Creative Economies - A national seminar on the creative economy exploring the role of arts in economic development

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Creative Economies took place at the Camden Centre and was hosted by Arts Development UK in partnership with Arts Council England. …

Creative Economies took place at the Camden Centre and was hosted by Arts Development UK in partnership with Arts Council England.

The seminar explored three main themes:
- the role of arts and culture as economic anchors and drivers in cultural regeneration
- how the wider business sector values and uses the role of arts and culture
- practical ways of measuring and capturing the economic value of the arts and culture

These three integrated themes are designed to provide topical examples and case studies, suggest ways of understanding and communicating directly with the business sector about the economic importance of arts and culture, suggest tools to provide evidence of impact and value.

Speakers were Jane Wilson, Chair, Arts Development UK and Director of Arts Development in East Cambridgeshire, Tom Fleming, Director, Tom Fleming Creative Consultancy, Alex Homfray, Senior Consultant, BOP Consulting, Paul Bristow, Acting Director, Strategic Partnerships, Arts Council England, Ali Robertson, Director, Tobacco Factory Theatre, Lyndsey Swift, Head of Partnerships, Visit England, Gail Schock, Arts Manager, Kent County Council, Roxie Curry, Arts Development Officer, Rochford District Council, Mary-Alice Stack, Director of ArtCo projects, Arts Council England, Tim Joss, The Rayne Foundation, Ruth Jarratt, Trustee, MeWe360, Andrea Stark, Executive Director, East and South East, Arts Council England, Geoff Rowe and Chris Maughan, Dave’s Leicester Comedy Festival, Rob Wadsworth, SW4 Limited, Jayne Knight, Arts Development Manager, Suffolk County Council, Mari Martin, Head of Arts and Events, Norfolk County Council, Patrick Hussey, Arts & Business, Laura Sillars, Artistic Director, The Site Gallery, Symon Easton, Deputy Head of Culture Commissioning, Birmingham City Council, Debbie Kermode, Deputy Director, IKON Gallery.

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  • 1. tom fleming / creative consultancy / Supporting Growth in the Arts Economy Creative Economies Seminar, June 2012www.tfconsultancy.co.uk @tfconsultancy
  • 2. “It is commonly acknowledged that the arts are the bedrock of the creative economy, making a considerable contribution to the nation’s prosperity and its international reputation”.• tom fleming / creative consultancy /
  • 3. “It is commonly acknowledged that the arts are the bedrock of the creative economy, making a considerable contribution to the nation’s prosperity and its international reputation…”. “…But there is a gap here between rhetoric and reality, with the arts still marginal to much creative economy policy and examples of genuinely integrated approaches to the arts and creative economy the exception rather than the rule”.• tom fleming / creative consultancy /
  • 4. So how did we get ‘here’?• tom fleming / creative consultancy /
  • 5. Our Recent History: An Arts & Creative Economy Timeline• tom fleming / creative consultancy /
  • 6. ’80s to late ’90s Special pleading, marginalisation, innovation…then celebration, symbolic capital (cool)…• tom fleming / creative consultancy /
  • 7. Late ’90s to early ’00s Development & growth, new infrastructure & support, cultural planning, digital…• tom fleming / creative consultancy /
  • 8. Late ’00s Crisis, withdrawal, fragmentation, fear, collision, more digital disruption• tom fleming / creative consultancy /
  • 9. Early ’10s Fragility, some recovery, celebration, innovation• tom fleming / creative consultancy /
  • 10. The Scrap for Resources & Ownership of ‘the Agenda’tom fleming / creative consultancy / tom fleming / creative consultancy /
  • 11. © Stephen Adams 1979 Conceptual & Strategic Impasse• tom fleming / creative consultancy /
  • 12. Failure to Effectively Articulate the Public Value of the Arts & Creative Economy• tom fleming / creative consultancy /
  • 13. • tom fleming / creative consultancy /
  • 14. The Why: Arts & Culture as must-haves foreconomic and social development; for prosperity and wellbeing…tom fleming / creative consultancy /
  • 15. The How:Demonstration, smart investment, incentives, collaboration, risk, vision, tools...tom fleming / creative consultancy /
  • 16. tom fleming / creative consultancy /
  • 17. Ecology / driven by intrinsic arts and cultural activities; expressive of a social relationship between producers and audiences; strongly linked to public investment and not-for-profit activities… Economy / driven as much by commercial as artistic and cultural factors; expressive of an economic and social transaction producers and markets; operating in a mixed economy of different types of private investment, alongside public investment.• tom fleming / creative consultancy /
  • 18. What do we mean by ‘growth’? ‘Clusters’? ‘Innovation’?• tom fleming / creative consultancy /
  • 19. Who Benefits? And How? And to what end?• tom fleming / creative consultancy /
  • 20. Dangers of austerity planning Piecemeal, risk averse, pessimistic, closed, devoid of aspiration.• tom fleming / creative consultancy /
  • 21. Beyond ‘Adaptive Resilience’ (Mark Robinson, 2010).• tom fleming / creative consultancy /
  • 22. “What is needed are not new or adapted instruments for knowledge transfer, but something quite different: the spaces in which interactions can take place” (Geoffrey Crossick, A lecture to the Royal Society of Arts).• tom fleming / creative consultancy /
  • 23. • tom fleming / creative consultancy /
  • 24. Brokering, lifting, converging flows of aspirations, impulses, ideas, value(s)tom fleming / creative consultancy /
  • 25. Watershed “We are most interested in collisions of experience and cultures, to create something new. A laboratory for experiment, risk and disruption. We are a router and amplifier of cultural ideas, creativity and technology” (Dick Penny, Managing Director, Watershed).tom fleming / creative consultancy /
  • 26. Re-appraisal of the role and value of the arts to the heart of the economy and societytom fleming / creative consultancy /
  • 27. Re-appraisal of the types of skills, connections and capacities required for this.tom fleming / creative consultancy /
  • 28. Some Key Shifts Across the Arts & Creative Economy: Organisations- Disruptions – e.g. digital, disinvestment, audience promiscuity – the ‘war for attention’- The need / opportunity for deeper and more diverse relationships with audiences; shift between ‘audience’ and ‘producer’- Balancing reach and excellence- Toward blended business models – e.g. where the digital enables diverse revenue streams and the scaling of different types of value- Service providers for other agendas – leveraging brand value and expertise – e.g. in tourism, regeneration, creative industries- Hubs and brokers of social capital = embedded innovation capacitytom fleming / creative consultancy / tom fleming / creative consultancy /
  • 29. Some Key Shifts Across the Arts & Creative Economy: Commercial Creatives- Recession: where is the market?- Digital: relocating value, increasing scalability and collaboration, issues of risk – what are tomorrow’s business models?- Hypermobility - but place still matters- Slowness – the new ‘growth’- Access to talent and different types of capital (finance, content, technology)- Rise of the Creative Ecology- Death of the creative industries? How to tell the(ir) story?tom fleming / creative consultancy / tom fleming / creative consultancy /
  • 30. Some Key Shifts Across the Arts & Creative Economy: Public Sector- Disruptions – disinvestment, withdrawal, reassessment.- ‘Creative decommissioning’?- Unemployment, skills/learning, public order, cohesion, re- balancing the economy- Local Enterprise Partnerships – opportunities for inter- sectoral collaboration, place-making, clusters – but teeth?- Knowledge Exchange Hubs – genuine collaboration, but few players.- New ACE interventions – investment, digital, capital, work.- Fresh new partnerships – e.g. Sheffield Culture Consortium- The rise of the city region and creative smaller towns? The renaissance of the high street?- International opportunities? tom fleming / creative consultancy / tom fleming / creative consultancy /
  • 31. Where to locate ‘the arts’ E.g. Regeneration, economy, education everywhere?• tom fleming / creative consultancy /
  • 32. A way through the dark matter?tom fleming / creative consultancy /
  • 33. “IF YOU REALLY WANT TO CHANGE THE CITY, OR want a real struggle, a real fight, then it would require re-engaging with things like public planning for example, or re-engaging with government, or re-engaging with a large-scale institutionalised developers. I think that’s where the real struggles lie, that we re-engage with these structures and these institutions, this horribly complex ‘dark matter.’ That’s where it becomes really interesting”. Wouter Vanstiphout, interviewed by Rory Hyde, 2010tom fleming / creative consultancy /
  • 34. Appetite? Capacity? Skills? Connections? Time?• tom fleming / creative consultancy /
  • 35. We Need Effective Public Value Narrative & Tools Coherent evidence base Strong & confident leadership / partnership Coordinated approach across the ‘value chain’ Sharper investment (public and private) Nationwide• tom fleming / creative consultancy /
  • 36. Demonstration and Evaluation• tom fleming / creative consultancy /
  • 37. Real collaboration: in co-creation of the agenda, KPIs, risks and returns.• tom fleming / creative consultancy /
  • 38. • tom fleming / creative consultancy /
  • 39. But that’s not enough• tom fleming / creative consultancy /
  • 40. What can we do which is different and exceptional? (local to global)• tom fleming / creative consultancy /
  • 41. Arts / Economy co- created for mutual gain Economy of the arts and art in the economy.• tom fleming / creative consultancy /
  • 42. “The way to get people to build a ship is not to teach them carpentry, assign them task, and give them schedules to meet: but to inspire them to long for the infinite immensity of the sea” Antoine de Saint-Exuperytom fleming / creative consultancy /
  • 43. The Late ’10s ?• tom fleming / creative consultancy /
  • 44. info@tfconsultancy.co.uk www.tfconsultancy.co.uk @tfconsultancytom fleming / creative consultancy / 44
  • 45. Measuring the economicvalue of arts and cultureArts Development UK:Creative Economiesnational seminar
  • 46. Why do it?• Internal purposes – understanding (and improving) your impact, benchmarking, thinking about future choices/projects• External ones – advocacy with funders such as Arts Council, local authorities (and within LAs – making the case for culture with economic development), raising profile with communities/residents
  • 47. Four methods used in sector• Measures of spending:• Economic impact assessment (EIA)• Economic footprint analysis (also called size analysis or economic contribution analysis)• Valuation techniques:• Contingent valuation (CV)• Social return on investment (SROI)
  • 48. Decision tree of options
  • 49. Contingent valuation• Aims to estimate extent to which consumers benefit from a product or service, over and above the price they pay for it• Measures three types of value: use, option and existence. Useful if service or product doesn’t have market value.• Favoured by Treasury
  • 50. Social return on investment (SROI)• Type of ‘social accounting’ which includes non- economic costs and benefits• SROI is way of understanding the value of an organisation’s activities based on their effects on the organisation’s stakeholders and audiences.
  • 51. Economic footprint analysis/ size analysis• Focuses on measuring the size of an organisation or sector’s activities and comparing it with national economy as a whole• Rarely used in cultural sector for individual organisations – more common for sectors (e.g. DCMS’s Creative Industries Economic Estimates) or geographical areas• Usually measures employment and Gross Value Added
  • 52. Economic impact assessment• Most commonly used method in sector, arguably best understood• Tries to measure the wider economic effects of visitors’ spending: in restaurants, cafes, pubs, in hotels as well as the effect of the organisation’s spending on wages, local business suppliers• Good EIAs take account of additionality effects – some spending is diverted rather than being genuinely additional to local economy• Number of standardised benchmarks available (e.g. multipliers)
  • 53. Toolkits• Not really viable for contingent valuation, SROI• More of an option for EIA• Different options available – depends on the type of event or activity you are measuring• West Midlands Cultural Observatory economic impact• EventIMPACTS• ALMA-UK
  • 54. Example: Edinburgh Festivals Impact Study• Commissioned to conduct an impact assessment of the twelve Festivals represented by Festivals Edinburgh – Building on a previous study by SQW in 2004/05 on 17 Festivals.• 51 surveys across the Festivals involving 15,000+ individuals – Audiences (adults & children), festival management, performers and delegates, attending journalists, volunteers, temporary staff, teachers and Festival sponsors• Main objective: Update the economic impact while expanding to cover cultural, social, media and environmental impacts.
  • 55. How we did it• Gross Economic impact: – Direct impacts using festival management data – Indirect impacts from audience expenditure survey – Induced impacts using government figures• Additionality: – Audiences asked what they would have otherwise done (and where) – Festival management also asked where they sourced their supplies
  • 56. Headline findings: economic impacts (i)• Festivals are a major contributor to both the local Edinburgh economy and the national Scottish economy: – £245m of additional output in Edinburgh – £261m of additional output in Scotland – Supported 5,242 new FTE jobs in Edinburgh• Audience expenditure is dominated by staying visitors• Economic impact is driven by the large Festivals
  • 57. Headline findings: economic impacts (ii)• Economic impact spreads far beyond the immediate cultural economy – Ticket expenditure only accounts for 13% (=£16m) of net audience expenditure• Biggest beneficiary businesses in Edinburgh and Scotland are those in the tourism, hospitality, and leisure sectors Shopping 6% =£7m Transport 9% = £9m Entertainment 15% = £16m Food and Drink 34% = £37m Accommodation 37% = £41m
  • 58. Headline findings: cultural impacts• Festivals provide enriching, world class cultural experiences – 78% of audiences rate the quality of the Festival experience better or much better than other comparable events How would you rate the quality of this event against other 3.92 comparable events? 1 2 3 4 5 Much Worse Much Better – 87% of journalists agreed or strongly agreed that the Festivals had ‘a high- quality programme of events’ – Social impacts: pride & profile of area increased dramatically by festivals.
  • 59. Conclusions of headline findings• EIA Methodology allowed us to construct and demonstrate a powerful narrative about the value and impact of cultural events.• Festivals have positive impacts spanning cultural, social and economic areas and show leadership on environmental agenda• Study has helped drawing down an additional £3.5m from Scottish government, City of Edinburgh Council & other key funders for 2012• Can also be used for local impact, e.g. City of London.• Can be combined with local case studies.
  • 60. Other case studies• Anvil Arts: The Anvil concert hall, Haymarket theatre• AV Festival: biennial NE festival of contemporary art• Wildscreen Festival: biennial industry-facing festival for wildlife film industry in Bristol• St Magnus Festival: Contemporary music (and other arts) festival in Orkney
  • 61. Thank you• www.bop.co.uk• Chris Gibbon, Senior Consultant• Austin Ashley , Consultant
  • 62. ll up – Roll up!Robertsono Factory Theatree Industries Developmentmden Centre 20 June, 2012
  • 63. ssons learnt from the conversi a 100 year old Tobacco Factor into a theatre – and a whole lot more…
  • 64. The Tobacco Factory – past and present
  • 65. 1900 - 1910
  • 66. 1970 - 1980
  • 67. 1994 - today
  • 68. Get good variety ofartform slides
  • 69. Get good variety ofartform slides
  • 70. Get good variety ofartform slides
  • 71. The Tobacco Factory Theatre is one of the most exciting theatre venues anywhere in the country. (BBC 2) The Tobacco Factory is a stunning venue, and produces a rich stream of quality productions throughout the year. (What’sOnStage) The West Countrys theatrical hot spot. (The Mail) The West Country’s most enterprising theatre. (The Times) The exemplary Tobacco Factory. (The Observer) The Tobacco Factory Theatre is as good an argument as Ive ever seen for the importance of the arts in the regeneration of a particular area. (The Guardian)
  • 72. Why has the Tobacco Factory worked? 1. Mixed-use development
  • 73. Why has the Tobacco Factory worked? 2. The building integrates with the local economy 3. The building supports independent initiative
  • 74. Are there wider lessons?
  • 75. The narrative arc of decline and rebirth ofthe Tobacco Factory is analogous to that of Bristol.
  • 76. Mercantile Location, Mercantile City
  • 77. The Handsomest Suburb in Europe (Betjeman)
  • 78. Less so post WWII
  • 79. Rough GuideBRISTOL has harmoniously blended its mercantileroots with an innovative, modern culture, fuelled by technology-based industries, a large student population and a lively arts and media community.
  • 80. The Tobacco Factory, and the Tobacco Factory Theatre, areprime examples of 21st century uses of 19th century industria buildings and structures. A small body of people working in harmony with the local community used artistic and cultural levers and a sustained but comparatively modest level of financial investment to transform the social, cultural andeconomic fortunes of a substantial population and geographicarea. While every area has its own issues and opportunitiessuggest that the narrative arc of Bristol is analogous to that omany mercantile / industrial areas that are seeking new rolesn the 21st century and hence that the Tobacco Factory mode might usefully be studied and replicated more widely.
  • 81. Ali RobertsonTobacco Factory Theatre Creative Industries DevelopmentThe Camden Centre 20 June, 2012
  • 82. Culture and theVisitor EconomyLyndsey SwiftHead of Partnerships
  • 83. Our Mission “To lead and drive forward the quality, competiveness andsustainable growth of England’s Visitor Economy”
  • 84. What VisitEngland does• Champion the sector and drive forward the industry’s shared Strategic Framework for Tourism• Promote Englands tourism offer• Provide official intelligence on tourism and visitor economy in England• Support local areas grow their economies through tourism• Advise Government on English Tourism issues
  • 85. Cultural Tourism?• All tourism to a greater or lesser extent is cultural• Customers don’t make a distinction (facilities by cultural agencies and promotion by tourism delivery bodies• Need to work more closely with cultural delivery partners nationally and locally for mutual benefit
  • 86. So why doesn’t this work better already?• Some history – different funders, delivery structures and delivery partners• Definitions and language (consumer/visitor v audience)• Despite much funding coming from central government – different objectives set by funding streams with different targets/measures of success• There hasn’t always been a spirit of collaboration e.g. tourists want populist rather then creative content• Opportunity to make it work better and some clear imperatives to make this happen
  • 87. What are our shared aims??• Stimulating growth – Government (public investment targets growth) and industry (e.g. Arts and Tourism Strategic Framework’s)• Tourism is a main plank of growth:- Last year 7% growth (£76bn spent by visitors)- Increased spending has supported growth in tourism jobs up 5% compared to 2010- Only 1% across all other sectors
  • 88. Shared objectives• Attracting customers to our destinations and venues to spend money which supports those venues, their wider local economies and their residents• Creating reasons for customers to visit in the first place and keep on visiting• Creating an excellent experience for those customers• Maximising the impact of the public money invested in our sectors
  • 89. Visitor Economy?• Visitors • Supply chain • Leisure/ Business/ • Core VFR • Accommodation • Day/ overnight • Attractions • Bars/ restaurants • Related • Retail • Transport • “other” services – laundry, petrol stations, food suppliers
  • 90. Visitor Economy:It’s Big Business● The sector is currently worth £97bn● It provides 2m jobs● Made up of 249,000 businesses● It benefits every part of the country● Projected to be £158bn (2020)
  • 91. Visitor spend adds local valueIt helps protect and preserve our heritage It can support localism
  • 92. Recent changes• Financial- Less public money available- A difficult trading environment for businesses- Consumer spending harder to attract• Structural- Loss of Regional co-ordination (RDAs and Regional Tourist Boards)- Policy of localism- Creation of Local Enterprise Partnerships- Increase in the number and variety of destination management organisations
  • 93. What do we need to do• Nationally Govt appreciate the connectivity – objectives and targets ACE, VE and others – shared strategic planning Funding programmes aligned at the outset• Locally Shared strategic planning – destination management plans Sharing of ideas and plans at an early stage Joined up delivery of the visitor experience – packaging with the tourism private sector
  • 94. Examples of where it works well• Iconic attraction led approach - putting the destination on the map; stimulating wider business development and entrepreneurship e.g. Margate• Adding distinctiveness to the local product• Creative content provides reasons to visit outside of the main tourism seasons• Culture regeneration e.g. Liverpool, Newcastle (music, art)• An event led approach e.g. Hay on Wye, Cheltenham Literature Festival, Brighton
  • 95. Summary● We have a shared agenda – growth!● We must share targets● Align funding streams nationally and locally● Partnership dynamic is critical
  • 96. Lyndsey Swift, Head of Partnershipslyndsey.swift@visitengland.org0207 578 1456www.visitengland.org
  • 97. Essex Summer of ArtRoxie Curry - Arts Development, Rochford District CouncilLindsey Strange – Arts Development, Essex County Council
  • 98. Art Trails Everywhere, for EveryoneHow to turn grass roots will into acohesive, annual tourist event
  • 99. In this presentation, we will:Look at how Essex Summer of Art developed How we made it workExamples of how you could make it work in your area
  • 100. Essex Summer of Art 20 Art Trails 4th Annual Event2011: £1.3m to Essex economy 180,000 visitors
  • 101. Essex Summer of Art Development Grass roots network Shifting perceptions Efficiency
  • 102. Making it happen - PartnersEssex County Council Visit EssexDistricts & Boroughs FirstsiteParticipating Art Trails BBC Essex
  • 103. Summer of Art Launch Event
  • 104. The offer to tourists 1. Free or low cost Burnham Art Trail 2. Collateral spend Leigh Art Trail 3. Locally distinct Rochford Art Trail4. Programming for a local audience
  • 105. The offer to tourists5. Links to other Essex Craft & Designattractions and Trails Show6. Artistic Diversity Jaywick Open
  • 106. The offer to tourists7. Regeneration = Gatehouse in Harlow Rediscovery Hadleigh Old Fire Station & 2012
  • 107. Essex Summer of Art modelDestination tourism Regional Media CampaignHigh level political support Steering Group Credibility
  • 108. Media campaign40,000 brochures and distribution Micro website Prize Draw£50,000 ‘in kind’ BBC Essex
  • 109. Tourism Stats 180,000 visitors80% of visitors spend money at Trail £12.33 per head Net income to Essex £1.3m
  • 110. Guardian Travel Guide Published 16th September 2011
  • 111. UK Visitor Map
  • 112. Spend Table SPENDING £1-£10 £11-£30 Over £31Art and Crafts 49.6% 28.5% 22.0%Food and Drink 72.7% 23.0% 4.3% Transport 84.2% 14.2% 1.8% Shopping 39.2% 45.6% 15.2%Accommodation 28.6% 9.5% 61.9%
  • 113. How you can make it work Create a network / ‘club’ Involve Open Studios, galleries Emphasis on ‘county-wide’ PRIME Report
  • 114. Follow up Essex Summer of Art Report:Joanne Thain Arts Development Officer (Essex County Council) joanne.thain@essex.gov.ukPRIME Economic Impacts Assessment: Sergi Jarques – Tourism South East sjarques@tourismse.com
  • 115. Arts Development UK Seminar:Creative Economies20 June 2012Breakout Session #4: New Business Models
  • 116. New Business ModelsMary-Alice Stack, Director ArtCo ProjectsArts Council EnglandTim Joss, DirectorRayne FoundationRuth Jarratt, TrusteeMeWe360
  • 117. 1 Introduction• In October 2011, Arts Council England approved a budget for the development and delivery of a new pilot programme to provide micro-loans of £5,000 - £25,000 for small and medium scale enterprises operating within the creative industries• This investment supports the Arts Council’s current priority for strengthening and exploring new business models in the arts as part of its 10 year strategic plan for ensuring that the arts are sustainable, resilient and innovative.
  • 118. 2 Programme aimsThe principal aims of the Creative Industry Financeprogramme are to:• provide access to finance for small and medium enterprises (SMEs) operating within the cultural/creative industries, enabling business growth and supporting talent development• improve the business skills and commercial experience of SMEs operating within the cultural/creative industries
  • 119. 3 Programme objectivesThe primary objectives of the programme are to:• improve the financial profile/lending history of creative industry SMEs with growth potential, enabling them to attract further investment from the private sector, thereby becoming more sustainable as independent enterprises• provide an evidence base for the demand and effectiveness of loan finance as an alternative to grant funding for commercially viable cultural and creative industry enterprises
  • 120. 4 Geographic focus• Due to the high concentration of Creative Industry enterprises in the London region it has been agreed that, initially, the programme will be piloted in the London area.• The London pilot launched on 29 May 2012, and is open to Creative Industry enterprises located across all 33 boroughs• Extension of the pilot to a second Arts Council region or LEP area is planned for early autumn 2012
  • 121. 5 Key features of the programmeThe programme comprises two key components:• Training and support Up to 12 hours one-to-one business development support with a specialist business adviser• Access to finance Opportunity to apply for a loan of £5,000 to £25,000 to help develop and grow a businessThe London pilot will be delivered by East London SmallBusiness Centre in partnership with Arts Council England’strading subsidiary, ArtCo Trading Ltd.
  • 122. 6 London Pilot Programme - who can apply?Applicants must be able to demonstrate that their businessmeets the following key criteria: • located in one of London’s 33 boroughs • trading for a minimum of 6 months • business activity qualifies under one or more of the following creative industry classifiers: architecture; crafts; computer games; design; designer fashion; film and video; music; performing arts; publishing/literature; software; TV & radio; visual arts • creative content is at the heart of their business
  • 123. 7 London Pilot Programme - who can apply?• We will consider applications from sole traders (individual artists) as well as limited companies, partnerships and not-for-profit/social enterprises• Applicants must be able to demonstrate that they have been “trading” (ie set up in business) for at least six months;• Organisations that receive regular funding from Arts Council England as part of the National Portfolio are not eligible to apply for support under this programme
  • 124. 8 How will applications be assessed?An initial “expression of interest” application will beassessed by Arts Council England using the followingcriteria:• Relevance of creative content to the core business activity• Quality of the creative content• Potential of the business to benefit with regard to the aims of the programme
  • 125. 9 Range and diversity of applications• We are hoping that the programme will attract a broad and diverse range of applications from companies operating across the Creative Industries• We will work in partnership with other agencies and organisations to publicise the opportunity as widely as possible across the sector• Quality of content is important, but entry to the programme will ultimately be judged by our delivery partners on the strength/viability of the business plan and the commitment, focus and aspiration of the company directors
  • 126. 10 Investment Panel Decisions• Proposals from businesses that have completed the Business Support Package will be considered by our delivery partners’ investment panels at regular intervals (normally every 6 – 8 weeks)• The panels will be convened by our delivery partners and include representation from Arts Council England (ArtCo Trading Ltd)• For the Arts Council fund, lending decisions will take into account both the strength of individual applications as well as the overall balance and range of applications from across the 12 creative industry segments
  • 127. 11 Interest ratesLoans issued under this programme will carry interestcharges of 10% APR. The total amount of interest that theborrower will pay depends on the total amount borrowedand length of time over which it is repaid.Example: Amount Repayment APR Monthly Total Total Borrowed term Payment Repayments interest paid* £5,000.00 12 months 10% £439.58 £5,274.95 £274.95 £7,500.00 24 months 10% £346.09 £8,306.09 £806.09 £10,000.00 36 months 10% £322.67 £11,616.12 £1,616,12*Interest charges will be paid into the fund and used to off-set loan write-offs (estimated at 30%)
  • 128. 12 Target outputs 2012/13A £200,000 loan fund has been set aside to supportbusinesses in the London region during 2012/13.Target outputs (London pilot)• 150 businesses to receive 1 hour business consultation• 75 companies to be offered the business support package (average10 hours per client)• Up to 35 ‘investment ready’ referrals to loan fund panel• 15 – 25 creative sector businesses supported with access to finance (total £200,000)
  • 129. 13 Target outcomes 2012/13• 75 London based creative sector businesses have increased financial awareness and confidence• Up to 25 London based creative sector businesses have increased gross value added (GVA) after 12 months• Arts Council England have an increased understanding and evidence base of the business development needs and opportunities for Creative Industry enterprises in the London region
  • 130. Further information about the Creative Industry Financeprogramme through the following channels:Web: www.creativeindustryfinance.org.ukTwitter: @cifinanceFacebook: facebook/CreativeIndustryFinanceEmail: cifinance@artscouncil.org.ukwww.artscouncil.org.uk
  • 131. Thank youMary-Alice StackDirector, ArtCo ProjectsArts Council England14 Great Peter StreetLondon SW1P 3NQ020 7973 650307947 451355mary-alice.stack@artscouncil.org.ukwww.artscouncil.org.uk
  • 132. ARTS VENTURESinitiativeTim JossChair
  • 133. • Social investment• Outcomes• Performance measurement• Due diligence• Investment readiness• Blended return• LeverageKEY CONCEPTS
  • 134. • Development of social investment in the charity sector as a means to grow• Growing pressure for outcomes measurement• Shrinking grant pot• Current low returns for investorsMOTIVATION
  • 135. • STEP 1 Build a longlist of arts organisations for the model portfolio• STEP 2 Survey Monkey• STEP 3 Survey analysis• STEP 4 Shortlisting by Social Investment Business + Mission Models Money• STEP 5 Create a model portfolioDEVELOPING THE FUND
  • 136. Development Housefor the creative industries Ruth Jarratt 20.6.12
  • 137. The purposeMeWe is…….• A new financial model for the creative industries• A new approach to talent development• The brain child of Kevin Osborne who founded Tribal TreeMeWe’s mission• To identify, develop and invest in untapped talent• Particularly in communities under-represented in the creative industriesMeWe’s objective• To support talent in achieving investment readiness• To match that talent with appropriate investors
  • 138. The modelMeWe House• Club, hub and talent incubator• Social enterpriseMeWe Money• Venture Capital Fund (£1m invested)• Purely commercial• Will provide future financing route to MeWe HouseCross-sector support• Public: Arts Council• Private: Esmee Fairbairn Foundation• Commercial: Ingenious Media
  • 139. The featuresSpecial features of MeWe• Input from top industry players: management consultants, entrepreneurs, and investors• Creation of networks and onsite collaboration• Bespoke/tailored support• Long-term support from concept to launch: typically 4-7 years• Programme developed by continuous feedback and adjustment
  • 140. ProgressFeedback so far• “Inspiring, insightful, affirming, accessible, constructive, informative, generous, great vibe, great interaction”• Constructive ideas to shape MeWe offering: event programme, online supportSuccess for MeWe• Launch of successful businesses• MeWe’s stake in those businesses delivering investment back into the social enterprise• Timeframe of years not months
  • 141. SignificanceMeWe is action research• A 3 year strategic research project exploring new models and approaches to developing entrepreneurial and leadership talent supported by Arts Council England.• Capturing whole process from all sides in real time• Learning to be distilled and shared across the sectorReaching parts others haven’t• This talent has not been tapped, despite a range or previous interventions• MeWe is honest, open and brave exploration• Of what works …. and what doesn’t
  • 142. Join usMeWe event: Connection, Collaboration & CompetitionDate: Tomorrow 21st June, 6.30-8.30Venue: MeWe 360, 15 Golden Square, London W1F 9JGGuest speakers:• Farooq Chaudry, Producer and co-founder of Akram Khan Dance Company• Sarah Elenany, Creative Entrepreneur of the Year finalist, designer and founder or clothing label ElenanySee websitewww.mewe360.com
  • 143. Presentation to Arts Development UK  National Seminar 20th June 2012
  • 144. Presentation will cover:‐ Festival overview ‐ How it works‐ Leicester’s economy ‐ Business partnerships‐ Business Partners Club ‐ Dave‐ What is economic impact of DLCF?   ‐ Why bother?!
  • 145. Festival overview:Started in 1994 5000 people attendedRange of performances Not just stand‐up2012: over 400 events in 17 daysDeveloped over 19 years; 20th birthday in 2013
  • 146. How it works:A bit like Edinburgh FringeCentral office & 160+ promotersParticipation feeMake Me Happy programmeSpecial eventsManaged by Big Difference Company£18k funding/year20 years experience of working with sponsors
  • 147. Leicester’s economy:• Just under one million people live in the Leicester & Leicestershire sub‐ region, with about a third living within the Leicester City boundary.• House prices are sufficiently high to contribute to economic buoyancy,  and relatively affordable compared to household income and many  other areas of the country.• Local GVA in 2007 was £18.5 billion, the area has a strong tradition in  the field of business. It is home to major brands including Next,  Walkers, Triumph, Caterpillar, Samworth Brothers, Wal‐Mart, DHL, 3M  and AstraZeneca. (GVA = Gross Value Added (GVA) is the principal  measure of the total value of goods and services that a geographical  area produces.)• Over 40,000 students study at the three universities in the City and  County – University of Leicester, De Montfort University and  Loughborough University.
  • 148. Leicester’s economy:• Poverty is the root cause of many of the difficulties facing some residents.  Average male resident earnings in Leicester are the lowest in the East  Midlands.• 1 in 5 City residents are claiming benefits and 21% are without formal  qualifications. The 2007 Index of Multiple Deprivation suggests that Leicester  is the 20th most deprived local authority in the country.• 20,000 manufacturing jobs have gone from Leicester and 23,500 from  Leicestershire in the last decade.• High proportion of public sector employment in Leicester City (one in three  jobs) is a potential concern in the light of potential cuts in public expenditure.• 96% of local businesses employ less than 50 people.
  • 149. Business partnerships:Leicestershire Business Voice Burns Night DinnerBusiness Breakfast Mayor’s City PartnershipEconomic Partnership
  • 150. Business Partners Club‐ Low level sponsorship‐ Special events‐ Active involvement‐ Benefits linked to association with festival‐ Membership increased since Dave‐ Merchandise to extend reach of festival
  • 151. Dave‐ Title sponsor in 2012‐ Partnership linked to off‐air coverage‐ Extending Dave brand‐ Creation of new projects/shows‐ On‐line presence important‐ Deal secured due to evidence base
  • 152. What is economic impact of DLCF?‐ £2m contribution to local economy‐ Sustains 21 FTE jobs‐ 5000 hours of volunteer time‐ return on investment by the public and private sector is in  excess of 20:1‐ In 2011, there was an 8% increase in visitors to the festival  staying in hotels in the Leicester, worth £36,000
  • 153. Why bother?!‐ Argue for public funding‐ Strengthen links with business‐ Demonstrate national reach‐ Part of the “story”‐ KPI’s‐ Benchmark festival nationally
  • 154. Geoff RoweCEO, Big Difference Companygeoff@bigdifferencecompany.co.ukT: 0116 261 6812
  • 155. Creative Derbyshire 2010 - 2013Rob WadsworthS4W Ltd
  • 156. Local Derbyshire Context• Geographically central• Cultural and lifestyle context• Economic structure• Creative economy context • Technology • Spearhead for labour market change • Low barriers to entry • Engaging young people
  • 157. Developing the Programme• Workshops for businesses• Networking and major events• Young people and new talent• Evidence base and economic value • Impact of interventions • State of the sector • Impact of businesses
  • 158. Demonstrating ImprovementPress & PR for the Confidence after Creative Sector Confidence beforePreparing Your Marketing Confidence after Approach Confidence before 0 1 2 3 4 5
  • 159. Demonstrating ImprovementIntroduction to Social Confidence after Media Confidence beforeHow to sell your Creative Confidence after Output Online Confidence before 0 1 2 3 4 5
  • 160. Meet the Curator• All the festivals/galleries said sourcing new talent was critical to their business model• All the festivals/galleries had leads they wish to follow up• Selling to Galleries was seen as critical or very important to their business by over two-thirds of artists• Over two thirds of artists where very or fairly unsuccessful in selling their work to galleries• All the artists that attended had leads they wish to follow up
  • 161. Evidence Generated by the Programme• Around 70% of all businesses we worked with were sole traders (55% in wider economy)• In a recession, 30% of businesses were expanding or ready to expand• Creative businesses spend 43% of their turnover within Derbyshire• Over half of creative businesses are active in business to business markets
  • 162. Business sectors that creative businesses  in Derbyshire trade with353025201510 5 0
  • 163. www.creativederbyshire.com
  • 164. Funders/Sponsors
  • 165. Creative LEPs Mari MartinJayne Knight
  • 166. Norfolk and Norwich Festival
  • 167. Aldeburgh
  • 168. Norwich – UNESCO City of Literature
  • 169. Ipswich – DanceEast
  • 170. What is a LEP?The Department for Communities and LocalGovernment define Local EnterprisePartnerships as locally-owned partnershipsbetween local authorities and businessesformed to play a central role in determininglocal economic priorities and undertakingactivities to drive economic growth and thecreation of local jobs.
  • 171. Cultural Tourism Brief• The New Anglia LEP Cultural Board is seeking to identify the potential for cultural tourism and develop a cultural tourism action plan to deliver growth, which will:• Enable the New Anglia LEP to fully appreciate and value the potential of its cultural leaders to drive a significant growth in cultural tourism.• Act as a robust advocacy tool for investment in an ambitious cultural tourism programme.• Create growth in the visitor economy; establishing East Anglia as a significant cultural tourism destination.
  • 172. New Anglia Priorities• Tourism• Energy• Business Support• Green Economy
  • 173. Nine Growth Sectors• Advanced Manufacturing• Energy• ICT• Ports and Logistics• Life Sciences and Biotechnology• Digital and Cultural Creative Industries• Food, Drink and Agriculture• Financial Services• Tourism
  • 174. Local Enterprise Partnership PrioritiesNote: this is a piece of desk research, based oncurrent information on LEP websites.Coast to Capital (Arun District Council, West Sussex County Council)http://www.coast2capital.org.uk/Priorities Increasing the proportion of businesses which are internationalised Increasing the level of entrepreneurship and business start-up rate Stimulating business growth, innovation, productivity and employment across a range of key sectors Generating the required investment to bring about major catalytic investments in key business locations Creating a planning environment which supports business development and growth Pressing for and helping to secure investment in transport infrastructure, business premises and other infrastructureWest of England LEP (Bristol City Council)http://www.westofenglandlep.co.uk/Immediate Priorities LEP (and Board) culture: ensuring a commitment to working in an entrepreneurial way. Tackle barriers to business growth Supporting ‘anchor’ businesses Putting West of England on the map Growing the green economy Successful Enterprise Zone/Enterprise AreasLong-term Priorities One of Europe’s fastest growing and most prosperous sub regions whichhas closed the gap between disadvantaged and other communities A buoyant economy competing internationally, based on investment byinnovative, knowledge‐based businesses and a high level of graduate andvocational skills.
  • 175.  A rising quality of life for all, achieved by the promotion of healthylifestyles, access to better quality healthcare, an upturn in the supply ofaffordable housing of all types and the development of sustainablecommunities. Easier local, national and international travel, Cultural attractions that are the envy of competitor city regions acrossEurope. Success secured in ways that are energy efficient, protect air quality,minimise and manage waste and protect and enhance the natural and builtenvironment. Built upon the benefits of its distinctive mix of urban and rural areas. Real influence with regional and national government, by demonstratingvision and leadership and delivering these achievements.Sector Groups  Advanced engineering, aerospace & defence  Construction & development  Creative  Distribution  Finance, insurance & professional services  Low carbon industries  Microelectronics  Retail  Rural economy  Social enterprise  TourismHumber LEP (East Riding Yorkshire council)http://humberlep.org/Priorities  Co-ordinate public and private sector activity that is targeted at growing our three key growth sectors (renewable energy, ports and logistics, and chemicals);  Lead on 16-19 and adult skills strategy, particularly in relation to the key sectors listed above;  Take responsibility for the Humber business brand.
  • 176. York, North Yorkshire & East Riding LEP (East Riding of YorkshireCouncil)http://www.businessinspiredgrowth.com/Priorities  Agri-Food;  Tourism;  High Speed Broadband;  Business Support;  Business Networks;  Coastal Regeneration; and  Skills and Training.South East Midlands LEP (Milton Keynes Council, Northamptonshire CountyCouncil)http://www.semlep.com/Enabling Activities  Enterprise Zone Broadband  Transport  Inward Investment  SkillsKey Sectors  Advanced Technology Manufacturing  Creative Industries  Green Economy  High Performance Engineering  Visit Economies  LogisticsNorthamptonshire LEP (Northamptonshire County Council)http://www.northamptonshireep.co.uk/Priorities  A newer and more commercial approach to returning to growth sees Northamptonshire Enterprise Partnership (NEP) becoming as enterprising as the people it supports.  Support and investment from both the private and public sector is required to generate the levels of return NEP aims to achieve.
  • 177.  NEP will be performance based; delivering activities that make a measurable difference to the local economy, making Northamptonshire the place for Enterprise.  In the first operating year, NEP aims to have supported the creation of 800 new jobs, the attraction of 15 new companies and in doing so attract at least £4m of leverage.Key sectors  High Performance Technologies  Logistics  Food and Drink  Creative and Cultural Industries  Financial Services  Contact CentresEnterprise M3 LEP (Woking Borough Council)http://www.enterprisem3.org.uk/Priorities  Skills  Enterprise Support  Infastructure  Red Tape PlanningDerby, Derbyshire, Nottingham and Nottinghamshire LEP(Derbyshire County Council)http://www.d2n2lep.org/Priorities  Build on the areas reputation for internationally competitive science, manufacturing, engineering and creative industries, driving better productivity and growth as we develop a low carbon economy.  Develop our distinctive cultural, sport and tourism offer to world class standards.  Secure investment in regeneration and infrastructure projects that stimulate private sector growth.  Share the benefits of our economic growth across our cities, towns and rural communities.  Meet employers current and future skills demands through our highly rated and ambitious education partners.
  • 178. Worcestershire County Council LEP (Worcestershire CountyCouncil)http://www.worcestershirelep.org/default.aspx  Deliver the strategic employment sites and related infrastructure (services, highways access utilities etc) needed to secure sustainable economic growth and a low carbon economy.  Ensure we have the right support for business start up, business growth, business retention – focussing on meeting the needs of our strategic businesses, ‘high growth’ SMEs and the social enterprise sector.  Deliver the right infrastructure for business, including improved high speed broadband availability, improving access from the M5 to the Malvern Hills Science Park and QinetiQ, improving the by-pass leading to the Hereford and Bromyard roads to Herefordshire and creating better access for our strategic businesses and their supply chains in the north of the county to the motorway network through improvements to east-west links and the A449.  Invest in the skills of our workforce ensuring that provision is responsive to business needs, and relevant to future growth and business opportunities.Hertfordshire LEP (Three Rivers District Council)http://www.hertfordshirelep.co.uk/Priorities  Help existing businesses to grow and bring new businesses into the county  Ensure skills provision meets the needs of business  Secure investment for key infrastructure  Promote Hertfordshire as a place of prosperity to business and visitors
  • 179. South East LEP (Medway Council)http://southeastlep.com/Priorities  Secure the growth of the Thames Gateway  Promote investment in our coastal communities  Strengthen our rural economy  Strengthen the competitive advantage of strategic growth locationsDelivered through activities below  Strategic Transport Infrastructure  Universal Super Fast Broadband  Skills  New Financial InstrumentsSheffield City Region LEP (Chesterfield Borough Council)http://www.sheffieldcityregion.org.uk/Priorities  Establishing a national growth hub for advanced manufacturing and materials.  Delivering a new, employer-led approach to improving workforce skills.  Improving support for strategically important companies and potential inward investors.  Setting up a private sector-led business support service, focusing on improving innovation.  Securing new forms of finance for businesses and infrastructure projects.  Developing a Digital Hub to get the best out of existing assetsKey Sectors  Advanced manufacturing activities such as research and development, product design, bespoke manufacturing, and the provision of related services  Low carbon industries (particularly the opportunities for our manufacturing sector)  Creative and Digital  Healthcare (including medical technologies)In addition, there are other sectors that are of importance to job creation:  Aviation  Tourism  Retail  Construction
  • 180.  Culture, leisure and sportBuckinghamshire LEP (Chiltern District Council)http://www.buckinghamshire-lep.com/homePriorities  Innovation, Enterprise and Skills  Inward Investment  International Trade  InfrastructureNew Anglia LEPhttp://www.newanglia.co.uk/Priorities  TourismVisit East Anglia is a new organisation being developed to provide powerfulmarketing operations for the Suffolk and Norfolk tourism brands.  EnergyEast Anglia is looking to become the UK’s Energy Coast. We intend to secureinvestment in major renewable energy programmes along the coastline, andprovide the support services/businesses that a successful energy sectorneeds.  Business SupportNew Anglia will act as a co-ordinator and ‘enabler’ of business support acrossNorfolk and Suffolk and will create a business support website  Green EconomyNew Anglia is a Green Economy Pathfinder. What this means is that NewAnglia is the national leader on promoting, showcasing and recommending togovernment and businesses the work that is underway across Suffolk andNorfolk that can be implemented across the rest of the UK.Key Sectors  Energy  Tourism  Advanced Manufacturing and Engineering  Food, Drink and Agriculture  Creative and Cultural industries  ICT  Financial Services  Ports and Logistics  Life Sciences  Construction
  • 181. Great Cambridge and Peterborough LEPhttp://www.yourlocalenterprisepartnership.co.uk/Priorities  Skills and employment  Strategic economic vision, infrastructure, housing and planning  Economic development and support for high growth business  Funding, including EU funding, regional growth funding and private sector funding.
  • 182. BI SI Department for Business Innovation & Skills Local Enterprise Partnerships1. Black Country2. Buckinghamshire Thames Valley3. Cheshire & Warrington Local Authorities in4. Coast to Capital overlapping LEPs5. Cornwall & the Isles of Scilly6. Coventry & Warwickshire7. Cumbria8. Derby, Derbyshire, Nottingham & Nottinghamshire9. Dorset10. Enterprise M311. Gloucestershire12. Greater Birmingham & Solihull13. Greater Cambridge & Peterborough14. Greater Lincolnshire15. Greater Manchester16. Heart of the South West17. Hertfordshire18. Humber 19 2019. Lancashire20. Leeds City Region21. Leicester & Leicestershire 1522. Liverpool City Region23.London24. New Anglia 3 1425. North Eastern26. Northamptonshire27. Oxfordshire 3228. Sheffield City Region 2129. Solent 1230. South East 131. South East Midlands 6 2632. Stoke-on-Trent & Staffordshire 3833. Swindon & Wiltshire34. Tees Valley 3135. Thames Valley Berkshire 11 27 236. The Marches37. West of England38. Worcestershire 35 2339. York & North Yorkshire 33 10 ";-~~~~ 4 • i~ .. . .~ .:.Produced by Statistical Analysis Directorate Contains Ordnance Survey data © Crown copyright and database right 2012 Department for Business, Innovation and Skills
  • 183. The Digital R’n’D Fund+ why‘You Must Know Everything’@PatrickRiotWorkshop 1
  • 184. Let’s keep this simple.What was it all about? 2
  • 185. The ProjectsThe Projects listed. 3
  • 186. More Projects…More projects… 4
  • 187. Yes More…Presentation Title 5
  • 188. Even More…Lots aren’t there? 6
  • 189. Last one…handy. Happenstanceand importing a mindset…Presentation Title 7
  • 190. What is it all about?‘One of the best things aboutHappenstance is that we get to putsix great digital thinkers andmakers in close proximity to threeinspiring teams of arts leaders.’Rachel Coldicutt, CaperPresentation Title 8
  • 191. Presentation Title 9
  • 192. Presentation Title 10
  • 193. No Fear."It speaks of a deep fear of thefuture, the idea that an authenticitythat can only be authenticated inthe past, that weve lost faith in akind a kind of sight for the future, isdeeply worrying," explains Bridleearnestly.Huff Post interview with J.Bridle.Presentation Title 11
  • 194. So what is this digital made of?DataOpen DataBig DataLinked DataAPIs / Interfaces like KinectInternet of Things (Smart Planet IBM)AlgorithmsRobotics and Ai (Microcontrollers)GPS triggered contentCloudFace recogCrowdfunding (Spacehive & Kickstarter)Community curationTaggingGenerativeAR (sonic and visual)Open movementGAMING! (the art from for the 21st Century?)etc etc etcYou will need… 12
  • 195. Roots or RhizomicRoots 13
  • 196. There is no magic, justingredients…Start Up Generator 14
  • 197. Presentation Title 15
  • 198. Government backs CrowdfundingObama-Starter 16
  • 199. STEM to STEAMThe big picture? 17
  • 200. Can arts build ‘Next Gen’ Skills?A forcing ground for skills 18
  • 201. Loans 19
  • 202. Stop me if you’ve heard these…1) Find Start Up culture, real geeks.2) Find your internal geeks.3) Access a hub.4) Read Mashable everyday.5) Think realistic – will your project ‘scale’?6) Think off screen - Kinect.7) Think small screen – mobile.Presentation Title 20
  • 203. Presentation Title 21
  • 204. Contact details www.artsandbusiness.org.uk Patrick.Hussey@artsandbusiness.org.uk @PatrickRiotDare to be digital
  • 205. happenstance 
  • 206. Digital by Default
  • 207. What is happenstance?• Investing in people• Allowing ideas to grow from need• Creating open collaboration• Building networks between arts and  technology specialists
  • 208. Deep Immersion• ‘Happenstance puts creative technologists in  deep immersion residencies in arts  organisations. The Happenstance residencies  are designed to change arts organisations  relationship with digital technology.’
  • 209. Principle• Technology is not an afterthought – it is part  of the process and needs to be built into the  thinking of an organisation from the outset.
  • 210. Who is involved?• Site Gallery, Sheffield• Lighthouse, Brighton• Spike Island, Bristol• Caper, London
  • 211. How does it work?• Establish areas of interest of the orgs.• Get the word out • Advertise (traditional & accelerating WOM)• Recruit (v. carefully!) • Appoint and induct• Sprint 1. – Explore/Challenge• OPEN HOUSE• Sprint 2. – Focus• OPEN HOUSE• Evaluate• All the way through – communicate!
  • 212. What are the key elements?• Agile project management• Openness• Investment of people time• Open‐ended research• R&D – up to proof of concept and not beyond• The whole team is engaged
  • 213. Agile Philosophy• Individuals and interactions over processes  and tools
Working software over  comprehensive documentation
Customer collaboration over contract  negotiation
Responding to change over  following a plan
  • 214. Testing ideas through doing them!• The Making Of . . . 
  • 215. Examples of Outcomes• Time management tools ‐ Trello• Hardware re‐development• Audience Engagement ‐ digitally• Towards a new website – new processes• Advocacy and relationship building  (b2b/internal comms) • Training and staff development (coding to  wiring) 
  • 216. What the residents say:• ‘It’s one thing to have an idea, it’s something  else to actually have the time to actually try  and get it to work!’• ‘I knew I was going to enjoy this, but I had no  idea it was going to impact me so  fundamentally!’
  • 217. What the team say:• ‘If there is technology in my working life then I  need to know how it works!’• ‘I am amazed at what I can do on my own  now’• ‘I don’t feel so scared of technology’
  • 218. What the technology community is  saying (to us!)• ‘I had no idea that arts organisations could be  so transformational’• ‘How are you going to sustain this work?’• ‘I can’t wait to see what Leila and James do  next.’• ‘How can I get involved?’
  • 219. So, the creative industries• Arts organisations as think and do tanks for  creative industries?• Where does that leave the art?• Where does that leave the creative?• Where does that leave industry?
  • 220. PS!• Don’t invest a lot of money in a technology  project that you put in a dark room down a  long corridor . . . It won’t work!
  • 221. Breakout Session 4 Creative & Future Cities Initiatives Symon EastonDeputy Head of Culture Commissioning Birmingham City Council
  • 222. Contents• Introduction / Background• What is Creative City in Birmingham?• Aims• Who is involved?• Key Issues• Objectives / work programme• Intended outcomes• Relationship with central Government
  • 223. Birmingham - Creative City Background • Creative City Initiative was announced by Ed Vaizey, Minister for Culture, Communications and Creative Industries in Birmingham on 25 October 2011 • Developed in response to his twin aims of sustaining the cultural sector (particularly through philanthropy) and supporting economic growth • A partnership between the Greater Birmingham and Solihull Local Enterprise Partnership and Birmingham Cultural Partnership
  • 224. Birmingham - Creative City What is Creative City? • A partnership between public sector agencies, the cultural sector, creative businesses, industry and private individuals, focussed around three areas of innovation – Business, Place, People • The initiative is to bring together public and private sector investment in a new fund for Birmingham and the LEP area, to support activities and projects linked to the economic strategy, so that culture and creativity are harnessed as a force to drive recovery
  • 225. Birmingham - Creative City Aims • To test new ways of working in partnership with central government, private sector companies, philanthropic individuals, public sector agencies and local government to attract additional public, private and individual investment through new mechanisms, partnerships and incentives to support a portfolio of key projects • To integrate support for the growth of creative sector businesses across the partnership with investment programmes based on clear evidence of needs and impact, in order to increase their contribution to the local economy
  • 226. Birmingham - Creative City Aims • To create a step change in recognition of Birmingham as a centre of innovation and excellence for culture and creativity • To increase participation in culture by local people through improved local cultural provision.
  • 227. Birmingham - Creative City • Provides an investment programme to support cultural and creative development from grant funding to business loans, incentivised philanthropic giving and reward-based contracts • Challenges partners across the public, commercial and cultural sectors and private individuals to unite in placing cultural and creative development at the heart of our economic regeneration, advancing our reputation as a great place to live, work and visit.
  • 228. Birmingham - Creative City Who is involved? The key partners are Arts Council England, Birmingham, Arts Partnership and Independent Arts Sector Group, Birmingham City Council, Birmingham City University, The BBC, Creative England, Digital Business Cluster, Greater Birmingham & Solihull Enterprise Partnership, Marketing Birmingham, University of Birmingham. The project is supported by the DCMS. The partnership will consult with other organisations and bodies across the LEP including cultural partnerships at county/district level, Digital Birmingham, Science City and Finance Birmingham, and Heritage Lottery Fund
  • 229. Birmingham - Creative City Key issues • Securing engagement from the relevant private / public sector partners and representatives of the creative industries and cultural sector • Recognising that different approaches will be needed to achieve the objectives under a single Creative City theme • A risk that the breadth of the creative city concept could lack focus – a need to clarify scope of activity and agree clear work plan • New (governance) structures need to be developed to support the programme – build on existing framework to be ‘fit for purpose’ • Lack of local control over DCMS / agency match funding to target LEP priorities - need to align existing funding streams under a clear investment plan in order to create an effective and coherent approach
  • 230. Birmingham - Creative City Policy linkages • Creative City programmes will need to integrate with the existing economic strategy themes of Business, Place and People to support the delivery of targets for inward investment, skills, access to finance, infrastructure and quality of life • The partnership with DCMS also requires us to progress existing strategic work on the alignment / integration of public sector planning and resources and the development of new and innovative models of resourcing
  • 231. Birmingham - Creative City To deliver against the GBSLEP’s objectives, the Creative City programme will focus on; • The cultural infrastructure including assets and programmes and, in particular, the proposal for Curzon Square ‘Museum Quarter’ in Eastside • Creative sector businesses • Promotion of cultural and creative assets and programmes
  • 232. Birmingham - Creative City The intended outcomes will be; • to improve the cultural offer for residents thereby contributing to inward investment and to the growth and retention of a skilled workforce by making Greater Birmingham and Solihull a better place to live, work and study • to improve the capacity of high growth sectors and the supporting infrastructure (e.g. access to 4G and superfast Broadband technology) thereby contributing to increasing GVA and employment and attracting new investment • to improve the perception of Greater Birmingham and Solihull thereby contributing to inward investment and the growth of the visitor economy
  • 233. Birmingham - Creative City Initial actions include; • Mapping gaps in existing provision including hard and soft infrastructure • Progressing the Museum Quarter project • Identifying target high growth sectors in the creative industries • Sharing research intelligence and analyse barriers to growth e.g. venues/skills/partnerships/investment required to support the GBSLEP objectives • Identifying points of synergy and engage in objective based local and national partnership working • Establishing appropriate structures to progress the programme • Identifying potential sources of investment to support the programme and develop innovative approaches to funding
  • 234. Birmingham - Creative City Developing a direct relationship with central government • DCMS to support the GBSLEP in terms of developing contacts with national philanthropists, hosting cultivation round-tables and providing support from international philanthropy specialists to assist local cultural companies in developing their strategies. • Further commitment has been made to profile our cultural and creative success stories and support us in improving perceptions at a national level (through increased ministerial presence etc).
  • 235. Birmingham - Creative City Developing a direct relationship with central government • Birmingham City Council will continue to work with Cabinet Office in the development of innovative finance models to support improvements to local cultural provision as part of the social impact bond programme. • Further discussion of the potential to utilise national funding streams in support of local priorities (under the Localism Bill), further incentives for corporate giving to culture, thematic business improvement districts, influence over “national” assets including national art collections which could form part of the proposed Museum Quarter in Eastside.
  • 236. • Free admission.• Ikon is a limited company registered as an  educational charity.• From its beginnings in a small kiosk in  Birmingham’s Bullring, Ikon’s reputation for  innovation, internationalism and excellence  has developed over 48 years. • 24 staff – many part‐time and artists• Rolling programme – no collection
  • 237. Ikon• Ikon is funded by 2 principle public bodies:‐ Arts Council of England West Midlands(approximately £1 million pound)‐ Birmingham City Council (approximately £100K)
  • 238. Fundraising Summary• Exhibitions draw in additional funding  through:‐ Catalogues‐ Exhibition hire fees‐ Sponsorship‐ Trusts and foundations‐ Other grants In 2011/12 Ikon raised £250K
  • 239. General Earned Income:‐ Donations and gifts‐ Corporate Patrons/ Individual Patrons‐ Gallery Hire‐ Interest in banking‐ Café ‐ Bookshop‐ Sales of art work In 2011/12 Ikon raised £130K