Clayton creative enterprise conference 2 may 2013


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  • Artistic programme – traditonal dance
  • Artistic programme – contemporary dance
  • Music – traditional and contemporary
  • Professional development:Artists in SchoolsCLPCreative Leap
  • International:In the Further Soil – combined arts development, toured to India and UKDance Intense – Birmingham, India, Canada – developing new talent and increasing networks
  • Outreach Traditional dance in rural locationsArts Champions – working in local areas of Birmingham on long term projects. E.A.T exploring art through food.
  • Education – Young peopleGallery 37 project using parqourLite – issue based drama workshops in education and community settingsOut of Many One – next slide
  • Out of Many One brought together 20 schools and youth groups from diverse communities across Birmingham to celebrate sampad’s 20th anniversary.
  • We always try to keep an eye on the future in terms of:How audiences/people consume cultureThe
  • Adapting to the changing world around us
  • Our reference points:Medialab Prado – a major influence and long term project partnerJugando con NumerosVisualizarExchangelab, a professional development to upskill creative professionals, artists, curators and producers in the various applications of digital technology in partnership with Medialab Prado, Madrid, and now with Ars Electroinica, Austria, and STRP, Netherlands through a follow on project called SEPP:Digital; OPPORTUNITIES – to discover new ways of working
  • The idea for this project stemmed from previous work we had done with local young people (those aged between 15 and 18), as part of our radiu5 project. We learnt that young people were interested in using digital technology compared to our more traditional approaches
  • sampad does not currently use gaming technology in its generaleducation and outreach projects,despite a recent report by the Gaming Steering Group that stated 33 million people in the UK play video games, which is just over half of the UK’s population. All these issues present new opportunities, as there is obviously scope for this kind of product.
  • Assessing trends – income and expenditure of various programme strandsAngela Maxwell – Business consultant helped to focus our ‘business’ brains. Drawing together data we were able to ask questions such as:What do we want to do?What can we afford to do?What should we do less/more of?
  • Shared approach I brought in the director and the programme manager – for a shared approachWe jointly understood the problems and the solutionsto spread the responsibility, knowledge, concerns, and new areas of focus and motivation.
  • This enabled us to better understand our strengths as an organisation.It also enabled us to look at what we should be doing that we’re not doing. E.g:Fundraising – should we build sponsorship relationships? How much time should we commit to trust funding? Can Crowd funding work for Sampad?Developing corporate contacts (SMT) – tested with Mandala, relationships started e.g. BIDs, B100
  • Concentration on selling new ways of working to agencies such as HLF, and trusts.E.g. Using AR and Data vis for community heritage projects
  • Ensuring have a sales strategy in place – particularly for our education products and projects, and monitoring progress.Being more business-likeConcentrating on the bottom lineBeing financially viableMaking those hard decisions – particularly around our programme activitiesScenario planning for reduced public funding
  • Another example of work we did with Creative Bridge DevLabDigitally we are experimenting with new collaborations to produce innovative and inspiring work.Finding new ways of working with technology organisationsMy Route AR and Data Vis providers came through DevLab.
  • Helping hands.Continued valuable on-going support on a more informal basis.Strong understanding of the organisation’s strengths, skills, and growth areas
  • Clayton creative enterprise conference 2 may 2013

    1. 1. Developing a sustainable cultural enterprise2 May 2013Clayton Shaw, Operations manager, Sampad0121 446 3271
    2. 2. About sampad• Culturally specific organisation• Over a twenty year track record• Primary funders – Arts Council England andBirmingham City Council• Partnership with mac on a £15.2m buildingproject• Continue to remain relevant• Strong reputation
    3. 3. Piali Ray, The Sampad Story, 2011
    4. 4. Areas of focus• Artistic programme• Professional development• International partnerships• Outreach• Education
    5. 5. Dancing Sculpture, spring 2011
    6. 6. Dawn Jackson and Kali Dass, autumn 2010
    7. 7. Mid-day Mantra, autumn 2010
    8. 8. Creative Leap, 2011
    9. 9. In The Further Soil, India tour,autumn 2010
    10. 10. Janavak at Hereford, summer 2010
    11. 11. Gallery 37, 2010
    12. 12. Out of Many One, 2010
    13. 13. Mandala, 2012
    14. 14. Mandala 2012
    15. 15. • RADIU5 imageRADIU5
    16. 16. “33 million people in the UK play videogames” the Gaming Steering Group
    17. 17. % of Population of young people under 24
    18. 18. Current challenges• Arts Council England cuts• City Council cuts (still unknown)• Above inflation rises to CPI• VAT increase• Low interest rate (trusts, bank interest)• Less funding bodies, and less funding from thosethat remain• Increased competition for funds• Government interest in philanthropy• Unknown territories
    19. 19. Goals of working with Creative BridgeWe want to develop the organisation with viableproducts and financially sustainable models thatwill enable audiences and young people,primarily from hard to reach communities, toeasily access the arts in ways that are attractiveto them, and to increase their learning,engagement, and appreciation of South Asianarts.
    20. 20. In summaryCreative Bridge has helped us to:• prioritise our programming decisions andresources•Better understand our strengths•Establish new contacts and networks –particularly in digital technologyGenerally good to talk to experienced externalprofessionals
    21. 21. Thank you• 0121 446 3260••