The relationship between the Arts Council and music education hubs

Transcription

1 The relationship between the Arts Council and music education hubs

2 2 The relationship between the Arts Council and music education hubs Contents Background 3 Aims of our relationship 3 Components of the funding relationship 3 The application 4 The funding agreement 4 Business plans 4 Programme of activity and budgets 5 Ongoing monitoring 6 Contact with the Arts Council 6 Relationship with staff and Board (or equivalent) 6 Appointments 7 Risk 8 Annual reporting and feedback 10 Annual reporting 10 Annual feedback 10 Where we have concerns 12 Intervention 12 If a music education hub is in difficulty 13 Appendix 14 Suggested key performance indicators core 14 Suggested key performance indicators other 15

3 3 The relationship between the Arts Council and music education hubs Background Aims of our relationship The relationship between the Arts Council and music education hubs aims to: provide an ongoing dialogue and monitoring, with a commitment to termly contact with every music education hub be a relationship that varies according to the risks to our investment produce annual feedback to music education hubs on their risks, progress, achievements and best practice develop and broker relationships in the music education sector Components of the funding relationship There are a series of components that, taken together, form the funding relationship: Annual reporting and feedback Termly contact and ongoing monitoring Business plan Grant agreement, plans and budgets Application

4 4 The relationship between the Arts Council and music education hubs The application Our funding decisions are based on the application. Applications were submitted by a lead organisation, the hub lead, in collaboration with a number of partners. Here they set out, on behalf of their partnership: their proposals for delivery of music education in their area; how they intend to demonstrate value for money; their ability to successfully manage themselves and their activity; and evidence of their track record in delivering high quality music education. The funding agreement The funding agreement (the offer letter and related terms and conditions) is a high-level agreement that sets out the terms and conditions for funding and many of these are also explained in this document. It also reflects the fact that the Arts Council is accountable to the Department for Education when distributing these funds. We will occasionally place additional requirements or conditions in funding agreements as part of our monitoring responsibilities, either at the start or during the funding period. Such changes will always be made in writing with sufficient notice. We may also agree to change funding agreements where circumstances require it. We endeavour never to change the standard terms and conditions of funding agreements without providing at least six months notice. Business plans We require all hub leads to submit a business plan on behalf of their music education hub, including a needs analysis, risk assessment, key performance indicators/milestones and financial information. Robust business planning that includes clear key performance indicators will allow hubs to establish what data and information they need in order to plan, evaluate and measure their progress and assist in gathering data to fulfil the annual reporting requirements (see Annual reporting ). In the appendix we suggest some potential key performance indicators for a music education hub. Please note that this is not an exhaustive or prescriptive list. Through the hub business plan we seek to understand the context and environment the music education hub is operating in and the goals it has set itself to achieve as a partnership. We ask for a copy of the business plan at the start of the funding relationship, with updates at the beginning of each financial year, so that we can understand and monitor music

5 5 The relationship between the Arts Council and music education hubs education hub delivery. Business plans are owned by the hub lead and should be endorsed and monitored at Board (or equivalent) level within the hub. We do not approve the business plan but we will review it to determine if the hub lead and the hub partners have assessed their risks and have appropriate mitigation plans in place. We will provide feedback to hubs where we believe necessary, and we expect to receive any updates. We have published guidance on creating a business plan, available from our website at artscouncil.org.uk/ funding/apply-for-funding/music-education-hubs which you may wish to refer to. Music education hubs that were assessed at application stage as having areas of development against some of the criteria will be required to provide additional information as part of an agreed milestone plan for improvement, for example where the core roles are not being fully delivered. Relationship managers will discuss with the hub lead and the partnership how these areas for development may be addressed in the business plan. Any such information should be readily available as an integral part of hub business planning, and therefore not an additional burden. Programme of activity and budgets On an annual basis every music education hub will need to provide a detailed programme of activity for the financial year and an accompanying budget. We have published a budget template, available from our website at music-education-hubs which you may adapt.

6 6 The relationship between the Arts Council and music education hubs Ongoing monitoring Contact with the Arts Council Relationship managers are the primary point of contact between the music education hub and the Arts Council. As well as contact and communication, their role is to lead our monitoring of hubs and to make judgments that contribute to our funding decisions. Relationship managers can be a valuable critical friend, providing feedback on the performance of the music education hub and suggesting other sources of advice and support. They do not provide legal, financial or other professional advice, and they will not tell a hub how to manage itself. The hub lead can expect to have direct contact with their relationship manager on at least a termly basis. The relationship manager will determine the requirement for contact and monitoring based upon the risks. This contact may include: a scheduled telephone conversation observing a hub Board (or equivalent) meeting a meeting for a specific purpose experiencing some of the hub s work with children and young people attending a joint meeting with other stakeholders As part of the ongoing monitoring we request Board papers (or equivalent) and financial reports from the hub lead on a quarterly basis. Relationship with staff and Board (or equivalent) We recognise that the governing structures of music education hubs will vary. We conduct most of our relationships through the relevant member of staff from the hub s lead organisation, for example the Chief Executive or lead officer. The hub lead and Board (or equivalent) is ultimately accountable for the performance of the music education hub. We assume that the Board will be proactively interested in the hub s relationship and grant agreement with the Arts Council, and that conversations about the performance of the hub will be discussed at hub Board meetings. As part of our monitoring role we will occasionally attend hub Board meetings as an observer. This enables us to provide feedback and to gain a deeper insight into the issues and development of the music education hub, and to see how decision making works and the way in which business is conducted.

7 7 The relationship between the Arts Council and music education hubs It may also be appropriate for the Arts Council to attend some hub partner meetings. Appointments The Arts Council may also be involved in making senior appointments within music education hubs. We will contribute information and comments for music education hubs to consider in decision making, but not take part in the decision itself. Hub leads should inform us of their proposed process for appointing the Chair of the Board (or equivalent), the chief executive (or equivalent), or other similar posts, and our role will vary from commenting on job descriptions through to taking part in interview panels. The reason we ask to have a role in making appointments is to help provide transparency around appointments, and, by helping to ensure strong recruitment processes for senior leaders, we fulfil our obligation to safeguard public funds.

8 8 The relationship between the Arts Council and music education hubs Risk We will use risk assessment to determine the degree of risk to hub delivery and therefore to our investment. Specifically, we will look at three areas: music education hub delivery: how well is the music education hub delivering the core and extension roles as measured by its milestones and key performance indicators (KPIs); and whether there are strong strategic and delivery partnerships in place leadership, governance and management: whether the hub leadership demonstrates an appropriate range of skills and experience; and what arrangements have been made to ensure quality, accountability and reporting within and across proposed partnerships value for money and financial resilience: the music education hub s ability to bring in additional funding (based on the quarterly management accounts); efficiencies enabled through partnership; whether resources are being used effectively; what controls are in place to ensure appropriate financial management; and whether the budget is realistic in relation to the proposed activity We reach a conclusion about the level of risk for each music education hub based on various factors: Ongoing contact Annual reporting Risk rating Board papers and accounts Evidence of excellence

9 9 The relationship between the Arts Council and music education hubs We record these risks on a quarterly basis and prioritise our relationship manager time in monitoring hubs we consider to be higher risk. We expect many of the hubs will be low risk and we use the risk level to determine whether any change in our relationship or further intervention is required (see below). High risk Immediate feedback, intervention as necessary Medium risk Feedback as necessary, increased monitoring Low risk Annual feedback, quarterly monitoring

10 10 The relationship between the Arts Council and music education hubs Annual reporting and feedback Annual reporting The Arts Council reports formally to the Department for Education on an annual basis. To inform this reporting, the lead hub will be asked to provide an annual report containing statistical data and written information relating to the activity of the music education hub. This will be submitted in October of each year with information about the preceding academic year. It will be submitted through an online form, accessible through our application portal. We expect music education hubs that cover one or more local authority areas to be able to account for their expenditure and impact in each area. However, when submitting data for our returns, we request that these figures be aggregated with the exception of figures for first access whole class ensemble tuition, which should be broken down by local authority area for reporting purposes. We will review this information to help us determine the impact of investment in music education hubs and provide each hub lead with feedback for their music education hub. In between the annual reporting, it is the responsibility of hubs to inform us of any changes to their activity or business. Annual feedback We will provide written feedback to the hub lead on at least an annual basis. This will take place in the third quarter of every financial year and will be based on the annual report provided to us and our ongoing monitoring and contact, as well as other evidence. The feedback will set out: how well we consider the music education hub to be delivering the core and extension roles, how successfully they are managing themselves and their activity, and value for money and financial resilience where we have identified risks in these areas and proposed mitigating actions We will provide feedback more immediately if we consider a music education hub to be high risk.

11 11 The relationship between the Arts Council and music education hubs Our feedback letter is not only to identify concerns. It is also an opportunity to give feedback where we believe there is good practice and encourage hubs to share such practice with peers and the sector. Feedback is intended to be constructive and a tool for continuous improvement. The feedback letter will cover at least the following elements: Hub performance and assessment of risk Monitoring plan Achievements and best practice How the hub is meeting the criteria for music education hub delivery, value for money, and leadership, governance and management, with a low-mediumhigh risk rating We will highlight any concerns and will propose the monitoring and/or intervention to be carried out by the relationship manager in the following year A statement from the relationship manager highlighting recognised achievements and best practice by the music education hub

12 12 The relationship between the Arts Council and music education hubs Where we have concerns In our role of monitoring public investment we record on an ongoing basis the potential risks facing our investment. We monitor whether we believe a music education hub s business plan is fit for purpose and if it is delivering sufficiently what it set out to do in that plan. Our ongoing contact with the hub lead will inform our judgement. Where we have cause for concern, our first step will be to give feedback and discuss this with the hub lead so we can both understand where the issues may lie. We expect the hub Board (or equivalent) to be aware of our concerns. If we consider it appropriate, we will ask the hub lead to revise its business plan or produce and agree with us a milestone plan for the music education hub in response to our concerns. We will monitor how effectively the milestone plan is put into place. We may choose to make one of the interventions set out below. In extreme cases we may decide that continued investment is not in the best interest of public funds, and will discontinue funding. We would not take such a decision lightly and would base it upon the evidence available, interventions we have made and the progress against the music education hub s milestone plan. Intervention We have a responsibility as a public funder to be accountable for the investment we make, and we believe music education hubs share that responsibility as a recipient of public funding. Sometimes hub leads will raise concerns with us and invite us to support them. Other times, where we believe there is increased risk to our investment and a music education hub s ability to deliver the outcomes of the funding agreement, we will intervene. This intervention may take many forms and will be relevant to individual circumstances. Indicatively, however, it may include: milestone plans: we may ask for and agree a milestone plan for improvement in response to concerns. Hub leads will be responsible for this plan and we will monitor its effect funding conditions: we may place additional conditions on our grant payments to ensure compliance when existing conditions or standard requirements have not been met increased reporting: we may ask for reports in writing more frequently on certain issues, to confirm that areas of concern that we have identified are being addressed

13 13 The relationship between the Arts Council and music education hubs the right to audit: we will reserve the right to audit an organisation if we have significant concerns about information presented to us, including financial information consultants: in exceptional circumstances we may ask individual consultants to provide us with detailed information about the music education hub. This may be because: we have concerns and need more information; we require specialist input; or we wish to support an organisation in its development and improvement. Consultants may be used to support any milestone plan we agree with the music education hub. We may commission the consultant jointly with the hub lead or ask for them to report exclusively to us depending on the circumstances a stakeholder review: we may seek to hold a joint review meeting with other funding partners and discuss areas of mutual interest for improvement or development withholding payment: if the conditions of our funding have not been met we may decide to withhold payment of an instalment of a grant until conditions are fulfilled. withdrawing funding: in extreme circumstances we may decide to cease funding and, in cases where there has been a breach of the terms and conditions, we may ask for repayment If a music education hub is in difficulty We know that some music education hubs may experience significant difficulty over the funding period due to financial pressures, changes in leadership or other factors. Such situations can occur and in each case we will look at the individual circumstances and the risk to our investment. If a music education hub enters a crisis, or we judge that it is not delivering what we expected in our funding agreement, we will look to the hub leadership to take responsibility for the situation. Accountability for the success or failure of the music education hub rests solely with the hub Board (or equivalent). We will expect to see strong leadership and a plan from the organisation as to how to manage the situation. The Arts Council will be as understanding of the situation as possible, and in doing so we may alter aspects of the grant agreement while the music education hub restructures.

14 14 The relationship between the Arts Council and music education hubs Appendix Suggested key performance indicators core Engagement with schools number of publicly funded primary, middle and secondary schools involved in the delivery of each of the core and extension roles, broken down into local authority-funded, academies, free schools, independent schools and others, including pupil referral units and special schools First access number of children at different key stages, broken down by: ethnicity; children known to be eligible for free school meals/children with special educational needs (schools to provide); and instrument (and by local authority where more than one area is covered) number of schools with at least one programme (one year) number of schools with at least one programme (one term) Progression: ensembles number of ensembles offered by primary, middle and secondary schools number of local area ensembles run by the music education hub partnership number of children involved in schools and area-based ensembles, broken down by key stage and ethnicity number of children known to be eligible for free school meals/children with special educational needs/disabled children number of local performances per year number of performances in regional/national events or festivals Finance income raised from schools income raised from parents income raised from other non-public sources expenditure on administrative costs

15 15 The relationship between the Arts Council and music education hubs Suggested key performance indicators other Responding to local need range of partners involved in music education hub delivery range of services not provided locally but via other hubs or national bodies where they have suitable services/expertise regularly updated needs analysis, informed by the views of parents/children/schools the needs analysis will generate locally specific key performance indicators for a hub to work to breadth of genre offered Singing/vocal strategy number of primary, middle and secondary schools with one or more choirs (that meet at least once a week, sustained beyond one term) number of primary, middle and secondary schools offering vocal tuition number of children receiving vocal tuition in school number of local area training choirs beyond school and number of children involved number of local area intermediate and advanced choirs beyond school and number of children involved Progression: group/individual tuition number of children receiving instrumental and vocal tuition following one year of first access, broken down by ethnicity breakdown of instruments and standards across this group external examinations data number of children known to be eligible for free school meals/children with special educational needs/disabled children Progression: Music and Dance Scheme and National Youth Music Organisations number of applications to the Music and Dance Scheme, and how many successful number of applications to a National Youth Music Organisation, and how many successful Curriculum support number of schools buying in a programme for at least one term number of schools buying in a programme for one year

16 16 The relationship between the Arts Council and music education hubs number of teachers benefiting from (a) professional development courses and (b) ongoing training in the classroom provided or contracted via the hub Hire scheme number of individuals hiring instruments number of remissions (looked after children/children known to be eligible for free school meals/children with special educational needs/disabled children) Impact statements impact statement (provided by hub): large-scale performances and events impact statement (agreed by all partners): partnerships impact statement (agreed by head teachers): music education in schools impact statement (provided by group of parents): hub contribution to children s personal development

17 Arts Council England 14 Great Peter Street London SW1P 3NQ Phone: Textphone: Charity registration no You can get this publication in Braille, in large print, on audio CD and in electronic formats. Please contact us if you need any of these formats. To download this publication, or for the full list of Arts Council England publications, see ISBN: Arts Council England, August 2012 We are committed to being open and accessible. We welcome all comments on our work. Please send these to Executive Director, Advocacy & Communications, at the Arts Council England address above.