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

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
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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.
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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.
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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. 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
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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.
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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
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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.
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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.
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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.
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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.
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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
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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.
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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.
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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
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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.
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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.
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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
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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.
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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. 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. Action
Plans
art + Power is a realisation
thorough creativity of
individuals ability not
disability’.
Janna Edwards,
15 Days in Clay

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
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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
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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
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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
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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.
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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
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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
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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. 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.’