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1、November 2023The arts in the UK:Seeing the big picture A perspective on how to gauge and sustain the UK arts sectors full impact The arts in the UK:Seeing the big picture A perspective on how to gauge and sustain the UK arts sectors full impact AuthorsJonathan Deakin Tom Meakin Tunde Olanrewaju Van
2、Nguyen November 2023Contents At a glance 5Introduction 6Defining the arts sector:A dynamic ecosystem 8Assessing the direct impact of the UK arts sector 10Five connections that underpin the impact of the UK arts sector 24The indirect impact of the arts sector on the UK economy 41Implications 453The a
3、rts in the UK:Seeing the big picture4 The United Kingdom is a cultural powerhouseoften punching above its weightwhose arts sector is recognised globally for its quality,diversity,and innovation.People engage with the arts in the United Kingdom on a large scale.Ninety-one percent of UK adults did so
4、at least once in the previous 12 months,and ten million1 of these are regularly involved with 63,000 voluntary leisure-based groups up and down the country.2 They are drawn by arts intrinsic aesthetic valueits ability to entertain,stimulate the senses,and trigger a wide range of emotional responses.
5、With so many people engaging with the arts,it has a much broader impact,too:on the economy,on individual lives,and on communities.The arts sector,including suppliers of goods and services,has 139,000 enterprises and 970,000 workers.Together they contributed 49 billion in gross value added(GVA)to the
6、 economy in 2022.3 Thats 50 percent larger than the contribution of the telecommunications industry and a significant part of the creative industries GVA,which is estimated to have reached 126 billion in 20224(according to the latest data),up from 115 billion in 2021.5 Engagement with the arts has a
7、 positive effect on the lives of individuals,improving their skills,their wellbeing,and their health.Numerous studies have shown the positive impact the arts can contribute to managing conditions such as depression,dementia,and Parkinsons disease.Engagement with the arts enriches the fabric of local
8、 communities by encouraging sociable behaviour,contributing to the attractiveness of local communities,and stimulating discourse.Numerous studies have shown that participation in art programmes correlates with reduced levels of criminal behaviour.This impact depends not only upon the individual effo
9、rts of artists and arts organisations but also on an entire arts ecosystemcreators,educators,distributors and promoters,suppliers,funders,and audiences.The health of the ecosystem depends on five connections within it:(1)between different art forms;(2)between for-profit and not-for-profit organisati
10、ons;(3)between different organisations working in different locations;(4)between arts organisations,local public bodies,and local businesses;and(5)between the arts sector and the broader creative industries.For the UK arts sector to continue to thrive,all individuals and organisations involved shoul
11、d recognise its dynamics as an ecosystem and look for opportunities to strengthen the connections upon which its health depends.At a glance5The arts in the UK:Seeing the big pictureThe United Kingdom is a cultural powerhouse whose arts sector is recognised globally for its quality,diversity,and inno
12、vation.It often punches above its weight.Lets highlight just a few achievements.The United Kingdom is one of only three net exporters of music in the world.6 It is the worlds second-largest commercial market for visual art.7 UK authors won the highest number of Nobel Prizes in Literature from 2000 t
13、o 2023 and UK actors the second-highest number of Academy Awards for acting.And the United Kingdom is home to five of the worlds top 30 higher-education art and design institutions.The Royal College of Art(RCA)is number one.8No less than 139,000 enterprises operate within the UK arts sector,along wi
14、th 63,000 voluntary leisure-based groups.Together they engage millions of people,up and down the country,in the arts.9 Indeed,a recent survey by the Department for Culture,Media,and Sport(DCMS)found that 91 percent of UK adultsaround 51 million peoplehad taken part in one way or another during the p
15、revious year.10 Art in the United Kingdom is a mass-engagement activity.A good deal of work has been done examining the impact of so much art touching the lives of so many people.Often,however,this research looks at just a single section of the arts worldthe theatre,say,or filmand tends to consider
16、just one measure of impact.This independent report aims to take a wider lens.Drawing on existing data,new analysis,and interviews with more than 50 experts and arts leaders,the report looks at the entire arts sector across all four UK nations,gauging its impact both in economic and noneconomic terms
17、.The report also seeks to understand what makes that impact possible.The conclusions of the report are striking.Driven by the scale and quality of activity,the arts sector has an impact reaching way beyond its intrinsic value as a source of entertainment and stimulation.The sector contributes to the
18、 economy and to the lives of individualstheir health and education,for exampleand helps improve the fabric of entire communities.It does so not only because of the efforts of individuals in the sectorartists,teachers,funders,venue owners,and audiences,for examplebut also because of the strength of a
19、 series of connections between them,in a complex and dynamic ecosystem.However,that ecosystem can be vulnerable.A decision taken in any one part of it can,intentionally or otherwise,reverberate elsewhere,strengthening or weakening the whole.Understanding the sectors impact and the connections in the
20、 arts ecosystem could prove valuableparticularly at a time when the sector is still coping with fallout from the COVID-19 pandemic and other challenges.During the lockdown period,the arts and entertainment sector experienced the second-largest reduction in monthly GVA.The proportion of UK workers fu
21、rloughed in the sector70 percentwas second only to that in the accommodation and food services sectors.11 Although the governments 1.57 billion Culture Recovery Fund has been vital for many arts organisations,todays rising cost of living is impeding a return to full activity.12 Many studies have fou
22、nd,for example,that while audience levels have picked up,revenues havent,as organisations cannot bring prices into line with rising costs.Arts organisations,funders,and policymakers all face difficult prioritisation choices when budgets are tight.The report does not make policy recommendations.Rathe
23、r,it seeks to inform debate and thus to share a perspective helpful for all those working to ensure the sectors continued impact,in all its forms.Its a perspective that explores the connections within the arts ecosystem and where they could be strengthened.Introduction6The arts in the UK:Seeing the
24、big pictureUK authors won the highest number of Nobel Prizes in Literature from 2000 to 2023 and UK actors the second-highest number of Academy Awards for acting.7The arts in the UK:Seeing the big pictureDefining the arts sector:A dynamic ecosystem To gauge the impact of the UK arts sector,we must f
25、irst define it.There are many excellent existing frameworks and terminologies whose differences lie in nuances such as whether the literary arts ought to include all publishing or only fiction and whether the screen arts ought to include video games.This report chooses to define the arts sector wide
26、ly,as the goal is to gauge its impact as extensively as possible while maintaining focus on a coherent subset of the creative industries.Whether or not a specific art form is included in our analysis is not a judgement of its quality or aesthetics or of the degree of artistic or creative input requi
27、red.In our definition,the arts sector has four subsectors,each of which includes multiple art forms(see sidebar“Methodology”):Visual arts:painting,sculpture,digital art,performative art,and creative photography,for example(including galleries and museums)Performing arts:music,dance,theatre,comedy,an
28、d opera,for example(including production,recording,and live performances)Screen arts:scripted TV,film,and video games,for example(including production,postproduction,distribution,and projection)Literary arts:fiction writing,screenplays,and poetry(including publishing,libraries,and archives)Within th
29、is definition of the sector,the report seeks to understand the different roles that individuals and organisations play.We define six roles common to all art forms:(1)creators and participants in an artistic activity,who,for example,play an instrument,write,or paint,whether professionally or as amate
30、urs;(2)distributors and promoters;(3)arts educators;(4)donors and funders;(5)audiences;and(6)the suppliers of goods and services,such as wigmakers,caterers,and people who make musical instruments(Exhibit 1).Throughout the report,the term engagement is used for the many different ways in which people
31、 are involved with the artsfor example,by composing music,taking part in a book club,attending an exhibition,or buying a work of art.The term organisation refers both to arts enterprises(sole traders or larger)and to voluntary leisure-based groups.These definitions,and all others in this report,repr
32、esent just one approach among many legitimate ways to define and analyse the sector.Note that the report does not cover important topics such as diversity and inclusion.8The arts in the UK:Seeing the big pictureWider UK economyDonors andfundersConsumers andaudiencesLocal public bodies and local busi
33、nessesSuppliers of goods and servicesBroader creative industriesDistributors andpromotersCreators and participantsArtseducatorsArtisticactivityIn the UK arts ecosystem,six roles are commonto all art forms.1 Creators and participantsProduce or take part in artistic activity for the beneft of themselv
34、es or othersthis might include painting,composing,playing a musical instrument,writing a book,or performing a play.Creators and participants may be both professional or amateur.5 Consumers and audiencesAudiences:engage with artistic activity by seeing aplay,going to a concert,or visiting an art exhi
35、bition,for example.Consumers:involved in forms of ownership of artistic output,perhaps by buying a work of art,a book,or a movie on DVD.2 Distributors and promotersConnect consumers and audiences to the arts by providing platforms for creators,participants,and their artistic activitiesperformance ve
36、nues,galleries,streaming platforms,music or book publishers,for example.Some organisations may play a convening and promotional role for groups within the arts,such as award bodies for flms,representative bodies for theatre,etc.3 Arts educatorsProvide training and teaching in the arts,including as p
37、art of schools curriculums,higher education,learning programmes outside of schools,or as continuous professional development.4 Suppliers of goods and servicesSupply goods and services upon which the sector dependsthe wigmakers and caterers and those who make musical instruments,for example.6 Donors
38、and fundersFinance and support artistic activities as philanthropists,foundations,corporates,or public bodies.McKinsey&CompanyExhibit 19The arts in the UK:Seeing the big pictureA 2023 survey by DCMS found that some 91 percent of UK adults had done so at least once,in one way or another,during the pr
39、evious 12 months.Seventy-four percent had attended an arts event such as an exhibition or a theatre performance,for example.13(The sidebar“Mass engagement”gives a more detailed breakdown.)Assessing the direct impact of the UK arts sectorMass engagement 1 Participation Survey,JanuaryMarch 2023.2 Port
40、er Anderson,“Nielsen BookData 2022:A slight decline in UK book sales,”Publishing Perspectives,March 22,2023;UK cinema admissions and box office,UK Cinema Association,2023;Hannah McLennan,Here,There and Everywhere 2023,UK Music,2023;ALVA 2022 visitor figures,2023.3 Participation Survey,JanuaryMarch 2
41、023.According to a 2023 survey by the Department for Culture,Media,and Sport(DCMS),reading books and magazines is the most popular arts-related activity in the United Kingdom,followed by visits to the cinema.Sixty-four percent of UK adults said they had read a book or a magazine in the previous 12 m
42、onths,and 51 percent had visited the cinema.Thirty-four percent had attended a performing-arts event,and 22 percent an art exhibition.1 All this translates into big numbers.In 2022,for example,some 180 million books of fiction were sold in the United Kingdom,and there were 117 million visits to the
43、cinema,30 million to live music events,and 30 million to art galleries.2Technology,which often facilitates broader access,plays an increasingly important role in the way people engage with the arts.According to the DCMS survey,16 percent of UK adults had watched prerecorded music or dance events onl
44、ine during the previous 12 months and 7 percent prerecorded theatre,visual arts,or literature events.Fifty-five percent had listened to music online,and 41 percent had paid to play online video games.3 People in the United Kingdom engage with the arts on a massive scale.10The arts in the UK:Seeing t
45、he big picture11Such figures attest to the intrinsic value of the arts.People engage with them because of their ability to entertain,stimulate the senses,and trigger a wide range of emotional responses,from enjoyment and awe to anger and fear.This is the basic premise of art and the primary benefit
46、of engagement.Recently,the London School of Economics(LSE)conducted a survey asking participants to rank 42 different activities by the relative perceived value they contributed to the participants lives.The LSE equated this value with the degree of happiness these activities confer.Being sick in be
47、d,queueing,and commuting were among those with a high negative value.Attending the theatre,singing,and visiting museums were among the most positively valuedsecond only to sports and intimacy.14The LSEs happiness factor is one way of measuring the intrinsic aesthetic value of engagement with the art
48、s.But engagement with the arts has broader impact which can be measured in three ways(Exhibit 2):the impact of the arts on the UK economythe value of the goods and services the arts sector produces and the number of businesses and jobs it supports the impact of the arts on the lives of individuals b
49、y helping them to develop new skills or to improve their wellbeing and health the impact of the arts on communities:encouraging sociable behaviour,contributing to the attractiveness of local communities,and stimulating discourse Indeed,the impact of the sector extends beyond even this.It is vital to
50、 the creative industries,for example,and contributes significantly to many other sectors of the economy.This indirect impact is explored later in the report.People in the United Kingdom engage with the arts on a massive scale.12The arts in the UK:Seeing the big pictureBeyond its intrinsic value,the
51、UK arts sector impacts the economy,the lives of individuals,and communities.Sociable behaviourEncouragement ofsociable behaviourPlace-makingContribution toattractiveness andprosperity of communitiesDiscourseStimulation of discourseand refectionSkillsDevelopment of new skills,such as creativity and p
52、roblem-solvingGross value addedThe value to the UKeconomy of the goodsand services producedin the sectorTurnoverThe revenues generatedfrom the sale of goodsand services in the sectorEmploymentThe number of jobs in the sector(including part-time,contractors,self-employed)EnterprisesThe number of ente
53、r-prises in the sector(that in turn create gross value added,and jobs)Wellbeing and healthContribution to improvingwellbeing and healthImpact on individualsImpact on communitiesImpact on the economyMcKinsey&CompanyExhibit 213The arts in the UK:Seeing the big pictureMany UK arts organisations are not
54、-for-profits:all national museums,for example,must provide free access to all visitors.15 Yet the arts sector makes a significant direct economic contribution to the UK economy,as measured by the economic activity of the 139,000 enterprises active in the sector in 2022.About half were creators,distr
55、ibutors,promoters,or arts educators.The other half were suppliers of products and services.16 The 139,000 enterprises come in many sizes.Ninety-five percent are classified as sole traders or as small enterprises with no more than nine employees.The remaining 5 percent are large(Exhibit 3).17 The Bri
56、tish Broadcasting Corporation(BBC),for example,has nine production bases across the United Kingdom.18 According to the BBCs 202223 report,it is the single biggest employer of musicians in the United Kingdom and the countrys single biggest commissioner of new music works,both in number and the amount
57、 of money involved.19 In all,the arts employ some 620,000 people.One-third of them are suppliers.A further 350,000 people in the sector are self-employed,for a total of 970,000(Exhibit 4).20 The proportion of self-employed workers is high compared with other sectors in the UK economy.So is the propo
58、rtion of part-time workers(see sidebar“Comparison with other sectors”).21 Note that the sectors 139,000 enterprises do not include voluntary leisure-based arts organisations,including leisure-based choirs and theatres and(for example)sculpting and painting classes.22 The United Kingdom has some 63,0
59、00 such organisations,many run by volunteers.23 Direct impact on the UK economyThe arts employ some 620,000 people.One-third of them are suppliers.14The arts in the UK:Seeing the big pictureEmployed and self-employed workers in the arts sector in 2022A total of 970,000 workers contribute to the UK a
60、rts sector.McKinsey&Company970,000620,000are employed by enterprises350,000are self-employedEach dotequals 1,000workersSource:McKinsey analysis,in part based on Business Register and Employment Survey,Ofce for National Statistics,2021 revised release,and“All self-employed by industry sector:People”d
61、ataset,Ofce for National Statistics,February 2023Arts enterprises by size,2022,%Most enterprises in the UK arts sector are sole traders or small enterprises.McKinsey&CompanyLarge enterprisesSource:McKinsey analysis,in part based on Annual Business Survey,Ofce for National Statistics,June 2022Small e
62、nterprises 95Small enterprises 09 employeesLarge enterprises 9 employees5Exhibit 4Exhibit 315The arts in the UK:Seeing the big pictureThe total revenues of arts enterprises reached 140 billion in 2022,40 percent of it generated by suppliers of products and services.This translated into a total gross
63、 value added(GVA)a measure of the value to the economy of the goods and services a sector producesof 49 billion,including the 20 billion contribution by suppliers.That equals 2.2 percent of the national GVA.24 To put this sum in context,its similar to the GVA of the food and beverage services sector
64、 and 50 percent bigger than the GVA of the telecommunications industry(Exhibit 5).25 The arts(excludingsuppliers ofgoods and services)The arts(includingsuppliers ofgoods and services)TelecommunicationsFood andbeverageservices1As of November 2023.Source:McKinsey analysis,in part based on Annual Busin
65、ess Survey,Ofce for National Statistics,June 2022,and“GDP output approachlow-level aggre-gates,”Ofce for National Statistics,November 10,2023Gross value added(GVA)contribution,by sector,2022,billionShare of national GVA 2022,%The UK arts sector contributed 49 billion gross value added in 2022.McKins
66、ey&Company294933491.32.2Exhibit 516The arts in the UK:Seeing the big pictureComparison with other sectors1 Hospitality strategy:Reopening,recovery,resilience,Department for Business&Trade,March 1,2023;“House of Lords Economic Affairs Committee inquiry into UK labour supply:A response from the Britis
67、h Retail Consortium,”British Retail Consortium,September 30,2022.2“Understanding changes in self-employment in the UK:January 2019 to March 2022,”Office for National Statistics,July 6,2022.3 McKinsey analysis,based in part on the dataset for“All self-employed by industry sector:People,”Office for Na
68、tional Statistics,February 2023.4“Full-time and part-time employment,”gov.uk,September 9,2022.The number of enterprises in the arts sector resembles the number in hos-pitality but is lower than the number in retail,which includes more than 300,000 enterprises.1 However,the share of both self-employe
69、d and part-time workers is unusually high in the arts sectorwhich underpins the way it achieves its impact.(For example,if everyone in the arts sector had a fixed job,the fluid connec-tions that characterise the sector would be less likely.This is explained later in the report.)Thirty-six percent of
70、 people working in the arts are self-employed,compared with an average of 13 percent across all sectors.2 The share is highest among educators:up to three-quarters of them are self-employed(Exhibit A).3 The arts sector also relies heavily on part-time workers.Excluding the self-employed,32 percent w
71、ork part-time,compared with an average of 23 percent across all sectors(Exhibit B).4Web Exhibit of Proportion of self-employed workers,2022,%The UK arts sector has a high share of self-employed workers.McKinsey&CompanyArts sector overallAll other sectors36Arts educators7513Source:McKinsey analysis,i
72、n part based on“All self-employed by industry sector:People”dataset,Ofce for National Statistics,February 2023Source:McKinsey analysis,in part based on“Full-time and part-time employment,”gov.uk,September 2022Proportion of part-time workers,2022,%The UK arts sector has a high share of part-time work
73、ers.McKinsey&CompanyArts sectorAll other sectors3223Exhibit AExhibit B17The arts in the UK:Seeing the big pictureThe number of individuals who engage with the arts attests to their value as a source of entertainment and emotional stimulation.Beyond this,however,engagement with the arts can also have
74、 two tangible positive impacts on the lives of individuals:improving their skills and educational outcomes and improving their wellbeing and health.Skills and educational outcomesEngagement with arts activities can help individuals develop a broad range of core skills,including memory,problem-solvin
75、g,spatialtemporal performance,and executive function.26 It can also boost the self-confidence of children.One University College London(UCL)study found that those who took part in arts activities scored from 16 to 32 percent higher on questions related to self-esteem than those who did not.27Engagem
76、ent with the arts can help improve educational outcomes,as well.The Cultural Learning Alliance(CLA),for example,found that participating in structured art activities could boost young peoples attainment in literacy and maths and increase their cognitive capabilities by 17 percent.28In fact,the recog
77、nised impact of the arts on educational outcomes is so strong that the Welsh government,in partnership with the Arts Council of Wales,introduced the Creative Learning Through the Arts programme in schools across the country.29 The aim was not only to improve childrens experience of the arts but also
78、 to implement the curriculum more creatively by drawing in professionals such as musicians,writers,actors,and dancers.What was the result?Teachers found that students attainment across the five“creative habits of mind”inquisitiveness,persistence,collaboration,discipline,and imaginationimproved,on av
79、erage over a four-year period,by six on a scale of one to ten(ten means a significant improvement).30 Phynart Studio/Getty ImagesDirect impact on individuals18The arts in the UK:Seeing the big pictureWellbeing and healthPerhaps most easily understood is the impact that engagement with the arts can h
80、ave on individual wellbeing.UCLs Arts,Culture&the Brain report(commissioned by Arts Council England)drew on findings from the Understanding Society survey of more than 100,000 people.The report concluded that attending arts events and venues correlates with greater happiness and a positive mood.31 L
81、istening to music,drawing,and writing as hobbies have a similar impact,the report noted:such activities can reduce stress levels by providing distractions from negative or irrational thoughts and emotions.32The arts have been shown to influence health conditions as well.UCLs Social Biobehavioural Re
82、search Group conducted a major cohort study in the United Kingdom and the United States.It found that people over the age of 50 who visited cultural venues every few months had a 32 percent lower risk of developing depression over a ten-year period.33 In addition,music-based interventionsgroup singi
83、ng or drumming or listening to music,for instancehave been found to help manage depression and to help prevent other conditions,such as dementia.34 Music activities can also improve balance,lung function,speech,and other physical functions in patients with Parkinsons disease.35Recognizing the link b
84、etween participation in the arts and improved wellbeing and health,the National Health Service(NHS)has now made art activities part of a social-prescribing programme:health professionals help patients to manage their conditions by,for example,attending poetry clubs,painting classes,or many other(oft
85、en community-based)arts events.36 The ambition is to prescribe arts and other activities for more than 900,000 people by 202324.That goal will require substantial support from arts organisations and practitioners.37Many of them already work with NHS trusts and healthcare providers.For 15 years,Royal
86、 Liverpool Philharmonic has been partnering with NHS Trusts,including original partner Mersey Care NHS Foundation Trust,for example.They support patients with a range of physical-and mental health conditions by offering them person-centred music activities and helping them attend performances and ev
87、ents at Liverpool Philharmonic Hall.The longevity and growth of the programme,and the number of patients benefitting from it18,000 to datepoint to its success.38In another such programme,the not-for-profit Artlift set up a scheme with nine GP surgeries in Gloucestershire:patients suffering from cond
88、itions such as depression,anxiety,chronic pain,and stroke were offered the chance to sign up for an eight-week course led by a professional artist working in poetry,ceramics,drawing,mosaics,or painting.The resulting health benefits were significant.In the year after the programme,GP consultation rat
89、es dropped among those taking part by 37 percent and hospital admissions by 27 percent relative to the previous yearequivalent to a saving of 216 per patient.39 Artlift now runs similar schemes in partnership with the NHS.FG Trade Latin/Getty Images19The arts in the UK:Seeing the big pictureEngageme
90、nt with the arts can have a positive impact on local communities and on the wider society in three ways:by encouraging sociable behaviour,making local communities more attractive places to live,and stimulating discourse.Sociable behaviour Engagement with the arts can encourage sociable behaviour in
91、several ways,such as fostering tolerance,compassion,and empathy.ArtsEkta,a cultural organisation in Northern Ireland,led some 440 arts workshops,attended by 13,000 participants,for a year in 202223.The goal was to promote multicultural engagement.Of those who participated,82 percent said they came i
92、nto contact with someone from another ethnicity,and 92 percent said they had greater appreciation of another culture as a result.40 In a pilot US study,medical students took a one-month course each year on art observation and reflective practice.Eighty percent of the participants improved their pers
93、pective takingthe ability to understand how a situation might feel or appear to another person.41 Engagement with the arts can also encourage individuals to play a more proactive role in society.A literature review by the CLA found that students from low-income families who participated in the arts
94、at school were twice as likely to undertake voluntary work and 20 percent more likely to vote as young adults.42 Numerous studies have also shown that participation in arts programmes may help reduce levels of antisocial behaviour.The CLA,for example,found that young offenders who participated in su
95、ch programmes were four times more likely to be highly engaged with education and training or to be employed post-Direct impact on communitiesFamily activities bringing local residents together at the Hepworth Wakefield.Photo by Nick Singleton.20The arts in the UK:Seeing the big pictureprogramme and
96、 18 percent less likely to reoffend upon release.43 And reports indicate that an Artist in Residence scheme at HMP Grendon,which runs therapy programmes to help inmates understand and address their patterns of offending,promoted a sense of group cohesion that improved the prison environment and help
97、ed inmates to redefine themselves.44 The programme has run since 2009.Place-makingA thriving arts sector plays an important role in what is often termed place-makingcreating more attractive communities where people want to live,work,and do business.That in turn makes these communities more prosperou
98、s.One reason is that engagement with the arts improves social connections.Some 82 percent of respondents in a large-scale qualitative survey by the Centre for Performance Science,for example,reported that artistic engagement(particularly live music events and theatre performances)made them feel more
99、 socially connected.45In addition,a thriving arts sector can help foster a sense of pride in local communities.One survey showed that nearly 90 percent of Edinburgh residents felt that its annual festivals increased their pride in the city.46 Helping people feel proud of the places where they live i
100、s among the main aims of the government-funded High Streets Heritage Action Zone initiative,which is investing in cultural activities on local high streets over four years.47 The aim is to make them more attractive,engaging,and vibrant places to live,to work,and to spend time.Finally,a thriving arts
101、 sector can contribute to place-making by promoting greater economic prosperity in a community.When the Hepworth Wakefield opened,in 2011,it was the only cultural centre or visitor attraction of any kind in a town with high levels of deprivation.By 2019,the art museum was attracting some 200,000 vis
102、itors annually and played an important role SeventyFour/Getty Images21The arts in the UK:Seeing the big picturein encouraging Tileyard,already a major provider of music and creative studios in the United Kingdom,to develop a creative hub in the city.48Another example,HomePlace,is an arts and literar
103、y centre in Bellaghy,Northern Ireland.It is dedicated to the Nobel Prizewinning poet Seamus Heaney,who was born in the village,which has fewer than 2,000 people.Yet in the centres first year of operation,in 2016,it welcomed more than 40,000 visitors.HomePlace now has annual revenues of around 800,00
104、0 and supports more than 20 employees.49Thriving arts organisations can also have a positive impact on local communities in large cities.The Southbank Centre,along with other arts organisations,such as the National Theatre and British Film Institute,has played a pivotal role in the long-term regener
105、ation of Londons South Bank area,for example.In 201819,it contributed to the vibrancy of the area by attracting a total footfall of 31.7 million,by mounting a public-festivals programme that attracted an audience of 42,800,by hosting 64 commercial partners on-site,and by reaching 13,600 students in
106、the local area,including a 50 percent penetration rate in local schools.An“open foyer policy”provides an inclusive community space from 10 a.m.to 11 p.m.daily,attracting professional workers,students,homeless people,and social groups.50 Such is the contribution the arts can make to place-making that
107、 some communities are working to create thriving arts venues.Wigan Council,for example,is currently turning Haigh Hall into a beacon for the arts,culture,heritage,and the environment through the Haigh Hall 3-H:humanities,hospitality,and horticulture.The projects master plan,inspired by local people,
108、includes a space to ignite childrens creativity through collaboration with artists-in-residence,writers,and poets,among others.51 DiscourseThe arts can raise awareness of sociopolitical issues by making powerful statements that encourage discourse and reflection.The Understanding the value of arts&c
109、ulture report,for instance,discusses how art can provide a safe and contained space for reflecting on issues and creating“reflective individuals.”52 Examples of art that seeks to raise awareness abound(see sidebar“Art that raises awareness”).Art can provide a safe and contained space for reflection.
110、22The arts in the UK:Seeing the big pictureLittle Amal during her walk in the UK.Photo by David Lan/The Walk Productions.Art that raises awareness Much art seeks to raise awareness of sociopolitical issues:1 Andreas Wiseman,“Aftersun becomes Mubis most streamed movie ever&crosses box office mileston
111、es,”Deadline,February 8,2023.2“Ice Watch,”Olafur Eliasson,2014.3 Harriet Sherwood,“Little Amal in Britain:Giant puppet of Syrian girl reaches her journeys end,”Guardian,October 17,2021.1.The award-winning film Aftersun(2022),directed by Charlotte Wells,examined mens mental health and intergeneration
112、al trauma.It became the United Kingdoms highest-grossing independent debut film since 2011 and the most streamed release globally on the platform Mubi.12.The 2018 Ice Watch project was an art installation by Icelanders Olafur Eliasson and Minik Rosing.It raised awareness of climate change by groupin
113、g immense blocks of ice,harvested from a fjord in Greenland,outside the Tate Modern art gallery in London.2 The blocks melted away.3.A 2021 performance art project by the Walk Productions drew attention to the plight of child refugees.Little Amal,a 12-foot puppet of a ten-year-old Syrian refugee chi
114、ld,undertook a 5,000 mile“walk”across 13 European countries.More than one million people watched her journey in person and tens of millions more online.323The arts in the UK:Seeing the big pictureHow does the sector achieve this impact,and how can it be sustained?Our analysis shows that it depends n
115、ot only on the individual efforts of those in the arts ecosystem but also on important connections between themsometimes in the form of collaboration,sometimes codependencies,and sometimes reinforcing mechanisms.At the simplest level,this impact might result from individuals and organisations workin
116、g together by playing different roles within an art form.For example,a composer,an orchestra,a funder,and a concert hall(with their different providers and suppliers)might work together to create and perform the world premiere of a new symphony to a capacity audience.But the connections reach far be
117、yond this.Through a steadily widening lens,the remainder of this report examines five other connections that underpin the ability of the sector to achieve and sustain its impact.The connections link the following:1.different art forms 2.not-for-profit and for-profit arts organisations3.artists and a
118、rts organisations in different locations4.arts organisations,local public bodies,and local businesses 5.the arts sector and the broader creative industriesFive connections that underpin the impact of the UK arts sectorAs we have seen,the arts sector has a direct economic and noneconomic impact on so
119、ciety,beyond the intrinsic value of the arts.24The arts in the UK:Seeing the big picture25No single form of art operates in isolation.Many venues work across the arts:for example,Londons Southbank Centre,the Warwick Arts Centre,the Strule Arts Centre(in Omagh),and the Barn(in Aberdeenshire)all progr
120、amme events across the visual,performing,literary,and screen arts.They gather artists,audiences,and funders from all these arts under a single roof.Many individuals work across art forms,too.The costume designer Sandy Powell is renowned for her work in film,opera,and theatre.53 John Butt is the musi
121、cal director of the Dunedin Consort,as well as professor of music at the University of Glasgow.Wayne McGregor,the Royal Ballets resident choreographer,is recognised for his groundbreaking collaborations across the arts.He has worked,for example,as a movement coach on the film Fantastic Beasts and Wh
122、ere to Find Them and produced the motion capture for the augmented reality ABBA Voyage concert.Its not just well-known individuals who work fluidly across arts boundaries.The high share of self-employed workers and the relevance of many rolesactors,lighting technicians,and directors,for instancein m
123、ultiple art forms mean that its common among people at every level.One-third of those working in theatre,for instance,also work in music and live events,29 percent also in TV,and 26 percent also in film.54 These connections help to make the arts ecosystem more resilientfor example,by giving people w
124、ithin it more employment opportunities.And they foster innovation as artists and arts organisations draw creative inspiration from different art forms.In 2017,for instance,as part of the London International Mime Festival,the Barbican hosted Kiss and Cry.This collaboration between film,dance,music,a
125、nd theatre told the story of an old womans doomed first love through dancing hands and a roving camera.55 A new,unique piece of art was created at every performance.Since the show was first devised,in 2011,it has been performed 300 times in eight different languages and been watched by some 180,000
126、people.56Sometimes,the connections are so strong that the success of one art form depends significantly on the creative output of another.From 2014 to 2023,for instance,seven of the ten films that won the Outstanding British Film award of the British Academy of Film and Television Arts(BAFTA)also wo
127、n Best Original Score in prestigious music awards.57 Likewise,film production depends on the literary arts for screenplays.Half of the 20 top-grossing films produced in the United Kingdom from 2007 to 2016 were based on previously published literary works.These films accounted for 60 percent of tota
128、l UK box office sales over the same period.58 The benefits flow both ways.Harry Potter book sales,for example,more than tripled in the month following the release of the film adaptation of Harry Potter and the Philosophers Stone,in 2001.59Connection#1:Between different art forms Individuals and orga
129、nisations arent bound within a single art formfilm,dance,or music,for example.They work fluidly between them,forming strong connections that create resilience and foster innovation.Sometimes,the success of a work in one field depends on the creative activity of another.Such is the strength of the co
130、nnections.They are essential to sustaining the high-quality artistic activity responsible for the sectors impact.26The arts in the UK:Seeing the big pictureOne-third of those working in theatre also work in music and live events,29 percent also in TV,and 26 percent also in film.27The arts in the UK:
131、Seeing the big pictureAt first glance,there seems to be a clear separation between not-for-profit and for-profit organisations.The primary purpose of the first is social benefit;that of the second,profit.A closer look,however,uncovers similarities and connections.To begin with,though not-for-profit
132、organisations depend on government and philanthropic funding more than for-profit ones do,as much as 50 percent of the not-for-profits income is derived from earned and commercial sources(see sidebar“Not-for-profit versus for-profit organisations”).60 Moreover,the two types of organisations often wo
133、rk in unison to fund artistic projects,and there is extensive sharing of skills,experiences,ideas,and knowledge.In other words,the connections facilitate more(and high-quality)art activity.Funding Much artistic activity is funded both by for-profit and not-for-profit organisationsa model that improv
134、es the commercial viability of successful projects that might otherwise not go ahead.For instance,The Fall,first released in 2013,was a popular,award-winning TV crime drama series set in Northern Ireland.It was co-funded by Ingenious(the producer behind the science fiction film franchise Avatar)and
135、by several not-for-profit organisations,61 including Northern Ireland Screen,the European Regional Development Fund,and the Northern Ireland Development Corporation.Likewise,Re-Bourne,a charity that runs dance and theatre workshops for young people,receives funding from both its parent for-profit co
136、mpany,New Adventures,and from the Arts Council England,which made grants totalling 5 million from 2018 to 2022.62Many for-profit organisations also directly fund or support not-for-profit activities to incubate new talent or support local communities,either through partnerships or their own not-for-
137、profit foundations or organisations.These are examples:In 2022,Channel 4 contributed 5 million to the 4Skills training programme,aimed at young people aspiring to work in television and related fields.That year,19,000 students aged 11 to 14 took part in the programme,which also found industry placem
138、ents for some 200 young people though internships,apprenticeships,and enrolment on production training schemes.63Connection#2:Between for-profit and not-for-profit organisations The tight connections between for-profit and not-for-profit arts organisations can go unrecognised.They work in unison to
139、fund and promote projects,and they share skills,experience,ideas,and knowledge.The result?More high-quality artistic activity.28The arts in the UK:Seeing the big pictureThe Lehman Trilogy at the National Theatre.Photo by Mark Douet.29The arts in the UK:Seeing the big picture Pinewood Studios distrib
140、uted 500,000 over ten years to support youth education in the screen arts.64 The foundation of artist Tracey Emin supports emerging artists through residency programmes and the provision of free studio space at her newly built art facility(in Margate)and through promotional activities.65 The sale of
141、 her artwork finances the foundation.Skills and experience Not-for-profit organisations are often an essential training ground for artists who subsequently engage in both for-profit and not-for-profit activities.The National Youth Theatres not-for-profit performing-arts training scheme,for example,b
142、oasts alumni such as Helen Mirren,Daniel Craig,and Colin Firth.66 In a survey of more than 1,000 people working in the theatre,62 percent of the respondents said that they considered experience in the not-for-profit sector as critical to successful theatre careers,not least because it offered the op
143、portunity to work on new and challenging productions.67But it is not just a question of moving from the not-for-profit to the for-profit world.In the arts sector,people constantly move back and forth between the two:a recent survey found that 32 percent of theatre performers and 29 percent of stage
144、managers worked in both.68 The fact that work in the arts sector is often project based explains this to-and-fro.But people in the sector also regard it as a way of working with a more diverse group of collaborators and performing for different types of audiences.Artistic content and knowledge Much
145、artistic activity depends on the exchange of content and knowledge between for-profit and not-for-profit organisations.Productions that begin in the not-for-profit world,where organisations can take more risks with creative content,often become commercial hits once they prove their financial worth.T
146、he West End theatre hits Six,The Lehman Trilogy,and Matilda were among these productions:Six was a university-society musical at the Edinburgh Fringe,The Lehman Trilogy began at the National Theatre,and Matilda,which debuted at the Royal Shakespeare Theatre,69 has since become a global phenomenon wa
147、tched by 11 million people.70 Without the space,time,experimentation,and risk-taking that the not-for-profits afford,some of the best and most popular art produced by for-profits might not exist.Not-for-profit organisations act as repositories of knowledge and inspiration for profit-making organisat
148、ions.30The arts in the UK:Seeing the big pictureNot-for-profit organisations also act as repositories of knowledge and inspiration for profit-making organisations.Commercial art dealers and auction houses,for example,use the collections and the expertise of not-for-profit galleries,museums,and libra
149、ries in their research.The British Film Institute(BFI)curates the BFI National Archive,one of the worlds largest moving-image archives,used by people in film production and by educators.71 People in the not-for-profit world often contribute to such repositories by donating their works and archive ma
150、terials.For instance,the estate of the musician and actor David Bowie,together with donations from corporate and private philanthropists,supported the Victoria and Albert(V&A)Museum in acquiring more than 8,000 items,including handwritten lyrics,costumes,set designs,and instruments.72 And the publis
151、hers of any literary work published in the United Kingdom must provide a copy to six major not-for-profit libraries:the British Library,the National Library of Scotland,the National Library of Wales,the Bodleian Libraries(Oxford University),the Cambridge University Library,and the Trinity College Du
152、blin Library.73Not-for-profit versus for-profit organisationsNot-for-profit arts organisations get their income from three sources:earned and commercial income,in-cluding ticket sales,trading activities,and investment income;philanthropy,such as backing from foundations,trusts,and private companies;
153、and public bodies,such as arts councils,the National Lottery,local authori-ties,and the Department for Culture,Media,and Sport.Together,not-for-profits generated an estimated 49 percent of their 2 billion total income from earned income in 201920.(In the perform-ing arts,the share was 56 percent.)So
154、me 15 percent of the remainder came from philanthropy and 36 percent from public bodies.(The figures include England,Scotland,and Northern Ireland but not Wales,because of a lack of data.)COVID-19 lockdowns have since altered the balance.In 202122,earned income dropped by 0.6 billion,so that it ac-c
155、ounted for an estimated 35 percent 1 McKinsey analysis,based in part on the Arts Council Englands Annual funding survey(2022),Creative Scotlands Annual review of performance 2021/22(2022),and the Arts Council of Northern Irelands Annual review 202122(2022).2 The UK film industry,BFI,2021;Public inve
156、stment in film in the UK,BFI,2022.3“Creative industries statistics,”HM Revenue&Customs,August 13,2020.4“Creative industry tax reliefs for corporation tax,”HM Revenue&Customs,February 15,2018.of the 1.8 billion total.Income from public bodies rose by 0.2 billion,to 47 percent of the total.1Public bod
157、ies support for-profit organisations as well as not-for-profit ones,though through different mech-anisms.The film industry consists primarily of for-profit organisations,and public funds accounted for just 1 percent of their income:18.8 billion in 2019.2 However,a government tax relief scheme reduce
158、d expen-ditures by the equivalent of some 3 percent of the UK film industrys total income in 201920.3 The scheme also supports the early stages of the creative process and,in a competitive global market,attracts producers to the United Kingdom.Seven further tax relief schemes are targeted,for exampl
159、e,at orchestral concerts,theatrical productions,and museum or gallery exhibitions.431The arts in the UK:Seeing the big pictureIn the arts sector,as in any other,organisations tend to concentrate in certain regions or localities.Eight of the United Kingdoms biggest citiesBelfast,Birmingham,Bristol,Ca
160、rdiff,Edinburgh,Glasgow,London,and Manchesterhave an estimated 44,000 arts enterprises among them.That leaves an additional 95,000 outside these cities,in communities that are home to upward of 54 million people,or 80 percent of the UK population.74 At a more granular level,the Creative Industries P
161、olicy and Evidence Centre has identified 709 distinct microclusters where creative individuals and companies mingle,share ideas,and innovate.75 Art often reaches the broadest possible audience when artists and arts organisations based in different locations across the United Kingdom collaborate:ARTI
162、ST ROOMS presents the work of international artists in solo exhibitions drawn from a national touring collection jointly owned by Tate and the National Galleries of Scotland.Since 2009,it has been shown in 209 exhibitions at 94 museums and galleries across the United Kingdom,attracting nearly 60 mil
163、lion visitors.76 Scottish Opera,Scotlands largest performing-arts organisation,aims to give people in the nations 32 local authorities an opportunity to attend an opera performance within a 30-minute commute.From 2019 to 2021,it staged more than 75 pop-up operas in arts venues and other spaces,as we
164、ll as 100 school performances.Altogether,more than 40,000 people attended.77 The Southbank Centres Hayward Gallery Touring programme creates exhibitions that expand and complement the programmes of partner galleries for venues such as museums,galleries,art centres,libraries,universities,schools,and
165、hospitals.These exhibitions are seen by up to half a million people each year,in more than 45 cities and towns across the United Kingdom.78 Art organisations do not have to tour to extend their reach.The National Theatre,for instance,broadcasts productions from its stages and other theatres to cinem
166、as around the world.Since the programmes launch,in 2009,nearly 100 productions have been seen by more than 11 million people in 2,500 cinemas in 65 countries.79Connection#3:Between arts organisations in different locationsCollaboration between arts organisations in different places helps bring art t
167、o the broadest possible audience across the United Kingdom and spreads skills,knowledge,and artistic content.More engagement and more high-quality artistic activity ensue.32The arts in the UK:Seeing the big pictureArts organisations in different locations also share skills and knowledge.For example,
168、the Roundhouse(a music,performing-arts,and concert venue in North London)partnered with the Gloucester Culture Trust to enrich the citys cultural life.80 Together,the two organisations worked on Gloucesters strategic approach to audience development and participation,funding,and the improvement of c
169、ultural infrastructure.They also designed additional ways to engage local children and young people with the arts and established the Future Producers scheme,which teaches participants how to set up a festival,create events,and run and promote their own events.81 And the Royal Opera House has partne
170、red with Doncaster Council to implement the Create Learn programme,which provides free teacher training courses and digital-curriculum resources to 100 schools in the local area.82The flow of talent between arts organisations in different locations supports the spread of skills and knowledge too.Tha
171、ts apparent in the museum and gallery sector,where curators often move from one location to another,bringing their valuable expertise and networks.Clarrie Wallis,now director of the Turner Contemporary in Margate,was formerly the senior curator of contemporary art at the Tate.83 Anne Barlow,now dire
172、ctor of the Tate St Ives,also worked as a curator at Glasgow Museums.84 And Simon Wallis,director of the Hepworth Wakefield,has held positions at the not-for-profit Chisenhale Gallery in London,the Institute of Contemporary Arts,and Tate Liverpool.85 Finally,arts organisations in different locations
173、 benefit from the sharing of artistic knowledge and content.For example,in the last 18 months,regional collaborations at the National Theatre have included co-productions of Romeo and Juliet,with Sherman Theatre in Cardiff;Our Generation,with Chichester Festival Theatre;and the Olivier Awardwinning
174、musical Standing at the Skys Edge,with Sheffield Theatres.The National Theatre benefits from diverse creative content and partner theatres from a broader audience reach.86In the museum and gallery sector,curators often move from one location to another,bringing their valuable expertise and networks.
175、33The arts in the UK:Seeing the big pictureStrong connections among local arts organisations,local public bodies,and local businesses are critical for supporting the art sectors impact.Often the connection is financial.In 201920,for example,local authorities accounted for some 40 percent of all publ
176、ic funding for arts and culture projects in England,according to the Policy and Evidence Centre.87 Without that support,many projects would not be viable.Public bodies and businesses play other supportive roles,beyond funding.Public bodies enable and convene community-wide arts initiatives and progr
177、ammes by providing space and venues and by offering planning and policy supportfor instance,arranging parking facilities,extending drinking licences,and providing public toilet facilities.The involvement of public bodies is particularly important for major events,such as the 2023 Eurovision contest,
178、in Liverpool.88 Businesses not only fund community programmes but implement them too:for example,Burberry,the luxury fashion house,which manufactures some of its collection in West Yorkshire,has funded and helped mount workshops in film,dance,theatre,and the visual arts in partnership with local sch
179、ools and leading arts organisations in the area.These organisations include the Hepworth Wakefield,the Leeds Playhouse,Leeds Young Film,and Northern Ballet.The programme,implemented by the Burberry Foundation,has involved 10,000 students in 15 schools over four years.89 In the next three,the foundat
180、ion hopes to involve 500,000 more around the world.Businesses also offer strategic advice.Besides sponsoring Sunflowerfest,a three-day music and arts festival held in Belfast from 2017 to 2020,the Forestside Shopping Centre gave the organisers advice on budgetary control,strategic planning,and site
181、and infrastructure improvements.90 Such joint efforts can prove particularly powerful when arts organisations,local public bodies,and local businesses work together closely.The Manchester International Festival,for instance,is a biennial event for music,theatre,dance,and the visual arts.It exists th
182、anks to a partnership among the Connection#4:Between arts organisations,local public bodies,and local businessesA good deal of artistic activity depends on collaboration among arts organisations,local public bodies,and local businesses.Without it,much activityparticularly big eventswouldnt happen.Co
183、llaboration is therefore essential to the sectors impact.34The arts in the UK:Seeing the big pictureManchester City Council,the Factory(an arts and culture venue),local businesses(such as Electricity North West,which provides the power),and local volunteers.The festival not only increases the impact
184、 of the UK arts sector but also contributes to local investment and Manchesters economic growth by raising the citys national and international profile.Today,the festival is a leading cultural destination for showcasing major events.In 2019,its economic impact was estimated,across a range of measure
185、s,at 50 million.91StartEast,which provides grants,business support,and training for arts practitioners and art businesses in Norfolk and Suffolk,has had a similarly high impact.The organisation was set up by the Norfolk and Suffolk Culture Board,which brings together leaders from local arts organisa
186、tions(such as Britten Pears Arts and the Norwich Theatre),local councils,local business leaders,and the Arts Council England.The programme ended in 2019.By 2020,one-third of the more than 350 local businesses StartEast had engaged with reported higher turnover and productivity.SubMotion Productions,
187、a film production company,is among the success stories.StartEast helped SubMotion to set up an editing suite and provided financial and administrative support for one of its films,Sylvia,shown in 2019 at the Cannes Film Festival,92 where it won the Best Short Film award.93 RWP UK/Getty Images35The a
188、rts in the UK:Seeing the big pictureIn the United Kingdom,the creative industries are large and growing fast:by 32 percent from 2010 to 2019.94 The GVA of the UK economy as a whole increased by 20 percent during the same period.95 In 2022,according to the latest data,the sectors GVA is estimated to
189、have reached 126 billion,up from 115 billion in 2021.96 The creative industries therefore account for 5.7 percent of the United Kingdoms total GVAclose to the contribution of the construction industry and three-quarters of the contribution of the financial-services industry.97 In addition,the creati
190、ve-industries sector has some 2.46 million jobs(Exhibit 6).98 The arts sector and the broader creative industries collaborate extensively and share connections and dependencies.These can be seen everywhere.Skills,knowledge,content,and services flow constantly between the two,often promoting innovati
191、on.Arts educators bring together students and teachers from both spheres.The University of the Arts London and the RCA,for instance,provide programmes across the visual arts,as well as in design and architecture,creating plentiful opportunities for exchange and collaboration.99 The V&A Museum collec
192、tions span the visual arts,design,crafts,fashion,and architecture.Exhibitions often combine curatorial expertise from across these art forms and disciplines in the creative industries.100 The connection between organisations working in advertising content and production(worth some 20.6 billion in GV
193、A in 2022)and the screen arts is particularly strong.101 Many organisations work in both.So do directors,actors,and music producers.For example,MPC,one of the United Kingdoms largest visual-effects(VFX)companies,is recognised for its work on films such as Harry Potter,1917,and Life of Pi.It also run
194、s an advertising arm that produces content for many global brands.102Often,artistic activity directly supports the creative industries.Arts collections,museums,and archives are essential references for designers and architects.Music and visual art are fundamental to the creative processes of industr
195、ies such as advertising or fashion.Examples of collaboration and cross-inspiration between fashion and the arts include these:Connection#5:Between the arts sector and the broader creative industries Connections linking the arts sector to the broader creative industries are everywhere to be seen.Skil
196、ls,knowledge,content,and services flow constantly between them,sustaining high-quality and often innovative activity in both sectors.36The arts in the UK:Seeing the big picture In 2017,Burberry creative director Christopher Bailey joined forces with the Henry Moore Foundation.Baileys collection at L
197、ondon Fashion Week,inspired by the British sculptors work,used fabrics to sculpt the body and to change proportions.The same week,a new exhibition of Moores sculptures opened in London.103 Lovers Rock was the name of the 2020 autumn menswear collection by Grace Wales Bonner.She took inspiration from
198、 the work of photographer John Goto(who documented the lives of young British Afro-Caribbeans in London in the 1970s)and from Lovers Rock music(a laid-back,romantic form of reggae).104 In 2022 a project called Process,by fashion label Alexander McQueen,invited 12 artists from around the world,workin
199、g in different mediums,to reinterpret pieces from the autumnwinter collection.The aim was to celebrate the creativity that comes from diverse perspectives.The result was artwork ranging from epoxy resin sculptures to embroidered Polaroids.1051As of November 2023.Source:“DMCS and digital economic est
200、imates:Monthly GVA(to September 2023),”DCMS,November 15,2023;“GDP output approachlow-level aggregates,”Ofce for National Statistics,November 10,2023;McKinsey analysisExhibit of The creative industries in the UK contributed 126 billion in gross value added in 2022.McKinsey&CompanyThe arts(excluding s
201、uppliersof goods and services)Transportationand storageConstructionFinancialservices andinsuranceThe arts(includingsuppliers of goodsand services)CreativeindustriesShare of national GVA 2022,%33491.32.25.7Gross value added(GVA)contribution,by sector,2022,billion2949Exhibit 637The arts in
202、the UK:Seeing the big pictureThe United Kingdom has such a strong VFX industry thanks to the success of the UK film industryproduction spending rose by 600 percent in ten years,to reach 6.3 billion in 2022.106 In the early 2000s,when VFX was still a very young industry in the United Kingdom,the Harr
203、y Potter series provided steady demand for the services of what have since become major VFX companies,such as DNEG,Framestore,and MPC.107 In turn,the VFX industry has fuelled demand for software for the film industry,developed by UK companies such as Foundry.Foundrys softwarefor 3-D modelling,painti
204、ng,and special effects lighting,for exampleis used across the creative industries,including architectural modelling and product design.In film,Foundrys clients include Disney,DreamWorks,and Framestore.108 Similarly,the success of the film and television industry has propelled significant capital inv
205、estment in soundstages.From 2021 to 2026,the soundstage sectors capacity is expected to grow by 11 percent a year,to reach 245 million square feet.109 Existing facilities at Leavesden,Pinewood,and Shepperton will be extended,and US companies will build new ones.The broader creative industries are al
206、so critical partners for the arts sector in the use of new technologies.These offer new opportunities for the creative process.Technology can transform audience reach through digital platforms,increase the share of collections available for public consumption,and create opportunities for personalise
207、d experiences through the use of augmented reality(AR),virtual reality(VR),mixed reality,and artificial intelligence(AI).In 2020,for example,the Royal Opera House produced Current,Rising,billed as the first hyper-reality opera,in collaboration with Figment,a London-based ARVR and computer-generated-
208、content producer,which works mainly in the entertainment sector.Its clients include Legoland,Madame Tussauds,and Thorpe Park.110 See the sidebar“Technology meets the arts”for more examples of how technology organisations collaborate with those in the arts to create and help people experience art in
209、innovative ways.The broader creative industries are critical partners for the arts sector in the use of new technologies.38The arts in the UK:Seeing the big pictureTechnology meets the artsCollaboration between art and technology organisations is transforming the ways in which art is produced and au
210、diences engage with it.Here are some examples:1“Home:Aamir Documentary,”Surround Vision,accessed October 26,2023.2“BBCCivilisations XR,”Nexus Studios,accessed October 26,2023.The Keeper of Paintings,an immersive exhibit,results from a collaboration between the National Gallery and Arcade,a technolog
211、y company that uses augmented and virtual reality(VR)to produce immersive experiences.With a mobile app,children explore the gallerys collection by helping a fictious“keeper”find a lost magical object.Arcade also works with major consumer brands.Aamir,a VR film,follows the journey of a refugee girl
212、escaping Sudan.It was directed by Rufus Norris,the director at the National Theatre,in collaboration with Erfan Saadati from Surround Vision,a London-based ARVR production studio that specialises in 360-degree films,VR,and other immersive experiences.Surround Vision also works with leading companies
213、 in diverse sectors.1 Civilisations AR is an app the BBC created in collaboration with Nexus Studios,a UK animation studio producing content for advertising and films.It was developed in conjunction with a BBC documentary series that traced the development of art and creativity through the ages.The
214、app explores artworks and artifacts from leading institutions,including the National Museum of Wales and the National Museum of Scotland.Nexus Studios also works with many leading technology companies.2 Dusan Stankovic/Getty Images39The arts in the UK:Seeing the big picture40A comprehensive analysis
215、 of this subject would be too large a topic for this report.Rather,to convey the importance of the arts sectors impact on the wider economy,we point briefly to three examples:how the sector attracts overseas visitors to the United Kingdom,supports its soft power,and helps build the skills required i
216、n a thriving 21st-century economy.Overseas visitors The United Kingdoms arts sector is a powerful attraction for overseas tourists.Seventy-three percent of those surveyed in 80 countries identified the UK“cultural offer”as a key motivation for visiting the country,according to one report.An estimate
217、d 30 percent of all inbound tourists participate in UK arts and culture activities.111 They directly support the UK economy through arts and culture spending worth 1 billion.112 Take,for instance,Edinburghs 11 major festivals,nine of which are arts festivals.In 2022,these 11 festivals attracted 3.2
218、million people31 percent of them visitors to Scotland.The economic impact for Scotland was 367 million.113 And Game of Thrones,a TV series filmed in Northern Ireland,prompted some 350,000 tourists to visit the United Kingdom in 2018,spending an estimated 50 million.114 The indirect impact of the art
219、s sector on the UK economy The arts sector also contributes indirectly but significantly to the UK economy.41The arts in the UK:Seeing the big pictureBeyond tourism,the global reputation of the UK arts sector helps attract temporary and permanent residents from overseas,who contribute to the wider U
220、K economy.The United Kingdom regularly appears among the top ten countries on the Anholt-Ipsos Nation Brands Index(which measures perceptions of different countries around the world)and among the top five on its”contemporary cultural”index.115 London was ranked number one out of 48 cities in the 202
221、2 Global Power City Index,which gauges the ability of urban areas to attract people and businesses on a range of measures.116 London outscored all other cities on the”cultural interaction”one.Soft power contributorThe reputation of the UK arts sector also contributes to the countrys soft power overs
222、eas.UK arts organisations and artists,often invited to perform abroad,work with their international counterparts,take part in exchanges,and build cultural relationships and a positive view of the United Kingdoms contributions to global society.For example,the London Symphony Orchestra and Australias
223、 Melbourne Symphony Orchestra have reciprocal touring arrangements and co-commission performances.117 Broadway transfers of National Theatre productions bring them to US audiences.And after COVID-19 restrictions lapsed,many UK arts organisations and artists have resumed touring abroad,often in colla
224、boration with international co-production partners.The UK government acknowledges the importance of the arts sectors contribution in this respect.Its 2023 refresh of the Integrated Review,which sets the countrys national-security and international strategy,noted that arts and culture were among seve
225、ral areas that help the United Kingdom forge strong reciprocal relationships around the world.118UK arts organisations and artists,often invited to perform abroad,build cultural relationships and a positive view of the United Kingdoms contributions to global society.42The arts in the UK:Seeing the b
226、ig pictureSkills of the futureThe arts sector can make a powerful contribution to building the skills required by a thriving 21st-century economy,in which artificial intelligence will do much of the knowledge-based work previously undertaken by humans.In the future,the skills in demand will be those
227、 centred on creative thinking and self-efficacy skills.119 A World Economic Forum report,New vision for education,identified 16 such skills,including creativity,problem-solving,adaptability,persistence,and sociocultural awareness.120 Many of them can be developed through engagement with the arts.Bus
228、iness schools and companies are taking note.Four of the top five MBA programmes in the United Kingdom(as ranked by QS Universities and the Times)now include arts-oriented curriculums.121 The London Business School and the Royal College of Art,for example,have a course-sharing partnership,and Imperia
229、l College Business School and the Royal College of Art run a joint research and entrepreneurship lab(Wicked Acceleration).122 As for technology companies,Amazon,Google,and Meta have all engaged improvisation-training companies and comedy clubs to help their UK employees build communication skills.12
230、3 Arts organisations such as the Old Vic Theatre and the National Theatre run corporate-communication training courses that help participants build a personal presence,rapport,and leadership skills.124The arts sector has much to offer for developing the skills and qualities that well-rounded 21st-ce
231、ntury leaders require.Four of the top five MBA programmes in the United Kingdom now include arts-oriented curriculums.43The arts in the UK:Seeing the big picture44Engaging with the arts has intrinsic aesthetic value:it entertains,stimulates the senses,and triggers a wide range of emotional responses
232、.But it has a broader impact too.The ecosystem contributes to the strength of the UK economy by supporting thousands of enterprises and hundreds of thousands of workers.It has a positive effect on the lives of individuals,improving their skills,wellbeing,and health.And it improves the fabric of UK c
233、ommunitiesfor example,by bringing people closer together.This broader impact depends not only upon the efforts of the people and organisations involved but also on the health of the ecosystem that includes them.This in turn depends on the strength of the connections within the ecosystembetween diffe
234、rent art forms;between for-profit and not-for-profit organisations;between arts organisations in different locations;between local arts organisations,local public bodies,and local businesses;and between the arts sector and the broader creative industries.A healthy ecosystem sets in train a virtuous
235、cycle:more high-quality artistic activity inspires more engagement,which further increases the impact of the arts.But neglect the ecosystems health,and the effects can be just as powerful.The loss of an arts venue in a local community,for example,could prevent its next generation of creative leaders
236、 from emerging and weaken its social fabric.Small stimuli can have a far-reaching impact on the ecosystem.These realities have implications for the art sectors future.Decisions and actions must recognise how it functions as an ecosystemtaking care not to weaken the connections essential for its heal
237、th but looking instead for ways to strengthen them.There are opportunities to achieve precisely this.First,there is an opportunity to better measure and communicate the sectors impact.Many not-for-profits already demonstrate their impact as part of funding applications.But new,data-driven methodolog
238、ies capable of measuring impact across a full range of measures could be a powerful strategic tool for all arts organisations.Such methodologies could help to inform planning decisions and organisational priorities,to identify new partnership opportunities and potential donors,and to engage with a b
239、roader range of audiences and communities.ImplicationsThe UK arts sector is a dynamic ecosystem of individuals and organisations renowned globally for the quality,diversity,and innovation of their work.45The arts in the UK:Seeing the big pictureEarlier this year,McKinsey research,in partnership with
240、 seven leading US arts institutions,explored the challenges and opportunities of pursuing such a data-driven approach to measure the impact of arts organisations.125 The DCMSs ongoing Culture and Heritage Capital Programme,launched in 2021,uses one such approach.It aims to create publicly available
241、statistics and guidance that will permit a more accurate articulation of the value of services provided by culture and heritage.126Organisations with strong methodologies and metrics could share them with others,helping these to measure and articulate their impact too.Adopting a common,consistent me
242、tric would have even wider benefits:each organisations measurements could be brought together to form a single coherent view of the ecosystems impactperhaps in a particular art form,in a certain region,or in relation to a certain impact measure.Second,artists and arts organisations have an opportuni
243、ty to explore how they might work together in new ways to harness the potential of rapidly evolving technologies.Artists already use AI to enhance the creative process and create entirely new art.Arts organisations already use digital technology to promote greater engagement with the arts,especially
244、 by younger audiencesthrough immersive storytelling,digital education resources,and online streaming,for example.Artists and organisations in both the arts sector and the broader creative industries,as well as the technology sector,may have opportunities to enhance innovation through even greater co
245、llaboration.Arts organisations could,for example,collaborate to develop cutting-edge digital tools to catalogue the collections of museums around the world and to help people engage with them virtually.Or they might explore ways to establish a common framework for using blockchain technology to prot
246、ect intellectual property or to develop techniques for creating highly personalised user experiences.In all these examples,the sharing of resourcesand costscould speed a projects development.Arts educators too would have an important role to play by working with innovators to inspire their students
247、and to equip them with the tools they need to begin innovating themselves.Third,arts organisations could work together to scale up their impact on society.Several of them in a community or region might join forces to achieve a bold ambitionperhaps improving the wellbeing of a meaningful number of re
248、sidents over five years or contributing to the creation of a more prosperous and attractive community.The pioneers of successful programmes could share their knowledge with other organisations and perhaps form pan-regional groups.With greater scale,arts organisations would be in a better position to
249、 realise their ambitions by drawing in partners and support from beyond the artstechnology companies or organisations in the health or the social-care sectors,for example.New funders that typically would not support an individual arts organisation might be inspired to invest in efforts to pursue a b
250、old societal ambition through the arts.They might even consider making longer-term funding commitments.Local public bodies and businesses in a region or community might sign up,toosome,perhaps,contributing their expertise to help arts organisations develop new capabilities in areas such as impact me
251、asurement,technology,or real estate and infrastructure management.Many do so already.This report has explained the achievements of the UK arts sector,how those achievements are sustained,and how they could reach still greater heights.The result could be more high-quality art in all its forms.Lets no
252、t forget how that can contribute to strengthening the economy,improving the health and education of individuals,and creating more cohesive communities.The arts have the power to affect both lives and livelihoods.The research is independent and the views expressed entirely McKinseys own.46The arts in
253、 the UK:Seeing the big pictureAbout the authorsJonathan Deakin is a partner in McKinseys London office,where Tom Meakin and Tunde Olanrewaju are senior partners;Van Nguyen is an alumna of the London office.AcknowledgementsThe authors wish to thank the many experts and leaders in the UK arts sector w
254、hose input helped inform this article(including our analysis and methodologies),as well as McKinseys Verity Bligh,Emily Brailsford,Isabella Cheng,Hugo Chim,Fiya Shah,and Elena Trubnikova for their contributions to this article.47The arts in the UK:Seeing the big pictureMethodology A great deal of re
255、search has been published on the UK art sectors scope and impact.Wherever possible,the insights in this report draw on existing research,supplemented by interviews with more than 50 experts and arts leaders.To assess the economic impact of the arts sector,we have used publicly available data from th
256、e Office for National Statistics(ONS)for the Standard Industrial Classification(SIC)codes that match our definition of the arts sector.That definition,and therefore the choice of SIC codes for aggregating economic-impact figures,broadly matches the Department for Culture,Media,and Sport(DCMS)definit
257、ion of the arts and culture sector,with small differences.For example,our definition does not include heritage,whereas DCMS includes this for the cultural sector.Given our ecosystem approach to analysing the arts sector,we include those aspects of higher education relevant to the arts,whereas DCMS d
258、oes not.In a small number of cases,only part of one SIC code is relevant for our definition of the arts sector.In such cases,we estimate the share of the SIC code attributable to that sector and apply this share to any economic metrics for that specific SIC code.For example,to estimate the gross-val
259、ue-added(GVA)contribution from higher education in the arts,we start from the GVA for the higher-education SIC code,which includes arts and non-arts organisations,and take only the share of this GVA that corresponds to arts organisations,estimated to be the same share as the proportion of students e
260、nrolled in arts-related courses versus overall student enrolment numbers.If published data exists only for 2021 or earlier,our new analysis typically estimates the 2022 figures by taking historical data for the SIC codes matching our definition of the arts sector and projecting this data forward to
261、2022 using the appropriate metric.These are examples:Estimates of 2022 gross value added are projected using nominal GDP growth.Estimates of 2022 employment are projected using full-time employment growth for the full economy.Estimates of the total number of arts enterprises in 2022 are projected us
262、ing growth in the total number of UK businesses.In addition,the report estimates the proportion of the not-for-profits total funding from earned or commercial income and from philanthropy and public bodies by using 201920 and 202122 data from the Arts Council England,the Arts Council of Northern Ire
263、land,and Creative Scotland.Equivalent data from the Arts Council of Wales is not available.The report also estimates the number of arts enterprises in the major cities of the United Kingdom by using ONS data on the number of enterprises by industry(SIC codes)across parliamentary constituencies.All d
264、efinitions and methodologies used in this report represent just one approach among many legitimate ways to define and analyse the sector.Our report makes no claim to be comprehensive or more correct than other approaches.48The arts in the UK:Seeing the big picture1 Participation Survey,JanuaryMarch
265、2023,Department of Culture,Media,and Sport(updated July 20,2023).2 E.Michopoulou et al.,Reimagining where we live:cultural placemaking and the levelling up agenda,UK Parliament,2022.3 McKinsey analysis,based in part on the Annual Business Survey(June 2022 release)of the Office for National Statistic
266、s.4 Department for Culture,Media,and Sport(DCMS)monthly GVA estimates are official statistics in development,estimating the contribution of DCMS sectors to the UK economy as measured by GVA.These estimates tend to be volatile and are revised regularly.They are an indicator of trends and are more eff
267、ective at estimating change over time than as definitive figures.5“GDP output approachlow-level aggregates,”Office for National Statistics(updated November 10,2023);“DCMS and digital economic estimates:Monthly GVA(to September 2023),”Department of Culture,Media,and Sport,November 15,2023.6“Music exp
268、orts,”UK Music.7 Clare McAndrew,The Art Market 2022,UBS,2022.8“QS World University Rankings by subject 2023:Art&Design,”2023.9 Reimagining where we live.10 Participation Survey,JanuaryMarch 2023.11 Covid-19:Impact on the UK cultural sector,House of Lords Library,September 4,2020.12 Evaluation of the
269、 Cultural Recovery Fund,Ecorys,Ipsos UK,and BOP Consulting,July 4,2022.13 Participation Survey,JanuaryMarch 2023.14 Christian Krekel and George MacKerron,“Back to Edgeworth?Estimating the value of time using hedonic experiences,”LSE Centre for Economic Performance,Discussion Paper 1932,July 2023.15“
270、Ten years of free museums,”Department for Culture,Media&Sport,November 29,2011.16 McKinsey analysis,based in part on the Business Register and Employment Survey of the Office for National Statistics(2021 revised release).17 McKinsey analysis,based in part on the Annual Business Survey of the Office
271、for National Statistics(June 2022 release).18“BBC:Departmental Overview 202223,”National Audit Office,October 2023.19 Research into the classical music ecosystem,BOP Consulting,report for the BBC,May 2022.20 McKinsey analysis,based in part on the Business Register and Employment Survey(2021 revised
272、release)and the dataset for“All self-employed by industry sector:People”(February 2023 release),both from the Office for National Statistics.21“Understanding changes in self-employment in the UK:January 2019 to March 2022,”Office for National Statistics,July 6,2022;“Full-time and part-time employmen
273、t,”GOV.UK,September 9,2022.22 McKinsey analysis,based in part on the Annual Business Survey(June 2022 release)of the Office for National Statistics.23 Reimagining where we live.24 McKinsey analysis,based in part on the Annual Business Survey(June 2022 release)of the Office for National Statistics.25
274、“GDP output approach.”26 Daisy Fancourt and Jessica K Bone,Arts,Culture&the Brain:A literature review and new epidemiological analyses,Arts Council England,January 2022.27“Taking part in the arts could help build childrens self-esteem,new study finds,”UCL Centre for Longitudinal Studies,May 30,2019.
275、28“Key research findings:The case for cultural learning,”Cultural Learning Alliance,2017.29 Annual report 2018/19:Creative learning through the artsan action plan for Wales,Arts Council of Wales.30 Endaf Griffiths and Dyfan Powel,Evaluation of the creative learning through the arts programme,Report
276、4,Wavehill Social and Economic Research,April 11,2020.31 Arts,Culture&the Brain.32 Ibid.33 J.K.Bone et al.,The impact of arts and cultural engagement on population health:findings from major cohort studies in the UK and USA 20172022,UCL Social Biobehavioural Research Group,March 2023.34“Commission b
277、rings evidence-based research and recommendations for effective dementia care using music-based interventions,”International Longevity Centre UK,January 18,2018.35 Manuel Joaqun Machado Sotomayor et al.,Music Therapy and Parkinsons Disease:A Systematic Review from 20152020,National Library of Medici
278、ne,November 2021.36“Comprehensive model of personalised care,”NHS England.37 Nicola Kay,James Sanderson,and Rich Watts,“Universal personalised care:implementing the comprehensive model,”NHS England,January 2019.38“Music and Health:15 years supporting recovery and wellbeing through music,”Royal Liver
279、pool Philharmonic.39 Creative health:The arts for health and wellbeing,All-Party Parliamentary Group on Arts,Health and Wellbeing,July 2017.40“Our story:Transforming communities through shared creative experiences,”ArtsEkta,2023.41 Sina Rezaei et al.,“Using visual arts education and reflective pract
280、ice to increase empathy and perspective taking in medical students,”Association of American Medical Colleges,September22,2023.42“Key research findings:the case for cultural learning.”43 Ibid.Endnotes49The arts in the UK:Seeing the big picture44 Laura Caulfield,Final Evaluation of the Artist in Resid
281、ence at HMP Grendon,Bath Spa University School of Science,Society and Enterprise,August 2014.45 Kate Gee et al.,“Arts engagement supports social connectedness in adulthood:Findings from the HEartS Survey,”BMC Public Health,June 24,2021.46 Edinburgh Festivals 2015 Impact Study,BOP Consulting,report f
282、or Festivals Edinburgh,July 2016.47“High Streets heritage action zonescultural programme,”Historic England(accessed October 26,2023).48“New report evidences the positive impact of ten years of the Hepworth Wakefield,”Hepworth Wakefield,October 12,2021.49“Seamus Heaney Centre wins award,”Belfast Tele
283、graph,October 6,2017.50 Economic and Social Impact Assessment of The Southbank Centre,Hatch Regeneris,August 2020.51“The Haigh Hall Masterplan,”Wigan Council Webpage(accessed October 26,2023).52 Geoffrey Crossick and Patrycja Kaszynska,Understanding the Value of Arts&Culture,Arts and Humanities Rese
284、arch Council,March 2016.53 Francisco Salazar,“Sandy Powell&other film costume designers who have also worked in opera,”OperaWire,March 20,2017.54 Alexandra Albert et al.,Publicly-funded arts as an R&D lab for the creative industries?A survey of theatre careers in the UK,Creative and Cultural Industr
285、ies,The National Skills Academy,January 2013;Stage Directors 2023 Census,Stage Directors UK,2023.55“Kiss&Cry Collective:Cold Blood,”Barbican,2020.56“Kiss&Cry,”Astragales.57 McKinsey analysis,based on public announcements from BAFTA and other sources.58“Film,TV and theatre adaptations of books attrac
286、t more revenue,viewers,and critical acclaim,”Publishers Association,July 10,2018.59 Dean Talbot,“Impact of book publishing on film industry,”WordsRated,February 23,2023.60 McKinsey analysis,based in part on the Arts Council Englands Annual Funding Survey(2019),Creative Scotlands Annual Review of Per
287、formance 2019/20(2020),and the Arts Council of Northern Irelands Annual Review201920(2020).61 Ingenious,June 2021.62“National Portfolio Organisations 201822,”Arts Council England(updated April 1,2021).63“Finding,nurturing and growing the UKs next generation of creative talent,”Channel 4,January 2023
288、.64“Shepperton Studios Community Fund launches to support youth and community development within Spelthorne,”Shepperton Studios,January 4,2022.65 Anny Shaw,“Tracey Emin sells new work for 2.3m at Christies and will use the money to fund her new art school,”Art Newspaper,October 14,2022.66“About us,”
289、National Youth Theatre.67 Publicly-funded arts as an R&D lab for the creative industries?68 Ibid.69 Douglas Mayo,“Six musical will move to Vaudeville Theatre,”,July 16,2021;Will Longman,“National Theatres The Lehman Trilogy to transfer to the West End,”London Theatre,February 16,2022.70“Matilda Hist
290、ory,”Royal Shakespeare Company.71“Regional and national archives,”British Film Institute.72 Simon Stephens,“V&A to create David Bowie centre after acquiring archive,”Museums Association,February 23,2023;V&A.73“About legal deposit,”British Library.74 McKinsey analysis,based in part on the dataset for
291、 UK Business:activity,size,and location,Office for National Statistics(September 2023 release).75 Josh Siepel et al.,“Creative radar:Mapping the UKs creative industries,”Creative Industries Policy and Evidence Centre,November 19,2020.76 Tate.77 Annual Report April 2019March 2020,Scottish Opera,Decem
292、ber 2020.78“Hayward Gallery Touring,”Southbank Centre.79“Good,”National Theatre Live.80“Engaging young people,”Gloucester Culture Trust;Roundhouse.81 Ibid.82“Doncaster:Award-winning teacher training,”Royal Opera House,2022.83“Turner Contemporary appoints new director:Clarrie Wallis,senior curator of
293、 contemporary art(British)at Tate,”Turner Contemporary,September 24,2021.84“Tate St Ives Director,”Tate.85“Simon Wallis awarded OBE in Queens Birthday Honours List,”Hepworth Wakefield,June 12,2015.86 Craig Simpson,“One-third of National Theatre productions are produced by local theatres outside Lond
294、on,”Telegraph,June 4,2021.87 Salvatore Di Novo and Eliza Easton,“A new deal for arts funding in England?,”Creative Industries Policy and Evidence Centre,January 12,2023.88 Liverpool City Council blog,“How Liverpool came together to deliver Eurovision,”blog entry by Darren Henley,October 27,2023.89 B
295、urberry Inspire:Celebration report 2018-2022,Burberry,2022.90“Celebrating creative partnerships,”Arts&Business Northern Ireland.91“Manchester International Festival 2021,”Manchester City Council,November 17,2021.92“Culture drives impact:The Norfolk and Suffolk Culture Board manifesto,”Suffolk County
296、 Council,2022.93 Sylvia,SubMotion Productions,2020.94 Creative industries sector vision:A joint plan to drive growth,build talent and develop skills,Department for Culture,Media&Sport,June 20,2023.95 Gross Value Added(Average)at Basic Prices:CP SA m,Office for National Statistics(updated September 2
297、9,2023).50The arts in the UK:Seeing the big picture96“DCMS and digital economic estimates:Monthly GVA(to September 2023).”GVA estimates are official statistics in development,estimating the contribution of DCMS sectors to the UK economy as measured by GVA.These estimates tend to be volatile and are
298、revised regularly.They are an indicator of trends and are more effective at estimating change over time than as definitive figures.97 Gross Value Added(Average)at Basic Prices:CP SA m.98“Economic estimates:Employment in DCMS sectors and digital sector,April 2022 to March 2023,”Department for Culture
299、,Media&Sport and Department for Science,Innovation&Technology(updated October 25,2023).99“Browse our subjects,”University of the Arts London;“Programme finder,”Royal College of Art.100“From the collections,”Victoria and Albert Museum.101“DCMS and digital economic estimates:Monthly GVA(to June 2023).
300、”102“10 incredible examples of VFX from MPC,”Creative Bloq,September 17,2013.103 Jess Cartner-Morley,“Burberry joins forces with Henry Moore as label becomes a creative force,”Guardian,February 20,2017.104 Lauren Cochrane,“Well put together:the style legacy of lovers rock,”Guardian,November 20,2020.
301、105“Alexander McQueens Process is a reinterpretation of the maisons pre-autumn/winter 2022 collection,”Vogue,June 13,2022.106 Statistical Yearbook,British Film Institute,2023.107 Helen OHara,“How London became the VFX capital of the world,”Time Out,September 20,2019.108”Foundry,”Foundry Visionmonger
302、s,2023.109 McKinsey analysis,based on public announcements,planning applications,and other sources.110 Stuart Jeffries,“Anything could happen:Inside the worlds first virtual reality opera,”Guardian,May 4,2021.111“Understanding the London+visitor,”London&Partners,2014.112 McKinsey analysis,based in p
303、art on The contribution of the arts and culture to the national economy,a report by the Centre for Economics and Business Research for Arts Council England(May 2013)and the dataset for Travel trends:2022,Office for National Statistics(May 2023 release).113 Edinburgh Festivals Impact Study 2022,BOP C
304、onsulting,report for Festivals Edinburgh,June 2023.114 Building the value of tourism,Tourism Northern Ireland,2019.115 How the world views the UK2022,VisitBritain,November 2022.116“Global Power City Index 2022,”Mori Memorial Foundation,December 2022.117 Steve Wright,“Australia-UK orchestra exchange
305、announced,”BBC Music Magazine,November 30,2022.118 Integrated Review Refresh 2023:Responding to a more contested and volatile world,GOV.UK(updated May 16,2023).119 Future of Jobs Report 2023,World Economic Forum,April 30,2023.120 New vision for education:Unlocking the potential of technology,World E
306、conomic Forum,2015.121“QS World University Rankings by subject 2023:Art&Design.”122“RCA collaborates with Imperial College Business School to launch Wicked Acceleration Labs,”Royal College of Art,June 2021.123“Corporate training from the UKs biggest improv school,”Hoopla Impro,2023.124“Training,”The
307、 Old Vic,2023;“Theatreworks,”National Theatre,2023.125 Zina Cole,Ben Mathews,Richard Steele,and Loc Tallon,“The art of data:Empowering art institutions with data and analytics,”McKinsey,May 10,2023.126 Mohammed Haque,Jack Philips,and Harman Sagger,Valuing culture and heritage capital:A framework towards informing decision-making,UK Department for Media,Culture,and Sport,January 21,2021.51The arts in the UK:Seeing the big pictureCopyright McKinsey&Company Designed by McKinsey Global PublishingIllustrations by Brian StaufferMcK