Gerald Lidstone BA MA ATC Dr h. c. FRGS
Dr. h. c. ( Doctor Honoris causa) Vysoka Skola Muzickych Umeni v Bratislave 2002
Member of ILT (Institute for learning and Teaching in Higher Education ) 2001
Pearce Prize for Teaching Goldsmiths 1997
Time Out award for theatre production Soundings London New Plays Festival 1993
Director, Arts Interlink - International Arts Consultancy (link opens a new browser window)
The British Council Course director - Arts Administration: Building New Audiences, seminar, Bi -annual 1994 - 2000 UK
Course director- Audience Development, seminars presented in Russia, France, East Jerusalem, Korea, Philippines, Cyprus, Slovakia, Indonesia, Hong Kong, Bulgaria, Belgium, Viet Nam and India.
The Know-How Fund (Foreign office) Grant holder/project director - for a four-year project to establish Arts Administration undergraduate and postgraduate courses at the VSMU Academy Bratislava, Slovakia. 1995 -1999
Academic Consultant - to a five year project for the Ministry of Culture and Information Vietnam, funded by the Ford Foundation - Arts Management in Viet Nam: Towards a Market Economy
Society of London Theatre (SOLT)
Director of the - SOLT Box Office Data Research Project (see publications)
2006 – Present London Metropolitan University. MA Arts and Heritage Management and MA Events Marketing Management
2005 – present Queen Margaret University Edinburgh . BA Production and Cultural Management and MSC Cultural Management & Policy and MSc Festival Producing and Management.
1994 - 1998 External examiner for MA English Literature (Drama) University of Essex UK
||Co Founded UK Cultural Policy and Management Network
||Appointed to Board of Trustees Makebelieve Arts London
||Appointed to Board of Governors Saddlers Wells Theatre London
||Appointed Trustee of Royal Victoria Hall Foundation, renewed 2001
||Elected Fellow of the Royal Geographical Society
||Elected to the Executive of the Cultural Identity and Development Committee (CIDC) of the ITI at Venezuela Congress 1993
||Appointed to the Council of the British Centre of the International Theatre Institute (UNESCO).
||Founding member of CONCEPTS (The Consortium for the Co-ordination of European Performance and Theatre Studies). This is Council of Europe Organisation. Appointed to the Secretariat, as Hon Treasurer.
The SOLT Box Office Data Research Project 1999-2002
Since 1980 the Society of London Theatre has been collating and analysing box office statistics from member -theatres. This includes over forty West End theatres and the larger subsidised houses such as the Royal National Theatre. The figures are classified and analysed to provide a gauge of performance success for different types of performances within the commercial and subsidised sectors. This information appears as a monthly report for producers and theatre manages to make informed decisions on programming, timing and pricing. These reports are exclusive to the SOLT membership. However there is also an annual report made available to the public that analyses the previous year's data for trends and developments as well as placing it in the broader context of the arts and the leisure/tourism sectors. This quantitative research is balanced by qualitative questionnaire based research undertaken by Mori. Combined they provide the basis for specially commissioned reports such as the high profile Wyndham Report - The Economic Impact of London's West End Theatre. From June 1999 the contract for undertaking the quantitative research and analysis was awarded to Gerald Lidstone in the Drama Department at Goldsmiths assisted by Mary Stewart David as an associate researcher. To date a new system of categorisation has been developed as well as an original software programme to analyse the West End data. Since September 11, 2001 many of the key production decisions in the West End have been based on the weekly reports of this project.
Arts Management Curriculum Development in Viet Nam in a Market Economy Context
Over the past three years Visiting Arts, the UK's national agency for developing awareness and promoting international cultural relations through the arts, has been working with the Vietnamese Ministry of Culture and Information on the project 'Arts Management Curriculum Development in Viet Nam in a Market Economy Context', which is funded by the Ford Foundation.
This four-year project aims to develop integrated curricula for arts and heritage management at three key Vietnamese educational institutions - the Viet Nam Institute of Culture and Arts Studies, the Ha Noi University of Culture and the Cultural and Information Management School.
At the 6th Congress of the Vietnamese Communist Party in December 1986 the Vietnamese government launched a bold and decisive new policy of social, economic and political reform under the rubric of doi moi ('renovation'), aimed at transforming the old command economy into a market-based one. Since that time free enterprise has been encouraged and foreign investment and dollar-spending tourists welcomed. In some areas of the arts doi moi has opened up lucrative new avenues of opportunity, enabling entrepreneurs to open commercial art galleries and offering wider publishing opportunities to creative writers. But it is generally accepted that subsidy-reliant art forms such as the performing arts have suffered greatly in its wake, for want of the necessary skills to adapt successfully to the new economic environment. This problem was discussed at length between the Ministry of Culture and Information and the Ford Foundation, which by 1999 was already funding numerous small-scale arts management projects in Viet Nam and consequently proved eager to help the Ministry tackle it in a more systematic manner. Out of these discussions came an ambitious project to develop a national training syllabus aimed at equipping tomorrow's Vietnamese arts and heritage managers with not-for-profit management skills.
Managed by the Ministry of Culture and Information, the four-year 'Arts Management Curriculum Development in Viet Nam in a Market Economy Context' project seeks to develop integrated arts and heritage management training curricula at the three educational institutions mentioned above. The Ministry's Culture and Arts Magazine is entrusted with the task of documenting the project, and Visiting Arts - with Gerald Lidstone of Goldsmiths London as its Curriculum Development Specialist, Tim Doling as Project Manager in Ha Noi and Tahnee Wade as Project Manager in London - has been appointed as organiser of international study and research programmes and adviser on curriculum development. Gerald Lidstone as well as writing the needs analysis for the project with Tim Doling (ISBN: 1-902349-17-2) has designed the structure and content of the in country training and its integration within the overall aims of the project. He has also co-delivered seminars on Audience Development, Curriculum Design and Fundraising.
(adapted from a ejournal paper by Tim Doling)
In 2004 and again in 2006 NESTA commissioned an evaluation of elements of their Creative Pioneer Academy.
In response to the brief from the NESTA Creative Pioneer Programme team What Works? we compiled a report in two sections about the programme in 2006 (Cohort Three). The first report is operational and deals with structure and details of the delivery of the programme. The second is a more overarching document considering wider issues and the lessons learned over the last two and half years in creating this unique business support and training initiative.
The emphasis in this first report is on structural concerns of delivery and learning however detail has been included where appropriate. The meticulous attention to detail from NESTA in design and delivery has been important in determining the quality of the programme thus far and therefore these issues have been included here.
After two and half years of the Creative Pioneer Programme, the beginnings of an evidence base has been established about the design and delivery of a unique and effective business development programme for creative entrepreneurs. However it should be emphasised that the true value of the programme can only be assessed when sufficient time has passed for the creative pioneers’ businesses to have developed, in order that their innovation, productivity, employment, revenue and impact can be assessed. It is clear from the first year that some pioneers establish their business very fast and can show evidence in some of these areas already, whereas other pioneers may establish second or third businesses before the impact of the programme can be measured in any meaningful way.
However one of the key outcomes of the Creative Pioneer Programme is in fact the knowledge capital acquired by the NESTA team in being able to deliver this flagship initiative. The programme is in itself a pioneering endeavour. As this knowledge is transferred to other agencies or disseminated into other NESTA programmes (such as ‘Insight Out’), the long term impact of this programme on the UK’s creative industries may be exponentially increased from the 90 businesses directly supported thus far. Therefore this report looks at issues that will be relevant to developing the programme in its current form or in other contexts and looks forward to the impact of ‘Inside out’ the phase of national dissemination of parts of the model of the Academy.