Performanceagainst public
commitments
2010/11

Contents
S1 BBC Purposes
S3 Ofcom and BBC Trust responsibilities
S4 Ofcom Tier 2 quotas
S5 Performance against Statements of Programme Policy 2010/11
S23 Access Services
S24 Window of Creative Competition (WoCC)

1 – BBC Purposes
The BBC’s public service mission is to inform, educate and entertain audienceswith programmes and services of high quality, originality and value. Putting
Quality First is our 21st century strategy for delivering our mission in
the digital age through:• The best journalism in the world• Inspiring knowledge, culture and music• Ambitious UK drama and comedy• Outstanding children’s content• Bringing the nation together
By offering the best content across our portfolio of services we giveaudiences what they tell us they want to listen to, watch and surf. The
following pages give a flavour of our last year and highlight how we havemet our promises to audiences to inform, educate and entertain themwith a distinct range of programmes that they will not find anywhere else.
CitizenshipInform: we have a worldwide reputation for impartial
reportage and analysis of the world we live in. Our UK-wide,
international, national and local channels and services covera broad range of stories, issues and information tailored fora diverse range of users.
As well as covering May’s General Election (pictured) andlocal elections, and the lead up to and outcome of the new
Government’s Comprehensive Public Spending Review(and the subsequent reaction), other major domestic stories
that we reported and analysed included the Report of the
Bloody Sunday Inquiry, the Papal visit, and the Labour Party
leadership contest.

Learning
Educate: we promote and support formal and informal
education for all age groups – from pre-school children tosilver-surfer adults, across television, radio and the web.
Our targeted children’s services – CBeebies and CBBC –engage and entertain their demanding audiences, supportingthem as they learn new skills to cope with the world aroundthem. The picture shows Tikkabilla’s Paul Ewing reading astory for our youngest viewers with the help (and occasional
hindrance) of Tamba the puppet.

S1

1 – BBC Purposes continued

Creativity
Entertain: we offer unique and innovative content thatentertains and engages audiences, including live music andthe biggest range of radio, television and bespoke online
drama from any broadcaster in the world.
A season of programmes across BBC One, BBC Two and
BBC Four marked the 70th anniversary of The Battle ofBritain. Pictured here, First Light told the extraordinary
story of 18 year old Spitfire pilot Geoffrey Wellum througha mixture of drama and his own personal recollection.

Community
We reflect the UK’s diversity at national, regional and local
levels with services in English, Scottish Gaelic and Welsh, andprogrammes in many other languages. The BBC’s distinctive
offer across our portfolio means we have something foreveryone.
And while tastes may change, and senses of humour mayvary from region to region, quality content will be valued
by audiences wherever in the UK they are. Stephen Nolan(shown in his studio) meets the different expectations of
the listeners to the shows he presents locally on BBC Radio
Ulster and UK-wide on BBC Radio 5 Live.

GlobalWe offer the best of UK content to the world, as well as
bringing the best of the world to the UK.
Our global news services provide independent andinternationally respected news and analysis, covering the
key stories of the day. We continue to cover the ongoing
conflicts in Iraq and Afghanistan, as well as new andemerging stories like the recent Pakistan floods, the election
and floods in Haiti, the oil leak in the Gulf of Mexico, theChilean miners, democracy protests across the Middle East
(picture shows women protesters in Cairo’s Tahrir Square),and the Japanese earthquake and tsunami.

DigitalThe BBC is the most used online content provider in the
UK and over 15 million adults now listen to our radio
services via digital platforms each week.
We have been at the forefront of helping the UK upgrade
to digital television, and will continue to develop partnerships
with industry leaders that can benefit audiences
everywhere, from digital radio to broadband. In September
we broadcast a set by The Charlatans from London to
Tokyo in Super Hi-Vision. We plan to use this technology,
developed with Japanese broadcaster NHK, for a series ofBBC big screens during the 2012 London Olympics.
S2

2 – Ofcom and BBC Trust’s responsibilities
Under the terms of the BBC’s Royal Charter, the Agreement, and the Communications
Act 2003 (‘the Act’), some areas of the BBC’s activity are regulated by Ofcom, some by
the BBC Trust, and some by both together.

A Memorandum of Understanding was agreed in March 2007 to clarify the respective roles and responsibilities of the Trustand Ofcom, and the key points are summarised below:
Programme standards

The BBC Executive is accountable to the BBC Trust for accuracy and impartiality ofcontent; Ofcom sets certain programme standards. Both have duties to consider
complaints.

Quotas and codes
News and current affairs

The BBC Trust sets quotas for news and current affairs on BBC One and BBC Two,
consulting Ofcom (for agreement in some cases) before imposing these requirements.

Original productions

The BBC Executive and Ofcom must agree an appropriate proportion of programming
to be original productions.

Nations and Regions programming

The BBC Trust sets quotas for programmes from the Nations and Regions, consulting
Ofcom (for agreement in some cases) before imposing these requirements.

Programmes made outside London

The BBC Executive and Ofcom must agree a suitable proportion of programming to bemade in the UK outside the M25 area.

Independent production

The BBC Trust requires the BBC to follow a code of practice for commissioning
independent productions, and reviews delivery against the Window of Creative
Competition (WoCC), within which in-house and independent producers can compete
for commissions. The BBC Trust and Ofcom monitor compliance with targets forindependent production.

AccessThe BBC Executive must observe Ofcom’s code for providing services for the deaf andthe visually impaired.

Public Value Tests (PVTs)

The BBC Trust must apply a public value test before allowing significant change to theBBC’s UK public services. Ofcom provides the market impact assessment element of
the test.

Competitive impact

The BBC Trust must consider the economic impact of the BBC on the broadcasting
sector. Adjudications on matters of competition law are the responsibility of Ofcomor the Office of Fair Trading.

Radio spectrum

The BBC Trust must ensure efficient use of the BBC’s allocated spectrum; Ofcom is
responsible for ensuring best use is made of the whole spectrum.

Some further areas of common responsibility (including public service broadcasting, media literacy and the promotion of equal
opportunities and training) are set out in the Act and Agreement

S3

3 – Ofcom Tier 2 quotas
2010
We exceeded all of the Ofcom Tier 2 Quotas last year. These are the BBC’s self assessment figures. Ofcom are due to formallyreport on our performance in its Communications Market Review 2010 due to be published later this year.
Quota

2010
Achievement

Hours of qualifying programmes across all channels

25%

36%

Hours of qualifying programmes on BBC One

25%

33%

Hours of qualifying programmes on BBC Two

25%

41%

30%

38%

25%

39%

Hours of News on BBC One

1,380

1,617

Hours of News on BBC One in peak

275

278

Hours of current affairs on BBC One and BBC Two

365

557

Hours of current affairs on BBC One and BBC Two in peak

105

124

BBC One70%89%

Independent production quota1

Regional programme making

2

Spend on qualifying programmes
Hours of qualifying programmesNews and current affairs programmes

3

Levels of Original Production

4

BBC One in peak

90%

100%

BBC Two

70%

82%

BBC Two in peak

80%

97%

BBC Three

70%

83%

BBC Three in peak

70%

74%

70% approx

83%

BBC Four
BBC Four in peak

50%

80%

80% approx

81%

CBBC

70%

83%

BBC News channel

90%

96%

BBC Parliament

90%

98%

Hours of regional programming

6,270

7,077

Hours of programmes made in the relevant area

95%

99.9%

Hours of BBC One news

3,920

4,999

Hours of BBC One news in peak

2,010

2,273

Hours of non-news programming in peak

655

746

All non-news programmes adjacent to peak

280

377

CBeebies

Regional Programming5

 he BBC is subject to a 25% independent production quota across all channels and on BBC One and BBC Two individually.
TThe BBC has used Ofcom’s definitions of regional production from 1 January 2006.
3
These quotas and performance figures are for network programming only. The News quota specifically excludes overnight transmissions of BBC News channel.
4Original productions include all BBC commissioned programmes including repeats.
5
These figures represent regional programmes across BBC One and BBC Two.
1
2

S4

4 – Performance against Statements ofProgramme Policy 2010/11

Statements of Programme Policy (SoPPS) are annual promises to licence fee payers fromthe BBC which showcase some of the ways that each of our services meets its service
licence commitments and delivers high quality and distinctive content to them as viewers,
listeners and users. SoPPS are a Tier 3 Ofcom commitment, approved by the BBC Trust.
The following pages summarise the BBC’s performance against SoPPs by service for 2010/11. Unless otherwise stated,all commitments are minimum hours or percentage and include originations, repeats and acquisitions.
The challenges for CBeebies and BBC Red Button are given on the following pages, but neither service has any quantitative
commitments to report on for the period.
SoPPs for the year ahead (2011/12) can be found at www.bbc.co.uk/aboutthebbc/reports/.

S5

4 – Performance against Statements of Programme Policy 2010/11 continued

BBC Network Television services
BBC network television services also have statutory regulatory requirements to meet
Tier 2 quotas, agreed annually with Ofcom, for independent production, regional
programme making, news and current affairs programmes, levels of original production,and regional programming. For 2010/11 performance against Tier 2 quotas see page S4.

BBC One
Challenges
Distinctive mix of programmes. This year our distinctive
mix of programmes ranged from critically acclaimed dramas
including Sherlock, Five Daughters and Upstairs Downstairs
to hit comedies like Come Fly with Me and Mrs Brown’sBoys. Our factual offer included Human Planet, Wallace andGromit’s World of Invention, Polar Bear: Spy on the Ice and
The Boat that Guy Built.
Serious factual content. Panorama continues to tackle serious
subjects from Kids in Care to Fighting Gaddafi. We showcased
the best in documentaries with films like Between Life and Death
while Famous, Rich and In the Slums brought the reality of Third
World poverty to a broad audience. Turn Back Time took a
new approach to history while Modern Masters examinedthe enduring influence on contemporary art, design andarchitecture of four artists: Picasso, Matisse, Dali and Warhol.
Bringing the nation together. We brought the Nation
together with exceptional coverage of the General Election
and the FIFA World Cup. Children in Need activities involved
people across the UK, while later in the year Comic Relief
broke all records for funds raised. Using the theme of‘Everyone’s Home for Christmas’ we had an exceptional
Christmas Day achieving a 32% share of all viewing, up
to 41% in peak.

BBC Two
Challenges
Wide appeal comedy. Series two of Miranda reinforced
the success of multi-award winning series one and saw theshow move to BBC One. Series as diverse as Rev, The Trip,
Roger and Val Have Just Got In, Grandma’s House, Vexed andEpisodes premiered strongly and have been recommissioned.
Range of drama and film. Gearing up for 2011’s drama series
initiative, 2010 was a strong year for singles like The Song of
Lunch and Eric ‘n’ Ernie and two-parters from The Sinking
of Laconia to Dive. BBC Films’ The Damned United, Notes
on a Scandal and The Special Relationship all got their first
TV outing.
Distinctive and impactful factual programming. A verystrong year across the board in factual genres included science
with Wonders of the Solar System and How Earth Made Us,
history with The Normans and First Light, arts with Gareth
Goes to Glyndebourne, documentary with Welcome to Lagos
and Great Ormond Street, and current affairs with Secret Iraq
and Toughest Place.
BBC Two

BBC OneCommitment

ActualHours of arts and music

45

49

Hours of new factual programming

700

1,080

Commitment

ActualHours of children’s programmes

1,500

2,195

Hours of religious programmes

110

136

Commitment

ActualHours of arts and music

200

353

Hours of new factual programming

520

817

BBC One and BBC Two shared

BBC
BBCOneOnepeaktime
peaktimerepeats
repeats%%
08/09
08/09
09/10
09/10
10/11
10/11

1

 nless otherwise stated, hours commitments throughout this document include
U
originations, acquisitions and repeats. The use of the word ‘new’ means that thecommitment includes originations only.

BBC
BBCTwoTwopeaktime
peaktimerepeats
repeats%%
8.28.28.08.08.48.4

08/09
08/09
09/10
09/10
10/11
10/11

32.6
32.6
29.0
29.0
28.3
28.3

The combination of implementing the Putting Quality First strategy and the licence fee freeze will have an impact on budgets and we are looking at various ways to keep ourschedules fresh and appealing to viewers. We may, for example, consider more sharing across the UK-networks of, for example, some of the best programmes from thenations produced for their national audiences. In the digital world, consumption patterns are evolving as audiences become increasingly accustomed to choosing for themselves
when, where and how to watch our output. And this is changing attitudes towards repeating programmes in the linear schedule too – a programme is only a repeat if you haveseen it before.
S6

4 – Performance against Statements of Programme Policy 2010/11
BBC Network Television services continued

BBC Three
Challenges
Challenging current affairs content for young audiences.
Output included Blood, Sweat and Luxuries and Stacey
Dooley’s documentaries on child soldiers and child trafficking.
The World’s Worst Place to be Gay from Uganda and A
Dangerous Place to Meet My Family from Yemen were
thought-provoking films. We engaged our viewers in thegeneral election with First Time Voters’ Question Time and theLeaders Interviews.
New British comedy and drama. We invested in new drama
Lip Service as well as a series of pilots, one of which – The
Fades – has been commissioned. New comedy included thedistinctive Him and Her and puppet show Mongrels, both hitswith our viewers as was White Van Man starring Will Mellor.
Develop the BBC Three online offer. Becoming Human
was a highly successful online drama that played alongside
Being Human. Special 1 TV, a short-form puppet show, waslaunched for the football World Cup. Our factual content isoften featured on News online. Love Me Love My Face about
Jono with Treacher-Collins Syndrome got over a million hits.
We have just launched Funny in Fifteen a user generated
multiplatform initiative. Over 160,000 have now joined our
Facebook community.
Introduce new UK talent. New talent Cherry Healy has
made Cherry goes Dating, Cherry gets Married and Cherry has
a Baby; Nel Hedayat who fronted the award-winning Women,
Weddings, War and Me returned with Music, Money and Hip
Hop Honeys; and Stacey Dooley made a series of investigative
documentaries. New directing talent gave us My Boyfriend the
War Hero and My Brother the Islamist.
Commitment

ActualHours of arts and music

35

49

Hours of new factual programming

125

156

Hours of new current affairs

15

31

BBC Four
Challenges
Arts and culture, including partnerships. Seasons on
Sculpture with the Royal Academy, on Maps with The British
Library, on Rude Britannia with Tate Britain, on Reggae with
the Barbican, on Opera with Royal Opera House, on Writers
in their Own Words with BBC Archive Collections and a Yearof Justice with The Open University and Royal Institution.
A platform for world experts. Beautiful Minds gave accessto three British Nobel Prize winners: astronomer Dame
Jocelyn Bell Burnell, biologist Sir Tim Hunt and chemist James
Lovelock. Desmond Tutu gathered African experts to debate
the state of the continent. Antonio Pappano, Rolando Villazon
and Daniele De Niese presented our Opera month.
Develop BBC Four’s multi-platform identity. Our website
led other BBC services in enhancing programme pages withsupporting material, text and video. The growing relationshipwith the Archive Collections saw collaboration on the
Sculpture and Writers seasons. The Only Connect Wall Game
proved a great success.
Commitment

ActualHours of arts and music

100

246

Hours of new factual
programming

110

145

Premiere at least 20 new
international films

20

21

S7

4 – Performance against Statements of Programme Policy 2010/11
BBC Network Television services continued

CBBC
Challenges
Remain relevant to all UK children. CBBC is the mostwatched children’s channel for its age group (6-12s), with reachup 4.7 percentage points year-on-year to a record high of
37%. Reach also increased in satellite and cable homes – up
7 percentage points to 28%, also a record. Unique users to
our website site remained stable year-on-year, peaking at justunder 1.1 million.
Clearer navigation. Superbrands like Horrible Histories andTracy Beaker Returns were more clearly signposted as part ofour ‘Ultimate Summer’, helping CBBC share to its highest level
since the channel launched (peaking at 14% in August).
Increase audience engagement. We use both outreach andevents as well as programming to drive our engagement withviewers. This year, for example, Live ‘n’ Deadly’s ‘Deadly Days
Out’ attracted just under 90,000 visitors.
Citizenship. We are the only children’s channel to broadcast
serious citizenship and factual programmes like My Life or theNewsround Specials, which last year covered topics as diverse
as alcoholism and bullying. The Kids and Conflict season
explored how children’s lives are affected by war, with two
Newsround films from Kabul, the documentary Toy Soldiers,
and three-part drama Combat Kids.

2

Commitment2

ActualHours of drama programming

665

1,378

Hours of News

85

88

Hours of factual programming

550

864

CBeebies
Challenges
Fresh and new ideas. Distinctive, new programmes launchedlast year included hit music show Zingzillas and Mr Bloom’s
Nursery, as well as the successful animations Rastamouseand Octonauts. CBeebies won best Children’s Channel at the
BAFTA Awards and the Christmas campaign (including specials
on TV and Online) recorded a 55% reach across the holiday
period (a channel high, which helped us to remain the mostwatched children’s channel overall).
Distinctive and innovative online content. The CBeebies
website achieved an AI appreciation score of 86% in Q3 –one of the highest AI scores of any BBC website, and higher
than for any grown-up TV site. The ZingZillas website also
won Best Interactive at the Children’s BAFTA Awards.
CBeebies iPlayer continues to grow in popularity with over78 million requests in 2010 – up from around 32 million in
the previous year.
Explaining the world around us. Factual programmes like
Nina and the Neurons helped explain the world to young
children, while shows like Same Smile, Something Special, I
Can Cook, Show Me Show Me and The Lingo Show offereda diverse range of references and role models.

No specific commitments apply

Commitment

Actual––The CBBC Channel’s hours commitments include originations, repeats,acquisitions and transfers from BBC One and BBC Two.
S8

4 – Performance against Statements of Programme Policy 2010/11
BBC Network Television services continued

BBC HD
Challenges
Increase number and range of HD programmes. The BBC
broadcast more than 2,700 hours of new HD programmingin 2010/11, an increase of c.40% on the previous year. This
included the first HD General Election, and moves to HD for
EastEnders, The One Show, Songs of Praise, Autumnwatch,
Miranda, Formula 1, QI, Graham Norton,and the Boat Race.
Improve signposting. Audience relationships strengthened,with reach to audiences with access to HD growing to 81%(2010: 75%), in a period during which HD competition
strengthened. Consistent continuity is now in place acrossall HD simulcast broadcasts and HD messaging included intrails across BBC One, BBC Two, BBC Three and BBC Four.
Maintain highest quality standards in the UK. Responding
to complaints about quality, the BBC Trust fully endorsed theBBC’s HD quality. Over the last year, the HD training offer has
strengthened, and the BBC has provided advice, support andtraining for production teams inside and outside the BBC tomove to HD delivery. A number of HD review sessions havetaken place with production teams, and work has also been
done at an industry-wide level around large format cameras.

Originated Film & Sport

Commitment

Actual

<20%

13%

S9

4 – Performance against Statements of Programme Policy 2010/11 continued

BBC Network RadioBBC Network Radio has made a voluntary pledge that at least 10% of eligible hours
on its national analogue and digital radio networks would be made by independent
producers. In 2010/11, all services met or exceeded this target. Together, BBC UK-wide
network radio services broadcast 13% of eligible output from independent producers.
We are introducing a Window of Creative Competition (WoCC) to promote competition between BBC in-house production
and the external radio supply market for a further 10% of broadcast hours on top of the existing voluntary commitment. This
will be in place in time for the 2012/13 financial year.
BBC Radio 1
Challenges
Programming for teenagers. BBC Radio 1 hosted its firstever Teen Awards in November, including a celebration of thework of a number of unsung heroes. Sunday’s teen focusedline up has helped significantly boost teenage listening and wehave continued to invest in new, young talent, including Matt
Edmondson and film reviewer Rhianna Dhillon.
Distinctive and high-quality speech output. BBC Radio 1’s
Surgery programme took a more journalistic approach,
responding to topical events, while campaigns included weeks
dedicated to volunteering and relationships. During theGeneral Election, our panel of first time voters quizzed the key
party leaders, while the BBC Radio 1 Stories strand featured awide range of documentary programming.
Interactive and visual content. Increasing we enhance
programmes visually – live streaming of special guests orbands performing in session for example; while our Access
All Areas week allowed the audience a unique insight into
the inner workings ‘backstage’ at BBC Radio 1. Where
appropriate we look to syndicate relevant content, aiming
to reach new audiences.
Serve audiences equally across the UK. BBC Radio 1’s Big
Weekend visited Bangor, Wales; with local councillors hailingthe huge boost it brought the area. We covered a wide rangeof other events, big and small, across the UK, while dedicated
BBC Introducing shows in Scotland, Wales and Northern
Ireland connected us to grass roots music makers.

3

Commitment

ActualHours of specialist music per week60

68

% of music from UK acts indaytime40%

50%% of new music3 in daytime

45%

58%

Number of live events and festivals
broadcast

c.25

33

Number of new sessions(excluding repeats)

250

280

% of eligible hours commissioned
from independent producers

>10%

11%

Hours of news in daytime
each weekday, including two
extended bulletins

1

1hr
7mins

Regular bulletins during daytime
at weekendsMinimum number of new
documentaries

40

49

Number of major social
action campaigns>2

3

Hours of original opt-outs
from Scotland, Wales andNorthern Ireland

200

284

 nless otherwise stated, hours commitments throughout this document include
U
originations, acquisitions and repeats. The use of the word ‘new’ means that thecommitment includes originations only.
S10

4 – Performance against Statements of Programme Policy 2010/11 continued
BBC Network Radio continued

BBC Radio 2
Challenges
Maintain reach of weekday schedule. BBC Radio 2’s
Breakfast Show, Drivetime, and early breakfast all changed
in 2010. However, the network delivered record reach forevery quarter in 2010. Weekly reach is up year-on-year to
13.9 million and average listening is 12 hours 11mins. Chris
Evans recorded record reach of 8.7 million over the year.
Provide more distinctive daytime content. Introduction of
the monthly book club to Drivetime. Chris Evans presented
a show from the Archbishops of York’s Palace. Live Drivetimeshows from the Electric Proms and the Folk Awards. Chris
Evans writing competition launched.
Refresh and refocus comedy. BBC Radio 2 New Comedy
Awards launched (March 2011). Comedy series Rhod Gilbert’s
Bulging Barrel of Laughs and Live At The Hackney Empire
created for stronger impact across the schedule.
Arts and popular culture. The Kiri Prize new Opera Talent
search and the refreshed New Arts Show with Claudia
Winkleman.

BBC Radio 3
Challenges
Encourage new listeners. In addition to our ongoing initiatives
to develop an increasingly accessible tone and style, two events
stand out; the Opera Focus in collaboration with television, and
The Genius of Mozart, presenting his complete works.
Challenge traditional perceptions of classical music. We
provided the focus for audience members to share their
enthusiasms, for instance through votes around opera andMozart. In addition, we began regularly to reflect the Specialist
Classical Chart, and participated prominently in Comic Relief.
Commitment

Actual% of live or specially
recorded music

50%

57%

Number of live or specially
recorded performances

500

566

Number of new musicalworks commissioned(excluding repeats and acquisitions)30

42

Number of new drama
productions broadcast(excluding repeats and acquisitions)35

41% of eligible hours commissioned
from independent producers

>10%

16%

30

49

40%

43%

Commitment

Actual% of music in daytime from UK acts

40%

48%

% of new music in daytime

20%

24%

Hours of live music

260

340

Hours of specialist music programmes>1,100

1,126

Hours of arts programming

>100

102

% of eligible hours commissioned
from independent producers

>10%

18%

Number of new documentaries
on arts and cultural topics(excluding repeats and acquisitions)Weekly hours of news and current
affairs, including regular news bulletins1618% of relevant spend incurred
outside the M25

Hours of documentaries

130

158

Hours of religious output coveringa broad range of faiths

170

197

S11

4 – Performance against Statements of Programme Policy 2010/11
BBC Network Radio continued

BBC Radio 4
Challenges
React flexibly to the news agenda. We changed large
elements of our schedule to better respond to the demandsof the General Election campaign, with extended news,
Election Calls with party leaders, Tim Harford (of More orLess) embedded in Today, and daily topical satire. As revolt
spread across north Africa we scheduled extra news, analysis,
debate and drama, reflecting on the ‘Arab Wave’.
Science. Our Year of Science included a series on the Royal
Society with Melvyn Bragg, the Reith Lectures with Martin
Rees, Astronomer Royal, and a global natural history series
Saving Species. An eight month interactive project So You
Want to be a Scientist? invited non-scientifically trained
listeners to engage with experimentation.
Grow reach for our interactive services. We redesigned
parts of our website to improve navigation and subsequently
saw a steady increase in traffic, adding over 100,000 weekly
UK users, with peaks of over one million. We focusedresources on ambitious projects such as a new Archers site
for the 60th anniversary of the programme and A History of
the World in 100 Objects (19 million downloads worldwide).
Develop creative relationships. A History of the World in
100 Objects was a model partnership for us, marrying theintellectual capital of the British Museum to the creative power
and audience reach of the BBC. The project also engaged
CBBC, BBC Nations and English Regions, BBC Schools,
World Service and over 500 museums around the UK.
Commitment

ActualHours of news and current affairs
programmes

2,500

3,399

Hours of original drama and readings(excluding repeats)

600

619

Hours of original comedy (excluding
repeats)

180

268% of eligible hours commissioned
from independent producers

>10%

13%

Hours of original documentaries(excluding repeats)

200

316

Hours of original religious
programming (excluding repeats)

200

227

BBC Radio 5 Live
Challenges
Attract new listeners. Listener levels broke through the
7 million barrier for the first time since the service launched,increasing the number of 35-44 year olds tuning in as wellas the number of women listening to the Breakfast Show.
Year-on-year, reach increased by one million in Q4.
General Election coverage. We provided breadth anddepth in our Election coverage, including; guides to policy, live
audience debates, and the campaign as seen through the eyesof ordinary families. All audio was offered throughout via agroundbreaking online app, The Election Story.
Distinctive and comprehensive coverage of the football
World Cup. Alongside coverage of all the games, our Newsteams took the opportunity to reflect on South Africa as an
emerging nation through its politics and people by reportingfrom across the country.
New ways of sharing views and stories. The 5 Live
Connect service launched online, aggregating all comments
to the station by text, twitter, Facebook and email, andrunning alongside the traditional phone-in. We built on ourconnections with BBC News channel by streaming moreaudience debates live and on the red button.
Commitment

Actual% of output that is news coverage

c.75%

75%

% of eligible hours commissioned
from independent producers

>10%

17%*

* Combined total shared with BBC Radio 5 Live Sports Extra.

S12

4 – Performance against Statements of Programme Policy 2010/11
BBC Network Radio continued

BBC Radio 5 Live Sports Extra
Challenges
Attract new listeners. We reached a further 100,000
listeners in Q4, compared with the same quarter in 2009.
Promote our service offer. More listeners than ever before
chose to download podcast highlights from the Asheswith the podcast regularly topping the iTunes chart. Our
coverage was promoted widely across other BBC radio
and television services.
Broaden the menu of sports offered. We broadcast
coverage of a record 21 different sports including women’sfootball, rugby and rugby league, coverage of the WinterOlympics, and Paralympic swimming.

% of eligible hours commissioned
from independent producers* Combined total shared with BBC Radio 5 Live.

Commitment

Actual>10%17%*

BBC 1Xtra
Challenges
Grow reach and awareness. With a simplified schedule andrebranded as BBC Radio 1Xtra, the station recorded record
audiences in 2010. The showcasing of key programmes via
a Saturday night simulcast with BBC Radio 1, together with
September’s 1Xtra Live event from Wembley Arena in
London, also combined to help significantly boost awarenessamongst 15-24s.
Increase the impact of news and social action content.
BBC 1Xtra worked closely with BBC Radio 1 to produce
a series of high profile campaigns. Westwood fronted a
volunteering initiative, while a joint Summer Surgery tackled
sex, drugs and alcohol. During the General Election a BBC
Radio 1 and BBC 1Xtra panel of first time voters quizzed
the key party leaders.
Commitment

Actual% of new music in daytime

60%

61%

% of music in daytime from UK acts

35%

41%

Number of live music events

50

58% of eligible hours commissioned
from independent producers

>10%

10.2%

% of speech-based output each week

c.20%

28%

Hours of news in daytime each
weekday, including two extended
bulletins

1

1

Regular weekday evening andweekend daytime news bulletins





S13

4 – Performance against Statements of Programme Policy 2010/11
BBC Network Radio continued

BBC Asian Network
Challenges
Maximise reach. Weekly reach increased 25% across year
– from 370,000 in December 2009 to 477,000 12 months
later. A refresh of the schedule underpinned our ‘friend of
the family’ strategy, supported by high profile outreach events(our Melas attracted 0.5 million visitors) and BBC Red Button
success (with 1.9 million listeners).
Build our reputation. Despite the March 2010 announcementof our closure as national station, listener numbers grew 25%
year-on-year, driven by targeted journalism, debate, music(including new talent), language programmes, original drama,interviews and live events with global musicians and Bollywood
stars. We also successfully established the UK’s first official
Asian Music Download Chart.

BBC 6Music
Challenges
Quality and distinctive output. The BBC’s popular music
networks – including BBC Radio 6Music – collaborate toensure that each delivers a distinctive playlist with minimal
overlap. Key documentaries are co commissioned for BBC
Radio 2 & 6Music, with first play on BBC 6Music whereappropriate. ‘Personality Jocks’ have been replaced byknowledgeable presenters. A new schedule, supported
by a marketing campaign, will launch in spring 2011.
Commitment

Actual≤30%

30%

Hours of archive concert performances

400

541

% of music that is concert tracks andsessions from the BBC’s archive

15%

15%

Number of new sessions (excluding
repeats and acquisitions)

300

300

% of new music

Commitment

ActualProportion of speech to music

50:50

44:56

% of music in daytime from UK artists

40%

40%

% of eligible hours commissioned
from independent producers

>10%

13%

% of eligible hours commissioned
from independent producers

>10%

8%*

3-5

4.5

Weekly hours of speech-based
features, documentaries and essays

1011

Weekly hours of news

6

6

Average hours of language
programming each day* As a portfolio, BBC Network Radio still exceeded its voluntary independent quota
once more (target 10%, actual 13%).

S14

4 – Performance against Statements of Programme Policy 2010/11
BBC Network Radio continued

BBC Radio 7
Challenges
Innovative ways with archive material. We ran a series oftribute programming to mark the 110th anniversary of thedeath of Oscar Wilde. To celebrate 60 years of The Archers
we scheduled an entire Archers Day, broadcasting classic
omnibus episodes from 1955 to 2002, interspersed withinterviews with the cast and the editor of the series.
Raise service profile and awareness. We scheduled two
weekends of The Complete Chronicles of Narnia over the
Christmas/New Year season. These were well-received andprofiled by the press. Leicester Comedy Festival is the oldest
comedy festival in the UK – we commissioned a Festival
preview show and our Comedy Club presenter Alex Riley
interviewed stand-ups performing there, including Miles Jupp,
Andi Osho and Tom Binns
Children’s programmes on an adult network. We scheduled
dramatisations and readings for older children and with family
listening appeal. These included classics such as Mrs Pepperpot,
The Railway Children and The Snow Queen.
Commitment

ActualHours of comedy

50

60

Weekly hours of drama

50

73% of eligible hours commissioned
from independent producers

>10%

14%

Hours of children’s programming

1,400

1,460

S15

4 – Performance against Statements of Programme Policy 2010/11 continued

BBC News
BBC News channel and BBC Parliament each has a statutory obligation for at least
90% of broadcast hours to be originations. Last year, BBC News channel achieved
99% and BBC Parliament achieved 98%.

BBC News channel
Challenges
Innovative presentation. We keep our on-screen visuals
constantly refreshed and updated, using the rolling ticker tapeto herald breaking news. We are improving how we workwith News Online, aiming to deliver background and analysis
quickly, and in digestible chunks for different levels of news
users. It is important to note that the channel is now at theheart of News Online’s Live page, which plays a key role incovering breaking stories such as the death of Osama Bin
Laden or the capture of Ratko Mladic.
Delivering value with recorded programmes. Over thelast few years we have been looking at ways to deliver thesame high quality content, but cheaper. As a result of theflat licence fee settlement from the Government’s Spending
Review, we shall continue to seek news ways to reduce spend– volume commissioning to lower average programme costs,
better use of digital kit, sharing resource with other membersof the BBC News family.

BBC Parliament
Challenges
Explain parliamentary democracy. Parliamentary processes
have been explained through on screen text and divisions
made watchable through the use of text and highlights
packages. In-depth interviews were given to The Record,
Record Europe and in one-off films such as In House.
Balanced mix of live parliamentary coverage and otherevents. The period of coalition formation was used to showa wide range of briefings and seminars on the electoral andconstitutional processes. We showed UK and national Leaders’debates as well as high profile events such as the inauguralDavid Butler lecture and the 60th anniversary awards of the
Political Studies Association.
Work with Democracy Live website. Viewers are routinely
reminded of the range of live choices available in Westminster,Holyrood, Stormont and Cardiff Bay.
Commitment

ActualHours of coverage of theWestminster Parliament during anormal sitting week including…

70

78…hours from committees

1013Commitment

ActualMore international news than othermain continuous news channel(s) in
the UK

More local/regional news andperspectives than other main
continuous news channel(s) in the UK

Hours of proceedings of the Scottish
Parliament, Northern Ireland
Assembly and Welsh Assembly

260

393

Sports news throughout the day,including evening round-up

Hours of programming (including
repeats) from Brussels and Strasbourg

100

149

Hours of sports news

100

135

S16

4 – Performance against Statements of Programme Policy 2010/11 continued

BBC Nations and Regions
Services from BBC Nations and Regions have no statutory commitments but workwith BBC television and radio networks and interactive services to provide content
for audiences throughout the UK.

BBC Local Radio in England
Challenges
Local journalism. Our increased focus on breakfast and midmorning has driven better quality of output and RAJAR is up
year-on-year. Output sharing pilots are now underway in two
regions and these will be assessed during 2011/12.
Serve local audiences. Once again, adverse weather drove
increased audiences to – and won extensive plaudits for –BBC Local Radio during 2010/11. Creative and cultural projects
which bring audiences together continue to form a significant
part of our activity – particularly as we move towards 2012
and the Cultural Olympiad.
Active citizenship. Programmes focusing on accountability
are now live on all stations enabling those in charge of local
institutions to be questioned live by listeners and raising
the level of local debate and interactivity. Specialist election
programming, including a debate on each station, waswell received.
Distinctive offer. As commercial radio consolidates andbecomes less local, BBC Local radio provides the only networkof stations that offers local quality speech content reflecting,featuring and debating issues of local concern.

BBC Radio Scotland
Challenges
Distinctive content. The General Election and the debate
on public spending featured across the schedule, with regional
election debates held in six locations around Scotland. Regularbulletins kept listeners up to date on the severe winterweather conditions. New comedy and music featured acrossthe year and Sportsound was named the UK’s Best Sports
Programme in the Sony Radio Academy Awards
Extending choice. Presenters such as Lorraine Kelly,
Barbara Dickson and Ricky Ross, who won a Sony Awardfor his alternative country and Americana programme,
Another Country, brought new voices and fresh
perspectives to the station.
News programming. The news schedule was refreshed andextended with the introduction of the Call Kaye programme,
John Beattie’s lunchtime news and discussion programme andBrian Taylor’s Big Debate, which was delivered from more
locations across Scotland. All helped to drive up BBC Scotland
listener numbers across the year.
Commitment

Actual

Weekly hours of radio news andcurrent affairs

43

63

Commitment

Actual% speech content in core hours(6am–6pm)

60%

73%

Hours of arts coverage (including
narrative repeats of daily arts show)

200

291

% speech content at breakfast
peaktime

100%

100%

% of eligible hours commissioned
from independent producers

c.10%

12

85

85+

Average minimum weekly hours
per station of original, locally madeprogramming1,2

 nless otherwise stated, hours commitments throughout this document include
U
originations, acquisitions and repeats. The use of the word ‘new’ means that thecommitment includes originations only.
2Only Jersey (at 84.1 hours) fell slightly short. Lincoln’s new sharing arrangement
piloting with BBC Humberside saw a slight imbalance for Lincoln, but combined
both stations exceeded 170 hours.
1S17

4 – Performance against Statements of Programme Policy 2009/10
BBC Nations and Regions continued

BBC Radio nan Gàidheal
Challenges
Weekday lunchtime and weekend schedule. The weekday
lunchtime gap was filled and the Sunday schedule extended
from 1.5 hours to eight hours, providing a catch-up facility
to listeners, together with some new and specialist archive
programming. The weekend schedule currently features a live
sports magazine (Spòrs na Seachdain), an hour long children’s
entertainment show (Aileag) and religious programming.
Using the BBC archive. The Bliadhna na Oran website
www.bbc.co.uk/alba/oran was launched, offering access toover 800 songs, 300 radio programme excerpts and over
500 videos from the BBC’s extensive Gaelic song archive.
Òran an Là is also available on the site with the audio of each
day’s programme and accompanying verbatim transcripts.
Younger audiences. Siubhal gu Seachd, the new drive-timeshow aimed at a younger audience, attracts very positive
audience participation. Aileag worked in collaboration with
the Gaelic festival organisation Feisean nan Gàidheal and schoolgroups from Edinburgh, Lewis, Skye and the Uists to delivera series of radio dramas.

% of eligible hours commissioned
from independent producers

Commitment

Actual

c.10%

10.4%

BBC Two Scotland
Challenges
New ideas. The five hour ascent of Sron Uladail in Harris, by
two of the world’s most respected climbers – Dave MacLeod
and Tim Emmett – was broadcast live on BBC Two Scotland
and, in part, across the UK on BBC HD.
The 75th anniversary of the BBC Scottish SymphonyOrchestra was celebrated with a special concert, broadcast
live from Glasgow City Halls.
Relevant and entertaining output for diverse audiences.
Factual programmes such as The Lighthouse Stevensons, The
Guga Hunters of Ness, Men of Rock and Fishing for Poetry(which featured Billy Connolly) all reflected various aspectsof Scotland’s rich cultural heritage.
Distinctive and innovative comedy. Limmy’s Show proved
particularly popular with the younger demographic, giving rise
to extensive comment across social media. Matt Lucas wrote
in Radio Times: “He’ll be the next big thing in comedy.”

Hours of non-news programming

Commitment

Actual190

423

BBC One Scotland
Challenges
Shared experiences. The visit of Pope Benedict XVI to
Scotland, from his arrival in Edinburgh to the celebrationof Mass at Bellahouston Park in Glasgow, was watched byaudiences across the country and constituted the largest one
day outside broadcast ever undertaken by BBC Scotland.
UK General Election coverage and analysis. There was
extensive coverage of the 2010 General Election across allservices and broadcast platforms. Broadcast output included
major debates and our televised election night coveragereached 1.4 million people. The impact of the Government’s
public spending review was a focus for special news coverageand debate in the autumn.
Commitment

ActualHours of television news andcurrent affairs

265

366

Hours of non-news programming

140

191
S18

4 – Performance against Statements of Programme Policy 2010/11
BBC Nations and Regions continued

BBC ALBA
Challenges
Broader audiences. Sports coverage included live broadcastsof the rugby Magners League, games from football’s Scottish
Premier League and three live shinty cup finals. The Scottish
documentary series Trusadh focused on various aspectsof contemporary Scottish culture. Eòrpa continued toprovide authoritative and insightful coverage of stories
from across Europe.
UK General Election coverage and analysis Together withdaily coverage via An Là and, on radio, Aithris na Maidne, aspecial election debate focused on issues of particular interest
to the Scottish audience. Continuous overnight coverage ofthe results was simulcast on radio and TV, followed by a threehour live television special. It was the first ever programme ofits kind for the Gaelic television audience.
Gaelic language learning. A 26 x 30’ TV series, Backyard
Science, aimed at 8-12 year olds, was broadcast. The
partnership with Bòrd na Gàidhlig and the Board of Celtic
Studies Scotland resulted in a commission of a new language
learning website. Standard Grade Gaelic Bitesize was launched
and Bitesize History added to the portfolio. An early stage
maths resource is also now available
Commitment

Actual

Weekly hours of originatedprogramming (excluding news),
including current affairs and transfersfrom other BBC services…

c.5

8.5

…and hours per week aimed at
Gaelic language learners

2

13Live news programmes each weekday
evening (including at peaktime) andnews review at weekends





>50%

70%

% of eligible hours commissioned
from independent producers

BBC Radio Wales
Challenges
Distinctive offer. We provided extensive coverage of theReferendum on further law making powers for the National
Assembly throughout February, giving listeners the information
they needed to make their own informed decision. The day
after polling, we replaced our normal schedule with a live
results programme which told the unfolding story.
Coverage of the whole of Wales. Our Six Nations OBs
came from Llanelli and Neath and we marked the openingof new premises in Wrexham with a Roy Noble OB. Ourreferendum results programme came live from the Senedd in
Cardiff and Prestatyn in north Wales where we gauged views
from ordinary voters.
Innovative cultural coverage. March saw the second annual
Radio Wales Music Day – a celebration of the best new
Welsh music supported by the biggest names. In total, 14 acts
performed live across three locations from 9am through to
10pm. The day also included special performances from Cerys
Matthews and Manic Street Preachers.

Weekly hours of news andcurrent affairs% of eligible hours commissioned
from independent producers

Commitment

Actual

24

44

>10%

15%

S19

4 – Performance against Statements of Programme Policy 2010/11 continued
BBC Nations and Regions continued

BBC Radio Cymru
Challenges
Younger listeners. Re-launch of C2 evening strand with a mix ofestablished and new voices – now includes the Dodd Com project
which seeks to engage teenage listeners on the platform of theirchoice and through increased use of social media interaction,richer web content and increased contact via schools workshops.
UK General Election coverage and analysis. Our
dedicated results programme for the UK election provided
comprehensive analysis while also explaining devolved areas ofgovernment policy. Similarly we offered in-depth coverage ofthe referendum on further powers for the Assembly. Further
investment was made in morning news strand which increased
hours and number of original stories each week.
New talent. New talent introduced to the C2 line-up andyoung presenters regularly given presenting opportunities during
Dodd Com. Cyfle Cothi was the station’s first ever talent series
while Trac was a showcase for brand new music performances.
C2’s Brwydr y Bandiau (Battle of the Bands) continued asa stage for emerging bands.

Weekly hours of news andcurrent affairs% of eligible hours commissioned
from independent producers

Commitment

Actual

16

25

>10%

13%

BBC One Wales
Challenges
Distinctive programming with broad appeal. 2010/11 saw a
substantial increase in reach due to landmark programmes like
Snowdonia 1890 (a living history project) and Rolf on Welsh
Art, a highly rating peaktime art series. Another major success
was the drama series Baker Boys about a valleys community
struggling for survival.
Diverse audience. We attracted a younger skewing audience
with programmes like Manics Return to Blackwood and Rhod
Gilbert’s Work Experience. Hospital 24/7 stripped throughone week, took us into Wales’ largest teaching hospital, theUniversity Hospital of Wales in Cardiff. Our current affairs
and consumer series covered a broad range of diverse
subjects throughout the year.
Commitment

ActualHours of television news andcurrent affairs

250

372

Hours of non-news programming

60

106

BBC Two Wales
Challenges
Attract a broader audience. Both live rugby and highlights
programmes remains consistently popular because of thestrength of the Scrum V brand. Our arts programming wasdiverse and popular ranging from Only Boys Aloud to a profile
of a National Theatre of Wales production in Bridgend.
Provoke national debate. National debate was provided andreflected by our weekly flagship political programme Dragon’s
Eye which covered the General Election and all the stories
and issues from the National Assembly of Wales. Our sports
magazine series Sport Wales regularly provokes debate on
all sporting topics.

Hours of non-news programming

Commitment

Actual

190

241

S20

4 – Performance against Statements of Programme Policy 2010/11 continued
BBC Nations and Regions continued

BBC Radio Ulster/Foyle
Challenges
New formats, talent and ideas. We enhanced our specialist
music programming with a new strand featuring choral andgospel music; explored the links between Ulster and Scotland
in an extended weekday series; developed our coverage ofarts with a weekly Arts Extra programme from BBC Radio
Foyle; and delivered a series of innovative documentary series
and features.
New schedule. We introduced a series of changes to the
BBC Radio Foyle schedule, focussing editorial effort andresources at times of maximum listener availability. We
have additionally been working to bring stories/voices fromthe North-West to a region-wide audience through closer
working between programme teams in Belfast and Foyle.
Showcase local talent. We showcased local musical talentacross the schedule, with live performances and interviews;
encouraged new writing and production talent; and nurtured
new presenter talent in our after midnight programming.
News, current affairs and politics. We enhanced our
newsgathering with the appointment of new area-based
correspondents; provided extensive coverage of theWestminster and Dáil elections, and the Assembly; assisted
audiences with detailed information during winter weather
and related difficulties; provided comprehensive coverage
and analysis of the Saville Inquiry report; and described theimpact of economic difficulties.
Commitment

Actual

Weekly hours of news and current
affairs on Radio Ulster

27

34

Weekly hours of news and current
affairs on Radio Foyle

8

12

Hours of new comedy

20

21% of eligible hours commissioned
from independent producers

>10%

11%

Hours of indigenous minority
language programming, including
UIster Scots and Irish

220

318

BBC One Northern Ireland
Challenges
Enhance the range of local television output. We enhanced
our local television coverage of the arts, with programming
linked to the Belfast Festival and Art Space; delivered several
landmark programmes and series in peak slots, including The
Story of Ireland, Betrayal of Trust and The Shankill Butchers;
and used the BBC archive to good effect in programmes
about contemporary history.
Comedy and entertainment. We brought new comedy tolocal television audiences with Diarmuid Corr and William
Caulfield; showcased David Meade’s skills as a mentalist;
provided musical spectacle with a Children in Need concert
from the Odyssey Arena; profiled local homes in House of theYear; and celebrated Christmas with Christmas Carols withThe Priests from Stormont.
Commitment

ActualHours of news and current affairs

280

364

Hours of non-news programming

80

103

BBC Two Northern Ireland
Challenges
Local programming for younger audiences. We exploredthe lives of students in a popular fictional drama, Seacht;
provided music and conversation in Imeall Geal; and will
shortly transmit Wannabees and Happening Here – looking atdifferent aspects of young people’s engagement with the arts.
Sports programming. We provided extensive coverage ofthe GAA’s Ulster Championship and Ulster rugby fixtures aspart of the Magners League; broadcast Irish League soccer
finals and away fixtures involving the Northern Ireland soccer
team; and provided live coverage of the MacRory and Schools’
Cup Finals.

Hours of non-news programming

Commitment

Actual

55

120

S21

4 – Performance against Statements of Programme Policy 2010/11 continued

BBC Future MediaThe Future Media division was restructured in early 2011, but this has had no impact
on the SoPPs challenges and commitments for this year, and the division will continue
to focus on developing and delivering digital products and services for our audiences.

BBC Online
Challenges
Closure and consolidation of parts of service. The creationof ten online products as part of PQF strategy resulted inclosures of existing parts of the service. Legacy site content
moved or repurposed. Top level directory (TLD) deleted
or redirected, as we cut the total number of editorial TLDs
(c400 in March) by 50% by December 2011.
Reach underserved audiences. BBC Online reach to ‘offline’audiences – often older, less affluent groups improved.
Campaigns included Media Literacy with First Click – across-platform campaign supported with the re-launch of theConnect website; and Webwise, a beginner’s guide to using
the internet. Overall we reached 42% of the UK population(20.1m unique users per month), up from 38% year-on-year.
Increased openness and collaboration. We launched
two UK industry partnerships, iPlayer interlinking enhancesaudience discovery from BBC iPlayer to other UK TV
providers; Radioplayer; increased external clickthroughs andintroduced social features over the year to improve openness
and strengthen industry collaboration. Comments and ratings
functionality added to www.bbc.co.uk/news; Sport Liveincorporated Twitter and SMS messages; iPlayer let users
comment on and recommend BBC content to Facebook
friends and Twitter followers.
BBC archive. We are working towards hosting and enabling
the BBC’s archive proposition, including consistent metadata
standards and a ‘one site, one search’ approach to enablesophisticated content search outcomes. The dataset fromthe digitisation of all historical BBC programme and schedule
information will offer users the comprehensive record of thepast and present BBC.

% of eligible content and services
commissioned from external
suppliers (by value)
Increase the volume of clickthroughs to external sites

Commitment

Actual

25%

27%




(Monthly
averagefor year
12.8 million,
up 17%)BBC Red Button
Challenges
Maintain reach on Freeview. Reach increased despite theremoval of two video streams, averaging 7.3 million/32% eachmonth (2010: 7.1 million/30%). This came as a result of growthin the available audience as Digital Switchover is implemented,
but also because the proposition itself improved with better
utilisation of remaining video stream and multi-live events like
Glastonbury. A targeted marketing campaign raised awarenessof content on offer.
A wide range of content for underserved audiences. Sports
like darts and snooker attract a less affluent demographic. Anda significant number (4.5 million) of people use these services,but do not use www.bbc.co.uk – they tend to utilise News
Multi-screen services. Younger audiences are drawn to live
music and festival coverage, like T in the Park.
Create audience value. Our audiences appreciate thedistinctiveness of our offer – and we achieved higher AI
scores year-on-year (7.7, versus 7.5 in 2009/10), with BBCSport and Weather services receiving the highest ratings.
Our highest-scoring video services in 2010 were Formula
1 (8.3); Wimbledon, snooker, Glastonbury and the WinterOlympics (all 8.2); with EastEnders also scoring well on its
two appearances (8.1).

No specific commitments apply

Commitment

Actual––S22

5 – Access services
The BBC is committed to ensuring that its programmes and services are as accessible as is reasonably possible to all people,
whatever their impairments or disabilities. Under Part Three of the Disability Discrimination Act we have a legal obligation to
make reasonable adjustments to ensure that this is the case, although what is ‘reasonable’ will evolve as technology develops.
The BBC Editorial Guidelines (www.bbc.co.uk/guidelines/editorialguidelines) advises our programme makers and suppliers
how we can improve access to our television programmes and services for people with hearing loss and people with visual
impairment.
We are committed to providing subtitling services for all programmes. In addition, we are actively involved in developing audio
description services and online support which will enhance further the access by visually impaired viewers to our programmes.
We consult with a range of disability organisations regularly, and update our Guidance as required.

Subtitling output on BBC Television* %BBC One
BBC Two
BBC Three
BBC Four
BBC HD
CBBC
CBeebies
BBC News

09/10
10/11
09/10
10/11
09/10
10/11
09/10
10/11
09/10
10/11
09/10
10/11
09/10
10/11
09/10
10/11

99.8
99.8
99.9
99.9
99.9
100.0
99.9
100.0
92.1
91.4
99.9
100.0
100.0
100.0
99.9
99.9

Target = 100% of programming except for
BBC HD which had a target of 10% for AprilNovember 2010, increased to 35% in December.
* Based on 52 weeks, not full year.

Audio description on BBC Television %Signing on BBC Television %BBC One
BBC Two
BBC Three
BBC Four
BBC HD
CBBC
CBeebies
BBC News

09/10
10/11
09/10
10/11
09/10
10/11
09/10
10/11
09/10 0.3
10/11 1.4
09/10
10/11
09/10
10/11
09/10
10/11

BBC One

5.5
5.4
5.7
5.7
5.7
5.5
5.9
5.6

BBC Two
BBC Three
BBC Four
BBC HD
6.5

5.3
5.3
5.4
5.2
5.1

Target = 5% of programming except for BBC
HD which had a target of 1% for AprilNovember 2010, increased to 2% in December.

CBBC
CBeebies

09/10
10/11
09/10
10/11
09/10
10/11
09/10
10/11
09/10
10/11
09/10
10/11
09/10
10/11

15.7
15.3
13.3
13.3
26.3
26.0
24.1
31.5
22.9
27.4
22.4
25.3
13.9
18.0

Target = 10% of programming for AprilDecember 2010, increased to 12% in January.
BBC HD’s target was 4% for April-November
2010, increased to 6% in December.

BBC ALBA and BBC Parliament are not subject to Ofcom subtitling, signing and audio description targets on the basis of audience size.
The BBC News channel is not subject to the audio description target due to the narrative nature of the output.

S23

6 – Window of Creative Competition(WoCC)The television WoCC was introduced four years ago to drive creative competition between external producers and the BBC’s
own in-house production departments. As well as the Ofcom 25% independent production quota, the WoCC guarantees anadditional 25% of eligible output (worth around £250million over the year) is available for direct competition between the two
supply bases. This year the overall outcomes are roughly the same as previous years, with indies winning c.70% of the businessand in-house production securing the balance. However, there are movements in individual genres with year-on-year changes infavour of both indies and in-house.
Proportion of ‘WoCC’ hours produced by independent producers for BBC television
Entertainment

ComedyChildren’s

Drama

Knowledge

Total shareof WoCC

2009/10

2009/10

2009/10

2009/10

2009/10

2009/10

64%

77%

50%

79%

70%

70%

2010/112010/112010/112010/112010/112010/11

80%

79%

57%

86%

66%

72%

% Change% Change% Change% Change% Change% Change

+16%

+2%

+7%

+7%

-4%

+2%

Proportion of ‘WoCC’ hours produced in-house for BBC television
Entertainment

ComedyChildren’s

Drama

Knowledge

Total shareof WoCC

2009/10

2009/10

2009/10

2009/10

2009/10

2009/10

36%

23%

50%

21%

30%

30%

2010/112010/112010/112010/112010/112010/11

20%

21%

43%

14%

34%

28%

% Change% Change% Change% Change% Change% Change

-16%

-2%

-7%

-7%

+4%

-2%

Top indies based on spend 2010/11
TV

Radio

Kudos

Somethin’ Else

Talkback Thames

UniqueShine Limited

Smooth Operations

Endemol

USP Content

Shed Productions

Pier Productions

In August, following a BBC Trust review of the independent
supply of radio programming, the BBC agreed to introduce
a Window of Creative Competition (WoCC) to promotecompetition between BBC in-house production and theexternal radio supply market for a further 10% of broadcast
hours on top of the existing voluntary commitment.
This move effectively doubles the amount of radio
programming commissions guaranteed to be open to the
independent sector, which relies almost entirely on the BBC
for commissions. The new WoCC will be in place in time forthe 2012/13 financial year.

S24