.5.5 It should be noted that numerous producers, promoters and festival directors are
programming across a range of genres or for multi-artform facilities. There may therefore
be additional opportunities for them to see other work or meet other Scottish artists
during their visit.
6.6 EDINBURGH INTERNATIONAL FESTIVAL AND FRINGE
6.6.1 During the Edinburgh International Festival and Edinburgh Festival Fringe, a number of
other international networking and marketing activities take place:
6.6.2 The International Promoter/Producer Liaison Officer at the Fringe acts as a central point
of contact for promoters visiting Edinburgh and buying work (it is acknowledged that this
activity does not solely focus on work created in Scotland). In 2005 the Fringe
accredited 250 promoters and producers and provided informal networking opportunities
for this group. However, there is no central facility or official venue used by the
promoters and no profiling event designed to highlight the creative talent in Scotland or
the companies performing during August. No financial assistance is offered to any of the
promoters who visit Edinburgh, nor is there any generic marketing of Scotland as a
creative force. These factors are likely to limit it’s effectiveness in promoting Scotland-
based theatre and dance organisations.
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6.7 OUTWARD MISSIONS
6.7.1 British Dance Edition (BDE) aims to showcase the best of British dance for UK and
international promoters. It is a biennial event hosted by one of the national dance
agencies and curated by the host agency’s Artistic Director. In February 2006 it took
place in Leeds, hosted by Yorkshire Dance. Although the event is aimed at
programmers and promoters, many of the performances are also open to the public to
provide an appropriate and realistic performance environment. This event is considered
important when raising awareness and profile for Scotland-based dance companies.
Two solo artists and two companies from Scotland were selected for the 2006 BDE
programme and received some Scottish Arts Council funding to enable them to perform.
The Scottish Arts Council produced the ‘Dance in Scotland Companies and
Choreographers’ book in partnership with the British Council to raise the profile of
Scotland-based performers at the event. All attending the event received a copy.
6.7.2 Exploratory work is underway regarding the possibility of developing showcases of

Scottish-based work in Australia (APAM), USA (APAP) and Canada (CINARS). The
research did not unfold any formal feedback regarding the success of this approach,
although it is a tactic that has been adopted by other countries.
6.8.1 The Gateway Project:

There were no measurable targets for the Gateway project.
The project attracted a significant amount of media coverage but there was a
significant shortfall in ticket sales and an overspend in staff costs.
Participants were positive about the production environment but felt that
marketing and audience development activity was under resourced.
Participants are supportive of the concept of showcasing Scottish work during the
Festival. Collective marketing across a range of venues may be as effective as a
single venue approach, as long as companies have appropriate resources to
restage work.
6.8.2 The British Council Showcase:

This is considered a valuable tool to effectively promote a company to developed
international markets.
However, there are concerns about the basis and transparency of selection,
the timing of the initiative and the exclusion of dance and children’s theatre from
the programme. Funding availability, particularly for the restaging of productions,
can prevent some companies from participating.
6.8.3 Scotland Live:

This was established with a strong set of SMART objectives and all were
achieved or exceeded.
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Delegates were positive about the planning and organisation of the programme
and welcomed the opportunity to see Scottish-based work in a variety of
locations, not just during the Edinburgh festivals.
Delegates were critical of the quality of some of the work presented and
organisers have acknowledged that there should be a defined selection criteria
so that producers see work that is of exceptional quality and relevant to their
interests.
The British Council is supportive of the initiative and believes that it could open
up a wider debate in Scotland about international working.
6.8.4 Imaginate:
Imaginate attracts a significant number of producers during the Edinburgh
Children’s Festival and the scheme is over-subscribed.
Producers are buying across genres and there may be opportunities for other
initiatives and organisations to benefit from the Imaginate scheme.
There would appear to be an opportunity for targeted growth from European and
North American producers with some investment in accommodation and travel
costs.
6.8.5 It is believed that Scottish companies would benefit from a more co-ordinated approach
to marketing and communications during the Edinburgh festival period in August. This
would maximise the opportunities arising form work at Fringe, particularly through
venues such as Dance Base and the Traverse Theatre, and as part of Edinburgh
International Festival.
6.8.6 There may also be opportunities to extend showcasing opportunities outside of the
August period, working in partnership with Imaginate, Scotland Live, Tramway (with New
Moves and National Review of Live Art) and the work of the National Companies. This is
not an exhaustive list but merely provides a flavour of how connections could be
developed via co-ordinated approaches to communication, marketing and buyer
information.
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7. Stakeholder Consultations
7. STAKEHOLDER CONSULTATIONS
7.1 INTRODUCTION
7.1.1 The stakeholder consultation list was drawn from organisations that had either
participated in previous showcase initiatives (Scotland Theatre Gateway, British Council
Showcase or Scotland Live) or had received funding to undertake international projects
or collaborations. They may therefore be regarded as the Scottish-based theatre and
dance organisations who are most engaged in international development.
7.1.2 In total, 22 in-depth consultations were completed, using a combination of face to face
and telephone interviews. All consultations were conducted using a discussion guide,
provided to the consultee in advance of the interview.
7.1.3 The findings of the consultation process have been organised into key themes in order
to inform overall conclusions.
7.2 KEY THEMES
7.2.1 International development drivers - responsibility for developing international

exporting or networking falls to one or two people within an organisation; very often this
is the chief executive or administrative director. The role is often combined with a whole
range of other tasks. Some companies felt that as a result this area is neglected or it is
approached in a reactive rather than strategic manner.
7.2.2 Strategic Objectives – on the whole organisations state that they have a desire to work
internationally, but this is as far as the strategic thinking and planning is taken. None of
the organisations have set measurable objectives in this regard.
7.2.3 Achieving the objectives – very often relationships and opportunities are developed
through chance encounters and opportunities rather than by adopting a more proactive
approach. Six organisations were identified that have taken a very different approach
regarding internationalism as central to their growth and development. These
organisations are active in the international arena, collaborate internationally and draw
on a wide range of cultures to create their work. This position is seen as fundamental to
the production of work influenced by international directors, choreographers, writers and
artists. These companies have been successful at developing international networks,
opening up their work to new markets and generating sales. They have created work
that is relevant and credible in the international cultural arena and worked hard to ensure
that it is seen by potential buyers and collaborators, often through the British Council
Showcase, Scotland Gateway, British Dance Edition or Imaginate Children’s’ Festival.
37
7.2.4 Quality of the work – this is an area discussed extensively by respondents. There is a
strong feeling that any initiative must identify the organisations with the capacity to
generate work of an exceptional standard on the international stage and who are
therefore ready to export. There may also be organisations that require nurturing and
support, and this should be provided to encourage their international development. The
Scottish Arts Council has recognised this and is funding Catalyst – a dance management
agency based at Dance Base that will fulfil a nurturing and promoting role for dance
artists.
7.2.5 The issue of quality was the only negative feedback generated from the Scotland Live
project (see Section 6.4) and the FST has acknowledged that stronger selection criteria
or a curatorial approach should be developed the future.
7.2.6 Consultees believed that to help them generate exceptional work, practitioners must be
encouraged to explore international work, relationships and opportunities in order to
compare international standards and keep up to date with trends in other countries. This
is clearly championed by the Scottish Arts Council in their corporate plan (2006-2007),
but respondents still felt that very often the sector does not take full advantage of the
wide range of work on offer, particularly during the Edinburgh International Festival.
7.2.7 Networking and nurturing creative relationships – this appears to be one of the most
effective ways of achieving international objectives. It may include attending
conferences, seminars, showcase events and building up contacts and relationships so
that producers and promoters are confident about the company, its artistic philosophy,
the work being produced and the response from audiences. Other organisations aim to
develop creative relationships with one particular country so that collaborative activity
can take place between performers or other members of the creative team, resulting in
true partnership projects that are beneficial to all involved. This is particularly important
for the British Council, which is directing funding to projects that allow countries to
collaborate on projects and generate benefits for both parties, rather than a one-way
cultural transaction. It is also an approach that reflects current European Union
objectives for culture and as such could be a positive step towards the securing of
additional funding.
7.2.8 Respondents were particularly positive about engaging with the Informal European
Theatre Movement (IETM), a networking group designed for organisations operating in
the international arena. The Australian Performing Arts Market (APAM) in Adelaide, the
Association of Performing Arts Presenters (APAP) in New York and CINARS in Canada
were also cited. Children’s Theatre consultees reported positively on the International
Congress in Montreal and APAM in Adelaide, as well as a number of European festivals.
38
7.3 BARRIERS TO THE DEVELOPMENT OF INTERNATIONAL WORK
7.3.1 Historical approach to producing drama– within the drama sector there are few
companies that operate within the repertoire system (the National Theatre for Scotland,
Dundee Rep, and Pitlochry Festival Theatre being notable exceptions). The repertoire
system, common in many European countries, advocates the development of a
company that works towards performing a range of productions that can then stay in
repertoire and be revived. If productions receive critical acclaim then it is easier to revive
work for touring. It is an advantage with large-scale companies if they can engage a
parallel cast that can continue with a production if touring is a possibility. For the
majority of Scottish companies this has been almost impossible to achieve. As a
consequence re-staging costs can be prohibitive and the financial implications of touring
prohibitive for any international producer.
7.3.2 It should be noted that companies producing work for children have been able to operate
in this manner and keep work in repertoire e.g. “Martha” and “Lifeboat” (Catherine
Wheels). These have been successfully touring since 1998, including in Europe and
further afield. The characteristics of Children’s theatre may mean that it is particularly
suited to this approach.
7.3.3 Scottish theatre perceived as dense and text based– consultees stressed that this is
a perception, and not substantiated by any hard evidence, but it may be one of the
reasons that Scottish-based children’s work has enjoyed comparative international
success. The very nature of the international audience often requires companies to
produce highly visual, rather than heavy text-based work to transcend language barriers
and appeal on a number of different levels. In many cases respondents producing work
for adults selected English speaking countries as the most likely route to developing
international touring (North America, Australia and New Zealand) rather than face the
additional barrier of translation.
7.3.4 Theatre for children may be slightly off the radar - Although work produced for
children has enjoyed success on the international touring circuit there is a feeling that
this work is possibly not as valuable in promoting Scotland abroad. This view is,
however, questionable; in the past children’s theatre was regarded by the sector as
being of less artistic value than work for adults. However, good children’s work is now
recognised by the majority of the sector as being artistically strong.
7.3.5 The consultees indicated a low perceived value of children’s work which is perhaps
reflected in the fact that children’s theatre has not been included in the British Council
Showcase (see Section 6.3). The British Council is currently targeting young people
aged 18 – 35 and does not fund projects aimed at younger age groups. In contrast,
Imaginate has built up an impressive programme of activity for producers and promoters
who are visiting Edinburgh, paying to see work and receiving no contribution to either
travel or accommodation costs. This is similar to the Edinburgh International Festival
whose reputation guarantees that promoters visiting are willing to pay for the opportunity.
There were some indications that the current reputation of children’s theatre is not
deserved and that in fact, given appropriate quality control, it can make a significant
contribution to the promotion of Scotland-based theatre and dance.
7.3.6 Dance easier to restage but buyers find UK-based work uninviting – although dance
can often be easier than theatre to restage,
39
some respondents felt that producers were moving away from work developed by
repertoire dance companies in preference for choreographer-led productions. There is
further concern that some buyers find UK-based work inhibiting because it is not
considered interesting enough in comparison to other work on offer.
7.3.7 Funding – the resources and time to research markets, develop contacts and explore
opportunities are limited. Organisations would find it useful to refer to information and
resources that could summarise market conditions, highlight future opportunities or
report on other organisations’ international experiences. Respondents acknowledge that
once an opportunity has emerged they then have to nurture and build contacts, but there
is a real desire for assistance at the initial information-gathering stage so they can make
informed decisions about whether to participate and therefore allocate their resources
more effectively.
7.3.8 Connectivity – there does not appear to be any opportunity or mechanism for
connecting or communicating existing activity with organisations already exporting or
considering exporting. Respondents feel that there is a lack of co-ordination relating to
information, international opportunities and the provision of practical assistance on areas
such as work permits or travel visas.
7.3.9 Knowledge of the buying market – organisations are unsure about who wants what,
where and how to make international sales or collaborations work for them. Our review
of current initiatives (see Section 6) revealed that this information is not currently
collected from producers or promoters. Although contact data is usually available, there
is limited information about buying behaviour or the success of previously funded
initiatives. This makes it difficult to develop international activity in an “informed” manner.
7.3.10 The risks associated with performing at Edinburgh Fringe - Edinburgh’s Fringe is
well regarded as an opportunity to present work to producers and promoters already
visiting Scotland, but consultees are cautious about the costs and the potential benefits
of presenting work. Some companies are also reluctant to allow their work to be seen in
this environment because of the technical challenges associated with many of the
venues and the high levels of competition at this time.
7.3.11 Cultural Entitlements– in the event of cultural entitlements being introduced in

Scotland, communication will be required between the key policy-makers and theatre
and dance organisations to ensure that those effected understand the implications and
opportunities related.
40
8. Working Relationships
8. WORKING RELATIONSHIPS
8.1 THEATRE AND DANCE’S ARTIST COMMUNITY SURVEY
Introduction
8.1.1 Quantitative research has been conducted by means of an electronic survey to the
Scottish-based professional theatre and dance community. The aim of the survey was to
determine current levels of activity in the international arena, the support received for this
activity, outcomes achieved and future developments. A database of contacts was
provided by the Scottish Arts Council and includes all Scottish Arts Council funded
organisations as well as organisations that have previously applied for funding. The
survey was also posted on the Scottish Arts Council website, Dance Base E-bulletin,
RGA website and RGA newsletter. In total, the survey generated 48 responses. The
following Section presents the key findings and Appendix Two provides a full breakdown
of the responses in table format.
Staff Engagement with International Showcasing – often achieved through

combined roles
8.1.2 On average, respondent organisations employ 38 full time employees. Almost half of
these organisations have full time positions that focus on international showcasing or
exposure. The majority of these job roles combine international sales development with
other activities. This is consistent with the stakeholder responses, discussed in Section
7.
Partnerships with Other Organisations – British Council has the highest

engagement
8.1.3 The vast majority of respondents work with partner organisations to develop their
international activity. A broad range of Scotland-based organisations were mentioned,
including public sector bodies, theatres and festivals. The most frequently mentioned
partner organisations were the British Council for providing funds for international
touring, followed by the Scottish Arts Council. Several mentions were also given to the
Byre Theatre, Dance Base, Glasgow Grows Audiences, Macrobert Arts Centre, RSAMD,
The Arches and YDance to consolidate resources.
Developing International Networks and Relationships – regarded as ‘very

important’ but barriers need to be overcome
8.1.4 The importance of developing networks and relationships with international partners is
recognised by the respondents; the majority highlighted this as a “very important”
element of their international work. Again this is consistent with the approaches of the
stakeholder organisations (see Section 7).
8.1.5 For those that have not fully developed international networks and relationships, the key
barriers identified are financial constraints followed by lack of contacts and limited
knowledge of the most appropriate markets. Expectations for these barriers to change in
the future were fairly mixed. A small majority of respondents do not foresee these
barriers changing in the future, citing reasons such as restricted on-going support,
41
poor financial returns and the drawbacks of producing text-based work that is difficult to
tour. However, almost half the respondents foresee these barriers being challenged if
artists and organisations can build networks and strong partnerships, producing “tour-
able” product, expanding funds and developing an international focus over time. These
findings indicate that support is required to encourage theatre and dance organisations
to challenge the barriers that prevent them from developing international networks and
relationships. This does not necessarily imply the allocation of more funding (although
this is clearly an issue for some organisations); there is a strong requirement for a more
effective approach to market intelligence and information across the sector.
Priority of International Sales – split views
8.1.6 Over a third of respondents regard selling their work internationally as “very important”
whilst just under a third regard it as “not important”.
8.1.7 Similar to engaging with international networks, barriers that have prevented
respondents from fully developing international sales are financial constraints followed
by lack of contacts and limited knowledge of the most appropriate markets. Again, a
small minority cannot see a way towards removing these barriers. Almost half of
respondents foresee these barriers changing due to a continued strategic focus on
international sales and gaining experience in this field over the long-term.
International Strategies – there are no defined strategies
8.1.8 Most organisations do not have a coherent strategy for developing international
networks. Instead, they tend to work reactively by responding to invitations and contacts
that are presented to them. However, a number of respondents stated intentions to
develop a strategy in the forthcoming year, possibly with anticipation of improved
resources through Creative Scotland.
8.1.9 Current strategic activity is generally conducted through networking at events, seminars,
workshops, conferences etc. There also appears to be heavy reliance on generating
contacts through partner organisations and also by working independently with other
countries. The process is ad-hoc and somewhat fragmented.
8.1.10 Respondents have undertaken international initiatives globally, with particular focus on
North America, South America and the British Council showcase in Edinburgh. A
number of respondents appear to work proactively by forging links with international
promoters and attending international arts markets. Overall, these experiences are
regarded as successful, although there is no formal assessment of the value of these
programmes. This could be addressed with the aim of establishing measurements to
value the outcomes of participating in international initiatives.
International Showcases and Sales Exchange Programmes – overall limited

engagement
8.1.11 There is reasonable engagement with international showcases; just over half of the
respondents have previously visited an international showcase. Overall, respondents’
experiences met their expectations, although it was not established whether or not
organisations and individuals had clearly defined what they wanted to gain from the
experience before they arrived.
42
8.1.12 There is minimal engagement with international sales exchange programmes; only three
respondents have visited one in the past. This may be a reflection of the extent to which
respondent organisations feel ready to export their product; however the benefits of
international showcases and sales exchange programmes should therefore be
monitored and fed back to potential attendees.
Networks and Sales with Other Countries – UK and Europe are the strongest
markets
8.1.13 The markets where respondents have the strongest networks are the UK (outside
Scotland), followed by Europe.
8.1.14 Within these markets, the most frequently mentioned countries were:
UK – England
Europe – The Netherlands, Germany, Italy and the Republic of Ireland
North America – USA and Canada
South America – Brazil, Argentina
Africa – Rwanda, South Africa
Asia – Japan, India, Sri Lanka, Israel
Australasia – Australia, New Zealand
8.1.15 Not surprisingly, the most popular countries in Europe are geographically close to
Scotland and have well-established cultural relationships with the UK. Canada was
mentioned slightly more than the USA within the context of North America. Interestingly,
China did not appear as a key market, despite being a priority market for the Scottish
Executive.
8.1.16 The countries where the respondents have the strongest sales are the UK
(predominantly England) followed by Europe (Italy, Republic of Ireland, Czech Republic,
Germany, Greece and The Netherlands). Again, not all of the Scottish Executive’s
priority markets featured in the key international sales markets. This finding can suggest
some degree of opportunism amongst respondents who are seizing international
opportunities as they arise.
Developing Into New Markets – willingness to develop hindered by lack of

resources
8.1.17 The vast majority of respondents would like to develop activity into new markets. The
USA, Australia and Europe were the most frequently mentioned markets.
8.1.18 The resources allocated to developing international networks and international sales are
predominately research trips followed by “strategic planning or coordination”. The latter
response is somewhat inconsistent with the previous finding that the majority of
respondents do not have an international strategy for developing sales and networks; it
is concluded that planning and coordination is therefore more tactical than strategic in
nature.
8.1.19 The average expenditure on the development of international networks or developing

international sales and marketing is minimal.
43
The responses were split amongst the respondents who either spend between £1,000
and £5,000 per year, or nothing at all. Whilst developing international networks and
sales might be regarded as important, this is not reflected in the allocation of resources.
8.1.20 Almost a third of respondents have received external support for developing international
sales and networks in Scotland. This has mostly been through funding from the British
Council or Scottish Arts Council.
8.1.21 The majority of respondents regarded themselves as “fair” at achieving developments in

their international networks. This is normally a long-term process and most respondents
are continually exploring opportunities to develop their international networking, albeit
mostly on a reactive basis.
8.1.22 With regard to developing international sales and marketing, there were split views
amongst respondents regarding their achievements. Overall, respondents were split
between regarding their achievements as “fair” or “poor”, or felt it was “not a priority”.
There is clearly less engagement with developing international sales and marketing than
there is with developing international networks.
Support for Future Development – requirement for inward and outward missions
8.1.23 The most desired area of support for helping organisations to develop international
networks and relationships were:
Opportunities for potential partners to visit Scotland for a research tour

Opportunities to visit other countries to explore opportunities
8.1.24 The most desired area of support for helping organisations to develop international sales
and marketing were:
Financial Support
Web-based resource of Scottish organisations in which they could be listed
8.1.25 There is clearly a requirement for inward and outward missions to support organisations
to develop international sales and networks. To support international sales and
marketing, respondents expressed a requirement for web-based resources that
organisations can be listed in. This is already provided by the Scottish Arts Council
(www.scottishartstouring.com); however this finding could indicate a requirement to
better promote the web service or to revise its content or structure.
Summary of Key Findings
the artistic community. Whilst arts organisations in Scotland have developed into
international markets, work tends to be generated reactively rather than at a strategic
level. Despite the limited strategic approach, partnerships have been successfully
formed with organisations that provide relevant resources for international development,
such as the British Council and Scottish Arts Council.
8.1.27 Current strategic activity tends to focus on networking at events, seminars, workshops
and conferences.
44
However, there is a perceived need for inward and outward missions to form part of an
international strategy. A number of respondents stated intentions to develop a strategy
in the forthcoming year, possibly with the anticipation of improved resources through
Creative Scotland.
between the target markets of the artists’ community and those of the public sector
bodies.
8.2 PRODUCERS AND PROMOTERS SURVEY
8.2.1 Quantitative research was conducted with producers and promoters, international
festival directors, artistic programmers and choreographers by means of an electronic
survey. The aim of the survey was to gain an understanding of levels of satisfaction with
previous initiatives and motivations to take part in them. The survey explored in which
markets the respondents are (and have been) active and what they would require to
purchase Scottish-produced work in the future. For the purpose of this survey, a
database of contacts was collated from the following sources:
Scottish Arts Council
British Council Oversees Representatives
Edinburgh Festival Fringe Society
Federation of Scottish Theatre
Imaginate
Performing Arts Yearbook for Europe 2006
Music, Opera, Dance and Drama in Asia, the Pacific and North America Directory
2006
RGA contacts
8.2.2 The survey generated 82 responses through a snowball sample. The following section
provides a summary of the key findings and detailed tables of the findings are presented
in Appendix Three.
Profile – respondents active across artforms
8.2.3 The majority of the respondents are based in Scotland and predominately work in
theatre followed by festivals, dance and music. They work across artforms but with a
strong emphasis on the performing arts.
8.2.4 Over three quarters of respondents import international work to their own country or as
part of a larger tour. Of those that do not, reasons cited tend to be due to international
importing being outwith their remit.
45
Networks with Other Countries – Europe, UK, Australasia and North America are
the strongest markets; Scotland needs to raise its profile
8.2.5 The countries where respondents have the strongest networks are:
Europe (France, The Netherlands, Republic of Ireland, Spain, Scandinavian countries,

Germany)
UK (England)
North America (USA and Canada)
Australasia (Australia)
8.2.6 The majority of respondents are interested in attracting work from other countries. A
broad range of countries across the world were mentioned, although the most frequently
mentioned were the USA, UK, Japan, India and France. Motivations for attracting work
from other countries tend to reflect desires to share experiences, exchange work
practices and view high quality work of international standards.
8.2.7 In the past five years, almost half the respondents that are based outside Scotland have
imported work from Scotland. The experiences were generally deemed as satisfactory
and met the respondents’ expectations. Of those that have not imported work from
Scotland, the main barriers appear to be financial constraints and lack of exposure.
Almost half of respondents are “not aware of what is available in Scotland”. This
indicates that Scotland has a good reputation but needs to raise its profile as a country
to export with.
8.2.8 Encouragingly the vast majority would be interested to learn more about the work of
Scottish based organisations that are developing international networks and markets.
There are a great number of countries that recognise cultural links with Scotland; this
could be positive in stimulating authentic and organic relationships.
Procurement – international work is sourced proactively and reactively
8.2.9 International work is normally sourced through a combination of proactive and reactive
projects.
8.2.10 The fact that almost half of respondents indicated or stated that they are not aware of
what is available in Scotland suggests that opportunities are being missed in Scotland
due to a lack of exposure of its theatre and dance products to the producers and
promoters that are proactively seeking new markets.
International Arts Markets – well attended
8.2.11 The majority of respondents have attended an international arts market. The most
frequently mentioned were APAM, Edinburgh Festivals, British Council Showcase in
Edinburgh,APAP, IETM and CINARS, although a range of other arts markets across the
world were listed. Past experiences were rated highly and this emphasises the value of
attending national conferences for producers and promoters.
46
Future International Development – financial support is required
8.2.12 Financial support would be required by most respondents to develop networks and
relationships in Scotland. This was followed by “opportunities to view work in Scotland
outside of the Edinburgh Festivals” and “opportunities to view work in Scotland as part of
a research tour”. There is clearly a desire to view work in Scotland outwith the
Edinburgh festivals, which perhaps presents opportunities to expose theatre and dance
work based at a range of locations throughout Scotland, echoing the format of the
Scotland Live project (see Section 6.4).
Summary of Key Findings
8.2.13 The respondents are active across artforms and have developed strong networks across
the world, and particularly in Europe, UK and North America.
8.2.14 National conferences are popular with producers and promoters, although they also
seek exposure outside of these formats.
opportunities are sourced both proactively and reactively. It is, however, likely that a
number of opportunities are being missed in Scotland due to a lack of exposure of its
theatre and dance products to the producers and promoters that are proactively seeking
new markets. Scotland therefore needs to raise its profile amongst the international arts
community as a country from which to export.
8.2.16 Future support for international development is required through financial assistance and
inward missions. There is a perceived need to create opportunities for producers and
promoters to view work in Scotland outside of the Edinburgh festivals and to better co-
ordinate market information and opportunities in order to inform activity.
47
9. Hallmarks of Success
9. HALLMARKS OF SUCCESS
9.1 INTRODUCTION
9.1.1 A review of successful working practices in other countries was conducted in order to
determine hallmarks of success for developing international cultural exposure.
9.2.2 The “hallmarks of success” were reviewed in countries that were identified through the
course of the research as examples of good practice in international development.
Activity was reviewed against a framework that was agreed with the client group. The
countries reviewed were:
Germany – German Cultural Institution

Australia – Australia Arts Council
Republic of Ireland – Arts Council of Ireland, Culture Ireland
Canada - Department of Foreign Affairs and International Trade Canada (DFAIT),
9.2.3 Overall, there does not appear to be one country that provides a model for successfully
implementing each criterion of the framework, rather certain countries display strengths
in different areas.
9.2 HISTORIC DEVELOPMENTS OF THE STRATEGY
9.2.1 International strategies for the above organisations have been in place for a varied
amount of time and have been developed under different agendas. The models which
show greater hallmarks of success tend to be those that have been developed with an
aim to support the cultural sector rather than to further political or economic objectives,
although in Canada the links to diplomacy and the value that the arts brings to that
process are significant. They believe very strongly that the arts provide a positive and
neutral environment that can then enhance and support economic opportunities.
9.2.2 Culture Ireland, which works in partnership with other organisations, was set up in 2005
and although it has an international strategy, there is no associated implementation plan.
The Arts Council of Ireland developed its strategy approximately three years ago; the
main focus is to encourage various agencies to work effectively together. The combined
approach of the Arts Council of Ireland and Culture Ireland appears to be successful,
although still in early days. They have developed around a collaborative agenda to
support the sector. This model is particularly interesting for Scotland given the interface
between the Scottish Arts Council and the British Council.
9.2.3 This collaborative approach has also been adopted in Canada, with international working
being the joint responsibility of the Department of Foreign Affairs and International Trade
Canada (DFAIT), the Canada Council for the Arts and the Department of Canadian
Heritage. All have programmes in place to support international working.
9.2.4 International focus on cultural work in Australia has been present for a long time and the
Australia Arts Council was set up approximately 40 years ago with the primary aim of
supporting arts development.
48
Some ten years ago the Australia Arts Council had a major restructure that resulted in
the new international division and the development of strong community partnerships.
Similar to Ireland, this model is an example of a strategy that has been developed
around the needs of the sector rather than being imposed externally.
9.2.5 The German Cultural Institute has a management strategy which is broken down into
separate arts departments and a set of domestic objectives have been agreed for each
department. The international development objectives are quite general and do not
relate directly to theatre and dance. They are also developed around economic and
political agendas, which, it is felt, do not often reflect the desires of the sector.
9.3 INTERNATIONAL STRATEGIES
9.3.1 There is not universal approach to developing international strategy, with some countries
focussing strategically on specific countries and others taking a more tactical approach
to opportunities in markets throughout the world.
9.3.2 The following Table presents an overview of the priority countries outlined in the
strategies of comparator countries or organisations.
Table 9.3: Priority Markets for International Hallmarks of Success Countries

Hallmarks of Mainland
UK North America Australasia Asia
Success Europe
Australia
Council for the v v v v
Arts
Arts Council
Ireland
Culture Ireland v v v v v
German
Cultural v v
Institute
Canada v v v v v
Source: RGA
9.3.3 As Table 9.3 shows, the markets that receive the most strategic attention are the UK and
mainland Europe. This is followed by Asia, which is largely due to objectives to expand
into emerging markets such as China.
9.3.4 Target markets for organisations that have taken a sector-led approach tend to be based
on countries with existing cultural ties and a common language. These are regarded as
the easiest markets to export with.
9.3.5 Organisations that have taken a politically and/or economically-driven approach to their
strategy have encountered barriers where their cultural agenda clashes with their
government’s political or economic agenda, resulting in frustration for both sides.
49
9.3 STRATEGIC ENGAGEMENT WITH SCOTLAND
9.3.1 There is no current engagement with Scotland at a strategic level in any country.
Existing levels of activity with Scotland tend to be tactical and often are one-off or
infrequent initiatives.
9.4 TACTICAL APPROACHES
9.4.1 Tactical approaches are largely reactive to opportunities that are presented to the
organisations.
9.4.2 The Irish model has seen Culture Ireland using the Edinburgh Fringe Festival as one of
its showcasing events and the Arts Council Ireland successfully marketing Irish work at
the Edinburgh Festivals. The Arts Council Ireland also attends conference and events to
network.
9.4.3 On the other hand, the Australia Arts Council implements a short term response fund
programme called ‘Playing the World’ which guarantees a six week response to
companies that have been invited to tour. To apply for this fund, companies have to
present their marketing strategy to the Australia Arts Council and propose to tour to at
least three international venues. This ability to respond to short-term deadlines makes
the sector flexible and much more responsive to market changes.
9.4.4 Canada has for many years considered the Edinburgh Festival as a major platform for
Canadian artists to showcase their work, alongside inward missions and CINARS.
Collaborative marketing activity to producers has also happened for many years and
came as a direct response from the sector, although this has been financially supported
by DFAIT.
9.5 IMPLEMENTATION
9.5.1 The approaches to implementing the strategies vary and largely reflect the agenda of the
strategy, whether it is political, economic or cultural. The approach in Ireland has been
primarily cultural and involves a collaborative approach between the Arts Council Ireland,
its partner organisations and companies and individuals involved in the sector. As a
result, they work closely with Culture Ireland and the British Council and the sector has a
large influence on the direction of the Arts Council Ireland. Similar to this approach, the
Australia Arts Council’s approach is sector-led through the Australia Arts Council, which
is the equivalent of the UK’s Arts Councils and British Council combined. These
countries have enjoyed great success under their remit to support the sector and raise
cultural awareness internationally.
9.5.2 Alternatively, the German Cultural Institute, which has an economic and political role to
fulfil, is more influenced by government exporting priorities. This organisation has
struggled to gain influence in the political arena and due to a lack of resources is
frustrated by unmet demand for theatre and dance internationally.
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9.6 RESOURCE ALLOCATION
9.6.1 The Culture Ireland budget is the equivalent of £2.3 million, which should be plugged
straight into the industry. Additionally, Arts Council Ireland has a budget of approximately
£1.2 million for international work. Slightly less than this, the Australia Arts Council
budget is £1.8 million, which is relatively small considering the size of the country and
freight costs required to tour to their target markets in Asia, Europe and North America.
There is also an allocation for APAM, (£88,200), for performers that are invited abroad to
tour. The presenters that visit are told in advance that the Council has funds to allow
some performers to tour internationally.
9.6.2 The German Cultural Institution has a very small department for theatre and dance
constituting four people. Furthermore, in the next three years the German Cultural
Institution is loosing 25% of their staff in the headquarters due to management changes.
They are therefore relying heavily on their partner organisations working abroad to
support them. Their main funding comes from the Foreign Ministry with additional
funding coming from a project-by-project basis.
9.6.3 In Canada DFAIT provides support to the cultural sector through its grant programme
and its business development programme. It is coming to the end of a five year planning
cycle, during which they awarded a total of two million Canadian dollars (£864,556) to
organisations who either wanted to tour internationally or who wanted to attract
international buyers to see Canadian work. DFAIT does not anticipate a reduction in
funds but could not confirm funding for the next planning cycle at this stage.
9.7 RECORDED IMPACTS AND MEASUREMENTS
9.7.1 There are no universal measurements for recording impacts. The majority of
organisations record short-term or “internal” measures such as PR and media coverage,
the number of contacts made at networking events, the number and value of leads
generated etc. The only organisations that appear to take a structured approach to
measuring impacts are the Australia Arts Council. The Australia Arts Council undertakes
major evaluation reports during and after each project. This involves short term
measures such as the quality of the organisation of the event, stakeholder involvement
and PR and media coverage. Long term measures consider the value of the leads that
were generated and the financial outcomes (e.g. with their involvement with APAM).
9.8 FUTURE DEVELOPMENTS
9.8.1 The Arts Council Ireland’s approach is to constantly review the policies in their strategy
in response to the ever-changing arts sector. In terms of international policy, the biggest
change in the past few years has been setting up Culture Ireland and the partners have
adapted their priorities in collaboration. In the next few years this model will be
expanded with more funding for partner organisations and using the knowledge of the
practitioners, therefore capitalising on industry expertise. The model of working in
partnership will continue to grow.
51
9.8.2 The Australian exporting arts sector was massively hit by the effects of 9/11, when the
cost of travelling increased. The main trends that they anticipate will threaten the
implementation of their strategy are terrorist threats.
9.9 VITAL LESSONS LEARNED
9.9.1 Overall, it is important to determine the agenda of an international development strategy

before setting out its aims and objectives. This is normally politically, economically or
culturally driven. Amongst the organisations reviewed for this study, the most successful
appear to have been those who capitalise on the strength of the field they are operating
in and are able to respond to the changing needs of the cultural sector as a result. It is
clear that the strongest results are obtained from those who have acknowledged that a
discreet fund for international activity is essential and have formed effective partnerships
to help to deliver the strategy
9.10.1 At a strategic level, countries reflect different remits for developing an international
strategy. The public agency bodies that have developed close partnerships with the
sector tend to have adopted a culturally-led approach, rather than using international
artistic activity to achieve political or economic aims. Target markets are often countries
with existing cultural ties or a common language; these are regarded as the easiest
markets to which to export.
targeted in Scotland tend to be tactical and often one-off programmes.
Edinburgh Festival Fringe as one of its showcasing events and has successfully
marketed Irish performers in Edinburgh. Canada also regards Edinburgh as an
important platform for Canadian performers to be marketed internationally. Providing
funds for short turnarounds to perform internationally has been a successful approach
for the Australia Arts Council and has allowed companies to respond quickly to market
forces and opportunities.
9.10.4 Most countries adopt a partnership approach to strategy implementation, drawing on the
resources of other organisations and the expertise of the sector as a whole. In Canada
this has allowed organisations to take advantage of a wide range of business information
and tools.
evaluation reports and has reporting formalities set up with partner organisations.. The
acknowledges that their monitoring and evaluation of activity could be greatly improved
upon.
9.10.6 Future developments tend to focus on developing the existing level of activity, although
no specific projects were identified.
52
10. Response to the Research Findings
10. RESPONSE TO THE RESEARCH FINIDNGS
10.1 INTRODUCTION
10.1.1 Further to the research presented, a workshop was held to discuss the key findings to
date and to assist in refining the thinking on possible improvements to the international
support of Scotland-based theatre and dance organisations. The workshop was
facilitated by RGA and hosted by the Scottish Arts Council. In attendance were
representatives from the British Council Scotland, Federation of Scottish Theatre Dance
Base, RGA and the Scottish Arts Council.
10.1.2 The following section details the key emerging themes raised at the workshop.
10.2 CURRENT STATUS IN THE STRATEGIC CONTEXT
10.2.1 The consensus was that theatre and dance artists and organisations do not receive
enough strategic support to enhance their international exposure. Support from the
Scottish Executive has historically been through tactical initiatives and their priority
markets do not necessarily reflect those of the theatre and dance organisations. The
Scottish Executive’s definition of ‘creative industries’ is focussed on more commercial
industries such as design and new media. This emphasises the lack of authority that
theatre and dance artists have within the creative industry. Whilst the Scottish Executive
has allocated a £350,000 fund for the national companies, it is felt that this approach
hasn’t considered cultural exporting in enough depth. The touring fund has been
provided for only five national companies and the money is not expected to trickle down
through the arts infrastructure to smaller companies who are already exporting or have
the potential to export. There is therefore an essential requirement for the non-national
companies to be provided with a direct funding allocation, otherwise there will be little
opportunity to market their products internationally.
10.2.2 There is a lack of clarity as to the implication of cultural entitlements. This should be
addressed in order for artists and organisations to prepare their response. However, it is
acknowledged that this may take considerable time and should not constrain progress.
10.3 DEFINITION WITHIN THE CULTURAL SECTOR
10.3.1 Defining theatre and dance separately within the national, strategic context was not
regarded as being necessary as they should be regarded homogenously as “performing
arts”, which also includes music. However, within the cultural sector there needs to be
clarification of how theatre and dance should be defined and also how they should be
measured. It was suggested that a definition for theatre and dance should be based
around quality and economic measures. However, it was also noted that there should
be opportunities to measure softer impacts with artists engaged in international working.
Creative Scotland is regarded as an opportunity to impact on the definition and
measurements for theatre and dance artists and organisations.
53
10.4 QUALITY OF PRODUCT
10.4.1 It was agreed that the quality of work promoted internationally must be of an appropriate
standard. Despite this desire it was noted that assessing the quality of work is a
challenge to this sector. Artists tend to self-assess but this method does not guarantee
work that is an acceptable standard for international exposure. A method of determining
quality is therefore required to increase the credibility of theatre and dance artists
internationally and to attract potential producers. A quality framework has recently been
devised by the Scottish Arts Council and will act as a clear set of expectations for
performance. The Scottish Arts Council will continue to develop the quality framework
by working closely with the arts organisations that it supports, to ensure continuous
improvement. The proposed discussions around quality in the sector will also aim to
address the quality issue.
10.4.2 Raising the quality of work to an international standard requires some degree of
nurturing artists and organisations before they are able to export. This may include
international visits to see work (as developed by the FST and supported proactively by
the Scottish Arts Council). There is a wide range of activities already taking place that
provide artists with opportunities in this area and organisations need to take full
advantage of them. It should, however, be recognised that not all organisations aim to
export work.
10.4.3 The state of readiness to export must be considered alongside the quality of work issue.
Organisations would benefit from being aware of their state of readiness to export and
then assisted to enhance that readiness if required.
10.5 SHARING AND COLLABORATING
10.5.1 It was agreed that networking at events, conferences and seminars is a fundamental,
strategic approach to gaining international exposure. However, it was acknowledged
that networking can be time-consuming and nurturing creative relationships is a slow
process. A more collaborative approach within the sector may accelerate the process,
particularly during the early “information gathering” stages.
10.5.2 Workshop participants felt that a central portal of information would be beneficial to
artists and organisations seeking to know which companies are ready to export, where
they would like to export, where there are national and international opportunities, past
experiences of touring and useful contacts etc. This could take the form of a website or
electronic newsletter.
10.5.3 It was also recognised that there is an opportunity to capitalise on the British Council’s
showcase, held every two years at the Edinburgh Fringe Festival. Building on an
example from the Arts Council Ireland, it was felt that some collaborative marketing each
year, detailing the best of Scotland-based work, would present a cohesive message to
potential buyers.
10.5.4 Overall, Scotland Live was regarded as a success by the participants and stakeholders
that were involved. The consultees would support the reintroduction of a similar
initiative,
54
however there would need to be rigorous measures regarding quality control so that
buyers were confident of the quality of such a programme (see Section 10.4). It was
suggested that this could be programmed in the year that the British Council Showcase
was not programmed in Edinburgh.
10.6.1 At a strategic level, there is a lack of coordination amongst the key policy makers
(Scottish Arts Council, British Council, Scottish Executive and Scottish Enterprise) and
confusion about where theatre and dance sits within the creative industries and the likely
impact of the cultural entitlements. These areas must be clarified to ensure that
practitioners fully understand the strategic environment they are working in.
10.6.2 At a practical level, there is also a lack of coordination amongst the artists and
organisations that are exporting internationally. Providing a central information point with
up to date news about cultural exporting activity would encourage a more coordinated
approach for the theatre and dance sector within the international field.
10.6.3 The Scottish Executive has not explored the level of support required for cultural
organisations in depth and theatre and dance organisations struggle to be taken
seriously as cultural enterprises. There is a requirement to raise the profile of theatre
and dance within a Scottish cultural context.
10.6.4 Artists working in the theatre and dance artforms should be measured to assess their
readiness and suitability for international exporting. This reinforces the need to apply a
method for determining and controlling quality.
10.6.5 Based on previous experiences, initiatives within Scotland like the British Council
Showcase and Scotland Live, are valued. However, there is still a desire to collaborate
with marketing and communication activity during the Edinburgh festival thereby to
maximise the opportunity to sell to producers already visiting Scotland.
55
11. Conclusions
11. CONCLUSIONS
11.1 STRATEGIC CONTEXT
11.1.1 The Scottish Arts Council and British Council have developed a joint strategy that aims
to satisfy cultural, economic and political agendas whilst the other key policy makers
tend to use culture as a mechanism for achieving economic exporting and political aims.
11.1.2 Initiatives for developing international theatre and dance sit broadly in line with the
Scottish Executive’s International Strategy: building strong ties of economic, political and
cultural benefit to Scotland; promoting Scotland’s policy interests; reinforcing and forging
new links across Europe and the development of cooperative links.
11.1.3 Indirect opportunities for the international development of theatre and dance through
Scottish Enterprise and EventScotland are present for initiatives that engage with the
cultural tourism agendas of these organisations.
11.2 RECENT AND CURRENT INITIATIVES
11.2.1 Scotland Live was well managed and established a strong set of SMART objectives
which were achieved or exceeded. Delegates and participants were very positive about
the initiative and are supportive of its continued development if a more rigorous selection
procedure for showcase participants is devised. Similarly, Imaginate has built up a solid
reputation and has the potential to expand and attract new producers and promotes who
are buying across a range of artforms.
11.2.2 A dedicated venue for Scotland-based companies (echoing the Gateway 2004 project)
was well supported by participants in the research but it is felt that similar outcomes
could be achieved by collectively marketing Scotland-based organisations across a
range of venues in Edinburgh (similar to the approach in Ireland and Canada). This
would capitalise on the work of the Edinburgh Festival Fringe, Edinburgh International
Festival, Dance Base and the Traverse. This would provide opportunities to market
other events outside of August to promoters and producers, including work produced by
Imaginate, Scotland Live, Tramway (with New Moves and National Review of Live Art)
and the National Companies.
11.2.3 The British Council Showcase is seen as an important platform for raising the profile of
Scotland-based companies and such organisations should be supported by the British
Council and Scottish Arts Council to participate in this initiative. However, the selection
process is believed to be somewhat ‘Londoncentric’; an issue that should be raised
internally between the British Council Scotland and British Council London.
11.3 KEY STAKEHOLDER CONSULTATIONS
11.3.1 Connecting artists and providing a way of short-circuiting time consuming research into
their audiences and international opportunities would be a real benefit. There do not
appear to be opportunities or mechanisms for connecting international development
activity or for organisations already exporting or considering exporting.
56
11. Conclusions
Respondents feel that there is a lack of co-ordination for providing information, other
resources and international opportunities as well as more practical assistance and
advice on issues such as work permits.
11.3.2 Allocating separate resources for restaging work and taking advantage of opportunities
presented in Edinburgh, or to attend more inward missions, would send a strong signal
to the sector that policy makers value the contribution the sector can make to diplomacy
abroad.
11.4 THEATRE AND DANCE ARTIST COMMUNITY SURVEY
the artistic community. Whilst arts organisations in Scotland have developed activity in
international markets, work tends to be generated reactively to new opportunities that
are presented to them. Despite the limited strategic approach, partnerships have been
successfully formed with organisations that provide relevant resources for international
development, such as the British Council and Scottish Arts Council. A number of
respondents intend to develop an international strategy in the forthcoming year, this may
suggest that respondents anticipate increased resources from Creative Scotland. It is
recognised that the budget for Creative Scotland has not yet been set and such
assumptions should be viewed as speculation at this stage.
11.4.2 Current development activity tends to be focused on networking at events, seminars,

workshops and conferences. However, there is a perceived need for more inward and
outward showcasing missions.
between the target markets of the artistic community and those of the public sector
bodies who have identified markets in their international strategies.
11.5 PRODUCERS AND PROMOTERS SURVEY
opportunities are sourced both proactively and reactively. It is, however, likely that a
number of opportunities are being missed in Scotland due to a lack of exposure of its
theatre and dance products to those who are proactively seeking new markets.
Scotland therefore needs to actively raise its profile amongst the international arts
community.
11.5.2 Future support for international development is required through financial assistance to
producers and promoters and the opportunity to attend more inward missions. There is
a perceived need to create opportunities for producers and promoters to view work in
Scotland outside of the Edinburgh festivals.
57
11. Conclusions
11.6 HALLMARKS OF SUCCESS
11.6.1 At a strategic level, countries reflect different remits for developing an international
strategy. The public agency bodies that have developed close partnerships with the
sector tend to have adopted a culturally-led approach, rather than using international
artistic activity to achieve political or economic aims. Target markets are often countries
with existing cultural ties or a common language; these are regarded as the easiest
markets to which to export.
targeted in Scotland tend to be tactical and often one-off programmes.
Edinburgh Festival Fringe as one of its showcasing events and has successfully
marketed Irish performers in Edinburgh. DFAIT Canada also regards the Edinburgh
festivals as an important platform for Canadian performers to be marketed
internationally. Providing funds for short turnaround performances internationally has
been a successful approach for the Australia Arts Council and has allowed companies to
respond quickly to market forces and opportunities.
11.6.4 Most countries adopt a partnership approach to strategy implementation, drawing on the
resources of other organisations and the expertise of the sector as a whole. In Canada
this has allowed organisations to take advantage of a wide range of business information
and tools.
evaluation reports and has reporting formalities set up with partner organisations. The
acknowledges that their monitoring and evaluation of activity could be greatly improved
upon.
11.6.6 Future developments tend to focus on developing the existing level of activity, although
the research did not identify any specific initiatives for achieving this.
11.7 RESPONSE TO THE RESEARCH FINDINGS
11.7.1 At a strategic level, there is a lack of coordination amongst the key policy makers and
confusion about where theatre and dance sits within the creative industries and the likely
impact of the cultural entitlements. At a practical level, there is also a lack of
coordination amongst the artists and organisations that are exporting internationally.
Providing a central information point with up to date news (such as a development of
www.scottishartstouring.com) about cultural exporting activity would encourage a more
coordinated approach for the theatre and dance sector within the international field.
11.7.2 The Scottish Executive has not explored the level of support required for cultural
organisations in depth and theatre and dance organisations struggle to be taken
seriously as cultural enterprises. There is a requirement to raise the profile of theatre
and dance within a Scottish cultural context.
58
11. Conclusions
11.7.3 There is a requirement for theatre and dance to be defined homogenously as performing
arts within the cultural sector. Artists working in these artforms should be measured to
assess their readiness and suitability for international exporting. This reinforces the
need to apply a method for determining quality.
11.7.4 Based on previous experiences, initiatives within Scotland like the British Council
Showcase and Scotland Live are valued. However, there is still a desire to collaborate
with marketing and communicate activity during the Edinburgh festivals and maximise
the opportunity to sell to producers already visiting Scotland.
59
12. Suggested Improvements and Developments
12. SUGGESTED IMPROVEMENTS AND DEVELOPMENTS
12.1 INTRODUCTION
12.1.1 This section brings together the findings from the research and the workshop session to
make recommendations regarding improvements that will enhance practice in
international promotion. A joint strategy for this activity already exists between the
Scottish Arts Council and British Council and it would seem appropriate to continue
progressing the strategic aims and action plan that have already been devised. This
Section therefore uses the joint action plan headings as a framework for the
recommendations for improvements, and provided estimates of indicative costs.
12.2 SUMMARY OF ACTIVITY
12.2.1 The following table provides some indication of the types of activity proposed. The
various activity has been outlined below in more detail.
12.2.2 Edinburgh International Promoters Hub - Make effective use of the Edinburgh
festivals as a showcase for Scotland-based work by developing a collective approach to
marketing to producers, promoters and other influencers. This could take the form of an
International Hub where producers and promoters can arrive in Edinburgh and be
quickly orientated and directed to Scotland-based work. Pre-arrival producers will have
access to material produced collectively by Scotland-based companies wanting to work
internationally and during the course of the Festival other social and networking events
will be co-ordinated to welcome producers, learn more about what they are interested in
and to facilitate them meeting appropriate contacts. It will exist to make the process of
coming and importing Scotland-based work easy, informative, exciting and stimulating.
Relationships with buyers should be established and nurtured to encourage a return to
Edinburgh or reciprocal visits for Scotland-based artists.
12.2.3 Scotland Showcase- Develop a bi-annual inward mission outside the Edinburgh festival
period, following on from the Scotland Live pilot project. This could involve a “curated”
showcase of work, ensuring that the quality of pieces shown is exceptional and
companies that are ready to export are identified. At the same time engage the artistic
community in Scotland to debate and discuss the opportunities associated with
international working, as well as some of the challenges. There may also be other
themes and issues that can be explored with a debate programme, including the political
value of cultural diplomacy, how it impacts on artistic vision, how to approach
international marketing and maybe more practical matters.
12.2.4 Established Showcases- Continue to support the British Council Showcase and British
Dance Edition and work with organisations to maximise the benefits and opportunities
associated with inclusion in the programme. These are well established programmes
with significant resources and an excellent reputation so encouraging and supporting
Scotland-based companies to attend is a simple way of benefiting.
12.2.5 Similarly Imaginates’ delegate programme for producers has grown gradually and is well
liked by those that attend.
60
Fairly modest levels of support to subsidise North American producers may have
significant benefits and there are also opportunities for this showcase to link with the
Scotland Showcase and the work during Edinburgh so that connections between the
three activities are maximised.
12.2.6 Outward Mission - Attend APAM (Australian Performing Arts Market) in February 2008
as a trade or booth delegate and research the possibilities of presenting a Scottish
showcase there in 2010. We have anticipated 6 delegates attending including those
responsible for co-ordinating the Edinburgh Promotes Hub. Delegates would be visiting
with a collaborative display of marketing material designed to communicate what is
available from Scotland and to present a unified and collective voice for those
companies.
12.2.7 Similarly by attending CINARS Montreal (November 2008) as a trade or booth delegate
and research the possibilities of presenting a Scottish showcase there in 2010.
61
12.3 RECOMMENDED IMPROVEMENTS AND DEVELOPMENTS
Table 12.2: Suggested Improvements and Development

Improvement Objective How Who Cost
Strategic Planning
A) Coordinate the strategies of key policy makers To agree the Meeting key Scottish Arts Time for co-
most suitable policy makers – Council and ordination and
target Scottish British Council – meetings at a high
markets for Executive/Scottish Senior level
theatre and Enterprise/British Executives
dance Council and
Scottish Arts
To benefit Council.
from
synergies Agree shared
between objectives
policies
B) Develop SMART objectives for the British Council and To develop Revise the plan in Scottish Arts Time for planning
Scottish Arts Council Joint Strategy measurable the light of this Council and sessions and
outcomes report British Council communication
with key
Promote stakeholders
good practice
for
international
promotion
C) Clarify those organisations who are export-ready, those To agree the Utilise existing Network Time for
who require nurturing and those for whom international most international approach via organisations to
working is not a priority marketable business gateway Scottish Arts compete as part of
organisations exporting audits Council and request for
funding international
To agree programmes touring funds or
route to inclusion in
nurture those showcase
not yet ready programmes
62
D) Develop a quality monitoring system for artists seeking To ensure Selection panel of Development of £3,250
international exposure that Scotland- informed and Scotland Live
based work respected initiative via FST
being individuals.
exposed Media reviews
internationally and audience
is of a high feedback
quality
Research
E) Utilise existing research resources provided by IETM, To ensure Web –based: Partnership Minimal and linked
IFACCA and On The Move Network that the linking to existing between British to the
sector is fully websites Council, Scottish development of an
aware of the Arts Council and information hub
context they FST (see “Information”
are operating recommendations)
within
Advocacy
F) Raise the profile of theatre and dance as an important To influence Diplomacy should Partnership Time to lobby core
element of international diplomacy policy makers be central to all between British stakeholders
and lever new initiatives Council, Scottish
funding Arts Council and
FST
63

Activity
G) Make effective use of the Edinburgh Festival as a To increase Create a central Partnership £12,500
showcase for Scotland-based work by developing a exposure to “hub” for activity between existing
collective approach to marketing Scotland-based work to Scotland- organisations’
producers, promoters and other influential partners based work Facilitate and operating venues
during the organise (Dance Base,
Edinburgh networking Traverse,
festivals opportunities Assembly etc),
developing
Provide buyers showcase
To raise
with a friendly opportunities (FST)
awareness of
and hospitable and supporting
Scotland-
environment international
based work
within the buyers (Fringe)
Provide point of
international
contact and
buying
support
community
To make the
buying process
easy and
enjoyable
To support
organisations
already
attracting
buyers
64

H) Develop a bi-annual inward mission outside the To increase Develop a FST Scotland Live £51,500 (50
Edinburgh Festival following on from the pilot project exposure to selection panel Project Manager promoters)
Scotland Live. Develop a “curated” showcase of work and a Scotland- for submissions or
parallel symposium programme that encourages artists to based work £42,100 (30
consider the implications of international work, themes and out-with the Develop a promoters)
issues that influence work Edinburgh debate
Festivals programme and
workshops on
To encourage internationalism
debate about and international
international practice
working
practices
To gather
buyer
intelligence
To attract more
buyers to
Scotland
To raise
awareness of
other
showcasing
opportunities
outside the
Edinburgh
festival period
65

I) Continue to support the British Council To increase exposure to Promote call for Scottish Arts £10,000
Showcase and British Dance Edition and work Scotland-based work submissions Council Dance
with organisations to maximise the benefits and during the Edinburgh Department
opportunities associated with inclusion in the festivals Support the Artistic
programme
Director of the British
To reinforce joint working Dance Edition to attend
performances by
To gather buyer Scotland-based dance
intelligence artists
To raise awareness of Ensure selected

other showcasing Scotland-based
opportunities outside the companies are
Edinburgh festival period supported
Active participation in all

promotional activity
during the programme
J) Support Imaginate to attract North American To increase exposure to Promote the launch of a Imaginate with £2,500
and European delegates to children’s festival Scotland-based work limited number of funded Scottish Arts
places to highly targeted Council funding
To raise the profile of individuals from North
children’s theatre and its America
role in public diplomacy
To gather buyer
intelligence
To raise awareness of
other showcasing
opportunities outside the
Edinburgh festival period
66
K) Attend APAM (Australian Performing Arts To collectively raise Call for response to Partnership £14,744
Market) Feb 2008 as trade/booth delegate awareness of Scotland- submissions to trade between (6
based work Scottish Arts delegates
Council, British in total)
To gather buyer Council
intelligence Scotland and
FST plus
previous
To build networks and attendees from
contacts Scotland
To raise awareness of
other showcasing
opportunities in Scotland
at other times of the year
To consider the value of

showcase opportunities
at APAM in 2010
67

L) Attend CINARS Montreal Nov 2008 as trade/booth To collectively Call for Partnership between £11,258
delegate raise response to Scottish Arts Council,
awareness of submissions to British Council Scotland
Scotland- trade and and FST plus previous
based work application attendees from Scotland
To gather
buyer
intelligence
To build
networks and
contacts
To raise
awareness of
other
showcasing
opportunities
in Scotland at
other times of
the year
To consider
the value of
showcase
opportunities
at APAM in
2010
68

Support and Funding
M) Develop a fund for restaging work either at international To offer Meeting key Scottish Arts Council £120,000
showcases or to respond to producer demand opportunities policy makers:
for companies Scottish
to take work to Executive,
the market Scottish
Enterprise,
To respond to British Council
market and Scottish
demands Arts Council
To utilise
existing
showcase
opportunities
outside of
Scotland
Information
N) Develop a central information portal of cultural exporting To enhance Develop a brief Independent post £19,000
activity and opportunities through a central website and coordination for micro-site attached to Touring
associated communications (newsletter) amongst linked to existing Agency or extension of
practitioners organisations Scotland Live
and administrative support
organisations (ScottishTour.com)
To increase
knowledge of
the buying
market
69
O) Communicate such information to those operating or To build Utilise micro- Independent post £19,000
seeking to operate in an international context feedback into site, e- attached to Touring (included
information communication Agency or extension of in
gathering and inward and Scotland Live previous
outward administrative support recomme
To encourage missions ndation)
co-operation
between the
sector
To gather
buyer
information
70
12.4 INDICATIVE COSTS
12.4.1 The costs have been based on further discussions with organisations consulted during
the study. The indicative figures have been calculated based on historical data from
previous initiatives or published charges for international showcases. For international
showcases scheduled for 2008 no published figures are available so we have
anticipated a small increase. Travel and accommodation costs have been calculated
using 2007 prices, although a contingency has been included to cover any unexpected
increase in travel or accommodation costs.
12.4.2 The restaging budget is more difficult to cost because there are numerous variables that
will influence the budget. This will include the number and availability of cast members
or dancers, if any staging needs to be rebuilt, venue hire for rehearsal or technical
requirements. Costs will also vary according to the length of the tour and the producing
company's capacity to generate income from the production. For a mid-scale production
to be restaged, total costs could vary from £15,000 - £40,000 depending on the variables
noted above. As a consequence of this we have suggested an indicative figure of
£120,000 for each year. Again this will be dependent on the number of productions that
have the capacity to tour internationally in any given year. It would be anticipated that
the re-staging fund would not cover all re-staging costs and that the companies would be
expected to make additional contributions from their own or other funding sources.
12.4.3 We have presented the costings as three options. It is also possible to consider
progressing in a staged approach building upon each activity year on year:
12.4.4 Option A focuses spending on inward missions only and activity that is already attracting
producers and promoters. This budget includes the development of activity during the
Edinburgh Festival, supporting the delegate programme at Imaginate and the British
Council showcase and Dance Edition. There is also the potential to progress some of
the Edinburgh initiatives in time for the Edinburgh Festival 2007. The total cost for option
A is £32,500.
12.4.5 Option B maintains all the activity associated with option A but augments this with
development of the Scotland wide inward mission and outward missions to
CINARS,APAM and the development of the info point. The total cost for option B is
£131,502
12.4.6 Option C brings together all elements outlined in options A and B but the budget is
further enhanced by the addition of the restaging budget. The total cost for option C is
£251,502
12.4.7 It should also be noted that depending on the outcome of visits to CINARS and APAM
further funding resources may be required to progress showcasing work at these events
in 2010. We have not costed for these at this stage.
71
Table 12.3: Consolidated Budget

Initiative Cost
Edinburgh Hub £12,500
Restaging £120,000
Scotland Live £51,500
Imaginate £2,500
APAM £14,744
CINARS £11,258
Info Point £19,000
British Council/British Dance Edition £20,000
Total £251,502
Source: RGA Research
72
Appendix One: Strategic Context
APPENDIX ONE: STRATEGIC CONTEXT
INTRODUCTION
The purpose of this Section is to examine the project within the context of the aims and
objectives of key stakeholders. The closer the alignment between the objectives of the
project aims and these aims, the higher potential there is for support at a strategic level.
The strategic context analysis has been prepared through a review of published
strategies and a series of consultations with key stakeholders. It should be noted that
with the forthcoming elections and Creative Scotland due to be launched, these policies
and priorities are likely to change.
The documents reviewed were:

Scottish Arts Council Theatre Touring Strategy (Draft 2006)
British Council and Scottish Arts Council Joint Strategy
British Council and Scottish Arts Council, 2006
Scotland’s Strategy for Stronger Engagement with China (2006)
Scotland’s Strategy for Stronger Engagement with the USA (2006)
Enterprise Strategy for Scotland, 2004
Scottish Executive and Scottish Enterprise, 2004
International Strategy
Scotland’s Major Events Strategy 2003-2015: Competing on an International
Stage
Event Scotland, 2003
SCOTTISH ARTS COUNCIL
The Scottish Arts Council has undertaken an overall strategic review which has involved
changes in its relationships with the arts sector, which they are continuing to implement.
As part of the strategic review, the Scottish Arts Council decided to prioritise its
corporate aim to provide support for artists. As a result, from April 2007 organisations
can be funded in a number of new ways including: Foundation, Flexible Funding and
Flexible Funding (Project). Furthermore, from April 2007 the five national companies will
become the responsibility of the Scottish Executive, rather than the Scottish Arts
Council.
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The Coterminous Board was appointed by ministers to manage the transition between
now and Creative Scotland as well as to deal with the dissolution of Scottish Arts Council
and Scottish Screen. Further changes will take place with the development of Creative
Scotland. This organization will be responsible for developing talent and excellence in
all branches of the arts, and the creative and screen industries. Legislation will be
required to establish the new body and this has been forthcoming with the recent draft of
the Culture Bill, appointment of a joint board for Scottish Screen and the Scottish Arts
Council and joint Chair. Therefore the outcomes of this study must resonate within the
changing environment for both the Scottish Arts Council and those funded by them.
The Scottish Arts Council has developed a corporate business plan that articulates three
central aims:
Aim 1: To Support artists in Scotland to fulfill their creative and Business potential
Aim 2: To increase participation in the arts
Aim 3: To place the arts, culture and creativity at the heart of learning.
There are particular objectives related to Aim 2 that are relevant to this study and these
have also been recognised as part of the Scottish Arts Council business plan (2006-
2007). We have also assessed the six month review and highlighted relevant action
points. The majority of international activity falls into three areas of activity: showcasing
events either in Scotland or outside; inward and outward missions for promoters and
producers; and networking activity that builds on cultural understanding and potential
creative links.
To support and develop creativity through programmes, producing organisations,

facilities and workspaces which allow artists to develop innovative and ambitious
practice and enable them to fully exploit their potential.
From this there are two initiatives supported by the Scottish Arts Council:
Support for Dance Base and an independent dance management programme

that in turn supports project funded companies and independent choreographers.
There are a number of aims for these initiatives but it is hoped that by working
with companies who have the potential to work internationally their skills,
confidence and networks will be strengthened to explore the possibility. This
initiative started in October 2006 and it is too early to comment on the
effectiveness of this approach
Support for Traverse Theatre to provide development opportunities for
playwrights. This will result in four new commissions and the continued
development of links in Portugal, Japan, Quebec, Germany and Australia. The
Traverse has found this a particularly fruitful way of developing and nurturing
contacts, providing opportunities to undertake rehearsed reading of work rather
than full-scale productions, and associated costs.
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To support artists to develop their practice in an international context and invest in

strategic international exchanges and showcase opportunities to promote Scottish arts
abroad.
The following points have been actioned:
Work with Dance Base to ensure highly visible Scottish dance presence during the
Edinburgh Festival Fringe. This was augmented in 2006 by the Scottish Arts Council
with an inward mission of promoters.
Support Playwrights Studio to develop play writing, act as brokers between playwrights
and producers, and to promote Scotland-based playwrights at home and abroad.
Investigate demand and practicality of holding a Scottish Theatre Showcase at the

Edinburgh Festival Fringe - an outcome of this study.
Research international dance showcases including British Dance Edition and assist with
the development of marketing/promotion material to ensure Scotland-based artists have
a presence over and above inclusion in the showcase programmes. However, this has
now evolved to become inclusion on the APAP 2008 programme following an
exploratory visit in January 2007.
Research and collaborate on the development of cultural events overseas which

promote Scotland.
Map Scotland-based international arts activity to identify opportunities. This target has
evolved as the mapping exercise is not as high a priority in comparison to training needs
around future country priorities and practical advice for the sector.
Encourage mutual international activity and professional development.
Enable Scotland-based theatre to tour international festivals.
Create opportunities for Scotland-based artists to meet and collaborate with artists
overseas.
Scottish Arts Council Theatre Touring Strategy
It is important to consider the aims of the Touring Strategy and how they relate to
the outcomes of this study. As highlighted in the Strategy, respondents draw
strong links between the strength of the touring programme in Scotland and the
ability of the sector to generate work that is able to tour internationally.
Respondents commented that if the domestic market for touring was strengthened
(which could be achieved through a strong support network, availability of quality
touring work, developing facilities that are of a high standard and effective audience
development) it could build confidence, creativity, positive audience feedback and
media coverage that can be articulated to potential buyers elsewhere. This could
eventually lead to more confidence to explore touring outside of Scotland, either
into the UK or beyond.
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The overall aim of the Scottish Arts Council Theatre Touring Strategy is to ensure
that high quality theatre of all types is available to as large a number and as broad
a range of people across Scotland as possible. This is followed by four key aims
and we have highlighted those most relevant to this study i.e. aims that relate to
theatre, dance and/or international work.
Aim 1: To improve communication between all areas of the sector (every

combination of producers, presenters, venues and funders and through this
complicated interface communication between producer and the audience)
To provide a means of information exchange accessible to all parts of the touring
sector.
To facilitate forums and meetings, in partnership with sector organisations, which
will encourage promoter/producer communication.
To encourage producers and promoters to work with Cultural Co-ordinators.
To support existing and encourage new relationships between promoters and
producers.
To ensure that the productions Scottish Arts Council supports meet public
demand.
Aim 2: To support producers (companies and artists)

To support the development of a broad range of high quality work.
To support and develop initiatives that encourage resource sharing and
mentoring, to increase skills and expertise and offer better value for money.
To encourage best practice and enhance knowledge and skills.
To support producers to deliver a high quality audience experience in small
venues.
To support the development of creative producers.
To encourage cultural exchange, including international collaboration.
To increase the availability of international high quality commissioned street
theatre.
Aim 3: To support promoters and venues

To support venues/promoters to programme additional drama.
To undertake pilot projects the evaluative results of which will feed into the
programming fund and the touring and production fund.
To support and develop regional promoters’ networks.
To support promoters/venues to enhance their programming knowledge.
To encourage best practice and enhance knowledge and skills in technical, stage
management, front of house and box office provision.
To support a wider range of international drama available to the public.
.To encourage promoters to programme non-Scottish work that appears at the
Edinburgh Fringe
To support a range of high quality touring product.
Aim 4: To encourage a larger number and broader range of people to attend and
participate in touring theatre.
(All of these actions delivered in conjunction with the Scottish Arts Council
Audience Development Department)
To support better practice and enhance skills in data collection and analysis.
To develop and support initiatives that encourage best marketing planning and
practice and encourage resource sharing.
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To contribute to research into audience development needs.

To develop new and existing audiences.
An action plan has been developed as part of the touring strategy and three key actions
are relevant to this study. Firstly, the establishment of a Touring Exchange which will
provide an information exchange facility between all parts of the sector (2006/07). This
is intended to enhance knowledge and expertise of programmers and of international
practice by artists, whilst increasing international collaborative work.
Secondly, to encourage cultural exchange, including international collaboration and

support attendance by Scotland-based artists and programmers at international
showcases/conferences (via professional development fund).
Finally, in order to provide the public with access to international work there is a need to
encourage promoters to programme non-Scottish work that appears at the Edinburgh
Fringe, out with the Fringe. There is also a perceived need to facilitate meetings
between promoters/venues and non-Scottish companies appearing at the Fringe.
BRITISH COUNCIL AND SCOTTISH ARTS COUNCIL JOINT STRATEGY
The British Council Scotland is based in Edinburgh. They work with partner
organisations in Scotland, the UK and internationally to connect Scotland and the world
through the arts, education and governance. After the success of working
collaboratively on a number of international arts projects, the British Council and the
Scottish Arts Council established a joint Head of International Arts post and developed a
joint strategy that would cover the period 2005 – 2008.
Both partners have also clarified how the aims and outcomes of the joint strategy fit with
the aims of each organization. There is a clear synergy between the two and a shared
vision “to establish Scotland as an internationally recognised centre of excellence for arts
and arts-related education and community work across all arts sectors and creative
industries”.
To achieve this vision, the International Arts Strategy has seven key aims:
1. To enable Scotland-based artists, promoters and organisations to have an

international perspective and context to work within.
2. To promote internationally the value of our unique Scottish cultural traditions
and the diversity of community cultures within Scotland through contemporary
art, as part of and alongside the UK and other international players.
3. To develop and sustain networks and relationships in all art sectors with
international and cultural partners based in Scotland and overseas.
4. To develop international sales and markets as a significant part of the arts
economy in Scotland.
5. To provide communities across Scotland with greater access to high quality
international arts.
6. To achieve recognition for the arts as a valuable and necessary part of the
promotion of Scotland i.e. the arts in education, business and tourism, and as
a vital part of the quality of life.
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There are no identified target countries but long-term plans, with sufficient research and
development, will enable the British Council and the Scottish Arts Council to develop
appropriate activities with their partners. However, five areas of inter-related
development that require strategic support have been identified. These are:
Projects developed at a strategic artform level i.e. Scottish Arts Council and
British Council Scotland taking the lead on presentations in showcases that aim
to tap into new markets and raise artists’ profiles
Supporting Scotland-based artists and organisations that have developed quality
projects as a result of research
Building in the capacity for international research and working within Core
Funding Agreements, where appropriate, for organisations in each artform
National collaborative projects in partnership i.e. Scottish Arts Council and British
Council Scotland working with VisitScotland the Scottish Executive
Undertaking research into the impact and effectiveness of international working
For the purpose of the study we have also reviewed progress against the agreed action
plan. It should be noted that the implementation of certain points have been dependent
on additional funding, furthermore the continued allocation of staff time. The post holder
is currently on maternity leave and responsibility for the delivery of the strategy has
passed to the International department at the Scottish Arts Council.
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Table 1: Status of Scottish Arts Council and British Council Joint Strategy Action Points
Development Area Action Status
Strategic Planning Identify new sources of funding for international working Completed
Seek to influence the Scottish Executive policy and plans for the promoting of Scotland in priority Completed
countries
Undertake a plotting exercise on major events in the future (Burns 2009) Completed
Work in collaboration with Scottish Arts council Officers on a showcase policy 2007/08
Identify key action plans for international activity for each arts sector (ie festivals, fairs, showcases, Completed
advocacy work) and review annually
Review international staff structure and consultation routes and potential integration of elements of 2007/08
the British Council Scotland and Scottish Arts Council resources ad mechanisms, and look at other
international team models.
Undertake an annual review of the strategy and development needs and ensure international 2007/08
visions continues to relate and link into British Council strategy 2010 and Scottish Arts Council
strategic review
Continue to develop a clear relationship with Visiting arts to enable capacity building with regard to 2007/08
bringing overseas activity to Scottish audiences and mutuality principles
Identify clusters of activity overseas and related projects in Scotland and seek to maximize impact 2007/08
through a strategic approach with partners.
Research Develop a shared British council and Scottish Arts Council evaluation and monitoring system for Completed
capturing useful practical information for research and reporting purposes, such as network evaluation
contacts, financial details, audience numbers and type, statistics, relevant cultural aspects and
sensitivities, practical considerations, assessing impact and long term artistic and business benefits
(merging British Council scorecard and Scottish Arts Council Targets)
Undertake a mapping exercise and establish a system for sharing international project information 20007/08
Review how international activity is promoted and perceived in Scotland and UK-Wide 2007/08
With key partners, undertake research into international working and creative and economic impacts 2007/08
(direct and indirect) in terms of cultural tourism, selling and commissioning of new work.
Advocacy Work closely with British Council and Scottish Arts Council communications departments with On going
regard to contact with MSPs, the media, public and targeted receptions, events etc.
Support and initiate delegation visits to and from Scotland annually
Facilitate regular meetings between British Council artform teams, key art managers overseas, On going
Scottish Arts council artform heads and key organisations, and continue to develop lines of
communication and information-sharing
Take an active role in contributing to international forums eg SIF, IFACCA 2007/08
Establish regular contact with consulates and overseas offices On going
Activity Oversee current projects under development and commitments in 2005/06 Completed
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Oversee projects developed, initiated, implemented or supported under the international strategy On going
2006 - 2008
Aim to take a full and active role in developing, partnering and leading in the development of On going
commissioning regional and global arts products by 2006 as part of the British Council Strategy
2010
Support and Develop clearly defined funding mechanisms for independent international projects 2007/08
Funding
Research and develop training initiatives for international working 2007/08
Information Revisit and revise information services to make best use of resources and ensure effective Completed
communication to artists, organisations, media, British Council and Scottish Arts Council colleagues
Establish a clear enquiry route combining British Council and Scottish Arts council expertise for 2007/08
providing information
Continue to work with APAP, Scottish Executive and consulates with regard to keeping up to date On going
on current visa requirements etc. for working overseas
Establish key information sheets to promote a clear image of British Council and Scottish Arts 2007/08
Council working
Establish regular information exchange with all key partners On going
Develop mechanisms for the distribution of catalogues etc. to international contacts and potential On going
partners.
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THE SCOTTISH EXECUTIVE
The guidance document is an initial consultation draft aimed to describe the new duties
which local authorities will need to undertake to have regard, and to provide guidance
about putting these into practice. The key principles of the documents are:
Cultural planning should –

Include planning for the improvement of cultural services
Include planning the ways in which culture can achieve better policy outcomes for
local authorities across a range of functions
Aim to build more attractive communities and improve the lives of local citizens
Link the development of cultural entitlements to strategic objectives and
outcomes
Cultural entitlements should be –

Available, as published, in each local authority area in Scotland
Developed as part of the cultural planning process, taking into account the local
authority’s priorities and objectives
Designed to take account the needs and aspirations of all members of the local
community
Developed, publicised and provided in consultation with the relevant people
Monitored and evaluated to assure quality improvement
Monitoring –
Local authorities will assess and monitor their performance in planning and
delivering cultural provision
Local authorities will submit information to Scottish Ministers, using a Quality
Assurance Framework
Within this framework, several references are made directly to the theatre and dance
sector. The following examples have been extracted from the guidance document.
It should be noted that within this document the term ‘cultural entitlement’ refers to the
specific ‘cultural services’ that local authorities are statutorily obliged to provide. Generic
examples of entitlements specific to theatre and dance include “access to activities
involving, e.g. visual arts, craft, dance and drama etc” and providing “access to dance
and drama activities” to improve health and well-being. Creating “access to music
workshops” is used as an example of how to achieve the broad outcome to engage with
young people.
An informal discussion was held with a member of the International Projects Team to
gage their level of commitment to theatre and dance and extent of international activity.
Principally, the Team works with all artforms although there is no specific agenda to
focus their cultural work on international showcasing or exposure. Their strategic
objectives do not directly relate to culture or showcasing and development. However, in
a broader sense, showcasing is achieved through their various international projects and
development is targeted through skills exchange. With regard to skills exchange,
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Scottish Executive has specific strategies for their priority countries, the USA and China,
and a third strategy is due to be published for Germany in 2007.
Out with these priority markets, Scottish Executive explore worldwide opportunities on an
individual basis. Often, historic or cultural links with Scotland have motivated Scottish
Executive to form bilateral initiatives with other towns, cities or countries. A recent
example was a RSAMD initiative with Malawi to promote theatre and dance. This
involved a member of Scottish Executive’s International Projects Division visiting Malawi
to form stronger links with theatre and dance performers and to arrange for Malawian
performers to visit and perform at RSAMD alongside Scotland-based performers. During
the visit, a Scottish play was written by Scottish performers and then performed by both
Scottish and Malawian performers. Likewise, the Malawian performers wrote a play
which was also performed by both countries. The motivation for this initiative stems from
the historic routes between the UK and Malawi through Dr Livingston, although there are
also some modern-day links. The initiative has been regarded as a success but not on a
sustainable level. This reflects their standard approach to culture-related initiatives e.g.
short-term, one-off events that can lead to longer-term partnerships.
An examination of the USA and China strategies and a summary can be found in the
following sections.
Scotland’s strategy for stronger engagement with China (2006)
This strategy sets out the Scottish Executive’s objectives that will guide their
engagement with China to 2010. These objectives are for Scotland as a whole and the
role of the government is to lead and create the environment in which the broad range of
Sino-Scottish relations can develop.
China’s rapid economic growth is reshaping the global economy with important
implications for Scotland and other advanced economies. The growing economic
importance of China has led to bilateral engagement between itself and Scotland.
The strategy identifies five of China’s regions which take into consideration both
economic factors and existing links with Scotland. These are:
Beijing
Guangdong
Hong Kong
Shandong
Shanghai
The document presents a ten-point plan outlining what Scotland needs to achieve from
its engagement with China by 2010:
1. Raise understanding of Chinese language and culture in Scotland

2. Increase student flows between Scotland and China
3. Expand the awarding of Scottish qualifications in China
4. Attract skilled Chinese to experience living and working in Scotland
5. Strengthen bilateral science skills
6. Attract increased Chinese tourism to Scotland
7. Increase trade between Scotland and China
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8. Expand connections between businesses in Scotland and China

9. Work with China to address environmental challenges
10. Raise the profile and understanding of Scotland in China
Each of these objectives is underpinned by a specific target or indicator to measure their

progress by 2010. Specific to this project, objective 6 has a target set to ‘attract as least
30,000 Chinese visitors per annum to Scotland by 2010, generating revenue of £11
million per annum’. In order to achieve this the Scottish Executive has prioritised
stronger marketing of Scotland as a tourism destination in target areas of China. This
should be supported by VisitScotland and VisitBritain’s contribution through wider efforts
to promote Scotland in China, as detailed under the targets for objective 10.
Further steps will be taken to prepare Scotland’s tourism industry for the influx of
Chinese visitors through various initiatives. For example, encouraging Chinese
interpretation at visitor attractions, translating Scottish tourism-related websites into
Mandarin and through VisitScotland hosting visits from Chinese tour operators and travel
journalists to raise the profile of Scotland as a travel destination in China.
On the cultural side of the tourism initiatives, the Sino-Scottish links continue to develop.
The Scottish Executive, along with its agencies, non-departmental bodies and other
public sector institutions in Scotland has undertaken a range of activity in relation to
China. With regard to theatre and dance, the Scottish Arts Council supports Scotland-
based artists to collaborate with Chinese artists and support projects both for and by
Scotland’s ethnic Chinese community. Recent funded activities have included: an arts
management placement programme for visiting arts managers from China; a project to
compose and arrange a repertoire combining Scottish and Chinese music; a two day
conference at the Traverse Theatre on ‘working with new plays from mainland China’
(co-funded by the British Council); a Sino-Scottish poetry exchange and residency
programme; and research in China by Scottish Dance Theatre and Dundee Rep.
The Scottish Executive has taken strong steps towards developing bilateral initiatives
with China; however there is no specific priority to culture or specifically for theatre and
dance. Despite this, activities relevant to this project have developed through initiatives
in partnership with the Scottish Arts Council. In these cases, the Scottish Executive has
funded programmes that are run through the expertise of the Arts Council.
Scotland’s strategy for stronger engagement with the USA (2006)
This strategy seeks to strengthen Scotland’s engagement with the USA over the next
five years and complements the broader bilateral agenda being advanced by the United
Kingdom Government. The Scottish Affairs Office inside the British Embassy in
Washington D.C. will play a central role in implementing aspects of the strategy in the
USA.
The strategic objectives respond to the continued economic, political, cultural and
scientific importance of the USA and the growing importance for Scotland to develop
bilateral engagement to drive its future prosperity.
The Scottish Executive’s activity in the USA has been regionally prioritised, although
focussing activity on these states does not preclude activity in other regions as
opportunities arise. In addition to Washington D.C, the priority states are:
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California
Georgia
Illinois
Massachusetts
New York
North Carolina
Texas
The strategy identifies seven key objectives which the Executive will be working towards
along with stakeholders over the next five years:
1. Raise the profile and understanding of Scotland in the USA

2. Expand connections between businesses in Scotland and the USA
3. Increase student flows between Scotland and the USA
4. Strengthen bilateral science links
5. Attract increased US tourism to Scotland
6. Attract US Fresh Talent to experience living and working in Scotland
7. Strengthen exchanges of best practice with US counterparts
VisitScotland is leading Scottish efforts to attract more US visitors and spends over £1
million annually on its US marketing. VisitScotland’s efforts are supported by the more
general activities of the Executive and its partners. These include financial support
through initiatives such as the Route Development Fund, for the introduction of direct
flights between Edinburgh and Newark.
A number of US-Scottish links are already in existence. With regard to tourism and
culture, Scottish Ministers have supported a diverse range of activity in the USA, with
particular emphasis on Tartan Day. The 2006 programme saw the most extensive range
of events to date, with important collaborations between Scottish and US cultural
organisations. Since its inception Tartan Day in the US has developed into a week-long
celebration of Scottish heritage, into Tartan Week. Further general initiatives are also
likely to attract US and other tourists to Scotland, such as the ‘Year of Homecoming’ in
2009 and the Scotland’s International Image campaign promoting Scotland as a place to
live.
Beyond these initiatives, a key example of Scottish artists being supported on an

international platform is the performances by Scotland-based artists at the annual South-
by-South West music festival in Texas. This is anecdotally regarded as the most
important international stage to showcase musical talent.
Within the cultural sector there is little focus on dance and theatre with the US market.
Support for these artforms therefore depends on the objectives of the Scottish
Executive’s partner organisations to drive such initiatives.
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Enterprise Strategy for Scotland (2004)
This document is to be adopted by Scottish Enterprise and the Scottish Executive to

drive enterprise development in Scotland. It is underpinned by the Framework for
Economic Development in Scotland (FEDS), created in 2000 and updated as part of the
framework for Smart Successful Scotland.
FEDS sets out a vision for Scotland where the quality of life for all people is raised
through increasing the economic opportunities for all on a socially and environmentally
sustainable basis. Scotland will:
Have an ambitious and confident population

Be committed to lifelong learning
Be excited by and focussed on innovation
Embed sustainable development principles in all it does.
“A Smart, Successful Scotland” aims to contribute to growth and productivity by focusing

on aspects of FEDS which are key to enterprise. Its overriding vision is of:
“a nation working together to achieve a smart, successful Scotland. Of business

organisations, individual organisations, universities, colleges and trade unions being
guided by and being essential contributors to “A Smart, Successful Scotland.” Of local
authorities continuing their support for “A Smart, Successful Scotland” through Local
Economic Forums and their own delivery of services. Of a range of other public sector
bodies playing their full and active part.”
"A Smart, Successful Scotland" is organised into three themes:
Growing businesses - innovative companies growing in scale

Skills and Learning - developing skills to make best use of our human capital and to
prepare for tomorrow’s labour market.
Global connections - world class locations, part of Europe and connected to the Global
economy.
The third theme is directly relevant to this project and is explored in detailed below, with
specific outcomes noted.
Global Connections
Increased involvement in global markets: taking Scottish knowledge to the world
and bringing the world’s knowledge to Scotland.
Scotland to be a globally attractive location
Connecting to the rest of the world
More people choosing to live, study and work in Scotland
The proposed initiative to expand international exposure of Scotland’s dance and drama
appears to have applications to this strategy with regard to the Global Connections
targets.
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Scottish Executive International Strategy, 2004
The Scottish Executive’s International Strategy was launched in October 2004 and last
modified in 2006. The paper updates and develops themes of the External Relations
Policy paper agreed by the Scottish Executive in 2002 and refers to existing strategies
where appropriate, including in particular the Global Connections Strategy and European
Strategy. The International Strategy has two goals:
To position Scotland internationally as a leading small nation, attractive to

potential overseas partners and visitors, and with a thriving and dynamic
economy and;
To bring effective influence to bear on the UK Government, other countries,

regions and institutions on international policy issues affecting Scotland, and
within the scope of the Executive’s devolved responsibilities, to encourage and
support Scotland’s contribution to international development.
To achieve these goals, there is a commitment to focus on the following:
Enhancing the profile of Scotland by:

Supporting and exporting Scotland’s business connections
Attracting fresh talent, tourists, business and major events to Scotland
Building strong ties of economic, political and cultural benefit to Scotland
Promoting Scotland’s policy interests, to be accomplished by working:

Through the UK, by continuing engagement with the UK Government on external
issues in order to maintain a culture of automatic recognition and understanding
of Scottish interests; and by adding value to the UK Government’s efforts by
reinforcing and forging new links across Europe and beyond
Directly, by promoting Scotland’s policy interests with overseas institutions and
administrations – this includes developing cooperative links and ongoing
engagement that help to inform best practice in Scotland and to raise awareness
of Scottish policy perspectives
International dance and theatre initiatives fit primarily with three of the above
commitments: the building strong ties of economic, political and cultural benefit to
Scotland; and in the context of promoting Scotland’s policy interests, reinforcing and
forging new links across Europe and the development of cooperative links and ongoing
engagement that can help inform best practice in Scotland.
The Scottish Executive’s Tourism Strategy covers the period 2006-2015 and was
published in March 2006. It consists of a series of targets to set out how the tourism
sector can achieve its goal of 50% growth in tourism revenues by 2015 in a sustainable
manner:
1. By 2006, the Scottish Executive will establish a Tourism Research Network,

involving the industry, culture and heritage organisations, the Enterprise
Agencies, local authorities, academics and VisitScotland to ensure that
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appropriate research takes place, is disseminated appropriately and meaningfully

to all stakeholders and is used to drive innovation and product enhancement.
2. Every tourism business, culture and heritage organisation and local authority will
collect feedback from their own customers to help them “know their visitor” – who
they are, why they have come and what they want out of their trip – and use this
to inform their business strategies.
3. VisitScotland will increase the proportion of businesses in their Accommodation
Quality Assurance (QA) schemes to 90% by the end of 2008, develop and extend
schemes for more sectors and ensure that the QA scheme criteria are constantly
reviewed to reflect changing and rising consumer expectations.
4. Pride and Passion will increase the number of “friends” each year, resulting in
over 3,000 friends by 2010, with each friend making a commitment to improving
the visitor experience and to passing on the quality message to others.
5. To help managers and business owners, People 1st will work with government
and education to ensure industry has the opportunity to get the skills the industry
needs. People 1st will develop a training action plan which will focus on three
areas identified in the research and at the skills summit as crucial to the
competitiveness of Scottish tourism. These are:
Management and leadership
Workforce skills, especially customer service and staff skills, and
Retention – of staff within businesses and within the industry as a whole.
Our aspiration is that this will result in year-on-year improvement in staff
satisfaction (working towards 80% by 2015) and customer satisfaction (working
towards 90% by 2015), leading to year-on-year improvement in productivity.
6. The Scottish Executive will help provide affordable homes in places where they
are needed most. This will include £1.2 billion of direct investment in affordable
housing over three years, a shared equity home ownership scheme and a
massive investment programme to address infrastructure shortages.
7. The Tourism Innovation Group (TiG) will foster collaborative working between
tourism operators, encouraging them to use innovation tools to come up with
creative ideas. TiG, groups of tourism businesses and trade associations such as
ASVA will work with local authorities, the enterprise agencies and VisitScotland
to spot emerging trends of visitor needs and progress the product and sectoral
development to meet them. This may include the development and delivery of
product and destination development plans. Culture and heritage organisations
will also develop new activities and experiences in response to emerging
markets. The result will be an increased propensity to return and recommend
Scotland as a great destination.
8. Tourism businesses will work with local authorities and culture, heritage and
sport organisations to set up local product development networks for the
heritage, history and events segment of the market. These networks will develop
and market, with VisitScotland support, new products which anticipate and
exceed visitor demands and as a result increase the number of visitors to
Scotland. EventScotland will contribute to this target by attracting and marketing
major events which meet changing visitor demands.
9. By 2007 every tourism business – including those operated by the public and
voluntary sectors – will be on at least the first rung of the e-technology ladder and
will continue beyond 2007 to work their way up that ladder.
10. The Scottish Executive and VisitScotland will study how best to develop a
national box office which will provide online booking of performances and prompt
parallel online purchase of linked products such as travel tickets.
87
11. The Scottish Executive will publish a National Transport Strategy in 2006 which
will consider all modes of travel and the needs of everyone using transport,
including visitors. Consideration of our future transport infrastructure needs will
be addressed by the Strategic Projects Review, which will begin by 2006. The
Scottish Executive will also undertake specific research into the travel behaviour
of visitors to Scotland and will consider any actions arising from this research
which will improve the visitor experience.
12. Tourism businesses, culture and heritage organisations, local authorities,
VisitScotland and visitscotland.com will use effective marketing techniques to
increase the number of visitors who come to Scotland.
13. Tourism businesses and VisitScotland will increase the membership of the Green
Tourism Business Scheme each year, so that by 2010 30% of all businesses who
participate in the VisitScotland QA scheme are also at GTBS entry level or
above. Our aspiration is to have all QA tourism businesses – including those
operated by the public and voluntary sectors – to at least entry level by 2015.
14. A sustainable tourism partnership will be set up from March 2006, building on the
Tourism Environment Forum, to promote sustainable tourism throughout
Scotland. This will involve private industry partners, as well as organisations such
as VisitScotland, the enterprise networks, local authorities, Scottish Natural
Heritage, Historic Scotland and the National Parks.
Scottish Executive policy to date has been to support year-long programmes of activity
based on themes that can be adopted and built upon by cultural organisations. These
include the Year of Highland Culture in 2007 and the Year of Homecoming in 2009. The
rationale behind Scottish Executive support is that such high-profile events can be used
to generate significant income through the creation of additional tourist throughputs and
the showcasing of Scotland as an attractive place to live and work.
The Cultural Strategy and Delivery Unit at Scottish Executive were consulted to explore
their commitment to developing international networks, sales, markets and promotions.
In total, the Scottish Executive has approximately fifty employees that deal directly with
international exporting across various departments, although a much greater number of
people are involved with exporting indirectly. The International Division promotes public
diplomacy, which involves developing relationships with other countries. The
International Projects Division also works in partnership with VisitScotland and Scottish
Development International.
Rather than focussing on international showcasing or exposure, the Scottish Executive

uses culture as a vector for promoting other products or initiatives. In a wider, cultural
sense, focus tends to be on tourism and trade rather than for the benefit of specific
artforms.
At present, their target markets are USA, China and Germany, as previously detailed in
this Section. The following points describe the rationale for selecting these target
markets:
The USA contains a large Scottish diaspora. The Scottish Executive’s main
focus is on Tartan Week. Last year they supported a Scottish Youth Theatre and
a Traverse event. The impact of their involvement is measured by media hits.
Germany is one of Scotland’s main trading partners.
China is the focus of a UK-wide initiative to drive partnerships.
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For the remaining countries, the Scottish Executive work reactively rather than
developing individual strategies. Poland, Czech Republic, India, Estonia, Norway and
Sweden have been identified as markets to develop relationships with although the
Scottish Executive is at early stages with these projects. These have been rationalised
as target markets through existing cultural links with Scotland, such as the Scandinavian
countries with routes from Shetland and The Hebrides. Similarly, Belgium has also
developed into a target market due to the strong cultural connections that already exist.
The Scottish Executive runs a programme of cultural events in Brussels through its
Belgium office, although these tend to focus on music and literature which are less costly
to programme. Historic cultural links between Scotland and France have provided an
impetus for developing bilateral projects between French and Scottish organisations,
which have been funded by the Scottish Executive. One-off projects, such as funding
projects for the Entente Cordial in 2004, have produces long-term, working relationships
between French and Scottish organisations, some of which were from the dance and
drama sector.
When selecting projects to support, the Scottish Executive look for sustainable initiatives
and historic links are often beneficial. Generally, if an initiative is relatively inexpensive
and sustainable, the Scottish Executive is more likely to support it. The initiatives that
tend to be most cost-effective and sustainable are artistic exchange schemes. These
are actively supported by the British Council Scotland, who also regard these as an
effective way of increasing international exposure.
Being a government organisation they always have a political element to adhere to and
they sometimes get pushed into a different direction from their strategy due to differing
ministerial agendas. Their main challenge is the lack of resources and their main
challenge is to get the most out of their limited funds.
The obvious role for the Scottish Executive is providing funding, which in turn is mostly
allocated through the Scottish Arts Council. At the end of 2007, Scottish Executive is
forming direct relationships with the national companies. They have established a
£350,000 per year touring fund for the national companies, which Scottish Ballet, in
particular, has seen as a great opportunity to re-establish international work.
In terms of future plans, the Scottish Executive aim to initiate joint meetings with the
national companies and form regular meetings at the British Council Scotland with the
Scottish Executive in attendance. This is to encourage better coordination amongst the
cultural organisations in Scotland. It is anticipated that the better relationships that are
being forged with the National Theatre and Scottish Ballet will help to achieve more
effective coordination; however there is a lack of involvement from dance organisations.
There is perceived requirement to create better communication and cooperation
amongst the cultural organisations.
SCOTTISH ENTERPRISE
Scottish Enterprise’s role in supporting the development of the industry is driven by the
Scottish Executive’s economic development strategy – “A Smart Successful Scotland”
(see Section 5.4.4) and the Scottish Executive’s ambition to increase visitor spend in
Scotland by 50% by 2015. Scottish Enterprise proposes to do this through partnership
89
initiatives, notably the Tourism Innovation Group and Pride and Passion. Scottish
Enterprise tourism support focuses upon the following initiatives:
Innovation – encouraging the development of new and better experiences for

visitors.
Product development for niche markets. Currently these include: horseracing;
angling; forestry; whisky; country sports; sailing; nature-based tourism; cultural
tourism and ancestral tourism.
Skills – developing the skills that the industry needs to deliver a quality service.
Recruitment and retention – helping attract the best people for the industry.
Destinations – investing in the infrastructure and product development within
Scotland’s key tourism destinations.
Transport – helping develop the facilities, communications and transport links
that allow tourism businesses to compete internationally.
Scottish Enterprise focuses on developing the tourism sector with the primary aim of
increasing visitor spend in Scotland. They propose to achieve this through partnership
initiatives, such as Pride and Passion. This presents indirect opportunities for dance and
drama organisations to be supported by Scottish Enterprise through other initiatives.
EVENTSCOTLAND
EventScotland’s vision is “to become one of the world’s foremost events destinations by
2015.”
EventScotland’s activity is determined by “Scotland’s Major Events Strategy 2003-2015:

Competing on an International Stage.” The strategy sets out four key action areas:
Building Scotland’s international image by maximising the benefits of existing

successes and “icon” events including the Edinburgh Festivals and the Open
Golf.
Developing a portfolio of sporting and cultural events to underpin Scottish tourism
and Scottish brand messages, to strengthen sporting and cultural environments
and to attract visitors to areas of Scotland with spare accommodation capacity,
particularly outside traditional high season.
Co-ordinating existing activity and exploring opportunities to enhance events
being taken forward by public and private sector partners.
Building a centre of knowledge and expertise on securing, promoting and
delivering events to secure Scotland’s reputation as a premier events destination
by 2015.
The Strategy sets out the priority areas for EventScotland:
Events which highlight and capitalise on the unique visual appeal and landscape
of Scotland.
Events which showcase Scottish culture and sport.
Events which Scotland can “own”, nurture, develop and (on occasion) export
Events which require little or no infrastructure additions, or which tie to planned
infrastructure development
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Events which underpin the priorities of the Scottish Executive and other public
sector agencies involved in major event organisation
Events which have an intrinsic appeal to Scots
Events which highlight and promote the unique appeal and proposition of
individual locations (city, town or rural)
Events which focus on quiet times of the year
Events which offer a direct economic return on investment through tourism,
promotion of Scottish business or other means.
Events which stimulate a sense of pride in the local population
Events which are sustainable and which are accessible to a wide range of
communities and groups.
Events which can secure favourable broadcast and print media coverage in key
tourism/investment markets.
Events of an international, prestige and leading status
Events capable of generating new and/or complementary initiatives within the
same sector at national, regional and grassroots levels.
Events which offer commercial and showcase opportunities for Scottish
businesses.
Events which are available, achievable and affordable.
EventScotland supports events through two separate funding programmes.
The International Events Programme is designed to attract events that will generate
significant economic activity and/or international media profile for Scotland. The
Programme may also support existing events with the potential to grow, identify and bid
for major events or help create new annual or bi-annual events. EventScotland funding
cannot be used to substitute core budget funds and must be shown to add value to an
event, for example by funding international marketing activity. Funding is generally
offered for one year but up to three years support may be given in exceptional
circumstances. There are no formal bidding rounds for this fund and no restrictions in
terms of type or location of event – each bid is assessed as a single entity.
The Regional Events Programme is designed to complement the International

Programme by showcasing specific towns and regions across the country and attracting
visitors from outside the region hosting the event. Glasgow and Edinburgh are excluded
from this programme on the basis that many International Events will be based there.
The objectives of the Regional Events Programme are to develop a portfolio of events
that will:
Generate economic benefits for specific regions of Scotland

Attract visitors to a region from other parts of the country
Inspire and involve local communities
Enhance the profile and appeal of the host region
The programme focuses on events that have:
The confirmed financial support of appropriate local agencies

Local passion and leadership
A viable budget and realistic planning
The opportunity to build legacy and sustainability
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The capacity to develop and grow in terms of spectator and participant numbers,
media profile, etc
Measurable outcomes
The total funding for the Regional Events Programme is £500,000 per annum,
distributed through two competitive funding rounds. Applicants can apply for between
£2,000 and £25,000 and again the funding must be shown to add value. Funding awards
are made from one year only although applicants can apply to three Regional Events
Programme rounds in total.
EventScotland have no specific priorities to dance and drama and have not identified
any priority countries to develop relationships with. However, one of their aims is to
showcase Scotland’s culture through events which present opportunities for dance and
drama organisations to use them as a hook for international exposure.
SUMMARY OF KEY FINDINGS
The Scottish Arts Council Corporate Plan 2007-2009 is clear about what should be
achieved within the international arena. The majority of international activity falls into
three areas of activity: showcasing events either in Scotland or outside; inward and
outward missions for promoters and producers; and networking activity that builds on
cultural understanding and potential creative links. This approach is mirrored by the
sector and does not appear to be an inappropriate way to proceed. However, there is no
unifying force amongst the strategic stakeholders that consolidates activity,
communicates the range of activity taking place and reflects back the opportunities to the
sector.
There are clearly opportunities to synergise the outcomes from this study and the action
points proposed as part of the Scottish Arts Council Draft Touring Strategy.
The British Council has not identified specific target countries but has created long-term
plans which, with sufficient research and development, will enable them to develop
appropriate activities with their partners. Their aims involve developing and sustaining
networks and relationships with international partners across all sectors as well as
developing international sales and markets within Scotland’s arts economy. The British
Council has a focused, strategic approach to funding and supporting international work.
The Scottish Executive’s strategic objectives do not directly relate to culture or

showcasing and development. However, in a broader sense, showcasing is achieved
through their various international projects and development is targeted through skills
exchange. With regard to skills exchange, the Scottish Executive has specific strategies
for its priority countries, the USA and China, with a third strategy due to be published for
Germany in 2007. It is clear that the Scottish Executive’s primary role in this area is the
provision of funding and there is strong reliance on the Scottish Arts Council and British
Council to manage and deliver the majority of initiatives.
Initiatives for developing international dance and theatre sit broadly in line with the
Scottish Executive’s commitments outlined in the International Strategy: building strong
ties of economic, political and cultural benefit to Scotland; promoting Scotland’s policy
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interests; reinforcing and forging new links across Europe and the development of
cooperative links.
Scottish Enterprise focuses on developing the tourism sector with the primary aim of
increasing visitor spend in Scotland. The strategy proposes to achieve this through
partnership working with other public sector organisations and through direct support for
industry initiatives, such as Pride and Passion. There are therefore indirect opportunities
for theatre and dance organisations to be supported by Scottish Enterprise through other
initiatives, although they need to be engaged with the cultural tourism agenda.
EventScotland has no specific priorities in relation to theatre and dance and has not
identified any priority countries to develop relationships with. However, one of the
organisation’s strategic aims is to showcase Scotland’s culture through events. This can
present opportunities for theatre and dance organisations to use events as a “hook” to
leverage international exposure.
There is little collaboration or consistency between the cultural and international

strategies of key policy makers. The Scottish Arts Council and British Council have
developed strategies that aim to satisfy cultural, economic and political agendas whilst
the other agencies tend to use culture as a mechanism for achieving economic and/or
political aims. This lack of strategic alignment can confuse the operating environment for
Scotland-based theatre and dance organisations.
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Appendix Two: Strategic Context
APPENDIX TWO: ARTISTIC COMMUNITY SURVEY TABLES
DANCE AND DRAMA PROFESSIONAL COMMUNITY SURVEY TABLES
2. Number of organisations with employees engaged with international showcasing or exposure

N=45
Positions that focus on international showcasing
%
or exposure
No 53%
Yes 47%
3. Type of employment for international showcasing or exposure

N=28
Type of job role %
Combined with other activities 57%
Full time (paid employment) 25%
Other 14%
Part time (volunteer) 11%
Part time (paid employment) 4%
Full time (volunteer) 4%
Other:
“Very sporadic engagement with international showcasing and exposure due to other
demands”
“A member of the team has put together a website dedicated to dance in Glasgow”
“All our senior staff work on freelance contracts”
4. Number of organisations with employees responsible for developing international sales

N=43
Positions that focus on international showcasing
%
or exposure
No 67%
Yes 33%
5. Type of employment for developing international sales

N=21
Type of job role %
Combined with other activities 52%
Full time (paid employment) 24%
Other 24%
Part time (paid employment) 10%
Part time (volunteer) 10%
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Other:
“Sporadic engagement with developing international sales which is mainly the producer’s
role”
“Very peripheral duties”
“No clear target on international work”
6. Partnerships with other organisations

N=42
Organisations that work in partnership %
Yes 86%
No 14%
7. Partner Organisations
N=31
Organisation Number of mentions Reason for partnership
British Council 4 Funds for international touring
Scottish Arts Council 3
To help advertise within their
membership in return for the
Scottish Ballet 3
occasional use of their offices and
resources
Tramway 3
Byre Theatre 2
Dance Base 2
Glasgow Grows Audiences 2
Macrobert Theatre 2
Joint training initiatives and
RSAMD 2 sharing best practice in the
provision of youth theatre.
To bring international work e.g.
The Arches 2
The Team from New Year
Shared issues relating to national
Ydance 2 provision of arts activities for
children and young people
ACE 1
Arts and Business 1
To develop a joint application to
Aurora Nova 1
tour their work
Catherine Wheels 1
Cumbernauld Theatre 1
Dance House 1
Dundee Rep Theatre 1
Dynamo, Montreal 1
European Federation of Arts & Commitment to our work on
1
Heritage intercultural dialogue
For joint projects and use of their
Festival City Theatres Trust 1
venues
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Festival International of Video

Danca Buenos Aires 1 To co-produce a theatre piece
Organisation Number of mentions Reason for partnership

FST 1
Glasgow City Council 1
To work with the students at
Glasgow University 1 workshops and events to increase
their exposure
Horsecross 1
To use their contacts and role as
Imaginate 1 developing the sector as a key
resource
ITC 1
To co-produce work from time to
time and raise the profile of the
Lung Ha's Theatre Company 1
company's work, working with a
wide variety of arts practitioners
To work with Frantic Assembly
National Theatre for Scotland 1
targeting 14 years+
NYCOS 1 provision of arts activities for
NYOS 1 provision of arts activities for
NYPBOS 1 provision of arts activities for
Perth Theatre 1
Perthshire Visual Arts Forum 1
Pitlochry Festival Theatre 1
Plymouth Theatres 1
To create dance performances
Pure Media UK 1 and competitions for an annual
festival
Two month residency in 2005 as
Rio Centro Choreografico, Brasil 1
co-producers of a short dance film
Scottish Dance Theatre 1
Scottish International Film
1
Festival
Tron 1
Unison Trade Union 1 Anti-racism work
Visiting Arts 1
Wee Stories 1
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8. Importance of networks and relationships with international partners

N=34
Level of importance %
Very important 47%
Quite important 27%
Not very important 21%
Not at all important 6%
9. Barriers to fully engaging with international networks

N=32
Barrier %
Financial constraints 88%
Lack of contacts 63%
Limited knowledge of the most appropriate markets 56%
Lack of appropriate skills 22%
Other strategic priorities 22%
Other 22%
Past experience of exporting 13%
Quality of products in relation to international
6%
standards
Other barriers:
“Language”
“Language skills limitation”
“No international context for Scottish dance. No platforms for presenting work to
international programmers”
“Lack of staff time (financial resource issue)”
“Lack of opportunity to meet with international promoters”
“Small organisation, text-based work, few projects, time constraints, focus on rural
Scottish touring”
“Lack of staff to focus on this area”
10. Possibility of barriers changing in the future

N=25
Barriers changing in the future %
No 52%
Yes 48%
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Reason for barriers changing in the future:
“International touring is really only possible with the support of the British Council which
is very London-centric. I feel really isolated in terms of getting help to make the right
contacts, or get the funding but it would only take a concerted effort and a concern for
this position for it to change.”
“Hope””
“As we have built our partnership on common cross-international interests our contact
base is widening so linking up internationally will get better.”
“Barriers will change as our organization has actively gone out into the European market,
approaching managers, programmers and venues personally. This is due in part to the
fact that as a choreographer I have worked a great deal in Europe and have knowledge
of several European languages.”
“The reputation of our company is growing. We have already been invited to one theatre
festival in Ukraine, which we couldn't raise sufficient funds for. If we can establish a
firmer administrative base with salaried rather than temporary positions, we will be in a
much better position to develop contacts and promote the company's work abroad.”
“(There is) no interest in the Scottish dance scene.”
“Our company does not see overseas opportunities, as viable work at this time.”
“Hopefully, with a tour-able piece of theatre, we have more chance of working with
international partners. As our track record gets stronger, we have more chance of being
invited to make work at international venues.”
“With experience of trying and failing we should remove some barriers.”
“We have been discussing this in our creative team and we agree that the work and
opportunities are out there, we just need to accept responsibility for putting more energy
into this and giving it a higher priority. Financial support and advice is always welcome.”
“Our financial situation is unlikely to change in near future so staffing resource will not
increase.”
“Promoters from abroad, especially Europe need to be encouraged to see Scottish work
- this could be done through special show cases and or funds available to invite
promoters here plus seminars as to who can be contacted and what for.”
“We do mainly text based work - not ideal for international touring; the company's focus
is elsewhere and our programming aims to fulfil the needs of the rural Scottish audience
and not an international one; international touring requires money and time that we - as
a small, project-funded and mostly voluntarily run company - don't have; other
companies are more interested in and so more likely to aim for foreign touring than us.”
98
“If the investment available to organisations like us is increased. If the Scottish Arts
Council/Creative Scotland - British Council shared priorities become more focused on
the practicalities of helping us get our work seen (costly) and taken abroad (even more
costly). We need showcasing opportunities outwith the Edinburgh Festivals (like the FST
Scotland Live event). We're making international quality theatre throughout the year, but
we're not funded enough to dedicate resources to quality DVD/publicity materials, or to
bring people to see the work.”
“The barriers to applying for funding here to engage with international opportunities
seem to be breaking down. I am slowly becoming aware of more international
opportunities.”
“There is a keen view to allow School of Drama students experience the same range of
European experiences as those in the School of Music. In the forthcoming years, it will
be a priority for these students to perform their third year projects at European venues,
such as the ITS Festival in Amsterdam. Money to fund this will come from fundraising
from trusts that would welcome applications in areas where it would expand a student’s
knowledge and practice through exchange and foreign travel.”
“Increased funding in April 2007 will allow us to focus more on international aspects.”
“As the companies grows in funding and experience.”
“The home market for our work (large-scale outdoor/street theatre) is extremely limited.
Consequently ongoing support is restricted. There is a much larger market for our work
overseas where we have now established a reputation and are seen as a serious
‘player’. In essence one could say that in pure market terms our work is better suited for
‘export’. However we still need creation money for projects that will enable us to make
work for these markets. We are negotiating with overseas partners to this end but the
more we do this the less we will be able to perform at home.”
“As result of Advancement Funding, the Company has been able to recruit staff with
which to move forward all areas of the company - areas of work which were being under-
served and over-stretched in the past. Advancement Funding also allowed those staff
members to strategically examine how we can move those areas of work forward-these
include international touring. We hope that the company will be able to maintain this
staffing level in the long term.”
“Improving the networking”
“Macrobert production of the Happy Prince for tour of North America proved very difficult
due to lack of experience on our part. We had to use an agent who turned out not to be
trustworthy.”
“We have agreed at strategic level to prioritise international touring.”
“We are building networks and building the reputation of our organisation internationally
so more people are talking to us about possible collaborations.”
“The basis of the problem is financial; having the ability to respond to invitations with a
short-lead in timescale; knowledge of possible funders etc”
99
“I would hope that with the introduction of the Culture Bill, Scotland will look more to its
image overseas, and promote the performing arts as a way to project a modern
Scotland, showcasing the best of Scottish talent in the field.”
“International work seems to be becoming more of a priority as funders wake up to the

regard with which some Scottish drama is held abroad and the benefits this has for the
sector. NTS might also have a positive impact. On the negative side, the position of
touring companies who have been best placed to work internationally in the past, is
being significantly eroded and their general capability to operate effectively
compromised. The focus now is on building based organisations that have a much less
dynamic track record in this field.”
11. The importance of selling work internationally

N=26
Level of importance %
Very important 39%
Not very important 31%
Quite important 19%
Not at all important 12%
12. Barriers to developing international sales

N=22
Barrier %
Lack of contacts 68%
Limited knowledge of the most appropriate markets 59%
Lack of appropriate skills 27%
Other 23%
Quality of products in relation to international
5%
standards
Past experience of exporting 5%
Other barriers:
“Limited language skill”
“As before to come of the market you must develop or become ‘a name’. Finding a way
in is problematic as circles are often closed unless the work is really pushed by an
organisation or individual.”
“Lack of time”
“Lack of administrative infrastructure and production support”
“Lack of staff to focus on this area”
100
13. Possibility of 90barriers changing in the future

N=23
Barriers changing in the future %
No 52%
Yes 48%
Reason for barriers changing in the future:
“These barriers will change when Scotland wakes up to the fact of how good its artists
are and begins promoting them and developing networks as well as buying in
International work.”
“(There is) no interest in Scottish dance scene.”
“The experience of trying and failing will remove barriers.”
“Not very important to date as we have been focusing on the first year of operation at
Perth Concert Hall and on growing and diversifying our audiences at Perth Theatre.
However, looking to the future we would like to develop our international profile.”
“Unless companies such as us have a little more financial stability it is impossible to

employ anyone, even on a part time basis, to help with creating International contacts
and selling the shows abroad. This would require commitment and time, outwith
creating the work to best establish the venues/promoters that would be suited to future
co-productions or venues. This is a job in itself and is best done by a professional
producer/ administrator. Through my own experience, foreign companies and promoters,
especially in Europe, expect to be going through a producer or agent and not always
dealing with the artists directly. This is normal in places like France, Germany, Belgium,
Canada and the USA”
“As the company grows in funding and experience”
“As result of Advancement Funding, the Company has been able to recruit staff with
which to move forward all areas of the company - areas of work which were being under-
served and over-stretched in the past. Advancement Funding also allowed those staff
members to strategically examine how we can move those areas of work forward - these
include international touring. We hope that the company will be able to maintain this
staffing level in the long term.”
“Improving networking”
“We have altered our strategic priorities to include this area.”
“I am always hopeful that as our international reputation grows the process will become
easier.”
“Not unless more funding is available to take work out of Scotland.”
“Lung Ha's Theatre Company's main aim is to provide opportunities for adults with
learning disabilities to become actively involved in the performing arts. Due to the size of
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the performing company, touring internationally is very challenging. However, the

company is always open to new possibilities and challenges.”
Background on the international strategies adopted for developing international

networks:
“I haven't attempted it though I would like to take work to Europe. Company Chordelia
doesn't currently have the infrastructure to invest in this but we do have the appropriate
work.”
“To link with other internationally focused organisations who have a wider contact base.
To develop a very strong international web based resource.”
“We have done very little work on this. We succeeded in receiving an invitation to
Ukraine through contacts I made when I visited a theatre festival there. The Local
Enterprise Company agreed to fund half the cost of the visit. After correspondence with
the British Council in London, Edinburgh and Ukraine, we found that there were
insufficient funds available from this source.”
“Contacted the British Council”
“When we worked internationally, we were working as part of other organisations. Like

New Moves' International and the British Council. Therefore, all contacts were
established already through these organisations.”
“We haven't made many. Just networking at various performance events in the UK, such
as Inbetween Time festival in Bristol. Also through Tramway and at workshops in
Europe. We have found it difficult in Scotland as there are not so many places bringing
over international producers - except perhaps at the Fringe.”
“Only through limited experience of contact with other theatre companies abroad.”
“Strategy is probably a bit grand for it. We are good networkers at Horsecross and make
sure that we attend seminars, conferences, subscribe to magazines and get out there to
see work and meet people.”
“No strategy as such - most of my contacts came from meeting people, working in those
countries first independently and then establishing contacts while being there and
through establishing friendships.”
“We're at an early stage and will be looking for assistance from Creative Scotland and
British Council to help us develop the touring we've done. In the last few years we've
taken work to Japan, Mexico, Iran, England, Holland, Italy, Greece. All has been through
contacts we've developed on an individual basis as the support infrastructure for an
organisation like ours is pretty weak.”
“We have adopted a sharing, exchange approach and work through artists own
individual networks.”
“Our general manager Amanda Chinn concentrates on this area. We are attending
APAP in New York in January 2007”.
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“Initially it was focused on extensive research - identifying key buyers/decision makers

and going out to meet them. We then created work and invited these people along. We
also cultivated a relationship with a newly formed international producing consortium and
a leading overseas theatre company - this part of a strategy of seeking potential co-
producers/funders.”
“It is currently being developed.”
“Affiliate in international associations.”
“Our international contacts tend to be to be for the purposes of bringing international

work to Macrobert.”
“This is a 'to be developed' area for us. In the past we made a wide call for help across
our existing networks, and collated contacts through word of mouth and personal
referral.”
“Not always a coherent strategy - rather being approached by a foreign promoter after
seeing our work or networking with other promoters at the Edinburgh Festival - our Arts
Programme Manager has recently convened a consortium of other like minded venues in
order to facilitate some international touring in Scotland.”
“No definite strategy - all international work has been random in response to invitations
and contacts made via the website. However, are in the process of developing joint
projects with groups in Western Australia, the USA and Canada.”
“We are at a very early stage and at present are working through existing festivals of
children's theatre and international dance conferences, rather than touring work to more
than one country.”
“It is very difficult to summarise here. Often it is artistically led by creative relationships
with international collaborators. These can lead to touring opportunities or, as often in
our case, the development of new projects in different countries. More conventionally it
would involve contacting international promoters far in advance of new productions and
persuading them to either co-produce the show or at least come and see it with a view to
booking it on tour. We, like everybody else, rely far too heavily (from our perspective and
theirs) on the British Council. Until such time as international touring becomes cheaper
or companies are allocated more resources to achieve it, they remain the key strategic
partner.”
“We have no clear strategy for international network development at this time.”
Background on the initiatives that have been implemented:
“An international network for the arts and social change in Latin America; a national
network for arts and social change in Chile a proposal for a North South hemisphere
Artists Network; a European network of community dance.”
“I have put a production forward for inclusion in the British Council showcase at the
Edinburgh Festival this year (2007).”
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“We have initiated a music strand called Home and Away that puts world musicians on
stage with Scottish contemporary and traditional musicians to explore cultural similarities
and differences in music. We try to develop education activity around this (funding
permitting.) Examples include Pearls of the Tay residency with Trio Guru and his band
and Perthshire musicians, Blazin’ Fiddles and Mike Cleveland, USA Bluegrass fiddle
player and his band, Wolfstone and Mutenrohi from Galicia. We have commissioned
artists like David Lang from New York and curated concerts with artists like Mitsuko
Uchida in our classical music strand. Our lunchtime classical concerts include players
from around the world. Our new media art programme includes many international artists
work. We are just about to commission French artist Claude Closky thanks to Esmee
Fairbairn Funding at Perth Theatre; we collaborated with the Tron and the Canadian
company Necessary Angel on a production of Half Life 1st season.”
“We have looked at international comparator organisations as there are none in the UK,
with which we might forge links and exchanges of staff and productions. We visited The
Shaw Festival and Stratford Festival in Canada, as the key international comparators for
PFT. Stratford is not relevant as it is too big. We will also be looking to work with a
partner theatre in Nova Scotia on a new musical 'Caledonia'.”
“As mentioned before - teaching, filming and screening in Vancouver Canada with British
Council creative industry initiative and Vancouver dance centre, performances,
workshops and filming in Buenos Aires- involving cast and crew from there (Detour 2
and Bohemios) performances, workshops and filming in Brasil involving cast from Rio
(Capture the spirit) and most recently co-producing with Fabrik Potsdam which has
included rehearsing, performing for their opening gala, creating site-specific work and
teaching in relation to our latest project "Droopy met Hal"- this project with Fabrik was
the brain child of our part time producer, Jean Cameron.”
“We’re at an early stage. Visits to APAP in January Trips to Europe to hook up with other
acting Ensembles.”
“The Perthshire Visual Arts Forum invites up to 8 practicing visual artists each year to
the conference in Perth in June. From this our artists have developed links and
maintained contacts which have led to exhibition and exchange opportunities.”
“We have subsequently sold work into overseas festivals where we have been the first
Scottish (if not British) to perform there - this was part of a "selling on" strategy with our
international co-production. We have initiated a co-production with another overseas
Festival for a site-specific creation and are currently talking to other overseas partners
with regard to another new large-scale touring production.”
“We have taken presentations and workshop based sessions showcasing our CD-Rom
dance resources to festivals and conferences in the USA, Canada, Hong Kong and
Greece. We have also begun to work on the Children's Theatre Festivals network, taking
a professional dance production ‘The Story of the Blues’ to the Baboro Festival in
Galway in October 2006.”
“We have over the past 12 years initiated a whole range of relationships with
international artists and promoters in many different countries. These have often begun
with creative workshops around a shared area of interest (sometimes whilst on tour to
that place with another show). This might then lead to the possibility of future co-
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production with artists who took part in the workshop or sometimes the venue it was
held. A key initiative for us is our associate artist system. This involves 10 artists from a
range of countries (Brazil, Italy, UK etc) in an ongoing and reasonably intense
relationship with the company. This in itself is a very complex area which I'd be happy to
tell you more about if you thought it useful. We've also participated in showcases -
particularly the British Council showcase in Edinburgh - which has been useful to a
degree. Again it’s quite complicated. Then there are the official delegations, personal
visits to festivals etc which are also important.”
“We have contacted the British Council to find out more about what they offer, and,
separate to this, we have made enquiries about drama festivals across Europe for
companies involved in disability arts.”
14. Rating international networking initiatives

N=15
The initiatives: %
Met my expectations 47%
Exceeded my expectations 27%
Were below my expectations 27%
Positive feedback from international networking initiatives:
“I thought that it would be impossible working in English and presenting the UK

experience would make it impossible to convince artists to develop networks that
survived, but they have.”
“All the initiatives have been successful - good audiences, positive critical review and
have broadened our horizons”
“It was great to work within and be supported by the various infra-structures and to
create within a supportive environment.”
“We are still in fledgling form - learning as we experience the process.”
Mixed/Neutral feedback from international networking initiatives:
“The Shaw Festival was great - lots to learn. Stratford wasn't.”
“We have had a mixture of experiences. The FST initiative was excellent and has led to
other opportunities. I haven't been to APA yet. Meetings with British Council Scotland
haven't led to much to be honest.”
“These have all been small scale initiatives, and were more or less as expected.”
“I don't understand the question. If you mean have the initiatives been successful then
many have and many haven't.”
“All contacts made thus far have been satisfactory - it must be stressed that contacts
have been very minimal at this time.”
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Negative feedback from international networking initiatives:
“We experienced an unsuccessful approach to the British Council regarding our initiative
in the Ukraine. We are still to hear regarding their showcase.”
“Haven’t got anywhere yet.”
15. Those that have visited international showcases

N=28
Previous visits to international showcases %
Yes 57%
No 43%
16. Rating international showcasing initiatives

N=15
The international showcases: %
Was below my expectations 20%
Positive feedback from international showcases:
“It's amazing how much there is to learn and experience and great to experience
everything in a concentrated form with the opportunity to discuss.”
“Both at Monaco Video Dance Festival and Vancouver Film Festival I made useful
contacts outwith the ‘official’ presentations, plus they were good fun to attend and very
useful to see what kind of work is being produced internationally.”
“As a result, the exposure built up tours for several years - allowing the productions to
tour for longer than I had expected.”
Mixed/Neutral feedback from international showcases:
“I was not there as a representative of my company - it was before I had one.”
“Tanzmesse in Dusseldorf two years ago - didn't make as many contacts as would have
liked.”
“Work can be very variable in terms of quality.”
“Actually this varies hugely - some have not come up to expectations and others have.
Where they do not, they can be focused on a narrow group of performers/practitioners
who all know each other and do not easily accept new input. Where they do, companies
can forge links which lead to collaborative work and exchanges.”
“They're great for allowing a high number of promoters to see your work. But they can
also be fairly soul destroying experiences with people walking out of work once they've
decided they can't book etc. We've had whole tours come out of some showcases and
absolutely nothing out of others.”
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17. Those that have visited international sales exchange programmes

N=27
Previous visits to international sales exchanges %
No 89%
Yes 11%
18. Rating the international sales exchange programmes

N=2
The international showcases: %
Positive feedback from international sales exchange programmes:
“Both events mentioned previously were also market places for dance and film. I was
invited to ‘pitch’ a film idea at both events. This was great, as it puts you right in there in
front of producers and co-producers.”
Mixed/neutral feedback from international sales exchange programmes:
“If you mean things like APAP in New York, they're more of a networking opportunity
than realistic marketplace in our experience.”
19. Markets with the strongest networks

N=24
Country %
UK (outside Scotland) 75%
Europe 54%
North America 25%
South America 17%
Australasia 13%
Africa 4%
Asia 4%
Other 17%
Other:
“Scotland”
“None”
“Republic of Ireland”
“Very much Scotland-focused”
Specific countries with the strongest networks:
Outside the UK –
England (10 mentions – London was specifically mentioned three times)
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Wales (one mention)

Northern Ireland (one mention)
Europe –
The Netherlands (seven mentions)
Germany (four mentions)
Italy (four mentions)
Republic of Ireland (four mentions)
Spain (three mentions)
Denmark (two mentions)
Portugal (two mentions)
France (two mentions)
Sweden (two mentions)
Poland (two mentions)
Finland (one mention)
Ukraine (one mention)
Lithuania (one mention)
Russia (one mention)
Kosovo (one mention)
North America –
Canada (five mentions)
USA (four mentions)
South America –
Brazil (three mentions)
Argentina (two mentions)
Chile (one mention)
Peru (one mention)
Columbia (one mention)
Mexico (one mention)
Africa –
South Africa (one mention)
Rwanda (one mention)
Asia –
India (one mention)
Sri Lanka (one mention)
Japan (one mention)
Israel (one mention)
Australasia –
Australia (two mentions)
New Zealand (one mention)
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20. Markets with the strongest sales

N=22
Country %
Europe 41%
North America 23%
South America 14%
Australasia 5%
Asia 5%
Other 23%
Other:
“Scotland”
“We don’t tour much”
“None”
Specific countries with the strongest sales:
Outside the UK –
England (11 mentions – London was specifically mentioned twice)
Northern Ireland (two mentions)
Wales (one mention)
Europe –
Italy (four mentions)
Republic of Ireland (three mentions)
Czech Republic (two mentions)
Germany (two mentions)
Greece (two mentions)
The Netherlands (two mentions)
Portugal (one mention)
France (one mention)
Poland (one mention)
Sweden (one mention)
Spain (one mention)
Bulgaria (one mention)
Croatia (one mention)
North America –
USA (five mentions)
Canada (three mentions)
South America –
Argentina (two mentions)
Brazil (one mention)
Mexico (one mention)
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Asia –
Japan (one mention)
Australasia –
Australia (one mention)
New Zealand (one mention)
21. Interest to develop new markets

N=2
Interest to develop new markets %
Yes 83%
No 17%
New markets that respondents would like to develop:
USA (six mentions)

Australia (six mentions)
Europe in general (four mentions)
China (three mentions)
Canada (three mentions)
New Zealand (two mentions)
France (two mentions)
Republic of Ireland (two mentions)
Germany (two mentions)
Sweden (two mentions)
Ukraine (one mention)
Japan (one mention)
22. Resources allocated for developing international networks

N=26
Resource %
Research trips 65%
Strategic planning and coordination 35%
Financial 31%
None 27%
Marketing 23%
HR support 8%
Other 8%
Other:
“Website”
“Time”
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23. Resources allocated for developing international sales and markets

N=19
Resource %
Research trips 42%
None 42%
Strategic planning and coordination 37%
Financial 26%
Marketing 26%
HR support 11%
24. Average spend on developing international networks, sales and marketing

N=26
Average spend %
Nothing 31%
£1,000 - £5,000 31%
Under £1,000 19%
£5,000 - £10,000 12%
£10,000 + 8%
25. Support received from external agencies for developing international networks and sales in
Scotland
N=26
Support received from external agencies %
No 70%
Yes 31%
External agents that provide support:
Funding from -
British Council (five mentions)
Scottish Arts Council (five mentions)
Visiting Arts (one mention)
Scottish Executive (one mention)
NHS Scotland (one mention)
Edinburgh International Festival (one mention)
Scottish Enterprise Tayside (one mention)
Networks from -
FST (one mention)
Tramway (one mention)
Edinburgh International Festival (one mention)
Research and development from –

New Moves International (one mention)
Foreign language assistance from –

British Council (one mention)
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Developing exchanges from –

British Council (one mention)
26. Personal rating of achievements in terms of developing international networks

N=8
Rating %
Fair 63%
Good 25%
Poor 13%
Reason:
“Contacts exist but work is yet to be developed to the stage where our productions
travel.”
“Most of our work has been working in our own communities and therefore has left us
with not much time, energy or scope to push international work.”
“Any international performances/networking has been great considering the size of both
our funding and workloads of the company.”
“Still learning as we encounter each project.”
“We have just begun to explore international opportunities, presenting work at Festivals
in Hong Kong and Ireland in the past year. We would like to be able to expand our
international networking contacts.”
27. Personal rating of achievements in terms of developing international sales and marketing
N=7
Rating %
Fair 29%
Poor 29%
Not a priority for us 29%
Good 14%
Reason:
“We have done virtually no work in this area.”
“There is potential for YDance to sell our education dance CD ROMS outwith the UK but
current workload in other areas, and lack of specific expertise in international sales is
preventing us from doing so.”
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28. Support to assist developing international networks and relationships in the future
N=25
Type of support %
Opportunities for potential partners to visit Scotland for a research tour 84%
Opportunities to visit other countries to explore opportunities 84%
Web-based resource of Scottish organisations that you could be listed in 80%
Financial support 80%
Opportunities to attend international markets 76%
Dedicated person to assist you with introductions and information about potential partners
56%
before and during their visit to the Edinburgh Festivals
Paper-based resource of Scottish organisations that you could be listed in 44%
Translational language services when meeting potential partners 36%
Dedicated venue for Scottish work during the Edinburgh Festivals 32%
Other 16%
Other:
“Funding structure, ability to forward plan, would have to function within the SAC
structures we already have to live by.”
“Exposing potential partners to our work.”

“The help of a producer.”
“Showcase outwith the Edinburgh Festivals.”
29. Support that would help to develop international sales and marketing in the future
N=19
Type of support %
Web-based resource of Scottish organisations that you could be listed in 84%
Opportunities for potential partners to visit Scotland for a research tour 79%
Opportunities to attend international markets 74%
Opportunities to visit other countries to explore sales leads 68%
Paper-based resource of Scottish organisations that you could be listed in 58%
Dedicated person to assist you with introductions and information about potential partners
47%
before and during their visit to the Edinburgh Festivals
Translational language services when meeting potential partners 37%
Dedicated venue for Scottish work during the Edinburgh Festivals 26%
Other 5%
Other:
“The help of a producer who presents your/other Scottish company.”
Additional comments:
“I'm slightly concerned that it will look bad that Prime Productions isn't so interested in
foreign touring/networks etc, but it simply doesn't fit with the nature, focus or personnel
113
of the company, which is very small, run voluntarily and successfully by a 79 year-old
enthusiast and clearly focused on rural Scotland. Personally I (not the 79 year old) as an
individual do a fair amount of work abroad, mostly for the British Council, and have a
reasonable network of contacts that I have built up by informal networking and foreign
work.”
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Appendix Three Producers and Promoters Survey Tables
APPENDIX THREE: PRODUCERS AND PROMOTERS SURVEY TABLES
THEATRE AND DANCE PRODUCERS AND PROMOTERS SURVEY TABLES
The country that respondents are based:
Scotland (22 mentions)

England (9 mentions)
USA (6 mentions)
Australia (5 mentions)
The Netherlands (4 mentions)
Italy (3 mentions)
Serbia (3 mentions)
New Zealand (3 mentions)
Poland (3 mentions)
Brazil (3 mentions)
Canada (1 mention)
Kosovo (1 mention)
China (1 mention)
Austria (1 mention)
Belgium (1 mention)
Romania (1 mention)
Germany (1 mention)
Israel (1 mention)
Czech Republic (1 mention)
India (1 mention)
Republic of Ireland (1 mention)
Finland (1 mention)
South Korea (1 mention)
Turkey (1 mention)
30. Artforms that respondents work in

N=76
Artform %
Drama 62%
Festivals 51%
Dance 50%
Music 46%
Visual arts 17%
Crafts 12%
Literature 12%
Other 22%
Other:
Film and media (three mentions)

Circus (three mentions)
Youth Theatre (two mentions)
Comedy (two mentions)
Education (one mention)
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Musical theatre (one mention)

International cultural relations (one mention)
Combined arts (one mention)
Physical theatre (one mention)
Puppetry (one mention)
Opera (one mention)
Performance (one mention)
Children’s performances (one mention)
Design (one mention)
31. Those that import international work to their own country or as part of a larger tour
N=77
Importing international work %
Yes 67%
No 33%
Reasons for not importing:
Not within their remit 10

Lack of funding 3
Not a priority 1
Lack of international contacts 1
Lack of expertise 1
32. Markets with the strongest networks or developed sales

N=49
Market %
Europe 80%
Australasia 51%
North America 47%
Asia 33%
Africa 20%
South America 18%
Other 16%
Other:
“South East Europe”

“Trinidad”
“South Pacific”
“Russia”
“Middle East, Iran, Iraq, Palestine, Egypt, Lebanon, Syria”
“The Pacific”
“Israel”
“Tel-Aviv, Novia Scotia”
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33. Interest in attracting work from a foreign country

N=74
Interest in attracting foreign work %
Yes 65%
No 35%
The countries that respondents would be interested in attracting work from:
USA (7 mentions)
UK (7 mentions)
Japan (6 mentions)
India (6 mentions)
France (6 mentions)
Spain (5 mentions)
South America (5 mentions)
Canada (5 mentions)
Australia (4 mentions)
Scotland (3 mentions)
Germany (3 mentions)
Belgium (3 mentions)
Norway (3 mentions)
Sweden (3 mentions)
Finland (3 mentions)
England (3 mentions)
China (3 mentions)
Eastern Europe (3 mentions)
Czech Republic (2 mentions)
South Africa (2 mentions)
Denmark (2 mentions)
Portugal (2 mentions)
Republic of Ireland (2 mentions)
Indonesia (2 mentions)
Italy (2 mentions)
The Netherlands (2 mentions)
Iceland (1 mention)
Faroe Islands (1 mention)
Austria (1 mention)
Caribbean (1 mention)
South Korea (1 mention)
Hong Kong (1 mention)
New Zealand (1 mention)
Motivations to import international work:
“I work at Milan University and as part of, for example, a scotsfest organised together
with British Council in 1996 we imported Scottish drama, music, art and cinema. I have
been working in the other direction (Italy-Scotland) in recent years (Scambiare Glasgow
2003, Death and the City, 2004, and I Confess, Glasgow arches 2005, Stations, Arches
and NTS, 2006.”
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“BITEF festival -Bitef is the festival of new world theatre tendencies -It has continually
followed and supported the latest theater trends -It has become one of five most
important and biggest European festivals and secured itself an unmistakable place at the
theater map of the world -It surpasses all political and cultural borders, and for that
reason, we can identify the history of BITEF as a history of contemporary theater During
the forty years, BITEF has kept its pace with a tumultuous evolution of performing arts:
from the revolutionary Sixties to the Seventies, when avant-garde research made its way
into repertory theatres, through the Eighties, a decade of post-modern theatrical
expression, and all the way over the Nineties, that brought us to the end of the 20th
century and the second millennium, where theatre in general is exploring the limits of
human physical abilities, the artistic outlines of which are still hazy. -For all these years
of devoted work on promoting intercultural influences in theatre, BITEF’s non-traditional
tradition has been preserved, even in the ten years of isolation in Ex Yugoslavia (199o-
2ooo), by literally smuggling the art into the country. Furthermore, what is more
important is that the spirit of discovering new theatrical tendencies and research fields
has been preserved. -The number of artists who appeared on BITEF is impressive.
Among them are:Jerzy Grotowski, Living Theatre, Richard Schechner, Luca Ronkoni,
Bread and Puppet Theatre, Odin Teatret and Eugenio Barba, La Mamma Theatre,
Ingmar Bergman, Joseph Chaikin, Peter Brook, Robert Wilson, Pina Bausch, La Fura
dels Baus, Meredith Monk, Miklos Jancso, Paolo Magelli, Samuel Beckett, Tadeusz
Kantor, Roberto Ciulli, Jan Fabre, Hansgünter Heyme, Tomaž Pandur, Kama Ginkas,
Joseph Nadj, Nigel Charnock, Simon McBurney, Angelin Preljocaj, Théátre de
Complicité, Thomas Ostermeier, Susanne Linke, Nicolas Stemann, DV8, etc. -A great
number of artists were literally discovered by BITEF -BITEF has been awarded by
PREMIO EUROPA PER IL TEATRO, Taormina Arte, the SPECIAL PRIZE FOR 1999.
Bitef is the first international theatre festival awarded by Premio Europa. -BITEF Awards:
Grand Prix Mira Trailovic – for the festival best performance Special Award – for the
special contribution in theatre art Audience Award -Showcase Two years ago, in 2005,
BITEF has established, for the first time, a Showcase program. It provided insight into
the most important trends in the contemporary Serbian theatre, and expedites its
communication with the outside world. Showcase is addressed to a large contingent of
international guests, including festival and theatre directors, promoters, programmers
and theatre critics from all over the world. -BITEF Theatre At the meeting of BITEF‘s
Council, on November 25th, 1985, an official decision was brought for the initiation of
founding the BITEF Theatre. It was officially opened with a multimedia happening in
March, 1989. The concept of Bitef theatre hasn’t changed until today. It is open for all
kinds of new expressions, also for crossing over known boundaries, exploring and giving
back up to the artists who are willing to make a challenge. Bitef theatre wants to show
that theatre is not only an institution that follows a certain cultural model but an institution
that creates culture, as well. Since it was conceived it supported different kinds of art
concepts and various scale of artists, developing that way a completely new Belgrade
scene. Using festival as mode, BITEF Theatre was organized with small number of
employees with unlimited number of disciplines, skills and functions -The Balkan and
East Europe art scene is passing through a time of exciting social changes, out of which
a new picture begins to take shape. One aspect of this process is the special importance
attached to reform and the transition of our theatres. Among the Festival main aim to
present the most significant authors, performances and phenomena of contemporary
drama theatre/ performing arts, BITEF enriches and encourages the production of new
Serbian theatre scene, initiates, promotes and attends to establish a diverse way of
theatre thinking, enlarges the borders of our cultural identity, promotes links between the
systems of culture and education and creates a map of professional contacts as well, in
118
order to ensure the full recognition of contemporary theatre as a fundamental dimension

for the development of Balkan theatres in an international European context. BITEF
festival was and is the part of this new picture.”
“Introducing the brand new avant-garde dance form to Polish audiences.”
“The city for which I programme and quality of work.”
“Artistic links which match the ambitions/style of the Citizens' own work. Opportunities for
development of joint artistic projects, opportunities to export the Citizens Theatre Ltd
work.”
“I did a workshop with Sotigui Kuiaté (from Africa, actor work with Peter Brook).He
showed videos from Africa, and performances there (very strong and based in
improvisation work). I’m very impressed. It’s really contact and present with the public.”
“To open cooperation with other countries and discover other chance of works.”
“Exchange of work practices and performances with artists. Young people meeting and
sharing ideas & cultures.”
“I do like to share experiences. It is the only way to keep the work as a fresh and
contemporary work.”
“Yes it must be an act or a show that I can promote and tour throughout Australia.”
“Yes, from Spain because I am Spanish and for the rest of the World because I love art
from all over the World! They help me to understand my own culture better and to
appreciate "multiculturalism!!”
“Presenting as wide range of dance style as possible during Festival and other events.”
“We work different styles in our group we put contemporary and African dance. We work
with percussion too, because of my interests in others kind of percussion..”
“To offer the local promoters with whom we work the opportunity to see international
work. To provide benchmarks for performing companies based in the Highlands and
Islands To build links that could lead to international opportunities for these companies.”
“It is the raison d'etre of the festival.”
“Strong in the field of early music.”
“Spread new forms of creativity.”
“To show to the Romanian audience. International Experience Cultural exchange.”
“For the last twelve years, we have worked with Indigenous performers from around the
world to bring them to the world.”
“Our reason for existence is to bring in work from overseas.”
119
“Adelaide audiences are always interested in international work. The quality and style is
sought after by our inquisitive audiences.”
“I direct a genre based festival so I am looking for the highest quality contemporary
cabaret and music theatre particularly if is says something about the culture of the
country it comes from.”
“As an extra to the Dutch programmes.”
“To inspire further significant art form development among Scottish puppeteers.”
“Our audience like it.”
“We are talking ‘globalisation’ these days Borders disappear we like to show our
audiences that there is more than our own limited culture.”
“Yes we are New Zealand’s largest International Arts Festival: 80% of work presented is
from overseas.”
“Our company co-operate with schools in the matter of English language education.”
“It's important that artists and audiences have the opportunity to see and engage with
the ideas developing internationally.”
“Being the only Festival of its kind worldwide that focuses solely and exclusively on gay
theatre - our criteria for programme acceptance is that it is either a new or existing work
by a gay author, or the works have a gay character, relevance or theme such as
feminism, masculinity and gender identity.”
“The quality of the work.”
“To offer new and fresh artistic insights for our audiences.”
“To broaden the audience's experience at Dundee Rep and strengthen our reputation as
a theatre with an international outlook.”
“At this point I am interested to develop relations between the Nordic/Scandinavian

Countries and Scotland. I believe there is a shared sense of Northern-ness which I am
interested to see developed.”
“As a person living in another country I am interested in learning about different culture.
As an artist, I am interested to create the idea of exchanging different culture and art. It
is important to me to learn that we all are able to change and see something new all the
time. It is my pleasure to do work as a messenger between different cultures.”
120
34. Those that have imported work from Scotland in the past five years
N=42
Interest in attracting foreign work %
No 52%
Yes 48%
Companies that respondents have imported work from:
Theatre Traverse
Catherine Wheels
Dundendance Company
Jerry Sadowitz
Des Clarke
Rasa Dance Company, Scotland
Mull Theatre, Scotland
Dannsa, Scotland
Grey Coast Theatre, Scotland
The Spiegel Tent
Big Rory Comedians
Edinburgh International Festival
Edinburgh Fringe Festival
Arches Theatre
Hoax Productions
Andi Neate
Al Satchel
Grampian Police Pipe Band
Alie Cohen
Shoogelnifty
Assembly Theatre
Lazzi Theatre
The Actors Circle
Ronny Almog, Tel Aviv
Artscape New Writing Programme, Cape Town
Roxyco Productions, London
Instant Irritant Productions, London
Gloves Off Productions, Manchester
Bailiwick Repertory Company, Chicago
Splinter Group Productions , New York
AJN Productions, Manchester
Post Script Theatre, London
Alex Kitay Productions, Los Angeles
Piranha Productions, Nova Scotia
Theatre Babel
Dundee Rep
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35. Relating the experience of importing work from Scotland

N=18
Experience in relation to their own expectations %
36. Barriers that prevent respondents from importing work from Scotland
N=20
Barrier %
No connections with Scotland 45%
Not aware of what work is available in Scotland 45%
No opportunity to see work from Scotland 35%
Other countries offering more support 30%
Poor experience in the past 10%
Language barriers 5%
Lack of available staff 5%
Other 15%
Other:
They are based in Scotland!
37. Level of interest in the work of Scottish-based organisations that are developing international
networks and markets
N=38
Interest in learning more about Scottish-based
%
organisations
Yes 90%
No 11%
Reason:
“At the moment I am particularly interested (as a writer and promoter of intercultural
events) in how contemporary drama (and film) can reflect the new European identities in
the making. I am at present engaged in a writing-research project in ceremony, Italy on
precisely this subject. I'd like to be able to bring the plays (currently in a developmental
stage) to Scotland so it would be good to have more info about international networks.”
“We would like very much to be actually informed what is going on the contemporary
theatre, performing arts, festivals activities, education in theatre etc.”
“I really liked this. I have been worked with so many artists from different countries and
cultures. I feel this is so important to my work and develop of my way in arts. I have been
thinking too, this is about a necessary art in this time. How the different come be
together, in a pacific way. Yes, this is necessary to me!”
“To have more opportunities to know and more chance of new works.”
122
“Would like to come together with organisations so that we can compare and share our
international experiences.”
“IT WILL GOOD FOR MY WORK. I AM ALWAYS OPENNING TO NEW IDEAS.”
“Yes, I think that we could organize "exchanges" with dance companies such as Tabula
Rasa going to do tour in Spain and a dance company from Spain (i.e. Metros) coming
here to do a tour in the Highlands.”
“It is important for the festival organized by Lublin Dance Theatre to present wide range
of styles, conceptions and ideas. British artists belong to the most interesting and active
in the world.”
“We are already in touch with the artists that are of interest to us.”
“Early music ensembles and soloists; artist management companies, promoters

(festivals, venues in the field of classical music.”
“We would be very interested in learning more about opportunities in Scotland for
Indigenous performance, traditional and contemporary, and in learning about Scottish
talent. We produced a symposium of Indigenous playwrights from around the world in
Edinburgh in August 2006.”
“We work very closely with Scotland and have strong links. We have partnered Scotland
in a wide range of international initiatives over the past thirty years and find Scottish
institutions extremely good to work with, information is readily available and the
constituency is sophisticated and with high levels of experience and expertise.”
“Although it must be clear that we are not in a position to buy or import work. The
company must come to Adelaide at their own expense and own risk.”
“yes, particularly in the area of music theatre and contemporary cabaret.”
“Always open minded for new things.”
“As a Scottish based organisation we are already very aware of those companies in our
sector with a capability and desire to work internationally.”
“I am a regular visitor of the Edinburgh festival but I am not really aware of what is
particularly Scottish.”
“Although already have direct links with most Scottish Companies including NTS,
SCottish Opera, Children’s Festival, Grid Iron, EIF, Major Fringe venues, etc.”
“It could help me and my company in future work with Scottish company.”
“The answer is clear, the question is vague.”
“Provided that they fall within the criteria previously outlined.”
123
“We are always interested in exploring new networks that bring international attractions
to our theatre.”
“So that we might be able to tap into this network with our own product.”
“I am here in Scotland.”
“I had a very short trip to Edinburgh last summer and it was very impressed. It would be
wonderful to have a chance to know more about Scottish channel and develop the idea
with my project in the future.”
38. Method of sourcing international work
N=39
Method of sourcing international work %
Combination – work both proactively and reactively
62%
to source international work
Proactively – I am actively sourcing international
21%
work
Reactively – I respond to opportunities that are
13%
presented to me
Other 5%
Other:
“Extensive overseas traveling”
“Edinburgh Fringe Festival”
39. Attendance at international arts markets or events

N=66
Attendance at international arts markets or
%
events
Yes 74%
No 26%
International arts markets and events attended by respondents:
APAM (nine mentions)

Edinburgh Festivals (eight mentions)
British Council Showcase in Edinburgh (eight mentions)
APAP (eight mentions)
IETM (six mentions)
CINARS (five mentions)
Asian Arts Mart in Singapore (three mentions)
Avignon Festival (two mentions)
ISPA (two mentions)
Tokyo Performing Arts Market (two mentions)
Amsterdam Performing Arts Market (two mentions)
International Children’s Festival in Scotland (two mentions)
Balkan Performing Arts Market (one mention)
124
CID (one mention)

Performing Arts Market Denmark (one mention)
Very Special Arts Festival in Washington D.C. (one mention)
Bienal de la Danse de Lyon (one mention)
Montreal Comedy Festival (one mention)
Kilkenny Festival (one mention)
HBO Comedy Festival (one mention)
Just for Laughs Festival (one mention)
International Symposium on Curating New Media in Liverpool (one mention)
Essen Festival (one mention)
Dusseldorf Festival (one mention)
Hanover Festival (one mention)
CEEPAM (one mention)
Shanghai Performing Arts Market (one mention)
Montreal Performing Arts Market (one mention)
Freiburger Kulturborse WOMEX Inthega (one mention)
International Arts Managers Association of British Orchestra (one mention)
IAMAFAFMICM in Cannes (one mention)
Western Australia Indigenous Arts Showcase in Perth (one mention)
EIF (one mention)
PAMS (one mention)
Venice Biennale (one mention)
Istanbul Biennale (one mention)
Guangghou Biennale (one mention)
Zanzibar Biennale (one mention)
Moscow Biennale (one mention)
Tehran Biennale (one mention)
International Shadow Theatre Festival in Germany (one mention)
Germany International Puppetry Festival (one mention)
Spain International Mime Festival (one mention)
Dubin Theatre Festival (one mention)
Dublin Fringe Festival (one mention)
Kuopio Festival in Finland (one mention)
Full Moon Festival in Finland (one mention)
La Strada Festival in Austria (one mention)
Vallodolid Festival in Spain (one mention)
Aurillac Festival in France (one mention)
Marseille Festival in France (one mention)
40. Relating the experience of attending international arts markets

N=46
Experience in relation to their own expectations %
Other 7%
125
Other:
“Never attended a Scottish one”
“Which international arts market? I’ve been to dozens.”
“Varies from event to event.”
Reasons for not attending international arts markets:
“Basically because we do no promotion work and engage individual artists on our lists.”
“Because they are not particularly relevant to our work - we are not a promoting agency.”
“Never been invited.”
“Mainly for financial reasons.”
“Didn't have enough time next to university studies.”
“I do not know of any.”
“It's hard to make the time.”
“Our director usually attends them as the representative of the company. He is a regular
at the British Council's showcase in Edinburgh, and has been to the X Trax one and
APAP in NY...”
“Limited time.”
“Not my role - Executive Producer goes.”
“Predominantly the cost and also as the only work we present internationally is dance,
representatives of our dance company attend such events.”
“I have not been aware of any events of such type. I would possibly be interested in
attending.”
“Most of my projects are created and go through educational back ground with the idea
of art and culture. So it is not like any competitive works. And it can be more collaborated
works between international networking that I do organize mostly.”
126
41. Support that would help to develop international networks and relationships in Scotland
N=57
Type of support %
Opportunities to view in Scotland outside of the Edinburgh Festivals 56%
Opportunities to view work in Scotland during a research tour 53%
Web-based resource of Scottish organisations who work internationally 46%
Opportunities to view work at other international markets 46%
Dedicated person to assist with introductions and information pre-visit and then during your
35%
visit to the Edinburgh Festivals
Paper-based resource of Scottish organisations who work internationally 30%
Dedicated venue of Scottish work during the Edinburgh Festivals 26%
Representatives from Scotland visiting you to explore opportunities 25%
Translational language services 5%
Other 23%
Other:
Improving the quality of work in Scotland to export.
Provide more details in the Fringe brochure that will be useful for promoters.
Providing a ‘promoters card’ allowing producers and promoters to see shows for free
while visiting other countries.
Introduce a producers’ breakfast similar to the Visiting Arts model as part of an extended
international strategy.
127
Bibliography
BIBLIOGRAPHY
Section Web link/Contact Number

Strategic Scotland’s strategy for stronger engagement with China, 2006
Context http://www.scotland.gov.uk/Resource/Doc/145718/0038131.pdf
Strategic Scotland’s strategy for stronger engagement with the USA, 2006
Strategic Draft Culture (Scotland) Bill
Strategic Scottish Tourism: The Next Decade – A Tourism Framework for Change, 2006
Strategic A Smart, Successful Scotland: Strategic direction to the Enterprise Networks and an
Context enterprise strategy for Scotland
http://www.scottish-enterprise.com/publications/smart_successful_scotland_refresh.pdf
Strategic http://www.britishcouncil.org/scotland.htm
Context
Best http://www.ozco.gov.au/files/4297/dimd_strategy.pdf - Dance International Market
Practice Development Strategy (Australia)
Best http://www.ozco.gov.au/boards/dance/dance_market_development - Australian Dance
Practice
Best http://www.artscouncil.ie/future/docs/PFAGoals_13Dec2005.pdf - Ireland Arts
Practice Partnerships Strategy
Best http://www.artslistings.com – Arts listing for Ireland’s two Arts Councils
Practice
Best http://www.asialink.unimelb.edu.au/arts/residencies/index.html - Asia Link
Practice
Workshop http://www.scottish.parliament.uk/business/research/pdf_res_notes/rn00-67.pdf -
Findings Scottish Parliament, The Creative Economy
Workshop http://www.scotland.gov.uk/Topics/ArtsCulture/CulturalPolicy/workinggroup/workinggroup
Findings - Scottish cultural entitlements
128
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Feasibility study

International Exposure for Scotland’s Theatre and Dance Artists

RES020 August 2007

Scottish Arts Council

Telephone 0131 226 6051

ISBN 13: 978 1 85119 156 7

6. RECENT AND CURRENT INITIATIVES 29

10. RESPONSE TO THE RESEARCH FINDINGS 53

12. SUGGESTED IMPROVEMENTS AND DEVELOPMENTS 60

1. LIST OF TABLES AND FIGURES

Number Title Page

35 Relating the Experience of Importing Work from Scotland 112

to assess the recent and current initiatives which promote Scotland-based

3.2 SUMMARY OF CONCLUSIONS

Recent and Current Initiatives

Imaginate has developed an impressive inward mission programme as part of the

The British Council Showcase is considered, anecdotally, to be a valuable tool for

to international markets by attending conferences, seminars, showcase events and

3.2.18 There do not appear to be opportunities or mechanisms for coordinating international

initiatives. It is therefore difficult to adopt an “informed” approach to international

Theatre and Dance Community

3.2.24 Current development activity tends to be focused on networking at events, seminars,

Producers and Promoters

3.3 RECOMMENDATIONS FOR IMPROVEMENTS

3.3.2 Strategic planning

- International development strategies of key policy makers (Scottish Executive, Scottish

- Variable approaches by artists and arts organisations towards international

- Concerns over the effectiveness of quality control.

- Develop a quality monitoring system for artists seeking international exposure.

- Utilise existing research findings provided by the International Network for

- There is a desire to raise the international profile of children’s theatre in Scotland.

- Artistic organisations seek opportunities to network within the international arena.

3.3.6 Support and Funding

- Resources are limited for restaging and reviving work.

3.4 INDICATIVE COSTS

3.4.1 We have presented the costings as three options A, B and C.

3.5 NEXT STEPS

1. Discuss the findings internally

5. Task the activities

7. Monitor, review and refine the recommendations

4.1 PROJECT BACKGROUND

Assessed recent and current initiatives which promote, on an international basis,

Scottish Arts Council Corporate Plan 2006-2007 – International Department

Scottish Arts Council - Six Month Review against 2006/07 Scottish

Scottish Arts Council Theatre Touring Strategy (Draft 2006)

Draft (Scotland) Culture Bill Guidance Document, 2006

Scotland’s Strategy for Stronger Engagement with China (2006)

Scotland’s Strategy for Stronger Engagement with the USA (2006)

A Smart, Successful Scotland: Strategic Direction to Enterprise Networks and

Scottish Tourism: The Next Decade – A Tourism Framework for Change

Scotland’s Major Events Strategy 2003-2015: Competing on an International

5.2 SCOTTISH ARTS COUNCIL

5.2.1 Corporate objectives relevant to this study are as follows:

5.2.2 To support and develop creativity through programmes, producing organisations,

5.2.4 The following points have been actioned:

Research and collaborate on the development of cultural events overseas which

Map Scottish international arts activity to identify opportunities. Mapping

Encourage mutual international activity and professional development.

Enable Scottish-based theatre to tour international festivals.

Scottish Arts Council Theatre Touring Strategy

To provide a means of information exchange accessible to all parts of the touring

Undertaking research into the impact and effectiveness of international working

5.4 THE SCOTTISH EXECUTIVE