Pixelate 2006-10 Evaluation Report Final


Published on

An independent evaluation of the creative community media project Pixelate. Written by consultant Helen Corkery.


Published in: Education
  • Be the first to comment

  • Be the first to like this

No Downloads
Total Views
On Slideshare
From Embeds
Number of Embeds
Embeds 0
No embeds

No notes for slide

Pixelate 2006-10 Evaluation Report Final

  1. 1. An Independent Assessment of theLets Go Global Creative Digital Media Programme By Helen Corkery November 2010
  2. 2. CONTENTS1 About Pixelate2 Evaluating Pixelate 2.1 Evaluation framework 2.2 Methods used3 Key findings 3.1 Facts and figures 3.2 Project participants 3.3 Participant experience 3.4 Participant progression 3.5 Skills development and creativity 3.6 Transferable skills, confidence and pride 3.7 Organisational development 3.8 Local Authority benefits4 Achieving the objectives 4.1 Increasing production of digital media content 4.2 Meeting the funding criteria 4.3 Rolling out the Lets Go Global Model 4.3.1 Improving performance 4.4 Combating Social Exclusion 4.4.1 Health and older people 4.4.2 Increasing participation 4.4.3 Children and young people 4.5 Developing more active and proud communities 4.5.1 Improving public realm 4.5.2 Vibrant communities5 Conclusions
  3. 3. 1 About Pixelate Pixelate was the innovation of Lets Go Global, a creative media organisation in the heart of Old Trafford, Manchester. The project was developed in response to a lack of creative community ICT projects being delivered across Greater Manchester and subsequent need to build the capacity of local communities, art- ists and organisations to deliver high quality interactive content. Through Pixelate, Lets Go Global aimed to roll out a model of producing digital content with local peo- ple and artists for live broadcast over the web. It has involved a broad range of digital arts activities aimed at combating social exclusion and increasing participation in the arts, enabling people and com- munities with no or limited access to the Information Society to create and direct their own work. The project has drawn upon digital arts activities, artists and other practitioners to improve individual employ- ability and the visibility of the communities involved, helping to reduce the digital divide through the innovative application of new technologies. The project has been delivered in two phases over a four year period between 2006 and 2010. Working with Arts Officers, artists, community organisations and a broad range of other service providers across the sub-region, Lets Go Global have delivered a broad range of activities across all ten districts in Great- er Manchester. The project has been supported by the Greater Manchester Strategic Arts Fund and through this, Arts Council England North West (ACENW) and the Association of Greater Manchester Authorities (AGMA). It was one of the first county-wide projects delivered through the fund and aimed to achieve a step change in collaborative and partnership working across the ten Local Authorities involved. The project’s main aim was to increase the creation of new media content across the communities of Greater Manchester. To achieve this, a number of clear objectives were set out as follows. To increase the production of high quality digital content through creative media project work across Greater Manchester. To roll out the Lets Go Global model of producing digital content with local people and artists for live broadcast/archive over the web. To combat social exclusion and increase participation in the arts and creative technology, enabling groups who do not normally have access to creative media facilities to create and direct their own work. To enable local people to have an active and creative role in their own community leading to the development of more vibrant and proud communities within Greater Manchester. To liaise and advise the districts on establishing local authority and/or community online media channels. To improve individual employability (particularly in the creative sector) and visibility of the groups and communities involved, helping to reduce the digital divide. To develop partnerships with organisations within the districts in order to support their continued growth of creative media and ICT work. To liaise and advise AGMA districts on establishing local authority /community T.V Channels. To create a project/worker/producer post (full time) to deliver and lead on developing and stimulating live Internet TV streaming projects within the AGMA districts. To create a part-time technical support post to stimulate and support the creation of pilot project work within the AGMA districts.1
  4. 4. 2 Evaluating PixelateThis report supplements a separate short video evaluation and focuses on identifying whetherthe Pixelate project has met its objectives. It sets out the framework and methodology used toevaluate the project’s achievements and draws on these to demonstrate what has been achievedthrough the project and the lasting legacies it has generated as a result.2.1 Evaluation frameworkA framework was set up to assess the project achievements as set out below. The frameworkrecognises that the project will have achieved a broad range of outputs, outcomes, impacts andlegacies amongst the individuals, community organisations, support workers, Local Authorities andstakeholders involved. It is also very likely that the project will have achieved a number of out-puts and outcomes for Lets Go Global, in terms of its own skills, development, expertise andlearning as a result of managing the project.Inputs Process Outputs Outcomes Impacts Legacies Project participants Community groups Artists/ support workers Local Authorities Funders/ other stakeholders Organisers2.2 Methods usedTo gain a clear understanding of what has been achieved through the project in terms of its im-pacts on each group a number of research methods were used. » An evaluation video was developed by the Lets Go Global team, in which a range of projectparticipants, community organisations, support workers, artists and Arts Officers were asked whatthey felt about the projects they were involved in and how they had benefited from being in-volved. The video is available at www.pixelate.org.uk and www.letsgoglobal.tv. » An interactive website survey was set up and issued to everyone involved in the project. Thesurvey used routing technology so that respondents would not be asked questions that were notrelevant to them. We also incorporated photographs and interactive elements to make it interestingfor participants to complete. » We held a number of telephone depth interviews with a number of participants, support work-ers, arts officers, community organisations and other stakeholders to get a richer picture of howthey felt the projects had gone and in which ways they had benefitted from being involved. Theseinterviews also gave us an opportunity to ask what other or unexpected outcomes had beenachieved as a result of the project. » Finally, all the facts and figures collected over the course of the project were analysed togetherwith feedback sheets completed by participants at the end of each project. The information fromthese was compared with a range of other databases and profiling frameworks to gain a clear un-derstanding of the types of people taking part, where they came from and whether they were fromareas of low participation or deprivation.Across the research methods we received survey responses from 10 representatives of local authori-ties and 56 responses from participants, allowing us to have a good degree of confidence in theresults. In addition we interviewed 15 participants, 2 arts officers, 2 support workers, 2 artists, amember of the Pixelate Steering Group and 3 representatives from the community groups involved. 2
  5. 5. BOLTON: OLDHAM:Lesson Learnt? A Twisted Fairy TalePartners: Bolton Council Arts & Events Partners: Oldham Council Arts & Events Team, The Box. Team 16 September - 25 November 14 May - 13 July 2010Dates: Dates: 2009Participants: 8 Ages: 16 - 19 years Participants: 5 Ages: 16 - 18 yearsArtists: Chris Evans (Video Artist), Artists: Richard Ramchurn (Video Artist) Danielle Henry (Drama Artist) & & Lucas Buigues (Sound Artist) Ian Findlay (TV Producer)Budget: £6,707.20 Budget: £2,935.42Levered Levered Funding: £1,600 (In Kind) £3450 (In Kind) + £3500 (FYT)Funding:Lessons Learnt? involved a group of young peo- The project involved young people aged 16-18ple from the Johnsons Fold Estate in Bolton, an who had been working together for a number ofarea of social housing where a key priority was to years and have performed at many venues acrossincrease skill levels. The project aimed to equip the Greater Manchester.young people with the skills needed to make their Through the project they choreographed their ownown short films and was delivered in partnership dance performance following a workshop deliveredwith The Box and Bolton Council Arts & Events by Tom Roden. The young people learnt how toTeam. plan, manage and produce their own video piece from conception to performance. They developed aThe young participants were given training in script range of technical and creative skills, and deliveredwriting, storyboarding, film-making and editing films two live public performances.of their own design. Through a series of drama The Oldham Pixelate project with Young Oldhamworkshops and specialist camera training, the young Dance Company concluded on July 13th, 2010people created a film exploring the dangers of with a performance of their interactive dance/videosocial networking websites and a behind the scenes piece, A Twisted Fairy Tale at Oldham Coliseum.piece showing what the young people got up toon the project. As part of the project, Lets Go Glo-bal also delivered a series of training sessions withstaff at the Box on editing software Sony Vegasand Sony V1 cameras. The performance featured projections of a human heart onto a 7ft balloon as well as projections onto square screens that the dancers interacted with.3
  6. 6. 3 Key FindingsBefore assessing whether Pixelate has met its objectives, this section presents the key findings fromthe research and evaluation activity.3.1 Facts and FiguresOverall, the project has involved all of the ten local authorities in Greater Manchester in the de-livery of onine community-based projects, two exhibitions at the Waterside Arts Centre’s LauristonGallery and Gallery Bar in Sale, an exhibition at Manchester’s North City Library, a range of screen-ings and live broadcasts (including those at Peopleprint in Rochdale, Stockport Art Gallery and BuryMuseum and Art Gallery) and across a range of websites and online networks.OutputsThere have been a broad range of workshops and training sessions and at least 70 creative digitalmedia exhibitions, screenings, animations, films, broadcasts and performances. In addition, severalvideos produced through the project have been and continue to be used to inspire others to takepart in activities and for other educational purposes. These outputs are in addition to the commu-nity mapping activity, website development and audit activity undertaken by Lets Go Global in thefirst phase of project activity. Exhibitions / Screenings 8 Live Performances 2 Outputs Animations 27 Live Broadcasts 3 Social Network Accounts 3 Other Films 26 Documentary Films 3 Participants & Partners Funding & Levered Funding Across the projects 140 participants have Overall the project has levered funding of taken part, 18 artists have been employed well over £200,000 across the four years. and 10 community groups and other service providers have been involved. These included This funding is made up monetary support the Education Team working with a group of as well as in-kind contributions from the Traveller families on a private site in Wigan, local authorities involved, the BBC, Salford’s Youth workers working with BME and refugee Drug and Alcohol Action Team and Find groups, Community support workers working Your Talent Fund. Lets Go Global and with adults who have a background of sub- Trafford MBC also contributed significant lev- stance misuse problems. The artists included els of in-kind support and resources to the video artists, a sound technician, screen and project over the four year period. creative writers, animators and social and multi-media specialists. Project Funding Artists Total levered funding Participants GMSAF Funding Local Authorities Community Groups £141,727 Other Service Providers / Organisations £124,700 £114,000 18 140 £66,665 10 7 3 PHASE 1 PHASE 2 4
  7. 7. 3.2 Project participantsThere were a number of aims associated with the types and volumes of participantsinvolved in the projects. These included the need to attract a diverse range of partici-pants from across the age groups and genders; to engage people who were at riskfrom being marginalised or who did not engage with creative digital media activities;and to attract participants from areas of deprivation or social isolation. Participant origin As shown in the map aside, participants came from across the nine Greater Man- chester districts in which projects took place. There are concentrations in those areas where projects focussed on engaging people from particular estates (in Bolton, Tameside and Rochdale) and more dis- persed take up in the other areas.Participant age and genderWhilst some of the projects involved participants from certain age groups (for exampleBolton and Stockport) others involved people from across a wide range of ages.In Bury for example, participants were between 22 and 88 years and in Wigan they werebetween 2 and 60 years old. There is clear evidence that these intergenerational projectsadded to the positive experiences of those taking part.5
  8. 8. Participant neighbourhoodsTo find out more about the neighbourhoods from which participants came, we canoverlay their postcodes on a map that shows the levels of deprivation in the area asshown.The darker areas are those areas in Greater Manchester that are most deprived and thelighter areas, the least deprived. 64% of all participants were from the 25% most deprivedareas and 88%, the significant majority, are from the 50% most deprived areas. Thesefindings indicate that Pixelate has been very successful in attracting participants from de-prived areas, who are at risk from being marginalised. “I found it re- ally stimulating. Th ere were a group of us and we were all of diff erent ages, I was the eldest, I always am, but it didn’t matte r, age didn’t matter, we all worke d together as if we were one, we exchanged ideas and we talked ... it was wonderful” Participant from Text Art Animation 9
  9. 9. BURY ROCHDALEText Art Animation Alter Ego/RIPS InvestigatesPartners: Bury Council Arts Team, Script. Partners: Link4life Cultural Trust, People Com print Community Media 16 May to 20 June 2009Dates: Dates: 1 October 2007 to 1 April 2008Participants: 10 Ages: 22 - 88 years Participants: 8 Ages: 24 - 62 yearsArtists: Lisa Stansbie (Text Artist), Kav Artists: Kim Wiltshire (Creative Writer) yasiddhi Mulvey (Screenwriter) and Mat Johns (Video Artist) & Andy SykesBudget: £1,030 Budget: £4,161.35Levered Levered £ 14,315 (In Kind) + £93,000 £1,275 (In Kind)Funding: Funding: (funding gained from support)Text Art Animation involved a group of local resi- A project involving adents in developing six short animations inspired group of local peo-by the annual Bury Text Festival. The project aimed ple of all ages in theto engage the local community to serve as a fun, creation of a series ofaccessible and relevant introduction to the concept fictional programmesbehind Text Art. which were broadcast online and presentedThe participants benefited from a series of work- to the public as realshop sessions through which they created a col- life.lection of animations exploring topics such asnarrative, extinct words, fonts, word play and local The participants werehistory. given training in all aspects of digital film- making: drama, script development, produc- tion planning, camera and sound recording, scheduling and post produc- tion editing. They worked to a gruelling schedule of work to deliver the series of eleven films. The theme chosen was ‘Most Haunted’ and the par- ticipants invented their own online persona called R.I.P.S (Rochdale Investigative Paranormal Society). The project was delivered in partnership with Peo-They were given training in creating relevant and pleprint – a community media organisation andmeaningful digital art content, drawing, writing and concluded in a broadcast at Peopleprint on theanimation skills by professional artists from these 1st April which was streamed live over the inter-fields. The final animations were showcased at the net.Bury Met in June 2009.“It has inspired lateral thinking – new approach- “The whole experience was excellent, enjoyablees and I feel more in contact with what is hap- and I’ve learned so much in terms pening in wider areas of creativity”. of camera work and on location” Participant from Script.Com Participant from Peopleprint7
  10. 10. Participant neighbourhoodsTo further explore the neighbourhoods from which participants came and to understand moreabout their levels of involvement in arts and creative activities, we can use profiling techniques.Here we have used two different profiling systems to gain an understanding of the participants.The chart above compares the types of people in the project participants’ neighbourhoods withthose for the whole adult population of Greater Manchester. It draws on Arts Council England’snational profiling framework and shows that the neighbourhoods of participants (represented bythe darker bars) are predominantly populated by people who do not engage in arts and creativeactivities. A few of the participants come from areas where fun fashion and friends and urbanarts eclectics live (people that do engage to some degree), but overall the predominant people inparticipant neighbourhoods are a quiet pint with the match: people who not tend to engage inarts and creative activities. These findings suggest that Pixelate has been successful in reaching com- munities that would not otherwise participate in creative activities. The pie chart uses a similar tech- nique to identify what types of socio-economic background the participants came from. It draws on CACI ACORN profiles and shows that the majority of participants (64%) are from Hard Pressed back- grounds: people who have very little wealth and time to spend on doing creative activities.A further 12% of participants are from the Moderate Means group, suggesting that over threequarters of participants were from those groups most at risk of social and economic isolation. Thesefindings support those found earlier that Pixelate has engaged people who are at risk of isolationand who do not tend to engage in creative activities. 8
  11. 11. 3.3 Participant experience A key aim for the project was to develop skills and generate an interest in digital media produc- tion amongst the project participants. To achieve this, there was a need to ensure that the partici- pants had positive experiences. Their experience of the projects also provides an indicator of the quality of project management and organisation of activities. It is clear from the feedback from par- ticipants that they all found the sessions useful and the professionals very support- ive. There has also been extremely positive feedback on the equipment used in the project venues. In fact, overall three quar- ters of participants indicated that they were satisfied with the project activities. The feedback from participants on what they got out of the project has been similarly positive (chart below). These findings are echoed in the feedback received from the participant interviews, where the ma- jority indicated that they had developed new skills in camera work, acting, sound recording, editing, writing and creative ideas generation. “I learnt quite a lot “I loved doing ‘No Angel’, of stuff, a tremendous I had never done a film amount...we had the “I enjoyed the opportunity before. I learnt about the added bonus of a team to go out and produce boom and how to use it. that helped us considera- and film a real event. Much I would love to do bly.. what they taught me more useful than a set up exercise that you get in more camera work and at the time was amazing.. most training courses.” also more in front of the about cameras, digital camera. I learnt new skills audio, about the media and I wish to do more.” side of things.” Participant – Guerilla Participant – No Participant - Citizen Journalism! Angel Journalism/On Hattersley9
  12. 12. Beyond the technical skills developed by participants, there were a “It’s absolutely fantastic…number of other outcomes from the projects. These include opening the support you get fromup access to progression routes, transferable skills development, in-creasing the confidence of participants and giving them pride in their people who have gotown and each others work. that technical expertise and community members involved … it’s the best experience ever” Partici- pant – Citizen Journal- ism/On Hattersley “I learnt how to use sound and cameras, how to edit films and edit sound” Participant – Les- sons Learnt? “These are young people who would never come across the opportunity to3.4 Participant progression do anything like this.. it’s given them a massiveAcross the projects there is clear evidence that the participants’ boost.. the confidence, theinvolvement has led to them progressing in their careers and in transferable work skills,other ways. Several of the young people involved have secured the social skills which weplaces at University or College to study Media Studies since becom- talk about all the timeing involved. Many of the younger participants have changed their but are still as important.”options in school to go on to take GCSEs or A levels in the area. Arts OfficerOne participant has even decided to stay on at school to take “…it’s made me thinkGCSEs as a result of an interest in digital photography acquired more about my careerthrough the project. It is also clear from the feedback that the art-ists and professionals involved in delivering the projects have pro- because its opened it outvided positive role models for many of the young people involved. more to things to do.“For some, these professionals have been the only adults outside Participant – Dramatictheir immediate families, teachers and social workers who the young Paws!people have come into direct contact with. “I’ve just enrolled in col-For several of the older adults involved in the project, their partici- lege through a higherpation has also inspired them to go on to do further training or access course and I wantto continue with creative activities in more informal environments. to go to university to doThere are examples of adults re-training as a result of their involve- media studies to get myment: one participant, having been long term unemployed, has re- qualifications to be acently applied for a place on a higher access course and is intend-ing to go to University to pursue a career as a Cameraman. One cameraman… it’s some-of the older participants is also in the process of writing her mem- thing I’ve always wantedoirs so that her grandchildren and great grandchildren will be able to do but have never hadto understand about what life was like for her in years to come. the confidence before.”There are many clear examples of how Pixelate has changed their Participant - Citizenlives for the better and given them new directions through which Journalism/On Hattersleyto continue using and developing the skills they have acquired. 10
  13. 13. 3.5 Skills Development and CreativityThere is considerable evidence of technical skills and knowledge transfer to participants across theprojects. They have been involved in a broad range of skills transfer methods, including training ses-sions, skills development activities and practical workshops. They havebeen given direct experience of using technical equipment: includ-ing cameras, sound and recording equipment, as well as editing andanimation systems. The participants have gained practical, hands-on ex- “…they learnt about technol-perience and they have been empowered to generate their own ideas ogy.. how to use ca meras,and draw from their own and each others’ experiences. what to use in a ph oto, edit- ing and interviewing skills..In all the projects the creativity of participants has been recognised they had to explain who theyand encouraged, facilitated and drawn upon throughout the produc- were and what they weretion processes. Participants were given opportunities to express them- doing, approaching lot s ofselves creatively through digital means as well as verbally, through different people.”the written word and through physical means. In several projects, Support Workernatural surroundings, the built environment and local issues were alsodrawn upon to generate ideas.3.6 Transferrable Skills, Confidenceand PrideThere is a great deal of evidence that the participants learnt more than just technical creative mediaskills. Many were involved the in the planning of their projects, in communicating what they weredoing to others, in interviewing members of the public and in drawing up schedules and keeping tothem. These transferable and ‘work-ready’ skills have and willcontinue to be of benefit to them in many aspects of their livesoutside creative work. Doing the project enabled them toThe participants have benefited in many other ways: for some it gain more skills, mo re confi-had been the first time they had worked with people of different dence, ability to refl ect on things.age groups. One young person who initially thought this “iffy”, They learnt about tec hnology, howsoon realised that as he got to know them it “was really fun and to take photos, improve their ph otos.I really enjoyed it”. The project also gave the participants a real They discussed issues like comm unity,boost to their confidence. Whilst some had said they had already employment, exploitation, globa tion.. it allowed them lisa-had a level of confidence beforehand, for others the impacts on to exploretheir confidence had been quite remarkable. Indeed the confi- these issues and be confident indence that some participants acquired was a key factor in their their views.”decision to take the plunge and apply for further training. Thereis considerable evidence that the participants were proud of theirachievements. They were very keen to see their work screenedand exhibited and relished the opportunity to share their activities with other members of their com-munity, friends and family. The project also gave some of the young participants a voice: in fact formany participants it gave them an opportunity to explore both the digital world and the bricks andmortar world around them, to better understand their environments, develop views and to share thesewith others.“Working with communities, in this case with older, mature community where they could experience that the barriers that are there to use digital technology are notthat high and they had a very enjoyable and successful experience.. that’s necessary to bring people closer to digital media and to enable them to use them in every- day life, Pixelate has helped immensley to do that.” Arts Officer11
  14. 14. 3.7 Organisational developmentIn addition to the benefits to participants in the projects, Pixelate has had a very positive impact onmany of the artists and organisations involved: particularly the community organisations and supportservices teams who benefited from the project in many different ways.The project has been instrumental in the development of three of the community groups involved.They have gained skills, confidence, expertise, knowledge and experience in digital creative media tech-nologies and approaches. One organisation was in its early stages of development when the projectstarted. In their own words“Before we got involved in the Pixelate project we had only done a pilot project… the supportwe got from LGG(Lets Go Global] and also the training for us made us more confident in our-selves in what we were doing. It’s had a big effect on our skills, we feel we can go off and dostuff on our own now whereas we could never have done that before. I don’t know if we wouldbe in the position we are today if Pixelate hadn’t come along.. in every area from our ownconfidence and skills to giving young people a real quality experience and then replicating thatexperience with our other projects, I don’t think that would have happened at all, we wouldhave been a lot further behind in our development.”Beyond skills transfer, there are many other ways in which the organisations benefited from beinginvolved. In the words of another community organiser “I can’t praise the project enough it’s beenabsolutely fantastic for us. At the time we applied I wasn’t sure whether we should do it ornot. At the time we had other priorities but we did do it and one of the first meetings, Sarahsuggested we contact Tudor trust and through that we got 3 years core funding. Just that lit-tle bit of information had a significant effect on our organisation. Since then there have beenso many times when we’ve had additional support from the LGG team – they really know whatthey are talking about and that’s been really good for us.”“as well as learning technical skills, it also gave me the confidence to think yes, I can set upmy own company, I can deal with people in more formal settings than I was used to. Nextweek I am involved in a discussion group for the English National Youth Arts Network Confer-ence… without Pixelate I wouldn’t have the confidence at all to even go to the conference, letalone do that.” Community Group OrganiserThe artists involved have also benefited. They have worked with new and different groups ofparticipants as well as working alongside professionals from other specialisms and organisations.“I hadn’t worked with a group of travellers before.. it was really interesting because I didn’tknow anything about traveller culture.. I learnt so much about their culture, it was absolutelyfascinating… they were quite different and quite diverse… as an artist it was a really differentroute for me to go down.” Artist“It was the first project that I’d ever worked on with a drama teacher…having someone to takethe reigns on that side was really helpful and I think the film has really benefitted because theguys felt really comfortable when they were acting.” ArtistIt was also clear from the artists’ feedback that they were well supported by Lets Go Global duringtheir projects. They were given the freedom to work creatively which helped them get the most fromthe people and activities they worked with.“The brilliant things about Pixelate coming in as an artist was how well Sarah project man-aged the whole thing from a real kind of practical basis – it was fantastic having someone whoknows everything that’s going on and at the same time steps back and lets you work freely asan artist, you felt really supported but not suffocated” Artist 12
  15. 15. 3.8 Local Authority Benefits There have been a range of other outcomes and impacts for the local authorities involved. These include the increased capacity and independence of some of the community organisations involved and the legacies these capacities will generate over the longer term. For the support workers outside the arts development teams there were other unforeseen out- comes from the projects. For example, the documentary filmed in Wigan has proved to be a valuable tool to the authority. Not only did they feel “very proud of the finished product but we also used it at the Local Authority.. we used it as a teaching tool, demonstration tool to show council employees what life was really like to be a gipsy traveller. This is also an ideal tool to actually show young people that people of a different community are basically the same as them.. they don’t look any different and they don’t sound any different and they don’t behave any differently to them… its actually a very powerful teaching tool.” There is clear evidence that the arts officers have also benefited from the projects, in their own development and learning. For those who were heavily involved in the project delivery this has included technical skills and knowledge acquired through work- ing with professional digital media artists. For those who were not as involved in the detail, there is evidence that they also benefited (albeit to a lesser ex- tent) in terms of their own confidence, their increased familiarisa- tion with the language and terminology used in digital creative media projects, in their general appreciation of the ben- efits of creative digital media projects and in having the increased capacity to oversee and develop digital media projects in future. “It’s been very useful to me in terms of my knowledge of digital creative work.. whilst in my authority a single project was delivered, involvement in what others are doing has allowed me to look differently at how digital projects work.. Its helped me to understand what the possibilities are… before the project I would have had to rely on others.” Arts Officer “The use of digital media has exploded... You Tube, Facebook, Twitter, things we would probably have used at home suddenly became part of our work and that’s why it was very timely… those who were involved in this project had a very gentle inroad into dig- ital creative media and content production” Arts Officer13
  16. 16. SALFORD TAMESIDE Where Next? / No Angel Partners: Citizen Journalism/On Hattersley Partners Salford Arts Development Team, Partners Tameside Arts & Festival Team, STASH–Day Centre, Salford DAAT Hattersley & Mottram Community Media 3 September to 19 October 2007 Dates: Dates: 19 February - 10 April 2008 Participants: 7 Ages: 24 - 41 years Participants: 13 Ages: 21 - 79 years Artists: Mat Johns (Video Artist) & Artists: Richard Ramchurn (Video Artist) Claire Bleasdale (Drama Artist) & Claire Bleasdale (Drama Artist) Budget: £7,676.52 Budget: £6,494.46 Levered £3,240 (In Kind) + £4,375.50 Levered £1,920 (In Kind) + £22,672 Funding: (Additional Funding) Funding: (Levered Funding)This project involved a group of Salford resi- Citizen Journalism/ On Hattersley involved a groupdents in the creation of a series of short films of local residents in the production of two broad-which were broadcast online. The ideas, dialogue casts streamed live over the internet and featur-and content of the films came directly from the ing live interviews and pre-recorded news pieces.project participants themselves. The two broadcasts received significant audiences and covered a range of salient issues within theThe participants created a three part drama that local community. The project involved the wholefocused on the character Lucy and followed commu-her and her family interacting and dealing with nity intheir day to day lives in Salford. The participants identify- learnt a broad range ing the of digital film-making topics skills, from preproduc- to be tion planning, acting, covered location work, camera via an and sound recording online through to post pro- forum. duction editing. The par- The project took place ticipants in partnership with then decided which pieces of news to cover and STASH – a Salford the structure of the broadcasts. They were pro- based structured day vided with training in a wide range of areas, programme for adults including camera work, soundrecording, editing with substance misuse and video streaming. The project was delivered in problems – and with partnership with Hattersley & Mottram Communitysupport from Salford City Council Arts Team and Media (HMCM) – a social enterprise, set up toSalford DAAT (Drug and Alcohol Action Team). create an outlet for local community news – andIt concluded in a screening of the films at the with support from Tameside Council’s Arts andSalford Arts Theatre on 6th March 2008. Festival Team. “I found the Pixelate team great and our“I wouldn’t change anything, I thought every- team were excellent to work with” Participantthing was great!!” Participant from STASH from HMCM 14
  17. 17. 4 Achieving the ObjectivesThe research findings demonstrate the key im- Global and a range of community organisations,pacts of the project on the participants, or- Arts Officers, support workers and the BBC; itganisations, local authorities, artists and others has helped to develop artists and thereby theirinvolved. This section draws on these findings to capacity to deliver new digital media projectsassess the level to which the project has met its in future; and, it has developed an interest inoverall objectives. and enthusiasm for future digital media activi- ties amongst the participants and communities in4.1 Increasing production of which the activities took place.digital media content The project needs to be innovative. There isA key objective for the Pixelate project was to clear evidence that the project was perceived toincrease the production of high quality dig- be innovative by those involved, both in termsital media content through project work across of its focus on digital media content creationGreater Manchester. The and in the model of partner-first steps in achieving ship working employed.. At thethis objective were tak- time of its conception, many ofen when Lets Go Glo- the districts had no or lim-bal secured the com- ited experience of undertakingmitment of the Greater digital media content creationManchester Strategic projects and the project pro-Arts Fund (GMSAF) and vided them with a means ofArts Officers Network taking steps into the area withto deliver the first limited risk and supported by aphase of the project. group of specialists at Lets GoA number of powerful Global.arguments helped this, The project needs to de-including the need to velop skills. The project hasundertake an audit of developed skills amongst par-existing capacity in dig- ticipants of all ages and back-ital media production grounds; many have since beenacross the sub-region; used in other projects and inthe ever increasing role furthering their careers. Thethat digital media plays project has also developedin our lives; and the skills amongst the communityconsequent risks that groups involved, several ofmarginalised groups which had not used digital me-and communities might become even more dia to any great extent before, but who are nowisolated as digital media production takes off. A running these projects independently and withoutnumber of requirements to the funding were set, the need for specialist support.including the need for the project to meet the The project needs to involve at least 3criteria for the fund and to secure third party local authorities. With projects taking placefunding and in-kind support. across all nine of the authorities outside Trafford, in which the Pixelate exhibitions took place, the4.2 Meeting the funding criteria project has clearly met this need.The GMSAF requires that projects demonstrate a There needs to be a programme of sharingnumber of criteria for funding as follows: good practice. The model of working em-The project needs to be new or demon- ployed by Lets Go Global contributes significantlystrate development. It is clear from the feed- to the sharing of good practice. With special-back from arts officers and community organi- ist artists and professionals (brought in throughsations that the Pixelate project has achieved strong partnerships such as that with the BBC);this. Through training it has delivered new skills through training courses and visits; and, throughto the community organisations involved; it has the ongoing support available to the communitydeveloped new partnerships between Lets Go organisations and support workers, good prac-15
  18. 18. tice has not only been shared but developed as a a achieved a number of lasting legacies: in theresult of the project. This is most evident in the increased capacity of the community groups andongoing support and knowledge sharing between arts officers involved; in the progression opportuni-Lets Go Global, the arts officers and the commu- ties provided to participants, several of whom havenity organisations, where Lets Go Global continues gone on to undertake further training and developto act as an ongoing resource, providing technical careers in digital creative media production; in theadvice as well as acting as a sounding board and partnerships developed and maintained; and, in theinformation hub. increased capacity of Lets Go Global itself to deliv-The project needs to advocate for cultural er community based projects and training activities.services and stimulate growth in funding. The Through the project, cross-authority working haslevels of levered funding, in kind support, new been trialled and lessons have been learnt, pro-partnerships developed and viding valuable insights to informthe focus on disseminating the future activities of this kind. And,project outputs to wider au- whilst the process of deliveringdiences (through exhibitions, the project has itself provided sig-launches and via the web) nificant benefits in terms of skillsall demonstrate that Pixelate development, the outputs have nothas achieved this aim. Over been compromised as a result. The£200,000 has been secured in end films, animations, photographslevered funding and there is and documentaries have all beenclear evidence that the project well received by broader audienceshas equipped the community and the participants have beenorganisations with the capabil- amazed by the quality of workity to source additional funding that they have produced.over the longer term. Further- There needs to be an exit strat-more, the model of working egy and robust monitoring andused by Lets Go Global (provid- evaluation plan. The exit strategying a specialist hub for creative for Pixelate demonstrates a cleardigital media); the economies of commitment to the sustainabil-scale secured through this; and, ity of work beyond the projectthe potential to secure mixed lifetime. There is clear evidencefunding through ongoing cross-sector partnership that Lets Go Global are continuing to support theworking are all likely to stimulate funding in years organisations involved through training, supportto come. with fundraising, specialist advice and procurement.The project needs to develop new partner- Through its partnerships (including those with theships and share benefits across all ten dis- BBC Project North, Manchester Digital Developmenttricts: There is no doubt that Pixelate has devel- Agency and the Community Media Association) Letsoped new partnerships: between Lets Go Global Go Global is in a strong position to offer furtherand the district Arts Officers, artists, community opportunities for project organisations to accessorganisations and other local authority service pro- expertise, advice and funding to sustain their work.viders (including youth workers, educational teams It is also working with the BBC to develop a moreand other community support teams). Overall more diverse workforce as part of its MediaCityUK move,than 35 different organisations and artists have providing local people with the opportunity to ac-been involved in the delivery of activities. Many of cess opportunities in the creative sector. Monitor-these partnerships were new and several have been ing and evaluation activities have been builtsustained and developed since project completion. into the project. At the end of each projectWhilst the crossdistrict working has largely focussed participants, artists and organisers have completedon joint working between Lets Go Global and the monitoring forms and there have been a seriesindividual local authorities, they provide a plat- of evaluation meetings with all those involved onform through which future cross-authority working completion of each activity. A detailed evaluationand knowledge sharing can be developed through of the first phase of activity was published in 2008activities like the concurrent Digital Discoveries and through the project steering group there hasproject. been opportunity to identify risks and issues andThere need to be lasting legacies and to mitigate against these throughout.strong artistic quality. The Pixelate project has 16
  19. 19. 4.3 Rolling out the Lets Go 4.4 Combating Social Global Model Exclusion A specific objective for the project was to roll out Pixelate has had a significant role in engaging the model of working to other areas. In many participants from socially isolated and deprived ways the project has achieved this. The nine lo- areas. The projects have involved children and cal authorities have benefited from the expertise, adults of all age groups, groups at risk of be- partnerships and project management capabilities ing marginalised (including travellers, refugees and of Lets Go Global. Whilst for some authorities asylum seekers and adults with substance misuse they have been heavily involved in the delivery of problems) and many who had never had the op- projects, for others the community organisations portunity to undertake creative digital media work in their areas have been trained and supported in before. This objective is also linked to a number delivering the projects. All the projects have in- of other priority areas, including Health and Older volved artists, technicians and equipment managed People, Increasing Participation and Children and and procured by Lets Go Global and they have Young People. benefited from the relationships developed by the team and effective project management. 4.4.1 Health and older It is clear that the model has been successful in people Whilst the findings highlight the range of people delivering creative digital media projects across the from different age groups involved, many older authorities and in leaving lasting legacies in terms people were either directly involved in the projects of the skills acquired by the community organi- or were exposed to the project outcomes, through sations and others involved, now equipped to friends and rela- continue working independently. Whilst, the model tives taking part was more limited in generating cross-authority or by attending working (other than that between LGG and the one of the launch remaining authorities) the foundations have been events or exhibi- set for such county wide work, including the new tions. Amongst the Digital Discoveries project aimed at increasing fifth of participants digital media capabilities across the entire network. aged 60 years These subsequent projects, the increased capacity or more, there and access to digital artists’ networks and ex- is clear evidence pertise demonstrate clear legacies to the Pixelate that they benefited project and the Lets Go Global model. greatly from the 4.3.1 Improving performance projects, in devel- oping their con- Associated with this objective is the priority area of improving performance There are many ele- fidence and skills ments of the project that have helped to do this: in using digital the skills acquired by participants; the knowledge, media, develop- training, networks and partnerships developed ing content and learning new and different things. amongst the community organisations and other There is evidence that they shared experiences service providers; and the overall model of work- with younger adults, children and people from ing, which has brought expertise across a range different backgrounds to their own. Finally, whilst of specialisms and efficiencies to the running of the projects did not focus on too much physical community based digital media projects across activity, as the oldest participant, aged 88 years Greater Manchester. argued: “it’s certainly spurred me on to do creative The increased investment in digital creative me- work.. when you are old you know, people dia projects levered through the project and the look after your body you know but they don’t increased capacity of local community groups to look after your mind...your mind is just as deliver such projects and attract funding should anxious to be healthy and do these things.” also ensure performance improvements in years to come.17
  20. 20. WIGAN MANCHESTER Life In Wigan Guerilla Journalism! Partners Wigan Leisure & Culture Trust, Partners Manchester Council’s Cultural Strat Travellers Education Team, Rafiki egy Team, BBC Connect & Create Team Dates: 29 July to 20 September 2007 Dates: 5 to 30 October 2009 Participants: Ages: 4 - 60 years Participants: 9 Ages: 28 - 34 years 31 Artists: Johan Oldekop (Photographer), Artists: Claire Wardle (Social Media), Kim Wiltshire (Creative Writer), Natalie Hancock & Karin Thayer Mark Haig (Documentary Film (Multi-media) Maker) & Debbie Steer (Video Artist) Budget: Budget: £180 £6,015.76 Levered Levered £6,980 (In Kind) £2,640 (In Kind) + £2,177 Funding: Funding: (Funding)Life in Wigan involved local marginalised groups Guerilla Journalism! Involved the creation of 7 shortand individuals from BME communities in the video pieces from the In The City music conferenceproduction of a selection of photographs, docu- and a dedicated Facebook page. The project aimedmentary film and video pieces exploring themes of to develop professional, work related skills for localidentity and local community. people in response to the development of Mediac- ity.uk in Salford Quays. This project involved resi- dents from East Manchester, an area where there had been very little cultural activity or involvement in the Arts and Media. BBC trainers and staff sup- ported the participants to develop social media and multi-media reporting skills. The participants then put these into practice during the ‘In The City’ music conference where they filmed and recorded interviews and stories of interest. The content was then uploaded online.The project was delivered in partnership withRafiki, a Wigan based youth group for black andminority ethnic young people and The TravellersEducation Team (TET) who support children fromTraveller families to access education in the Wiganarea. Participants were given training in digitalphotography and filmmaking and they learnt abroad range of other skills including interview-ing skills. They were encouraged to tell and sharetheir own stories, to explore each other’s identi-ties and to view and record their surroundings innew and different ways. “I learnt about different “I enjoyed the opportunity to go out and pro-identities. I enjoyed editing the pictures and duce and film a real event. Much more usefuladding text and changing the colours. It was than a set up exercise that you get in mostace” Young person from Rafiki. training courses” Participant from East Manchester. 18
  21. 21. 4.4.2 Increasing Participation The findings highlight the reach into areas of deprivation and low engagement in creative activi- ties. These and participant feed- back provide clear evidence that the project has increased partici- pation amongst these communi- ties. Indeed all those participants responding to the survey indicated that the project had significantly increased their interest to try new things and the majority also indi- cated that it had increased their interest in digital media. 4.4.3 Children and young people A number of projects specifically targeted children and young people. These included Lessons Learnt? In Bolton where a group of young people from a social housing area worked together to make a short film and behind the scenes documentary; Dramatic Paws! In Stockport where young people aged 13 to 17 years learnt about and developed a series of animations inspired by ‘Reg- gie’s Roller Palace’; and ‘A Twisted Fairy Tale’ in Oldham involving a small group of young peo- ple in an interactive dance video performance. Many of the other projects also involved children and young people who worked alongside adults to produce their work and gain skills, confidence and knowledge. For example the group of young BME, refugee and asylum seekers involved in the Wigan Rafiki project explored “Our theme was identity.. at the their identities, met and interviewed members of their communi- time there were lots of issues ties and developed a real sense of belonging as a result of the around asylum, immigration, it project. gave the young people a vehi- cle to examine these issues and Across the projects there is considerable evidence that young feel good about themselves and people have developed skills, both in digital media content pro- their identity.. it allowed them duction and more general ‘work-ready’ skills. They have increased to conclude that they could their confidence and gained a remarkable sense of pride in their have multiple identities .. it was achievements. great to explore these salient issues with a safe environment.. They have without exception developed an increased interest in as they got into the project digital media production, with several having changed their GCSE they were more able to express subject options to drama, photography, media studies and art as themselves and share it with a result. others.“ Project Support Worker There are several cases where the young people involved have gone on to apply for and secure higher education course places “Now, my daughter, she’s taking and even with the younger participants there is evidence that a photography course and it’s their involvement has given them more focus to their lives. inspired her.. to take her GCSEs in photography and to keep her A further outcome of the project is the evidence that other on at school to learn.” community members have been exposed to and recognised the Participant – Life in Wigan contributions, hard work and commitment given to the projects by the young people. They have attended workshops, kept gruel- ling schedules, taken responsibility for their colleagues and the technical equipment and they have devoted their own free time outside the formal sessions to en- sure the project outcomes. There is evidence also that their videos, pictures and stories have and continue to be used to inspire others to get involved in such projects.19
  22. 22. 4.5 Developing more activeand proud communitiesA key aim for Pixelate was to enable local peo-ple to have an active and creative role in theirown community leading to the development ofmore vibrant and proud communities. This aimlinks to the priority areas Improving the PublicRealm and Vibrant Communities4.5.1 Improving public realmThe Project has given the participants an op-portunity to voice their views and have their saythrough digital media content production. It hasgiven them the skills to continue to work with have all contributed to the levels of involvementdigital media content and it has certainly inspired in their communities. It is clear also that manythem to continue this. It has without doubt, participants have not stopped there, inspiredimproved access to many groups that may not and proud of their achievements as a result ofotherwise have the opportunity to explore their the project, many have continued to be active,ideas through digital media and there is evidence furthering their own skills and knowledge andthat it has opened up their eyes to their com- inspiring others to engage in activities.munities and the world around them. “I met a really good bunch of people that I probably wouldn’t have come into contact“They saw different things about the environ- with.. it’s inspired me to carry on and doment, their surroundings through the lens, more.” Participant- Citizen Journalism/On Hat-one boy took pictures of things that made tersleythe site.. it was good that he actually noticedthem.” Project Support Worker “The whole project was very good for the community because they have a pride in theirThere are also clear examples of how a few of families, their homes and it validates thatthe projects have had a direct effect on improv- whole pride in their community when some-ing the public realm in the communities they one else comes in and makes a documentarytook place. The broadcasts developed through the on it.” Community Support WorkerTameside, Citizen Journalism project had a directeffect in reducing fly tipping in the area and in Finally, beyond the participants it is also clearextending local bus services to access parts of that the wider communities have benefitted fromthe estate. These benefits, whilst unplanned, are being involved. Several projects involved peopleclear examples of how the Project has improved from outside the participant groups: in the de-the public realm, even in the short term. velopment of ideas for live broadcasts, through“We got a few things resolved through making interviews and through the exhibitions andthe film like the fly tipping and local buses not screenings which brought in much wider audienc-going to certain areas of the estate where we es of local people. These activities have not onlylive ..the buses do go up there now…highlighting exposed local people to the creative work thatthings in the community.” Participant- Citizen the young people and other participants created, but they have generated an interest and enthusi-4.5.2 Vibrant communities asm amongst the broader communities in creativePixelate has impacted on vibrancy of the com- digital media activities.munities in a number of ways. For those who “Apart from we got out of it ourselves thereparticipated in projects, their increased confidence, was an exhibition in the local gallery .. lotssense of belonging, improved and new relation- of local people saw that and enjoyed it thatships, increased interest in working with others, might have inspired people as well”improved understanding of their environments Participants – Text Art Animationand their recognition that they have a voice will 20
  23. 23. STOCKPORT: TRAFFORD: Dramatic Paws! Pixelate Exhibitions Partners: Stockport Art & Festivals Team Partners: Waterside Arts Centre Dates: Dates: 24 July to 16 October 2010 2 May to 7 June 2008 & 18 September to 16 October 2010 Participants: 8 Ages: 13 - 17 years Visitors: 2168 Artists: Luke Marsh (Animator) Budget: £7,047.03 Budget: £2,847.79 Levered Levered Funding: £44,923 (In-Kind) Funding: £2,325 (In-Kind) The Pixelate exhibitions aimed to demonstrate,Dramatic Paws! Involved a group of young people within a wider public context, just what communi-from across the Stockport area in the delivery of ties can achieve when they are supported througha series of animations inspired by “Reggie’s Roller an innovative and creative environment.Palace” an installation of 110 ceramic dogs onroller skates by Olivia Brown. The first exhibition was held in the Gallery Bar at the Waterside Arts Centre and featured work fromThe young people took part in a series of taster the projects to date - Rochdale, Salford, Tamesideand follow up workshops covering all areas of ani- & Wigan. This included 4 video screens and a se-mation and moving image. lection of photographs and portraits.They learnt all about the film and animation The second exhibition took place in the Lauristonmaking process, including stop motion, flipbooks, Gallery and was a much larger event. The work zoetropes, created by the community groups from across the rotoscoping, 4 years of the project was displayed on video computer screens around the gallery as well as; a highlights generated films shown in a cinema area, an interactive projec- and tradition- tion, photographs from the Wigan project and a al animation. selection of images, short films, scripts and a col- ouring book created by the broad range of artists The project we had worked with across the projects. was delivered in partnership Both of the exhibitions were successful in bring- with Stock- ing together the participants groups, allowing for port Art Gal- major celebration events and in allowing the wider lery and the public an additional access point to the work that workshops had been created. were run by experienced As part of the animator 2010 exhibi- Luke Marsh tion a serieswho has worked for Cosgrove Hall, ITV, Channel 4 of animationand CBBC. workshops with young peopleThe young people produced an amazing array of were also deliv-work and the final animations were screened at ered as well asa launch at the Stockport Art Gallery in October a smaller version2010. of the exhibition displayed at the North City Library in Manchester. 21
  24. 24. 5 ConclusionThe primary aim of the Pixelate project was to through the partnership working displayed in manybuild the capacity of local communities, artists projects, the benefits to the districts will continueand organisations to deliver high quality inter- over the longer term.active content. The project spanned a four yearperiod and has delivered a range of different The project has engaged participants from areas ofdigital arts activities across the ten districts of multiple deprivation, young and old and from neigh-Greater Manchester. bourhoods where people do not typically engage in arts activities. The projects have improved their con-Lets Go Global has worked closely with the fidence, ability to work with others and developedArts Officers in each district, local artists, com- their technical and creative thinking skills.munity based organisations as well as a numberof other local authority service providers to For many, their involvement has instigated majordemonstrate the value of creative digital me- positive changes in their lives: several going ondia technologies in achieving a number of key to study media studies, drama or photography toobjectives. The project has increased the pro- pursue careers in the area. Even those who haveduction of high quality digital content through not gone on to undertake further formal learningthe nine projects. In doing so it has introduced have benefited in their increased confidence, sensea broad range of community groups and lo- of achievement and the transferable skills they havecal people to digital media technologies, em- gained.powered them to think creatively, to learn newskills (technical and transferable) and it has Finally, the project has met the funding criteria andopened up progression routes for many. has secured a number of lessons for future county- wide working. In doing so, it has made demonstra-Pixelate has equipped local community organisa- ble contributions to key priority areas, helping totions with the skills, knowledge and enthusiasm combat social exclusion and develop more active andto continue to deliver digital media projects proud communities as a result.and it has equipped these organisations withthe know-how and confidence to secure fundingto sustain these activities over the longer term.Whilst the Arts Officers have had varied involvement in the projects, the process of deliveringthe projects has benefited them.Many have developed a much greater under-standing of the possibilities and opportunitiesfor digital media content projects in their areas,for some being exposed to the language andtechnical side has increased their confidence torun, procure and oversee such projects over thelonger term.There have been many practical benefits also.Strong relationships between Lets Go Globaland the Arts Officers have been developed, withmany accruing the benefits of having a special-ist provider on hand to call upon for adviceand support.In building capacity across the districts throughartists and community organisations as well as 22
  25. 25. KEY ACHIEVEMENTS Pixelate has been an innovative and exciting creative digital media project that has delivered high quality digital media content to communities across the ten districts of Greater Manchester. Nine separate projects and two exhibitions have been delivered to over 140 local people in Bolton, Bury, Manchester, Oldham, Rochdale, Salford, Stock- port, Tameside, Trafford and Wigan. The project has engaged, empowered and developed the skills, confidence, knowledge and pride of these local people who have been at risk of isola- tion, marginalised or who live in deprived areas. For many of the participants, Pixelate has been the starting point to careers in digital media. For others, they have continued to use and develop the skills and knowledge they have gained informally and in other areas. The project has generated employment and professional development oppor- tunities for more than 18 local artists and it has supported the development and capacities of local community organisations. It has delivered over 70 creative digital media exhibitions, screenings, anima- tions, films, broadcasts and performances, several of which continue to be used to engage and inspire others to get involved in digital content creation. It has levered over £200,000 in investment for creative digital media activi- ties across the sub-region, strategic partnerships have been developed and it has left a broad array of lasting legacies. There is clear evidence that the project has contributed to other priority areas: it has contributed to the health and wellbeing of older people; it has given a voice to children and young people; and, it has engaged people who would not otherwise get involved in arts and creative activities. Pixelate has also contributed to more vibrant communities and there are clear examples of how it has improved the public realm in the areas where the activities took place. The project has had a significant effect in developing the capacity for crea- tive digital media projects across Greater Manchester: it has equipped com- munity organisations with the skills and knowledge to deliver future projects independently and it has secured a significant hub of knowledge and exper- tise in Lets Go Global that will continue to benefit the sub-region over the long term.23
  26. 26. 24
  27. 27. 6 Finance Income Greater Manchester Strategic Arts Fund £238,700 Salford DAAT £4,375.50 Wigan LCT £2,177 Tameside Council £2,850 Trafford Council In Kind Contribution £44,923 Greater Manchester In Kind Contribution £37,745 Total £330,770.50 Additional Levered Funding Peopleprint Community Media £93,000 HMCM Tameside £19,822 Find Your Talent (Bolton Council) £3,500 Total £116,322 Expenditure Item Heading PLANNED ACTUAL VARIANCE Artistic Expenditure Freelance Artist & Consultant Fees £18,425 £32,414.91 +£13,989.91 Organisation & Professional Development Recruitment £4,246.54 £4,505.54 +£259 Travel, Materials & Consumables £4,000 £6,068.09 +£2,068.09 Vocational Training £2,000 £1,603 -£397 Web Development & Maintenance £1,000 £260 -£740 Total £11,246.54 £12,436.63 +£1,190.09 Marketing Printing/Monitoring/Final Report Costs £3,500 £5,942.54 +£2,442.54 Marketing Costs £1,000 £1,501.29 +£501.29 Total £4,500 £7,443.83 +£2,943.83 Overheads Salaries £172,219 £161,749.02 -£10,469.98 Redundancy Costs £5,606 £0 -£5,606 Office & Admin Support £4,000 £4,483.32 +£483.32 Total £181,825 £166,232.34 -£15,592.66 Capital expenditure Materials Purchased £4,300 £873.95 -£3,426.05 Room Hire for Project Workshops £1,155 +£1,155 Technical Equipment Hire/Purchase £16,403.46 £23,436.13 +£7,032.67 Total £20,703.46 £25,465.08 +£4,761.62 Other expenditure Celebration/Exhibition event 2010 £2,000 £4,109.71 +£2,109.71 Project Total £238,700.00 £248,102.50 +£9402.50 Value of support in kind Trafford Council In Kind Contribution £44,923 £44,923 Greater Manchester In Kind Contribution £37,745 In-Kind Total £44,923 £82,668 +£37,745 Overall Total £283,623 £330,770.50 +£47,147.5025
  28. 28. USEFUL CONTACT DETAILS BURY Tel: 0161 909 6525 Email: Colin.Wisely@sal-Tony Trehy, Principal Art Officer, ford.gov.uk Web: www.daatis.org.ukBury Council Daniel Bennett, Programme Co-ordinator,Tel: 0161 253 5869 Email: t.trehy@bury.gov. STASH (now called Aspire)uk Web: www.bury.gov.uk Tel: 0161 7459566 Email: daniel.bennett@ bstmht.nhs.uk BOLTON STOCKPORTMindee Hutchinson, Arts Development Of- Jo Ward, Arts and Cultural Events Manager,ficer, Bolton Council Stockport Metropolitan Borough CouncilTel: 01204 334335 Email: luzviminda.hutchin- Tel: 0161 474 4453 Email: Jo.Ward@stock-son@bolton.gov.uk Web: www.bolton.gov.uk port.gov.uk Web: www.stockport.gov.ukFrancesca Platt & Tracy Hindley, TAMESIDEThebox.TVTel: 07528037754 & 07766798070 Email: Leanne Feeley, Service Unit Manager - Artsfrancesca@thevideobox.tv & tracy@thevide- & Events, Tameside Councilobox.tv Web:www.thevideobox.tv Tel: 0161 342 4144 Email: leanne.feeley@ tameside,gov.uk Web: www.tameside.gov.uk MANCHESTER Muriel Stretton, Hattersley & Mottram Com- munity MediaLouise Sutton, Cultural Regeneration Tel: 0161 368 5171 Email: muriel.stretton@Manager, Manchester City Council hmcm.org.uk Web: www.hmcm.org.ukTel: 0161 234 4208 Email: l.sutton@manches-ter.gov.uk Web: www.manchester.gov.uk TRAFFORDOLDHAM Sarah Mcloughlin, New Media Outreach Co- ordinator, Lets Go Global, Trafford CouncilRachel Wood, Arts Development Officer, Old- Tel: 0161 9121306 Email: sarah@letsgoglobal.ham Council tv Web: www.letsgoglobal.tvTel: 0161-770-3070 Email: rachel.wood@old-ham.gov.uk Web: www.oldham.gov.uk Rosie Scott, Development Manager, Waterside Arts Centre, Trafford Council. Tel: 0161 912 ROCHDALE 1142 Email: rosie.scott@trafford.gov.uk Web:Julian Jefferson, Arts & Heritage Manager, www.watersideartscentre.co.ukLink4Life Cultural trustTel: 01706 924916 Email: julian.jefferson@ WIGANlink4life.org Web: www.link4life.org Chris Wyatt, Arts and Festivals Manager,Dawn Chadwick & Christine Talboys-Smith, Wigan Leisure and Culture TrustPeopleprint Community Media Tel: 01706 Tel: 01942 828218 Email: c.wyatt@wlct.org630364 Email: admin@peopleprint.org.uk Web: www.wlct.org.ukWeb: www.peopleprint.org.uk Anne O’Shea, Team Co-ordinator, Travellers Education Team, Wigan Council SALFORD Tel: 01942 404 075 Email: a.o’shea@wigan.Nick Thompson, Strategic Management Team, gov.uk Web: www.wigan.gov.ukCulture and Sport, Salford City Council Mehmood Ahmed, Rafiki/Motswako Project,Tel: 0161 793 2287 Email nick.thompson@ Wigan Councilsalford.gov.uk Web www.salford.gov.uk Tel: 01942 705398 Email: m.ahmed@wigan.Colin Wisely, Commissioning Manager, Sal- gov.uk Web: www.wigan.gov.ukford DAAT 26
  29. 29. With thanks to our project supporters
  30. 30. Design: Natalie Persoglio natalie@freelancemedia.co.ukLets Go Global, 3-5 Malvern Row, Old Trafford, Manchester, M15 4FD www.letsgoglobal.tv I info@letsgoglobal.tv I 0161 912 1306