An Chomhairle Ealaíon An t-Ochtú Tuarascáil Bhliantúil is Fiche, maille le Cúntais don bhliain dar chríoch 31u Nollaig 1979. Tíolacadh don Rialtas agus leagadh faoi bhráid gach Tí den Oireachtas de bhun Altanna 6 [3] agus 7 [1] den Act Ealaíon 1951. Twenty-Eighth Annual Report and Accounts for the year ended 31st December 1979. Presented to the Government and laid before each House of the Oireachtas pursuant to Sections 6 [3] and 7 [1] of the Arts Act, 1951. Cover Illustration: Lower left-hand panel from the stained-glass window Eve of St. Agnes by Harry Clarke from the exhibition seen at the Douglas Hyde Gallery and the Craw ford Municipal Gallery. Reproduced with the kind permission of the Municipal Gallery, Dublin.

An Chomhairle Ealaíon

Members James White, Chairman Kathleen Barrington Brian Boydell Máire de Paor Andrew Devane Bridget Doolan Dr J. B. Kearney Hugh Maguire Louis Marcus Seán Ó Tuama Staff

Director Colm Ó Briain Drama & Dance Officer Arthur Lappin

Literature and Film Officer David Collins Donald Potter Music Officer Marion Creely Nora Relihan

Visual Arts Officer Paula McCarthy Michael Scott Education Officer Adrian Munnelly Richard Stokes

Finance Officer David McConnell Administration Officer David Kavanagh Secretarial Assistants Veronica Barker

John Brogan Colette Waters Patricia Callaly Dr T. J. Walsh Deirdre Coghlan James Warwick

Receptionist Kathryn Cahille 70 Merrion Square, Dublin 2. Tel: (01) 764685.

An Chomhairle Ealaíon An Chomhairle Ealaion/The Arts Council is an independent organization set up under the Arts Acts 1951 and 1973 to promote the arts. It operates through a wide-ranging programme of financial assistance and special services, offered to both individuals and organizations. The Council also acts as an adviser on artistic matters to the Government and Government Departments and is one of four bodies which have a statutory duty to make representations to planning authorities in connection with applications for planning permission in areas of special amenity throughout the country. The Council consists of a board of not more than seventeen members appointed by the Taoiseach. The present board was appointed in December 1978 and its term of office will expire in 1983. The board meets about ten times a year to set Council policies and make decisions within the terms of the Arts Acts. These policies and decisions are implemented by a staff headed by a Director, appointed by the Council. The Council reports to the Oireachtas through the Taoiseach and its accounts are audited by the Auditor General. Annual grants from the Oireachtas are the Council's main source of income. These grants are supplemented by income from local authorities and private organizations and the Council also administers a number of trust funds, set up privately for specific purposes. The arts are defined in the Arts Acts and include: The Visual Arts (painting, sculpture, architecture, print-making, design); The Performing Arts (theatre, dance, music, opera); Literature; Film; Crafts.

Chairman's Introduction By far the most significant development in state support for the arts during 1979 was major provision for capital projects. The Minister for Finance, following consultation with the then Taoiseach Jack Lynch, T.D., including in the budget an additional £0.5 million for the Council. This enabled us to address, for the first time, the very serious need which had arisen for renovations to buildings serving the arts. For this very important advance, and for the wonderful support for the arts which he gave as Taoiseach, my colleagues and I are deeply grateful to Mr Lynch and wish him well in his retirement. In spite of considerable change in the status of the arts in Ireland over recent years much still remains to be done. This was emphasised by a report published during the year by a French magazine. Le Point carried out a survey of West German, French, British and Italian views on various aspects of their EEC partners. This revealed that the Irish were considered the least cultured and least interested in the arts of all the peoples of the European Community. There is no reason to believe that this view of Ireland is very much different in other European countries. A vital and committed policy for the arts is required, not merely as an international showpiece, but as an essential ingredient of our self-respect as a civilize nation. This report covers the activities of the present Council in its first year of office. We are determined that the four years ahead of us will see the realisation of such a policy. As 1979 ended we welcomed the appointment of Charles J. Haughey T.D. as Taoiseach. His knowledge of, and enthusiasm for, the arts are well known and we are confident of his encouragement in the work that lies ahead of the Council.

James White, Chairman.

Juno and the Paycock, with Siobhan McKenna and Fidelma Cullen, for the 75th anniversary of the Abbey Theatre.

Report The dramatic increase in the funds available to the Arts Council — £2.34 million in 1979 as compared with £1.65 million in 1978 — gave the opportunity for the first time to take action in relation to the improvement and maintenance of arts buildings, principally theatres. Inflation and growing deficits since the early seventies meant that Arts Council grants could only meet day-to-day costs of arts organisations, and in many cases fell far short of those costs. No funds could be set aside for capital works and the deterioration of some theatres was causing considerable concern. A special grant was now possible for the renewal of equipment at the Abbey Theatre and Cork Opera House. In addition support was given to the Olympia Theatre Restoration Fund. The Wexford Theatre Royal was assisted with major renovation, the Irish Ballet Company bought premises for its new headquarters and rehearsal studios and the Project Arts Centre acquired the ownership of its present building in Dublin. 1979 saw the achievement of a full-time continuous schedule of productions by the Irish Theatre Company. Since its establishment in 1975 the company had been constrained by lack of funds to mounting productions on a seasonal basis. The resources for continuous tours of productions was provided as part of the Council's commitment to a greater emphasis on the arts outside Dublin. The agreement in advance for performances in Northern Ireland was also an important element in this development. Bliain thábhachtach a bhí ann don dhrámaíocht i nGaeilge mar gur tháining toradh ar an gcomh oibríu idir Bord na Gaeilge agus an Comhairle ar an ábhar seo. Do chuir an dá eagras deontas ar fáil chun complachta gairmiúil a bhunú i mBaile Átha Cliath. Aisteorí an Damer is ainm don complacht toisc go bhfuil sé suíte sa sean-Damer. Ba í an chéad chéim dramaí a h-ullamhíodh i gceardlann aisteoireachta a chur ar taisteal ar fud na tíre. Cuireadh cóiriú ar an Damer féin agus san Fhómhar cuireadh tús leis an dara chéim nuair d'oscail Carolan, dráma nua scríofa le ceol ag Eoghan Ó Tuairisc; do chuir an léiriú sin tús le séasúr leanúnach cúig mhí de dhramaí Gaeilge, rud nach raibh ann riamh cheana. Tá deachrachtaí fé leith ag baint le cuspóir den tsaghas seo agus beidh a thuille díobh nuair a dhúnfar an amharclann i 1980 de bhárr scéime le forbairt tógála sin na Faiche Stiofán. Tá súil ag an chomplacht go leanfaidh tréimhse thrialach le drámaí in amharclanna eile go deire 1981 nuair a bheidh an Damer féin ar fáil arís. Tá an Chomhairle an-bhuíoch do Bhord na Gaeilge as an chabhair agus tacaíocht atá a thabairt acu duinn ar an gceist seo. The Council's excellent working relationship with the Arts Council of Northern Ireland was considerably developed during the year and the more efficient use of resources implicit in sharing was of considerable benefit to both Councils and to the arts throughout the island. Exhibitions were exchanged, the Irish Ballet Company as well as the Irish Theatre Company travelled north and the Ulster Orchestra performed in Kilkenny at the first of a series of concerts in the south. In literature a substantial number of publications were jointly funded by both organisations. The two Councils have established a pattern of holding one joint meeting annually at which co-operative problems and proposals are discussed. At its 1979 meeting a joint sub-committee to consider the Councils' role in relation to UNESCO was established, An example of the joint work being undertaken by the two Councils is the Tyrone Guthrie Centre at Annagh-ma-Kerrig, Co. Monaghan. Annagh-ma-Kerrig, which was the home of Sir Tyrone Guthrie, was finally transferred to the Arts Council by the Minister for Finance and its conversion into an artists residence, in line with Sir Tyrone's will, will commence shortly. An independent company to administer the Centre has been established, its board appointed by the Council and the Arts Council of Northern Ireland. Early in 1979 the Council published the recommendations of a working party of distinguished experts on The Place of the Arts in Irish Education. The most important recommendation suggests setting up within the Department of Education a special committee to co-ordinate development in arts subjects. It is a considerable disappointment to the Council that no formal response had been received from the Department of Education a year after publication.

The Council will continue to highlight the shameful condition of the arts in our school system. The Council also received the completed report on the Living and Working Conditions of Artists which it had commissioned from Irish Marketing Surveys Ltd. The results of the survey, though not unexpected, make depressing reading. Artists, creative and inter- pretative, find it difficult to make a living at their chosen profession. Many have regular periods of unemployment. Most must take other non-art-related jobs to make ends meet. Very few have any savings and only one-third have any pension arrangements made. It seems that the benefits of rapidly expanding arts activity are not yet being passed on to those primarily responsible for the creation of art. Negotiations with Bord Fáilte during 1979 led to an agreement for the transfer to the Arts Council of responsibility for those arts organisations which had been receiving Bord Fáilte Funds. The Bórd felt that the organisations involved could best be dealt with by a body with arts rather than tourism expertise. These organisations represent a wide cross-section of the arts in scale, location and artistic activity. Bord Fáilte had been giving grants to a total value of £150,000 per annum to these organisations but had been unable to increase the level of grants for the past three years. The normal method of Arts Council subvention is an outright grant against the deficit incurred in an arts activity. In some instances the offer of a guarantee against loss to a certain maximum figure is a more appropriate method of assistance. A third procedure has now been adopted in relation to activities which may eventually result in a profit to the organisers - an interest-free loan. Such loans have been particularly successful in assisting publishers to undertake large print-runs of novels or short stories; they have also been provided to ease cash-flow difficulties and to purchase equipment. It is the Council's practice to provide loans only when there is a real possibility of repayment within a three year period or less and to insist on appropriate security for the loan which is registered with the Companies Office. During 1979, as part of its programme of information and research, the Council published Find Your Music, a compilation of information about musical activities of every conceivable kind throughout the country. The book was compiled by Dinah Molloy and is on sale in bookshops throughout the country. Dinah resigned her post as Music Officer with the Council during the year to live in London following her marriage. Her work on behalf of the Council was greatly appreciated and it is hoped that her energies will continue to be available to the Council in creating opportunities in Britain for Irish musicians. Marion Creely, a singer and teacher, was appointed as Music Officer and the new post of Drama and Dance Officer was taken up by Arthur Lappin whose background is one of banking and amateur drama. Ciarán Benson, having completed his excellent report on The Place of the Arts in Irish Education took up an appointment with University College Dublin and was succeeded by Adrian Munnelly as Education Officer. Adrian was previously managing the Castlebar Education and Exhibition Centre.

The Visual Arts Centre, a co-operative studio for young artists

Visual Arts The emphasis of the Council's Visual Arts policy continues to be on the funding of exhibitions. This serves two purposes. The Council's own touring exhibitions bring exhibitions of a reasonably high standard to smaller towns throughout the country which might not otherwise have the opportunity to see works of contemporary painting and sculpture. The Council also funds a number of annual open exhibitions which provide a first opportunity to many young visual artists to show their work. The Council toured Landscape, Then and Now, an exhibition of landscape paintings assembled by the Council, Hajek, an exhibition of photographs and silk-screen prints of work by Otto Hajek the German artist and Robert Ballagh, an exhibition of the artists politically inspired work in the decade 1968 - 1978 which was assembled by the artist and by Declan McGonagle of the Orchard Gallery in Derry. The practice of exchanging exhibitions with the Arts Council of Northern Ireland continued. Irish Mythology in Contemporary Sculpture which toured the south in 1978 was taken north and three exhibitions from the north toured some venues in Donegal, Sligo and Monaghan. The work of the Douglas Hyde Gallery, which is part-funded by the Council, has meant that the Council no longer mounts its own retrospective exhibitions of Irish artists. In 1979 the Douglas Hyde mounted retrospectives of the work of Micheal Farrell and Harry Clarke. These, and also an exhibition of the prints of M. C. Escher which had been shown in the Gallery, were toured by the Arts Council to the larger venues around the country. Six open annual or biennial exhibitions were supported by the Council in 1979. The Independent Artists Exhibition was generally regarded as a good exhibition and an improvement on recent years. The organisers had invited some well-known foreign artists to exhibit and had commissioned pieces from five Irish sculptors. These innovative moves, as well as the high standard of work shown, made the show one of the more notable exhibitions of the year. The Claremorris Art Exhibition is a comparative newcomer which, has, through the energy and enthusiasm of its committee, rapidly established its reputation. These activities— touring exhibitions and open exhibitions — have been the mainstay of the Arts Council's policy approach in the visual arts for some time. Recently however, there has been a significant move in favour of activities more immediately relevant to the individual artist. An opportunity to considerably expand the available facilities in print-making arose as a result of a proposal to convert the Black Church, on the north side of Dublin, into a print-making studio and discussions with the print-makers concerned are taking place. Also, the Council provided a small grant to a group of young artists in Dublin who had set up a co-operative studio for themselves. The main thrust of the Council's support for individual visual artists remains the bursary scheme. Thirteen visual artists received bursaries or scholarships. Michael Warren, the sculptor, was awarded the Macaulay Fellowship. Two major post-graduate awards were made to allow Andrew Folan and Margaret Gillan to take up places in the Slade College, London. Eilis O'Connell was assisted to buy specialised equipment for her metal sculptures and Bob Mulcahy travelled to a stonecarving seminar in Japan. Bursaries £ Michael Ashur 400 John Carson 500 Michael Coleman 1,000 Seamus Coleman 500 Andrew Folan 6,000 Margaret Gillan 3,000 Frank Hallinan Flood 1,000 Ciaran Lennon 400 Bob Mulcahy 600 Eilis O'Connell 1,000 Michael O'Sullivan 750 Camille Souter 1,000 Macaulay Fellowship in Painting Michael Warren 2,500 18,650

Sally Houston: Landscape Revealed

Council Exhibitions £

Contemporary Yugoslav Art 2,654 "The Delighted Eye" (preliminary expenses) 1,187 Trade Union Banners (1978) 3,873 Ulster Museum 1,326

Touring Exhibitions

Escher 1,507 Galway Arts Festival 469 Irish Mythology in Contemporary Sculpture 3,001 Micheal Farrell 251 The Artist Looks at Landscape 2,739

Sundry 1,829 18,836 Grants £ Art About Ireland 3,667 Association of Print Workshops 200 Claremorris Art Exhibition 1,750 Crawford Municipal Gallery, Cork 180 Douglas Hyde Gallery 22,252 Figurative Image 500 Exhibition of Drawers 700 Gallery of Photography 1,000 Graphic Studio, Dublin 5,500 Independent Artists 3,800 Irish Exhibition of Living Art 2,000 Kilkenny Art Gallery Society 250 Limerick Art Exhibition 1,700 National Trust Archive 2,200 OASIS Sculpture Exhibition 5,000 Royal Hibernian Academy 1,000 ROSC 19,480 Sligo Art Gallery Society 1,200 Taispeántas Ealaíona an Oireachtais 2,100 Touring Theatre of Pneumatic Art 1,000 Visual Arts Centre, Dublin 500 Writers Week, Listowel, Art Committee 3,600 79,579

Joint Purchase Grants Athlone Regional Technical College 50 Cork Sculpture Park Committee 500 Crawford Municipal School of Art, Cork 1,148 Day's Hotel, Inishbofin 305 Erinville Hospital, Cork 450 Irish Management Institute 100 Kildare County Council 161 Kildare County Library 75 Kilkenny Art Gallery Society 50 Mount Temple Comprehensive School, Dublin 55 Newpark Hotel, Kilkenny 120 Office of Public Works 75 Royal College of Surgeons in Ireland 400 Trinity College, Dublin 472 University College, Dublin 375 Voluntary Health Insurance Board 1,073 5,409 Purchases for Council's Collection John Behan: Bull (Bronze) Vivienne Bogan: Paperparcel (Collage) Charles Brady: Red Desk (Oil on Canvas) Michael Coleman: Tetra (Acrylic on Canvas) Patrick Collins: Small holding on the Mountain (Oil) Patrick Connor: Janus Mask (Ceramic sculpture) Elizabeth Comerford: Haybales (Pencil and Crayon on Paper) Barrie Cooke: Burren Winter (Oil on Canvas) Jack Cudworth: Iveagh Stores, Dublin (Oil on Canvas) Micheal Farrell: Miss O'Murphy's Series (Water Colour and pencil) T. P. Flanagan: Ballymote Drawing (Drawing) Winifred Garrity: Gan Ainm (Oil on Canvas) Trevor Geoghegan: The Quiet Pool (Acrylic on Canvas) Trevor Geoghegan: The Red Ladder (Acrylic on Canvas) Tim Goulding: At his feet (Oil on Canvas) Brian Henderson: New York on my mind (Mixed Media) Sally Houston: Landscape Revealed (Metal and Leather) Roy Johnston: Permutations of Five Colour Elements Series 2. (Acrylic on Canvas) Peter Jones: The Big Catch with Dunnes Stores vest and real fish bones (Graphic) Brian King: Bones Break (Mixed Media) Brian King: Six Foot Deep (Model) Nora McGuinness: Tea Table (Gouache) Seán McSweeney: Along the shore (Oil on Canvas) Anne Madden: Alignment Diptych (Acrylic on Cotton Duck) Bernadette Madden: Towards the Night (Batik) Eilis O'Connell: Slate Box (Mixed Media) Anthony O'Carroll: Sphinx (Mixed Media) James O'Nolan: Cill Manntáin (Water Colour) Alan Robb: Residue (Acrylic on Canvas) Thomas Ryan RHA: Snowy Road at Home (Oil on Canvas) Anita Shelbourne: Landscape Patterns (Gouache) Louis Sinclair: Five Seagulls (Oil on Canvas) Manus Walsh: Musicians (Collage)

Warehouse of Irish Bookhandling Ltd.

Literature In recent years, the Council has fostered the development of a wide range of literary publishing in Ireland, and the expansion of Poolbeg Press, the Irish Writers Co-operative and the Gallery Press has led to greatly increased opportunities for Irish writers. In addition to these specialist presses, general publishers have been encouraged to expand their lists to present the work of new and established authors, with the result that Wolfhound Press, Egotist Press, the O'Brien Press and Arlen House now feature prominently in the Irish literary scene. While retaining its priorities in the area of creative literature, the Council recognises that successful publishing of novels, short stories, poems and plays depends in no small measure on a healthy publishing industry, and in 1979 the Council took a major interest in this area. C.L.É. (The Irish Publishers Association) appointed a full-time secretariat from August, with financial assistance from the Council. The Council also financed research into the Irish publishing industry, which was undertaken by students of the Faculty of Commerce in UCD and published in May 1979. The research concluded that Irish publishers were gaming an increasing share of the home market, estimated in total at about £2 million per annum, and that a co-operative marketing strategy would be required if a variety of small and medium size companies were to respond successfully to the high interest shown. In order to facilitate improved distribution for Irish publishers generally, the Arts Council has agreed to give substantial financial assistance to Irish Book- handling, a company owned and controlled by Irish publishers. The company intends offering distribution, warehousing and accounting facilities to Irish publishers in 1980, and in 1979 assistance was granted towards some of the establishment expenses involved. These initiatives are designed to develop a healthy publishing industry, within which literary publishing will flourish, both in terms of quality and marketing. Apart from the printed word, however, there are other ways in which authors and their audience can come into contact with one another and the growth of the activities of Poetry Ireland, with its country-wide series of meetings, and the Council's Writers-in-Schools programme are evidence of this. During the year thirty poets read at twenty readings organised by Poetry Ireland. Under the Writers-in-Schools scheme thirty-six writers visited fifty-two schools for a total of eighty-five visits during the school year to read and discuss their work with students. Grants £ Arlen House Press 800 Books Ireland 1,500 Cillenna Press 100 Cyphers 650 Dolmen Press 800 Egotist Press 1,450 Gallery Press 2,900 Goldsmith Press 200 Irish Bookhandling 5,370 Irish Humanities Centre 450 Irish Publishers Association 4,525 Irish University Review 1,000 Irish Writers Co-operative 4,700 O'Brien Press 1,000 Poetry Ireland 1,656 Poolbeg Press 4,500 Profile Press 400 The Belle 200 The Crane Bag 1,300 Wolfhound Press 400 Writers Week Listowel 4,000 Writers' Workshop, U.C.G. 2,000 39,901 Bursaries Leland Bardwell 4,000 James Brennan 2,000 John McGahern 5,000 Nuala Ní Dhomhnaill 5,000 Lucille Redmond 3,000 Padraig Rooney 1,000 20,000

Still from Joe Commerford's Travellers

Film The long-awaited Film Board Bill was finally published in 1979. It proposes to establish a Film Board with responsibilities for the development of the film industry in Ireland. The Bill is based on the recommendations of the A.D. Little Report which was specially commissioned by the Minister for Industry and Commerce. There has been considerably disquiet about the Bill among those involved in the film industry. For its part of the Council stated its belief that the bulk of monies available to the proposed Film Board should be made available for the development of indigenous film-making and not on large-scale foreign productions. Detailed comments on the Bill were made by the Association of Independent Producers, an organisation founded during 1979. The growth of interest in film as an art form continues to be very rapid. The Federation of Film Societies, for example, has seen an approximate doubling of the number of societies affiliated to it and has employed full-time staff, with the assistance of a grant from the Council, to cater with the increased workload. The Irish Film Theatre, established by the Council in 1977, has also been highly successful and is now one of the few arts organisations in the country which, at present, is entirely self-financing. This substantial increase in interest in film has not yet had any obvious effect on the level of support for independent film-making in Ireland. The Arts Council's Film Script Award, inadequate though it is, remains practically the only source of reasonably large-scale funding available for independent fiction-film making. The 1979 award went to Joe Comerford to assist him in making Travellers which is scripted by Neil Jordan. The film also has a substantial financial commitment from the British Film Institute. As a result of the new arrangement between Bord Fáilte and the Council (discussed in the first section of this report) primary responsibility for the funding the Cork Film Festival will rest with the Council from 1980, and extensive discussions about new structures for the Festival took place with the organisers throughout the year. Grants £ Carlow Amateur Moviemakers 75 Cork Film Festival 9,400 Dublin Cine Club 150 Federation of Irish Film Societies 6,300 Irish Film Theatre/Film Directions 500 National Film Institute 200 Script Development Awards: Tim Booth 200 Neville Presho 200 Bob Quinn 200 17,225 Film Script Award Joe Comerford £20,000

(including a contribution of £10,000 from R.T.E.

Work in progress on the conversion to a new Concert Hall of the Great Hall in UCD, Earlsfort Terrace by the Office of Public Works.

Music The provision of orchestras in Ireland is inadequate both to the needs of the audience and to the ends of talented musicians seeking employment. This is not a situation which can be resolved with any ease but 1979 saw some moves which the Council hopes will help to relieve the situation. The Council was able to give a sizeable grant to the New Irish Chamber Orchestra (NICO). The orchestra has been performing for almost eleven years with increasing success culminating in highly acclaimed tours of the USA, USSR and the Continent. Also during 1979 the orchestra was invited to perform a Bach programme, with John Beckett and the Cantata Singers, at the Henry Woods Promenade Concerts at the Royal Albert Hall in London. The orchestras flexible and open approach is probably one of the main reasons for its success and the Council's grant is designed not to interfere with this. NICO has been provided with funds to employ a full-time manager and to promote a monthly series of Chamber Music Concerts using celebrity conductors and artists. Orchestral provision will also be improved by the more rational use of existing resources which follows from co-operation with the Arts Council of Northern Ireland. The Ulster Orchestra performed to packed houses during Kilkenny Arts Week which was the first concert of a new touring scheme developed by the two Councils. Plans were made in 1979 for a full-scale tour of this kind in early 1980. Construction work on the proposed Concert Hall at Earlsfort Terrace got under way in 1979 and its eventual opening will be a major event. The Council was involved in discussions with R.T.E. which led to a joint submission to Government on the possible management structure for the Concert Hall. The dependence on dedicated amateur organisations and individuals for the continuation of classical music, which was noted in the Council's last annual report, continues to be the case. In this context the role of the Music Association of Ireland, which co-ordinates activities of many such groups, is of central importance. The MAI runs a School Concerts scheme (which is funded by the Department of Education) and a Country Concerts scheme. Its Country Concerts scheme was responsible for forty-six concerts in 1979 at venues throughout the country and with such varied artists as Charles Lynch, the Georgian Brass Ensemble and the Allegro Jazz Band Quintet. The MAI is also considering possibilities for the improvement of its services in the coming years and the idea of recruiting campaigns and some regionalisation of its structures are under active consideration. In circumstances of limited performing facilities and a shortage of professional performers the circumstances for contemporary composers are difficult indeed. It was therefore very welcome news to hear that Frank Corcoran won the Composer Fellowship of the Berliner Kunstlerprogram of the D.A.A.D. A very successful concert of his work was sponsored by the Association of Irish Composers in October shortly before he left for Berlin. The Marten Toonder Award was offered in 1979 in Music Composition and was won by John Kinsella. Fourteen individuals — four violinists, five singers, two pianists, two oboeists, a 'cellist, a flautist and a clarinetist— were awarded sums ranging from £150 to £3,600 for courses and study abroad, under the Council's scholarship scheme.

Music £ Association of Irish Composers 600 Carlow Music Club 500 Clonakilty Music Society 450 Concorde 250 Contemporary Chamber Group 500 Cork International Choral Festival 6,300 Cork Municipal School of Music 756 Cork Orchestral Society 1,450 Cork Youth Orchestra 500 Culwick Choral Society 1,100 Douglas Gunn Ensemble 700 Dublin Baroque Players 900 Dublin Chamber Music Group 214 Dublin Folk Festival 500 Dublin Orchestral Players 200 Dundalk Urban District Council 1,400 Feis Cecil, Dublin 1,500 Feis Ceoil, Sligo 500 Festival in Great Irish Houses 5,500 Festival of 20th Century Music 6,000 Galway Music Association 1,717 Henry Purcell Consort 1,043 Kilkenny Music Group 500 Killarney Bach Festival 1,500 Kinsale Music Society 100 Limerick Choral Union 600 Limerick Music Association 2,718 Music Association of Ireland 15,850 Na Píobairí Uileann 1,000 New Irish Chamber Orchestra 1,000 Newport Pro Arte 500 Portlaoise Music Club 578 Pro Musica, Cork 300 Royal Irish Academy of Music 4,000 St Patrick's Cathedral, Dublin 732 Tallaght Choral Society 365 Waterford Music Club 1,300 Westport Arts Week 198 Willy Clancy Summer School 1,400 65,221 Bursaries £ David Agnew (oboe) 200 Gerald Barry (composer) 250 Seán Bradley (violin) 500 Pauline Buckley (flute) 500 Dara de Cogan (violin) 2,400 Celia Donoghue (clarinet) 150 Geraldine Malone (aboe) 1,200 Rita Manning (violin) 3,600 Dairine Ní Mheadhra (cello) 500 Nicholas O'Halloran (piano) 300 Mary O'Hanlon (violin) 3,600 Niamh O'Kelly (singer) 2,400 Mary O'Sullivan (singer) 500 Ethna Robinson (singer) 2,400 Hugh Tinney (piano) 1,200 Marten Toonder Award to: John Kinsella (composer) 2,500 Supplementary Arts Education Scholarship Anna Caleb (singer) 215 Colette McGahon (singer) 215 £22,880

N.I.C.O. (The New Irish Chamber Orchestra).

Mari Mekler and Ennio Buoso in La Vestale at Wexford Festival Opera. Opera The audience for opera in Ireland is a particularly loyal and dedicated one. Opera, as a result, earns comparitively large and dependable box-office returns, making it one of the most cost-effective of the arts. Notable events in 1979 were the increase in activity by the Kilkenny Chamber Opera Group and the setting up of the Wicklow Opera Group indicating, as this would seem to do, an expansion of interest in opera. The Kilkenny group toured The Barber of Seville in the Kilkenny area and then brought the production to the Edmund Burke Hall in Dublin. The Wicklow group, in an enterprising choice, performed Mozart's Il Seraglio. The Irish National Opera toured more extensively, continuing to present The Bartered Bride by Smetana, a production first presented in late 1978. This brings to three the number of small-scale opera groups in Ireland (or four including the North's Studio Opera). The suggestion that these groups should co-ordinate their activities to some degree, particularly in the area of facilities such as lighting would seem a useful one to pursue in the future. The Dublin Grand Opera Society and Wexford Festival Opera continued the success of previous years. The Dublin Grand Opera Society's Winter Season concentrated on French opera and included a first performance in Ireland of Louise by Charpentier and an excellent production of Saint-Saens Samson and Delilah. That the Dublin Grand Opera Society achieved such artistic success in 1979 is a fitting tribute to the late Colonel Bill O'Kelly, founder and chairman for 38 years of the Society, whose death occured in November. Luciano Pavarotti, a tenor of world-wide reputation, gave two very popular recitals at the Gaiety in December, under the Dublin Grand Opera Society's auspices. Wexford Festival had its first season with the artistic director Adrian Slack. The 1979 season consisted of L'Amore di Tre Re by Montemezzi, La Vestale by Spontini and a witty production of the Ricci Brothers Crispino e la Comarre directed by Sesto Bruscantini who also sang the lead. Opera £ Dublin Grand Opera Society 43,000 Irish National Opera 12,600 Wexford Festival Opera 69,500 125,100

Time-Trip Orpheus, presented by the Irish Ballet Company.

Dance There has been a phenomenal growth of interest in dance over the past couple of years in Ireland. The Royal Ballet of Flanders, the Ballet Jazz de Montreal, the Dance Theatre of Harlem and the dance/mime company Penta, from Holland, have all played to packed houses in Dublin. There must be many reasons for this interest but some of the credit must go to the Irish Ballet Company in Cork which continues to be the leading dance company in Ireland. In 1979 the company travelled to America and presented their very successful dance version of The Playboy of the Western World with music by the Chieftains. They also premiered their new ballet Time-trip Orpheus at the Abbey Theatre in June. The ballet is choreographed by Domy Reiter-Soffer. The Company was, unfortunately, not able to do as much touring as in former years but they did travel to Northern Ireland where they performed in eight venues for a total of twelve nights. One of the invaluable parts of the work of the company is its collaboration with the Dublin Grand Opera Society in presenting the ballet sequences for operas. Not surprisingly, the growth of interest in dance has prompted the formation of new companies. One of these, the Dublin City Ballet Company, presented several productions in the Pavilion Theatre, Dun Laoghaire. The Council also provided some funds for the Cork Ballet Company which engages professional dancers for some principal roles. They presented Coppelia in the Cork Opera House in 1979. The Dublin Contemporary Dance Company also received some help from the Council. Only one bursary was awarded in Dance in 1979. Fiona O'Connor, who had been studying at the Brooking School in London, was awarded £2,500 to study in New York with the Dance Theatre of Harlem. Grants £ Irish Ballet Company 175,400 Cork Ballet Company 2,000 Dublin City Ballet 2,000 Dublin Contemporary Dance Company 1,300 180,700 Bursaries £ Fiona O'Connor 2,500 2,500

John Murphy, Eva Watkinson and Gerry Alexander in the ITC's production of Poker Session.

Drama The performing arts in general, and theatre in particular, consume the bulk of Arts Council subsidy. During the year under review 48% of the total funds available to the Council was spent on theatre, under-pinning employment at all levels throughout the profession. While there appears to be an imbalance in favour of the performing arts, it should be borne in mind that the percentage of subsidy to theatre has actually declined from 66% in 1976. Still, the large amounts of state funds expended in this section make it an obvious target for criticism not only by advocates of the other arts disciplines, but also by independent theatre managements who feel that they should enjoy a share of public subvention. Since 1976 the main thrust of Arts Council subsidy was aimed at maintaining the Abbey and Peacock Theatres, encouraging the expansion of the Irish Theatre Company, and providing the Dublin Theatre Festival with the facility to plan its programme in advance. At the same time, an attempt was also made to develop theatre in the regions, particularly at the Everyman, in Cork, and Druid Theatre, in Galway. However, these activities do not represent the entire theatrical life of the country. An awareness of the needs of independent managements is essential to a comprehensive theatre policy. In recent years subsidy has been granted to some independent managements, particularly through access for their productions to the Gate Theatre for six months of the year. Such productions benefit to the extent of £3,000 per week from the annual Arts Council grant to the Gate. If one adds to this the guarantees offered through the Dublin Theatre Festival some independent companies have benefited considerably, if indirectly, from Arts Council support. These indirect subsidies are rarely seen as significant, or acknowledged as such. In addition to these indirect subsidies the Council introduced in 1979 a Memorandum on Aid to Independent Managements, which evisages support for the commissioning of new Irish plays and guarantees against loss on their productions. The Memorandum also offers subvention for touring productions, and interest-free loans to assist with pre-production and equipment costs. From now on, proposals from" independent managements will be NEW IRISH PLAYS PERFORMED BY THE NATIONAL THEATRE SOCIETY. Abbey (evenings); Brian Friel: Aristocrats M. J. Molloy: Petticoat Loose Hugh Leonard: A Life Peacock (evenings): Bernard Farrell: I do not like thee Dr. Fell J. Graham Reid: The death of Humpty Dumpty Maeve Binchy: The Half-Promised Land Macdara Ó Fathartaigh: Deoraíocht An adaptation from the novel by Padraic Ó Conaire Eugene McCabe: Pull down a Horseman Gale Day Peacock (lunchtime): Hugh Can: Goodbye Sam McGuire Tony Browne: The Contrivance Leland Bardwell: Open-Ended Prescription Wolf Mankowitz: The Bespoke Overcoat Jennifer Johnston: The Nightingale and not the Lark. assessed in relation to one another, against the criteria outlined above. The first production assisted under the terms of the scheme was One Flew Over the Cuckoo's Nest for which a guarantee was offered to Noel Pearson Productions to enable the play to be brought to Cork.

Support for new productions is an essential component of the Arts Council subsidy. During 1979, the Abbey and Peacock Theatres produced no less than thirteen new Irish plays in their seventy-fifth anniversary year. The scale of operation of the Abbey and Peacock Theatres should be borne in mind when its performance is assessed. In all it presented thirty productions in 1979, playing to 70% capacity in the Abbey, and 88% in the Peacock. This level of activity could not be maintained without a large staff of actors, directors, designers and technicians, backed up with the necessary administrative facilities. The salary bill alone for the Abbey and Peacock is more than the total amount of Arts Council subsidy. An awareness of the economic realities of the theatre also helps put into perspective the performance of the Irish Theatre Company, whose primary function is theatre production outside the capital. The high costs of touring, which relate mainly to subsistence expenses while travelling, make this operation impossible to maintain without substantial subsidy. In previous years it was not possible for the ITC to operate on a year round basis, but by September '79, the company was enabled to plan a full programme of productions. This consisted of Hugh Leonard's The Poker Session, John B. Keane's Sharon's Grave, Ben Travers' A Cuckoo in Nest, and two one act plays by Joe Orton. Other shows included a theatre-in- education production of James Stephen's The Charwoman's Daughter. The ITC appointed Christopher Fitzsimon as Artistic Director in March 1979, taking over from Edward Golden, who returned to the Abbey after a year's leave of absence. Edwards/MacLiammoir Productions are in residence in the Gate Theatre for six months of the year. In 1979 their productions were Where Stars Walk by Micheal MacLiammoir, Then the Heiress by Ruth and Augustus Goetz (an adaptation from the novel Washington Square by Henry James), Captive Audience by Desmond Forristal and Enter a Free Man by Tom Stoppard. Dublin Theatre Festival was maintained at its extended level of three weeks. As noted in last years report, various recommendations exist for the improvement of the festival's artistic policy and administration. To provide for these developments, the Council made a three year commitment to the Festival, of £60,000 per annum from 1978 to 1980. As in previous years the Dublin Theatre Festival drew on a wide variety of shows from abroad, including productions by the National Theatre of Great Britain, the Royal Ballet of Flanders and Penta Theatre Company from Holland. The "fringe" consisted mainly of the Greek Theatre Guild at the Project, Doobally/Black Way by Tom McIntyre at the Edmund Burke Hall, a Community Theatre show Legs Eleven presented by a new Irish company Moving Theatre, and a Stage One production of David Mamet's American Buffalo. 1979 was a significant year for Druid Lane Theatre in Galway, which, after three years searching, succeeded in finding a suitable premises. The new theatre, in a converted warehouse, was formally opened on 19th May with a production of Brecht's Threepenny Opera, and has since presented nine other lunchtime and evening productions, including Synge's Tinkers Wedding, Wilde's The Importance of Being Earnest and a new Irish play A Galway Girl by Geraldine Aron. Ben Barnes and Michael Scott were the successful applicants for Theatre Producer/Director awards in 1979. The awards are each of two years duration and are valued at £3,000 each. Both recipients had previously directed with Dramsoc in University College, Dublin. Grants £ Abbey and Peacock Theatres 622,000 Gate Theatre 154,440 Irish Theatre Company 189,900 Dublin Theatre Festival 60,000 Amharclann an Damer 76,000 Druid Lane Theatre, Galway 16,000 Everyman Playhouse, Cork 20,700 Focus Theatre, Dublin 7,600 Gemini Productions 12,500 Noel Pearson Management 2,200 Oscar Childrens Theatre 500 Stage One Productions, Dublin 1,000 Theatre of the South, Cork 2,000 1,164,840 Bursaries £ Ben Barnes 3,000 Michael Scott 3,000 6,000

Education The Council published The Place of the Arts in Irish Education early in 1979. The report sets out to present realistic and realisable proposals for the improvement of the arts at all levels of education. The report's author resigned from the Council's staff to take up a position in U.C.D., and he was replaced in mid-July at which stage work began on the implementation of the proposals of the report. The Department of Education's initial response to the report, which had recommended ex quota specialist arts subjects advisers being employed by VECs, was to sanction the appointment of three Arts Education Organisers to operate on a regional basis. Discussions with the VECs in Mayo and Galway with regard to the establishment of a College of Music and a Department of Music in UCG were begun. Preliminary consultation took place with the Colleges of Education with regard to the possibility of points-weighting arts subjects for entry to Teacher Training. This would have the effect of increasing the interest in art subjects at second-level and providing greater expertise in arts subjects in newly qualified primary teachers with consequent beneficial effects for the arts right through the primary system. A course for teachers on visual education was run in late November, and was attended by almost twenty primary teachers from the Wexford area. Consultations also took place with the Music Colleges and the Royal Irish Academy of Music with regard to a suitable structure for the establishment of a Music Training Board which it is hoped will provide opportunities for the further training of highly talented young musicians in Ireland. An initiative with regard to training for the theatre is being considered. A curriculum research programme, concerned with childrens visual awareness, was established in two primary schools in Castlebar and Listowel. The results will be made generally available to primary teachers. An inservice course on Media and Public Relations was organised by the Council for arts administrators. Plans for further courses for the growing number of arts administrators throughout the country are being prepared. Grants £ Ballinteer Community School, Dublin 36 Ceol Chumann na n-Óg 4,050 Drama Study Circle 386 Dublin Boy Choristers Summer School 150 4,622

Danny McCarthy at work on Constructing/Approaching at the Triskel Arts Centre.

Arts Centres and Festivals The concept of the Arts Centre — one building housing all the arts in a flexible and adaptable space — would appear to be ideally suited to this country. The comparative smallness of the country would seem to favour touring and furthermore there is no shortage of artistic product, both amateur and professional, that would be prepared to take advantage of the facilities art centres can offer. The experience of the professional touring companies suggests that, given reasonably efficient advance publicity, there are substantial audiences for the arts in areas whose need for the arts is not very well catered for. Despite all this there are only five arts centres in Ireland, two of which are in Dublin. Without doubt the reason for the shortage of these most suitable venues for artistic activity is lack of money. Arts Centres need not be expensive institutions to run, by comparison with theatres for example, but the provision of premises needs a fairly large capital input. From the viewpoint of the Arts Council arts centres, on a scale similar to those existing, are highly cost-effective means of bringing the arts to a particular town or region, but it is precisely the question of premises which caused most problems for our existing arts centres during the year under review. Of the five Project Arts Centre, Dublin is by far the largest. Project has had a troubled history and the Council has been unable to match their financial aspirations. 1979 saw some innovative work but, regrettably, for a number of months the centre was closed to the public while building work was under- taken. Grapevine Arts Centre, also in Dublin, strongly emphasises its responsibilities to the community. It, too, was also out of operation for a short time, while it moved into new premises. In Cork Triskel Arts Centre, a comparative newcomer, has established a good reputation in a very short time despite its extremely cramped and in- adequate premises. Wexford Arts Centre is the only centre with adequate and secure premises, a factor which has made a considerable contribution to its success. The Council also provided funds for four arts festivals. Listowel Writers Week, as well as its programmes for writers, holds an exhibition each year which is becoming increasingly well-known, and plans to make it an international event are being considered Kilkenny Arts Week hosted a small ensemble of traditional instruments from the Peoples Republic of China, as part of its very wide-ranging programme of activities. Galway Arts Festival continues to go from strength to strength as was evident from its comprehensive 1979 programme. The Galway Arts Group is anxious to build on the success of the festival and present events on a year-round basis. Again the central problem is that of adequate premises. Grants £ Dublin Arts Festival 1,400 Galway Arts Festival 1,200 Gorey Arts Festival 3,600 Kilkenny Arts Week 2,000 8,200 Project Arts Centre 66,000 Grapevine Arts Centre 9,200 Triskel Arts Centre 5,100 Wexford Arts Centre 14,744 95,044

Community Arts The area of Community Arts involves two different, but complementary, types of activity. The first is that of professional groups who see as their primary aim the development of a special relationship with community groups. The second is the amateur arts. A great amount of amateur arts activity of all kinds takes place in every town and village. This activity is so vibrant and healthy that it sets its own pace and does not require incentives from the Arts Council. Such is the profusion of amateur arts that the Council could not become involved in general funding. Fortunately it appears that most amateur organisations are more than capable of funding their own activities. Such funds as are available to the Council are usually channelled to the national organising bodies for amateur arts. The Amateur Drama Council of Ireland and the Irish Pipe Band Association were recipients of grants from the Council in 1979. The other aspect of the Councils funding of Community Arts is that of the professional organisation which chooses to commit itself to working within the community outside the existing art structures. Some of the activities of arts centres funded by the Council would fall into this category as does TEAM Educational Theatre Company, the only theatre company of its kind to be funded by the Council. Its major productions in 1979 were Winners by Brian Friel and Jacko by John McArdle. These played in schools and community halls through-out Ireland. The company also ran workshops and collaborated with the Project Arts Centre on the production of Inner City/Outer Space. 1979 saw the first grant to community arts in Waterford with the Council's grant to Waterford Arts- for-All Project. The Council also funded a community arts organisation, Raven Arts, based in the north Dublin city suburb of Finglas. Similarly in the Dublin town of Tallaght the Council funded an umbrella group — Tallaght Arts Council — which co-ordinates that community's arts activities. Visual arts groups in Cavan, Galway and Dundalk received grants from the Council to assist them in mounting their annual exhibitions. Interest in dance in the amateur area increased and Dublin Ballet Club again received a grant for their annual production which was presented in the John Player Theatre, Dublin. The Living City Group, Dublin received a grant towards the production of its magazine City Views. Grants £ Amateur Drama Council of Ireland 150 Dublin Ballet Club 383 Dundalk Maytime Festival 60 Cavan Arts Society 295 Galway Art Club 30 Irish Pipe Band Association 300 Living City Group, Dublin 150 People 's College, Dublin 250 Pintsize Puppet Theatre, Dublin 1,250 Raven Arts Centre, Dublin 500 South Tipperary Art Group 30 Tallaght Arts Council 200 TEAM Educational Theatre 18,700 Waterford Arts for All 250 22,548

Regional Development The report, Provision for the Arts by J. M. Richards, published by the Council in 1976, proposed a plan for regionalisation of the arts by the appointment of Regional Arts Officers in the Regional Development Organisation (RDO) areas around the country. These posts are funded by the Arts Council and the RDOs but the appointees are directly responsible to the RDOs. The mid-west region, covering Limerick, Clare and Tipperary (NR) was the first to make an appointment and it was followed in mid-1979 by Galway/Mayo. The Regional Arts Officers are involved in the promotion of the arts from a regional point of view and are concerned with the development of arts activity at local level as well as arrangements for touring by groups from outside the region. By the end of 1979 a number of RDO's — Donegal, South-East (Wexford, Waterford, Carlow, Kilkenny and Tipperary [SR]) and South-West (Cork and Kerry) had decided to appoint Regional Arts Officers. Grants £ County Donegal Arts Committee 412 Galway-Mayo Regional Arts Committee 5,500 Mid-West Arts Association 4,000 9,912

Capital Grants £ Abbey Theatre 27,175 Cork Opera House 25,000 Druid Lane Theatre, Galway 5,000 Focus Theatre, Dublin 1,987 Gaiety Theatre, Dublin 25,000 Irish Ballet Company, Cork 63,665 Olympia Theatre, Dublin 50,000 Project Arts Centre, Dublin 50,100 Wexford Festival Opera 25,000 272,927

A selection of books published, with the assistance of the Arts Council, during 1979.

An Chomhairle Ealaíon ACCOUNTS for the year ended 31st December 1979 Report of the Comptroller and Auditor General I have examined the following Account and Balance Sheet which, as required by the Arts Act 1951, are in the form approved by the Minister for Finance. I have obtained all the information and explanations which I considered necessary for the purpose of my audit. In my opinion:- (a) proper books of account have been kept by An Chomhairle and the following Account and Balance Sheet are in agreement with them; (b) the Account and Balance Sheet, together with notes 1 to 10 give, respectively, a true and fair view of the transactions of An Chomhairle for the year ended 31st December 1979, and of the state of its affairs on that date. Seán Mac Gearailt, Comptroller and Auditor General 26th November 1980

Accounts INCOME AND EXPENDITURE ACCOUNT 1978 Year ended 31st December 1979 £ Notes £ £ Income 1,565,000 Oireachtas Grant-in-Aid (1) 2,340,000

18,660 Other Grants (2) 69,640 6,125 Sundry Income 21,902 2,431,542

1,589,785

Expenditure 1,413,362 Grants and Guarantees (3) 2,204,561

36,556 Other expenditure on the arts (4) 48,652 2,665 Transfer to Capital Reserve (5) 10,843

119,173 Administration (6) 136,796 2,400,852 1,571,756

18,029 Excess of Income over Expenditure for the Year 30,690

(21,648) Deficit Brought Forward (3,619) £ (3,619) Surplus at 31st December 1979 £ 27,071

Notes 1 to 10 form part of these accounts James White Chairman Colm Ó Briain Director 11th November 1980

An Chomhairle Ealaíon BALANCE SHEET AT 31st DECEMBER 1979

31/12/78 £ Notes £ £ 37,772 Fixed Assets (5) 48,615 69,517 Trust Funds (7) 70,231 16,594 Interest-Free Loans (8) 29,140 505 Prize Bonds 505 Current Assets

23,626 Debtors 54,194 – Grants paid in advance 154,300

24,132 Cash at bank and in hand – 47,758 208,494

Current Liabilities

13,678 Creditors 30,792 54,798 Grants and Guarantees outstanding 176,370

– Cash at bank and in hand (nett) 3,906 68,476 211,068

(20,718) Net Current Liabilities (2,574) £103,670 £145,917 Represented by 37,772 Capital Reserve (5) 48,615 69,517 Trust Funds (7) 70,231 (3,619) Income and Expenditure Account: Surplus 27,071 £103,670 £145,917 Notes 1 to 10 form part of these accounts. James White Chairman Colm Ó Briain Director 11th November 1980,

NOTES TO THE ACCOUNTS Note 1: Accounting Policies (i) Oireachtas Grant Income shown as Oireachtas Grant-in-Aid is the actual cash received from the Vote for An Chomhairle Ealaíon. (ii) Expenditure on office furniture, fittings and equipment is written off in the year of purchase. Note 2: Other Grants Received £ Bórd Fáilte 26,200 Bórd na Gaeilge (Amharclann an Darner) 30,000 Calouste Gulbenkian Foundation (Education Officer) 7,840 Dublin Corporation (Royal Irish Academy of Music) 4,000 Dublin Corporation (Dance Scholarship) 200 Dundalk Urban District Council (Music Scholarships) 1,400 £69,640 Note 3: Grants and Guarantees 1978 1979 Literature 22,835 39,901 Visual Arts 28,075 79,579 *Purchase of works of art 7,494 5,409 Drama 931,210 1,164,840 Dance 139,138 180,700 Music 44,075 65,221 Opera 70,200 125,100 Arts Festivals 6,500 8,200 Arts Centres 76,450 95,044 Film 17,050 17,225 Education – 4,622 Bursaries 40,680 61,969 Community Arts 17,789 22,548 Regional Development 6,000 9,912 Tyrone Guthrie Centre – 25,000 Cross-Border Touring – 27,173 Capital (See Note 9) 7,200 272,927 Less Provision for grants and 1,414,696 2,205370 guarantees in previous year not required 1,334 809 £1,413,362 £2,204,561 *Grants towards the purchase of works of art represent the Council's contribution to the cost of works of art acquired by approved bodies under the Council's Joint Purchase Scheme. The works of art may not be resold without the prior agreement of the Council and, in the event of such agreement, they shall not be resold for less than their original price, and half the sum realised shall be refunded to the Council.

Note 4: Other Expenditure on the Arts Literature £ £ Writers in Schools: Grants 5,102 Other Expenses 837 Less: 5,939 Receipts from Schools 1,771 4,168 Royalties (82) 4,086 Visual Arts Exhibitions 18,836 Sale of Catalogues (112) Exhibition Equipment 330 Exhibition Quarterly 1,538 Planning Advice 1,906 Re-sale Rights Payments 400 Nett gain on disposal of works of art (1,342) 21,556 Music "Find Your Music": Research and Printing 7,071 Less: Advertising and Sales (504) 6,567 Opera Classes 931 Sundry 173 7,671 Film "Film Directions": Expenses 10,456 Less: Sales (8,746) 1,710 Purchase of Film 658 2,368 Education Report "The Place of the Arts in Irish Education": Printing 6,233 Less: Sales (711) 5,522 Courses 603 6,125 Miscellaneous Research: "Report on Living and Working Conditions of Irish Artists" 2,596 Information: Annual Report 2,106 Bursary Schemes Expenses 2,144 6,846 £48,652 Note 5: Capital Reserve £ £ Works of art on hand at 31st December 1978 37,772 Additions 12,198 Disposals (1,355) 10,843 Works of art on hand at 31st December 1979 48,615 Note 6: Administration Expenses 1978 1979 £ £ Salaries, Superannuation and PRSI 72,898 89,520 Council and Staff Expenses 18,753 18,137 Consultants' Fees and Expenses 2,303 3,487 Office Furniture, Fittings and Equipment 4,382 5,939 Rent, Light, Heat, Insurance, Cleaning, Repairs and other House

Expenses 4,660 6,323

Printing and Stationery 3,484 Publicity, Advertising 16,177 4,039 Postage, Telephone and Sundry Expenses

} 5,867

£119,173 £136,796

Note 7: Trust Funds Assets at 31st December 1979 £ £ President Douglas Hyde Award £830.90 6% Exchequer Stock, 1980-85 840 (Market Value of Securities £540) Cash at Bank 177 1,017 W.J.B. Macaulay Foundation £26,400.00 9% Conversion Stock, 1980-82 20,546 (Market Value of Securities £22,545) Cash at Bank 2,472 23,018 New York Irish Institute Fund £1,728,74 6% Exchequer Stock, 1980-85 1,770 (Market Value of Securities £1,124) Cash at Bank – 1,770 Denis Devlin Foundation £2,600,00 9% Conversion Stock, 1980-82 2,032 (Market Value of Securities £2,220) Cash at Bank 976 3,008 Ciste Cholmcille £1,200.00 7% National Loan, 1987-92 1,030 £8,147.65 8½% Conversion Stock, 1986-88 8,099 £2,050.00 9¾% National Loan, 1984-89 2,004 £1,020.00 9¾% National Development Loan, 1992-97 1,005 £2,000.00 11% National Loan, 1993-98 1,840 (Market Value of Securities £9,506 13,978 Cash at Bank 3,140 Creditor (1,500) 15,618 Marten Toonder Foundation £4,100.00 9% Conversion Stock, 1980-82 4,021 £6,000.00 11% National Loan, 1993-98 5,583 £6,600.00 12% Conversion Stock, 1995 6,711 £5,602 Allied Irish Banks Ltd., 25p Shares 5,189 £1,150.00 Bank of Ireland Stock 3,560 (Market Value of Securities £23,325) 25,064 Cash at Bank 313 Debtor 423 25,800 £70,231 Note: Securities are shown at cost and are held in trust by An Chomhairle Ealaion.

Movement of Trust Funds Brought

forward Income Expen-

diture Carried forward

President Douglas Hyde Award 952 65 – 1,017 W.J.B. Macaulay Foundation 22,732 2,786 2,500 23,018 New York Irish Insitute Fund 1,770 104 104 1,770 Denis Devlin Foundation 2,681 327 – 3,008 Ciste Cholmcille 15,756 1,762 1,900 15,618 Marten Toonder Foundation 25,626 2,674 2,500 25,800 £69,517 £7,718 £7,004 £70,231 *Note: Income to Ciste Cholmcille includes subscription received amounting to £284. Note 8: Interest-Free Loans During 1979 six additional interest-free loans were made: Balance outstanding at 31st December 1978 16,594 Additional loans (6) 34,106 Repayments (21,560) Balance outstanding at 31st December 1989 £29,140 Note 9: Loan Guarantee The term loan made by the Bank of Ireland to Project Arts Centre in respect of the purchase of the freehold premises at East Essex Street, Dublin, was ammortised during 1979 following the payment to the Centre by the Council of a special capital grant of £43,034 (See Note 3). Note 10: Future Commitments At 31st December 1979 the Council had approved grants and guarantees against loss on various activities due to take place after that date. The amount involved £1,114,550 is not reflected in these accounts.

One Flew Over the Cuckoo's Nest, the first production assisted under the terms of the scheme of Aid to Independent Managements.

Photo Credits Pieterse Davison International, Cover Fergus Bourke, 6, 10. Kevin Coleman, 32. Joe Comerford, 16. Richard Dann, 24. ITC,26. John Kellet, 12,13,14, 18, 34, 39. Anna O'Connor, 30. Noel Pearson Productions, 43. Wexford Festival Opera, 22.