:— Performing cente Sta
computer box ottice. it also oversees arts development, a role that ialls into two areas: ottering grants and guarantees to various arts organisations and co-ordinatlng performing arts in the city. To achieve this, the department manages an Arts Development Fund, budgeted tor 1991/92 at £750,000.
“Although the total sum is a traction at
f the cost oi the programme at Glasgow’s
year as European Culture Capital,’
Earlierthis year, when Glasgow District Council decided to build on the successes oi 1990 by creating a Department oi Periorming Arts and Venues, Bob Palmerwas the obvious choice tor director. As head oi the city's Festival Unit lor last year’s City oi Culture, he had been at the ioreiront at strengthening Glasgow’s artistic image.
The new department has responsibility tor tour oi Glasgow’s main theatres—the King‘s, the Tramway, the Mitchell and the City Halls-as well as twelve smallertown halls around the city and a centralised
I ; objective at the department is to help, sustain and extend cultural initiative 1 throughout Glasgow.’
He describes the development role as
, tailing into seven categories-the J continuation and development oi
projects trom 1990, such as StreetBiz; community and local arts projects; large-scale one-oti events, like the iorthcoming West Side Story; experimental projects involving minorities and special needs groups; commissions to creative artists; covering the costs at ieasibility studies; and international projects.
The last plays a very important part in sustaining the impetus at 1990, as Palmer explains: ‘Forthe past three years, we've supported international co-productions, exchange schemes and tours. In addition, major cultural programmes will be developed in other European cities, including the European Culture Capital, which promotes Glasgow through the arts organisations, and so the city’s international cultural involvement will be extended.’ (Alan Morrison)
_ Working at the edge
James Kelman: a prime moverbehind Workers City
Workers City, the Robin Hood oi Glasgow's arts circuit, is proving to be more than just a tickle in Pat Lally’s throat. Shrugging oil the label ot beer-swilling nippy sweeties thrust upon its members during the Year at Culture, the group has provided an alternative tonic to the otticial Maytest proceedings. Following on trom the successtul ‘10 Days in May’ Revue at Glasgow’s Transmission Gallery, is a tortnight at events organised underthe Workers City umbrella, including debates, video screenings and readings trom such notaries as James Kelman, Torn Leonard and Farquar McLay.
‘Workers City was originally tormed to create an alternative series at cultural events to the Year at Culture,’ explains Norman Bissell oi the group. ‘What we’re trying to present in May is an alternative view ot culture; one
which celebrates the working people oi the city and their struggles.’
Critical ol ’the increasing commercialisation oi the arts and ot Maytest itselt’, Bissell regards the testival's community element as having been sorely neglected. 0y retaining total independence trom council tinances and dictates, and
; protessedly thriving as a result,
Workers City hopes to encourage community arts groups to do likewise.
‘We didn’t seek to be part oi Maytest,’
explains Bissell, who regards their absence trom the olticial programme as a positive advantage. ‘Because we were independent, we didn’t run into problems at censorship. Many arts groups were unable to challenge the whole waste at public money last year
simply because they were atraid to bite
the hand that teeds them.’
Regarding Maytest as having been hijacked lrom its original May Day ethic by a council intent upon a ‘clean up Glasgow campaign', Workers City wishes to smack Glasgow with its own cultural handbag, ratherthan any expensive imports. ‘Glasgow has .nany cultures,‘ says Bissell, ‘but we certainly thought that Frank Sinatra and Co were no part at it.’
While kindling the hope at a Maytest Fringe evolving out oi their etlorts, Bissell stresses that the problem is a
year-round, rather than a seasonal
concern. ‘We see culture as being tied
' in with political issues, simply because
at tunding and the elements oi control which emerge.’ (Kathleen Morgan) Workers City, A Month at Events and Debate, Transmission Gallery, Glasgow, 041 332 7853.
~54. .. ' t g1 1).;
GLASGOW TO: NEW YORK
FOR FURTHER INFORMATION CALL
CAMPUS TRAVEL CAMPUS TRAVEL 5 NICOLSON SQUARE STUDENTS ASSOC. EDINBURGH EH8 98H 90 JOHN STREET TEL: 031 668 3303 GLASGOW GI
ACTING AS RETAIL AGENTS FOR ATOL HOLDERS ‘1' 1* s'." . .9. .1’. a. 9 I I‘ -- -‘ 4’ <9 *4" - m”: 23?“; A r gggﬁiy, 3
GLAS/EDINTO: i LONDON '4 PARIS AMSTERDAM " ZURICH MUNICH
LONDON TO: FROM O/W
.5 BOMBAY £288 5. DELHI £233 I SINGAPORE £225 -; BANGKOK £177 HONG KONG £259
USA 8: CANADA
FROM O/W £112 £142
LONDON TO: 5 I MIAMI BOSTON
FROM O/W £42 £48 £60 £72
£65 £79 £65
VISIT 3 EUROPEAN CITIES EG : - PARIS, BRUSSELS AND AMSTERDAM FOR AS LITTLE AS £85.00 INC.
FROM LONDON !!!
TEL: 041 552 2867
CAMPUS TRAVEL THE HUB HILLHEAD STREET GLASGOW G1 7" ' 041 357 0608
‘ SOME AGE/STATUS RESTRICITONS MAY APPLY
' w The List-l7—30May 1991
, i .3. ‘ ~. . l... , "\“ r .- \fl...‘ t. 3" f g .‘ J 5.; .- ._ .x 599.53. ’90!“ R290
x “a " g ’3? -.".-‘ . .. .' 1:4 I? x“ .1 I 2"; mi ' H126. -' " - " I t . . 55'... 7 - 1': t-
£310 £240 £334
£84 £95 £120 £143 £155
£119 £139 £114
A CROSS THE Cl. OBE WITH
I V 4 2‘ 37-". 1,» t
" . j: " .c~ I 2.1%? s _
-\ . ~.1_‘,:'.' ..