I am excited and feel important to be involved with art   learned a lot.
+ power. Over the past year or so I have benefited...
Outreach
The Campaign for Creativity will be led by participants that want to share their passion for the arts. They will ...
We will support audience development initiatives that take a       include a short film ‘Sharing our Journeys’ showing how ...
I don’t want to be the same as other artists and
don’t want to paint the same things.
                          Peter Sutt...
Building creative communities

art + power supports, promotes and
celebrates celebrate empowering arts
practice wherever i...
Creative Fusion

To encourage people to come together to create joint projects we have designed a participatory arts proce...
5 Participation in               art + power and the arts




      I write because it is a way of expressing myself. It i...
Participation in art + power

In addition to being a vehicle for change art + power is also a tool that participants can
u...
Employability and social enterprise

As each achievement that participants make increases their
employability we plan to d...
The arts industry

Barriers to employment for disabled people are likely to become much
higher in the current recession. Y...
In 2008 The Boston Tea Party invited
a group of art + power participants
to create a mural on a large wall in
their Park S...
Marketing Plan
                                                                        The aim of our marketing plan is to...
Participation and marketing

The marketing plan will be driven by participants. They will act       The marketing will dev...
Promotions
Our marketing will promote an inclusive view of the arts and of    • Opportunities to develop practice includin...
MARKETING TARGETS              stage 1                          stage 2                    stage 3
                       ...
Financial Plan
                                                        art + power has an annual turnover of around £170,0...
Model of Empowering Arts
                framework                                                arts policy             ...
A transparent planning process ensures that demand, impact
and quality in place before investment takes place.
• Demand is...
company as innovative and creative in times of recession. By        Our five-year plan to end cultural exclusion sets out t...
Resources and Networks
art + power are members of the following organisations and networks:
Voscur (Bristol’s Council for ...
Monitoring and Evaluation
This new model of empowering arts activity has monitoring and evaluation at its heart. Openness,...
Action
                               Plans
art + Power is a realisation
thorough creativity of
individuals ability not
di...
Action plan 1: The Campaign for Creativity.




           THE CAMPAIGN FOR              stage 1                          ...
Action Plan 2: PASS



                   PASS              stage 1                          stage 2                      ...
Action Plan 3: Participation as audiences.




             AUDIENCES               stage 1                    stage 2    ...
Action Plan 4: Participation as Artists




                ARTISTS                  stage 1                         stage...
ARTS INDUSTRY              stage 1                           stage 2                      stage 3
                        ...
Action Plan 6: Marketing




              MARKETING               stage 1                        stage 2                 ...
Action Plan 7: Fundraising



             FUNDRAISING              stage 1                       stage 2                 ...
‘What does art + power mean to me?
I had interpreted for Faye at university and, when she got a job with art + power, she
...
Article 27 of the Universal Declaration
of Human Rights:
‘Everyone has the right to freely
participate in the the cultural...
Upcoming SlideShare
Loading in …5
×

Campaign For Creativity Pages 31+

461 views

Published on

Pages 31+ of \'The Campaign for Creativity\': art + power\'s five year plan to end cultural exclusion

0 Comments
0 Likes
Statistics
Notes
  • Be the first to comment

  • Be the first to like this

No Downloads
Views
Total views
461
On SlideShare
0
From Embeds
0
Number of Embeds
5
Actions
Shares
0
Downloads
4
Comments
0
Likes
0
Embeds 0
No embeds

No notes for slide

Campaign For Creativity Pages 31+

  1. 1. I am excited and feel important to be involved with art learned a lot. + power. Over the past year or so I have benefited so much from being a member. In the future I hope art + power can support and give confidence to many other disabled people. If we have a I have enjoyed dancing at Bath University - it was problem we have people to share it with. When we have wicked! I have also spoken to Malcolm, a professional days of encouragement and mentoring it can help us to actor, and am taking part in an audition to become an be strong in society and believe in ourselves. actor myself. I have worked at the Tobacco Factory and Days at the Arnolfini helped me to become a poet and a writer and we had much fun at a showcase at the Grant Bradley Gallery. I think art + power is amazing. my friends have told me how they have been helped to come out of themselves and given them courage to feel the same as other people who work and talk to them - the mural at Boston Tea Party shows people how we are able to contribute and be helped to be part of society. Daniel Bryan Writer and Performer 29
  2. 2. Outreach The Campaign for Creativity will be led by participants that want to share their passion for the arts. They will promote the event through their art, website and newsletters and through a range of performance events with targeted audiences to encourage more participants to get involved. Venues Everyone who participates in the Campaign for Creativity will be encouraged to share ideas to improve access and participation and to write short reviews of art events they visit. These reviews are used to promote art to other potential participants. Each participant will have a record card to record their progress. We will use the results of these record cards to enable participating venues to see how many people using the scheme are attending their venues and to give qualitative feedback on how access could be improved. Participation in the scheme offers venues important opportunities to demonstrate commitment to ending cultural exclusion. In addition venues will receive qualitative and quantitative feedback on the impact of their participation, the opportunity to promote art work to hard-to-reach groups; support to develop empowering arts practice and the opportunity to promote new initiatives. In May 2008, 600 visitors to Spike Island Open received ‘explorer kits’ created by art + power to help everyone explore the arts. We are now looking to develop these kits and develop them for arts venues - an ‘ordinary person’s guide to the arts’ - to provide the public with tools to engage with the arts and encouraging public feedback to venues to help them improve the experience for the general public. 30
  3. 3. We will support audience development initiatives that take a include a short film ‘Sharing our Journeys’ showing how people strategic and holistic approach to access. For example: Our with learning difficulties experience the arts and suggesting research (see below) indicates that transport creates a major creative ways to overcome the barriers they face. Participants barrier to participants wishing to explore the arts. also produced an interactive map of central Bristol. The latest initiative - a personalised mapping template that uses digital People cannot take part in arts events if they cannot get to them! photography to support independent travel will be launched With this in mind we have created a range of tools and support shortly. packages to encourage safe and independent travel. These In 2001 art + power, Bristol City Council and Arts Council England SW commissioned Transport and Travel Research (Ttr Ltd) to research into access to the arts for people with learning difficulties. This research led directly to a wide-ranging initiative ‘art + ride’ that involved many of Bristol’s arts venues working with art + power to develop a range of access initiatives. The project is a case study to Bristol’s Public Art Strategy. 31
  4. 4. I don’t want to be the same as other artists and don’t want to paint the same things. Peter Sutton, visual artist 4 Participation as artists
  5. 5. Building creative communities art + power supports, promotes and celebrates celebrate empowering arts practice wherever it takes place. Our role is to provide the inspiration and resources so that disabled and socially excluded people can create extraordinary art. Emphasis is on quality not quantity. We prefer to produce a few demonstration projects that have a real impact on cultural inclusion. Projects are created in an open and inclusive way, providing opportunities to participate throughout the project and sharing the journey of increasing cultural inclusion. Participants use the art they create to drive an outreach programme - In this way each project can engage more people and our arts activity can drive our five-step journey towards creative community: Entertain, Engage, Enthuse, Educate, Empower 33
  6. 6. Creative Fusion To encourage people to come together to create joint projects we have designed a participatory arts process called: ‘Creative Fusion’. This provides a platform for experimental partnership working to bring together artists, actors, writers and musicians. Through Creative Fusion participants explore common concerns and links in their artistic practice. Together they create inclusive, multi-disciplinary art that demonstrates the importance of cultural participation in innovative and often challenging ways. Recent Creative Fusion sessions have explored the various ways that cultural exclusion manifests itself by creating a world in which art had been banned. This enabled participants to produce a wide range of arts activity including: • A 17-minute ‘mockumentary’ film exploring the imagined history of people who chose to defy a ban on creativity. Condemned to Darkness • An installation in an art gallery asking people to register for art tax by declaring all artistic activity • Sculptures made from ‘found’ materials • Poetry hidden under beer mats in Arnolfini café. • An installation exploring the milestones and barriers to pursuing careers in the arts. • A series of performance interventions in an gallery that explore the way excluded people feel when they enter arts galleries. Funding has been secured from South West Screen to complete the film and develop the themes further in new film projects. 34
  7. 7. 5 Participation in art + power and the arts I write because it is a way of expressing myself. It is one of the few ways I have a voice. It gives me power. I channel my characters through my own thoughts and emotions, whether they are dark or optimistic. It is very visual as I try to describe what is going on in my head. Jeff Johns, writer and musician 35
  8. 8. Participation in art + power In addition to being a vehicle for change art + power is also a tool that participants can use to gain the freedom to participate in society. To help achieve this we have developed a range of structures and tools to develop participation in governance, planning, implementation and evaluation. We aim to achieve the highest standards in governance and participation so that art + power can itself become a model for the sort of society we wish to create. art + power sees everything we do as an opportunity to develop participation. Participation is encouraged at every level of the organisation from setting the vision and mission through to the every day tasks that will put this plan into operation. We want to develop a transparent model of practice and to provide training and support so that everyone can gain the freedom to participate as fully as they wish in art + power and the wider society. We have developed a comprehensive action plan to enable us to reach the highest standards we can for participatory governance. The plan involves the provision of information, training and support and a range of participation initiatives that enable everyone to take part in policy setting, decision-making and day to day actions. art + power has a transparent and accountable decision making and policy setting process. For example, all Governing Body meeting (6 participants and 6 volunteers) are held in public. No new information is produced at the paper-free meetings - information is provided by power point and pre- meetings are held to ensure all Governing Body Members are fully briefed and able to participate in the decision making process. Team meetings and project planning meetings are also held in the open and all information shared (except confidential items). The ‘freedom framework’ that underpins our CPD programme gives equal emphasis to participative freedoms as creative ones. Tasks in our action plan are offered to participants as ‘opportunity cards’ that can help them achieve their desired freedoms. 36
  9. 9. Employability and social enterprise As each achievement that participants make increases their employability we plan to develop our professional development service (PASS) so that it can become a recognised route into employment for disabled and socially excluded people. PASS is a three-stage programme. Participants can decide whether to engage with PASS as aspiring, emerging or practising artists. Whilst participation at any level helps people increase their employability, at the practising artists level employability becomes the main focus of the programme. In Bristol we are developing a partnership with City of Bristol College to enable participants on PASS to gain NVQs in employment. Participants on PASS can move through engagement and employability training into business enterprise as their careers develop. Currently 12 participants in Bristol are studying NVQ a level 3 business enterprise course with City of Bristol College. We will supplement this training with a parallel governance training programme for all those wishing to increase their participation through art + power. In addition to taking part in individual meetings and tasks participants can take on more focussed pieces of work through work experience and volunteering placements. Volunteers play a crucial role at art + power in breaking down dependency and supporting participants to develop their own independent practice. Participants will be able to increase their employability through participation in art + power as a not-for-profit collective. We will explore collective approaches through the development of social enterprises that can, over time, become independent of art + power. We want to explore how art + power can support participants to explore income generating ideas and act as an incubator for new collective enterprises. 37
  10. 10. The arts industry Barriers to employment for disabled people are likely to become much higher in the current recession. Yet, the arts industry has the potential to lead the way in employing disabled and socially excluded people. This is not just because artists use lots of different ways to support their art but because of unique role of the arts in social change. People discover their own power through the arts. Each person’s creativity is their unique contribution to society. Our challenge is to bring together a strategic partnership that can help provide the structures and tools to release the arts in every individual. We propose to bring together a broad team of agencies and experts to map out and signpost existing services in a co-ordinated way and to develop strategies to tackle the many barriers to employment faced by disabled and socially excluded people. Some of the issues to be addressed include: • Going self-employed managing finances and effective service brokerage support for people using individual benefits payments • How to earn income and tackle the benefits trap • The potential for apprenticeships, internships, intermediate labour markets and artists agencies. • Partnership initiatives to increase the diversity of the workforce in the arts industry. For example, we will develop our thriving volunteering programme, in partnership with other arts organisations, as a key step on the way to employability for disabled and socially excluded people. John Vowles joined art + power as a participant. He has since progressed through a work experience programme - with support from Mencap Pathways and South Gloucestershire Council and is now employed as art + power’s Membership Officer. John supports members to take an active role in art + power. 38
  11. 11. In 2008 The Boston Tea Party invited a group of art + power participants to create a mural on a large wall in their Park Street branch. They held fundraising events to fund the project. One of the participants is currently doing a work experience placement in the cafe who continue to support our fund raising efforts. 39
  12. 12. Marketing Plan The aim of our marketing plan is to make it easy for everyone to contribute towards building a more equal, inclusive and creative community. We aim to provide the inspiration and resources to enable the full participation of the whole community particularly disabled people and people facing social exclusion. For me, art is about communication and I want people to engage with my art. Frances Neville, textile artist and writer 40
  13. 13. Participation and marketing The marketing plan will be driven by participants. They will act The marketing will develop in an organic manner at first as the creative hub to the Campaign for Creativity collecting and depending on the commitments and interests of participants and distributing art work, stories news, information and resources all those who join the campaign. with a single aim - to increase participation in the arts. We will begin the process by developing a ‘Campaign’ newsletter and website. As participants develop the strategic skills we will Involving participants in the marketing of the Campaign for create a promotions campaign to encourage participation in the Creativity is essential to the project’s success. arts. There are three reasons for this: 1. It is through marketing and promotions that we will break down social and cultural exclusion and ensure all our activities take place in the public sphere. 2. By practically involving participants in the programme we can build participation in practice not just as an end to aim for but as a means of achieving our aim. 3. Creating a public project driven by the talent and commitment of disabled and socially excluded people is essential to gaining the willing participation of the public and to changing public perceptions of the arts and who they are for. Whilst all participants (and partners) will be encouraged to submit material for publication we will establish a core team who want to develop a more strategic role. To assist this we will run a training programme (in parallel to the NVQ in business enterprise) so that we can develop a participatory marketing strategy. In addition we will develop opportunities for participants to take lead roles in all public activities including outreach performances and training and consultancy opportunities as they develop. 41
  14. 14. Promotions Our marketing will promote an inclusive view of the arts and of • Opportunities to develop practice including information on art + power. We don’t want people to think of art + power as a voluntary arts activities, a notice board for rehearsal and studio place or specific group of people. Rather we want to promote spaces, and information about events, arts groups, book clubs art + power as an idea that belongs to us all, a vision that we etc. can all work together to bring about - hence the ‘Campaign for • News on exhibition opportunities and competitions Creativity’. • Opportunities for partners to get involved, volunteering, practical assistance, how you can help increase participation in The ‘Campaign for Creativity’ will centre on an ongoing the arts, how to hold your own event, where to get help etc.. promotion campaign in which everyone involved works together • Opportunities for partners and business to advertising and to share ideas and celebrate empowering arts wherever they promote their commitments to cultural inclusion and news about take place. initiatives At the heart of the project will be a regular Campaign for In addition to distributing the work through newsletters and Creativity Newsletter promoting Bristol as a centre of cultural websites we will seek opportunities to promote art work and the inclusion. Every aspect of this plan will be reflected in the campaign in public sites such as billboards and poster sites and newsletter and related communications. It will include at least on public transport. the following: • Campaign News and news on PASS and how people can get involved • Tips to encourage people to attend venues, reviews by the people going to arts in the own words. • Examples of arts created in by participants and their stories. 42
  15. 15. MARKETING TARGETS stage 1 stage 2 stage 3 April 2009 - 2010 2010 - 2012 2012 - 2014 STAGE DEVELOPMENT CITY WIDE NATIONAL 1. Campaign for 800 Partners including: 160 2,400 Partners 2,400 Partners Creativity volunteers 480 volunteers 4,800 volunteers 400 supporters 1,200 supporters 12,000 supporters 160 fundraisers 480 fundraisers 4,800 fundraisers 80 project partners 240 project partners 2,400 project partners 2. PASS - 200 participants 600 participants 6,000 participants Personal 3,000 achievements 9,000 achievements 72,000 achievements Arts Support 1,500 freedoms 4,500 freedoms 40,000 freedoms Scheme 3. Participation as 500 venue visits 1,500 venue visits 15,000 venue visits Audiences 100 venue recommendations 300 venue recommendations 3,000 venue recommendations 4. Participation as Entertain: 5,000 Entertain: 25,000 Entertain: 250,000 Artists Engage: 1,000 Engage: 5,000 Engage: 50,000 Enthuse: 500 Enthuse: 1,000 Enthuse: 7,500 Educate: 100 Educate: 200 Educate: 500 Empower: 10 Empower: 30 Empower: 100 5. Participation in Empower: 10 Empower: 30 Empower: 100 art + power and the arts industry 43
  16. 16. Financial Plan art + power has an annual turnover of around £170,000 the majority of which we raise ourselves. Our only regular source of statutory funding is a three-year service level agreement with Bristol City Council (BCC), as a key arts provider as part of the My work makes me feel confident. I want City’s portfolio of leading organisations, which expires on March people to look at my paintings and then talk 31st 2012. This funding was agreed after an open application about them. process. art + power achieved the highest score of all applicants Jonathan Barr Lindsay, visual artist and writer to this process – demonstrating that art + power offers more to the corporate priorities of the only major city in the region than any other arts organisation. Our funding strategy has three main aims: 1.To create a strong business ethic across the organisation. 2.To diversify funding streams and develop the potential for income generation. 3.To develop partnerships to create potential for sustainability and roll-out of model to other areas. Our new model of empowering arts practice has been designed to achieve these aims despite the economic recession. 44
  17. 17. Model of Empowering Arts framework arts policy tool kit Participants Partners art + power Offers sup- sponsors Interested in port, advice and opportunites programme meeting ending cultural exclusion for people to develop their and supporting the empow- practice and contribute to erment of art, funders are the art community. Through able to invest in specific workshops, mentoring and art + power activites or in a general pot. projects, artists are able to no no pursue their own interests demand funding and improve their skills at yes yes their own pace. artists Progress through a no policy / impact no three stage process in which yes they turn an interest in art into a career. By participating in activites and acomplishing set goals, artists earn credits which give them access to more activites, information activity and opportunities. evaluation / outcomes The above diagram show our new model of empowering arts brings together participants and partners in a shared commitment to cultural participation. 45
  18. 18. A transparent planning process ensures that demand, impact and quality in place before investment takes place. • Demand is demonstrated by participants’ desire for freedoms • Funding and support directed towards specific activities that have the most impact through freedom framework and impact analysis • Quality ensured through iterative feedback process, strong monitoring and commitment to learning and evaluation. By using the ‘freedom framework’ and careful monitoring we are able to give priority to low-cost high impact solutions to funding that ensures participants remain in control of projects by minimising the need for lengthy and complex funding applications and their consequent delays. Identifying innovative and creative ways to move projects forward also has the following benefits for our funding strategy: 1. It provides individuals with practical and affordable opportunities to effect change and share their talents and passions despite the recession. 2. It encourages sharing of resources amongst groups, individuals and service providers ensuring value for money. 3. Companies that may find it difficult to make a financial contribution in difficult economic times will have opportunities to contribute time and practical support through staff development programmes or surplus stock. In addition different departments could sign up as team and set incentives to see which team could have the most impact on cultural exclusion. This is likely to be particularly attractive to businesses wishing to meet their Corporate Social Responsibility targets and to identify their 46
  19. 19. company as innovative and creative in times of recession. By Our five-year plan to end cultural exclusion sets out to supporting our plans for social enterprise and employability demonstrate the potential of the arts to improve social welfare they can contribute directly to entrepreneurial activity amongst across a variety of sectors. One of the aims of our task groups disabled and socially excluded people. will be to open up the potential for a broad section of policy makers to contribute towards cultural inclusion will mean The systems assist funders by providing clear evidence that that statutory funds are likely to remain the major source of meet many of their key concerns - the model demonstrates our funding in the short to medium term. However, we also that there is a clear need and demand for their investment, recognise the vulnerability of these funding streams to political they can be assured that investment is well managed and will and economic changes and therefore we will also work hard to have maximum impact and art + power strength in monitoring, develop a broad portfolio of funding sources. evaluation and learning helps to assure funders that they will be investing in quality. In addition those funders with specific aims will be able to purchase inputs from a range of options according to their preferences. Like everyone who participates in the programme they will be able to receive a clear measure of the impact of their investment and monitor the progress of their investment. The process has been designed to ensure that disabled people in receipt of individualised benefit payments will be able to purchase clear outcomes. (Bristol City Council’s Commissioning Officer for services to people with learning difficulties has indicated that the system is in line with their commissioning criteria.) Also, The inclusive and participatory nature of the campaign will help us to recruit more volunteers and experts with a strong sense of social responsibility. In particular this will provide: • The support of a development team of experts across a range of fields to develop a cross-sector approach to funding of empowering arts activity opening up diverse funding streams. • The engagement of a development sub-group to art + power’s Governing body to drive the organisation forward. 47
  20. 20. Resources and Networks art + power are members of the following organisations and networks: Voscur (Bristol’s Council for Voluntary Service), Arts & Business, ACEVO (Association of Chief Executives of Voluntary Organisations), NCVO (National Council for Voluntary Organisations), Alita (Action Learning In The Arts, a year long action research project) SW, Theatre Bristol, disability arts benchmarking group (national project benchmarking key targets of leading disability arts organisations), Institute of Fundraisers, Members of staff sit on the following steering Groups and management committees, Bournemouth Arts Institute, Theatre Bristol, Visual arts strategy (Bristol), Poetry Can, University of West of England development group for MA in arts and community practice. Organisations we are currently working with include (apologies for omissions): Arts & Business, Arts Matrix, Audiences South West, Back to Back theatre, Bristol City Council, Bristol One Stop Shop (employment support); City of Bristol College, Dance Aware, Freeways Trust, Gallery 37 plus, The Hub, Kaleido, Mencap, Poetry Can, Reach Inclusive Arts, River Street drop in centre, Social Enterprise works, University of West of England, Young Bristol, Arnolfini, Tobacco Factory, RWA, Arts Matrix, DAISI, Devon Guild of Craftsmen, Theatre Alibi, Exeter Northcott, Watershed, Theatre Bristol, Bournemouth Arts and culture, Dance Aware, Poetry Can, Erlestoke Prison, Leyhill Open Prison, Mencap, ARA, Mental Health Matters, Bristol and District People First.
  21. 21. Monitoring and Evaluation This new model of empowering arts activity has monitoring and evaluation at its heart. Openness, transparency, accountability, learning and participation are the watchwords of the campaign. The ‘Campaign for Creativity’ relies on creating opportunities for participation at every level including evaluation. This is one of the aspects of this project that sets it apart as it is not a top-down monitoring of the effect we have had on people but a bottom-up evaluation of participants by participants. The model depends on the enthusiasm of participants to lead the evaluation process. Participants identify what it is they are trying to achieve and use self and peer assessment to report on how effective each project has been. As far as is practical, decisions are made in an open and accountable manner. Most meetings are held in public with notes made available afterwards. We plan to create a ‘dashboard’ style website that enables everyone to see how successful we have been and to monitor the impact of their investment. All projects are regularly reviewed and evaluated so that we can continue to develop our understanding of how best to release the empowering potential of art. The action plans that are being developed to put this strategy into place are themselves opportunities for participation. Each week we hold a ‘coffee morning’ to discuss as a team of staff and participants our targets for the week ahead and to decide collectively what is the most effective way of achieving our goals.
  22. 22. Action Plans art + Power is a realisation thorough creativity of individuals ability not disability’. Janna Edwards, 15 Days in Clay
  23. 23. Action plan 1: The Campaign for Creativity. THE CAMPAIGN FOR stage 1 stage 2 stage 3 1 CREATIVITY April 2009 - 2010 2010 - 2012 2012 - 2014 1.1 PARTNERSHIPS Establish city-wide partners to Explore national partners Training and consultancy role stage 2 and discuss project at national level. 1.2 DEVELOPMENT 1.2.1 Establish task groups 1.2.1 Task group actions, 1.2.1 Establishing regional to develop key aspects of develop national task groups programmes campaign: Employabilty Social Enterprise Finance and Development 1.2.2 Develop infrastructure: 1.2.2 Support development 1.2.2 Sustainability / exit plan. Project hub, resources, ICT, of infrastructure in regions for website, project and marketing national project. tools and information. 1.3 DELIVERY Develop pilot partnership 1.3.1 City wide delivery National project delivery projects with arts venues in the city to increase access to 1.3.2 National pilot the arts. 1.4 EVALUATION Testing models, participant Bristol task group reports / National Conference, and partner feedback event Exit/Sustainability strategy 1.5 DISSEMINATION Prepare stage 1 project launch National launch event Final event 51
  24. 24. Action Plan 2: PASS PASS stage 1 stage 2 stage 3 2 April 2009 - 2010 2010 - 2012 2012 - 2014 2.1 TRAINING 2.1.1 Developing outreach 2.1.1 Supporting local groups 2.1.1 Deliver training / programme and national outreach consultancy to regional groups. 2.1.2 Develop and deliver 2.1.2 (Identify partner to) induction training in deliver training to promote 2.1.2 Identify training gaps independent arts practice independent arts practice and deliver as last resort. 2.2 PRACTICE Develop, test and pilot ‘Take PASS adopted in Bristol PASS adopted by at least 3 Part in Arts Game’ regions Sharing opportunities to Sharing and co-ordination develop practice of opportunities to develop Establish regional networks practice to share and co-ordinate opportunities for participation 2.3 DELIVERY AGM and showcase Festival of cultural inclusion Local events for dissemination 52
  25. 25. Action Plan 3: Participation as audiences. AUDIENCES stage 1 stage 2 stage 3 3 April 2009 - 2010 2010 - 2012 2012 - 2014 3.1 RESOURCES 3.1 Newsletter & Website 3.1 Website established, 3.1 Regional sites and development newsletter in place newsletters 3.2 Explorer packs 3.2 Explorer packs, arts guides 3.2 National adoption of tools 3.2 OUTREACH Local outreach Bristol events National outreach events 3.3 VENUES Pilot projects Local social enterprise started. Programme roll out. Five main partners in place. Three additional national partner venues 53
  26. 26. Action Plan 4: Participation as Artists ARTISTS stage 1 stage 2 stage 3 4 April 2009 - 2010 2010 - 2012 2012 - 2014 4.1 BUILDING CREATIVE 3.1.1 Creative development of 3.1.1 Dissemination through 3.1.1 Regional dissemination COMMUNITIES newsletter and website for arts website, newsletter and national website hub. dissemination 3.1.2 Developing 3.1.2 Public performance 3.1.2 Public performance performances in public sphere outreach events outreach in regions for outreach and audience development: 3.1.3 Bristol Festival of 3.1.3 Final project event Spike Open Cultural Inclusion In-Between time festival; (led by Kaleido, Disability Arts Bristol Poetry Festival Development Agency for SW AGM and showcase England) Project launch 4.2 CREATIVE FUSION Viral marketing and new City Wide participatory, Series of linked regional film projects building on inclusive and empowering arts projects ‘Condemned to Darkness’ film. project 54
  27. 27. ARTS INDUSTRY stage 1 stage 2 stage 3 5 April 2009 - 2010 2010 - 2012 2012 - 2014 5.1 EMPLOYABILITY Establish task group Bristol wide initiatives Regional initiatives National task groups Action Plan 5: art + power and the Arts Industry 5.2 PASS EMPLOYABILITY 5.2.1 Partnership with City of 5.2.1 City wide enrolment 5.2.1 PASS adopted PROGRAMS Bristol College nationally 5.2.2 Training: 5.2.2 Expand training Participation training programme 5.2.2 Participation consultancy established 5.2.3 Practice: Achievement of 5.2.4 Increased participation 5.2.5 National participation freedoms through in city activities involvement in Campaign For Creativity 5.3 ART + POWER 5.3.1 Governance Strong, participative Support, training and development programme governance programme in consultancy for participatory place programmes in the regions 5.3.2 Volunteering and work experience opportunities 5.4 SOCIAL ENTERPRISE 5.4.1 Product and service Increased earned income and Independent social enterprise development research. emplyability established. 5.4.2 Products/services tested Regional models Sustainable funding for hub. 5.5 ARTS INDUSTRY Pilot project to coordinate arts City wide volunteering and National employment in the volunteering work experience programme arts programme. 55
  28. 28. Action Plan 6: Marketing MARKETING stage 1 stage 2 stage 3 6 April 2009 - 2010 2010 - 2012 2012 - 2014 6.1 PARTICIPATION 6.1 Training and team 6.1 Develop training role 6.1 Roll-out training role and development promote arts participation in the UK 6.2 PROMOTION 6.2.1 Newsletter and website 6.2.1 City wide newsletter 6.2.1 Regional newsletters and national hub 6.2.2 Plan public promotions 6.2.2 City wide promotion 6.2.2 National promotions : campaign campaign: Capital of cultural Creative Britain. inclusion 56
  29. 29. Action Plan 7: Fundraising FUNDRAISING stage 1 stage 2 stage 3 7 April 2009 - 2010 2010 - 2012 2012 - 2014 7.1 STATUTORY Task groups established, Sustainable level of funding in Maintain sustainable level of cross sector support, new Bristol funding in Bristol. income streams e.g. City of Support to other regions. Bristol College partnership 7.2 TRUSTS Develop partnerships with Develop stage 3 partners Exit and sustainability strategy trusts 7.3 CORPORATES Establish corporate schemes Corporate established, Increased sponsorship develop sponsorship 7.4 INDIVIDUALS Develop supporters scheme Supporters scheme and fund Sustainable level of income and fund raising team raising events established generated 7.5 EARNED Product and service Increased earned income (art Earned income streams fully development research + power) and employability established 57
  30. 30. ‘What does art + power mean to me? I had interpreted for Faye at university and, when she got a job with art + power, she asked me to come and work with her there. I’m ashamed to say that I was afraid when I first started. I had no background in working with people with learning difficulties and other issues. Would I be able to understand the voices? The content? Would people understand my role? I needn’t have worried. The fantastic thing about art + power is that there’s a focus on the person not the label. Instead of ‘the learning difficulty’ or ‘the addiction’, there’s simply Jack and Darren and Sarah. There’s a focus on what people can do and what they want to achieve rather than on what can’t be done. art + power is like a tardis; far bigger in reality than is apparent from the outside. This small organisation, with a staff of only 5, is really a living breathing organism which reaches out and touches the lives of numerous people. The starting point is art but it’s about far more than that. It’s about self-esteem, confidence, growth; opportunity and encouraging people to think for themselves............ Having been told in secondary school that I had the drawing ability of a 6 year old I decided at that point that art was not for me. Encountering a variety of artists in art + power has re-awakened creativity in me. They have taught me how important it is for each one of us to express something of who we are creatively and shown me that, without that freedom, a little bit of us dies. I’m now writing short stories and poetry again for the first time since leaving school. I am suspicious of books which claim to be ‘life changing.’ art + power makes no such claim but changes lives anyway. The radical thing about art + power is that it’s not about classes or numbers or keeping hold of people or squashing anyone into a mould. It’s genuinely about embracing someone, accepting them for who they are, imparting something to each individual for as long as they want all the while inviting them to soar free. The lovely thing is that so many people have gained so much they want to stick around and give something back anyway’. Sarah Macguire 58
  31. 31. Article 27 of the Universal Declaration of Human Rights: ‘Everyone has the right to freely participate in the the cultural life of the community, to enjoy the arts and to scientific advancement and its benefits.’

×