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Semelhante a Arts Council work in the North West overview
Semelhante a Arts Council work in the North West overview (20)
Arts Council work in the North West overview
- 1. An overview of Arts Council work in the North West
- 2. Anthony Preston Head of Resource Development Senior Manager -Regional Planning (from April) DCMS agencies, Local authorities, business, Learning and skills (post 16), economy, regeneration, tourism, priority places, housing and spatial planning, creative industries,improvement and efficiency, Cultural Olympiad Legacy
- 5. Strategic partnerships and initiatives
- 11. Local Strategic Partnerships and Local Area Agreements- Arts contribution to Safer & stronger communities Economy Health & older people Children & young people
- 12. Cultural indicators which relate directly to the arts - collected by phone in Active People Survey twice per year, about 1000 per top tier authority Of the National 198 plus statutory indicators NI 9 Use of libraries NI 11 engagement in the arts NI 10 visits to art galleries and museums Identified other indicators where arts can make a key contribution eg positive activities, obesity,satisfaction with place
- 13. The Creative Economy contribution to the National economy in 2004 was estimated to be worth 7.3% of GVA, £60 billion, with 2 million jobs in the creative industries. ( DCMS definition) In the North West The Workforce - 59,580 people (9% of Creative & Cultural Skills UK workforce) 5,880 businesses contributing £1.65B GVA to the UK economy Average GVA per head is £36,570 The North West average is £32,800 Contributing to new Local Economic Assessments, Promoting Creative Industries with local authorities
- 14. Fusion project in Burnley. Photo: Brian Slater
- 15. More key regional partnership activities- Regional Cultural Agencies RS 2010 - strategies/ influence/ advocacy Local Government improvement Place shaping- priority places Cultural Olympiad Above includes; NW Cultural Improvement and Efficiency Partnership, commissioning, Culture and Sport Strategic Dialogues, responding to ‘red flag’ CAA authorities, work with LAA’s and MAA’s, Legacy Trust Programme, eg We Play Living Places and Sea Change
- 17. Visitor Economy Strategic work such as; Manchester International Festival Liverpool Biennial Lakes Alive Blackpool 365 Festival Chester Cultural Tourism offer Preston Guild
- 18. Economic and Regeneration work such as; Media City Digital and Creative Industries support and development - Creative Lancashire, Baltic Triangle, South X SW Public Realm/Design- Housing Market Renewal Areas, new public capital schemes in health(LIFT) and education (BSF), public art posts, GMPTE Arts Strategy Promoting New business practice- commissioning opportunities, efficiencies- Thrive, LARC
- 19. FIN
- 24. The overall segmentation Urban arts eclectic 5% (3% NW) participate only attend & may also participate Traditional culture vultures 4% (3%NW) Fun, fashion and friends 18% (15%NW) Mature explorers 11% (9%NW) Dinner and a show 20% (21%NW) Bedroom DJs 3% (3%NW) Family & community focused 11% (11%NW) Mid-life hobbyists 4% (5%NW) Retired arts and crafts 3% (3%NW) Time-poor dreamers 7% (7%NW) A quiet pint with the match 8% (10%NW) Older and home-bound 6% (7%NW) Limited means, nothing fancy 2% (3%NW) Some engagement Not currently engaged Highly engaged
Notas do Editor
- Note to speakers - this is the front page of your presentation which should be on display as a ‘back drop’ before you introduce yourself.
- This image was taken at the Luton Carnival, which is the largest one day carnival event in the UK. It takes place in Luton on the first bank holiday in May each year. As well as giving grants for the arts and investing in the portfolio of regularly funded organisations, the Arts Council works with a range of organisations and partners and carries out high profile strategic initiatives. Here are some examples...
- We work in partnership with other organisations and agencies. Our partners are national, regional and local. They include local authorities, regional cultural consortia, regional development agencies, and government departments such as health, education, trade and industry, and the Youth Justice Board. Our relationship with local government is especially strong. The Arts Council and local government jointly invest over £600 million a year in the arts. Our joint statement, Local government and the arts, a vision for partnership , was published in early 2003 following a national summit. The document sets out what we want to achieve together over the next three years with our joint investment.
- This was one of seven action research in Local Strategic Partnerships areas that examined how LSPs can work with artists or arts organisations to deliver their objectives through using creative approaches to engagement and delivery. You can read more about this in the Fusion publication available on our website. New LAA case studies – mention these – see Paula for more detail
- Programme launched in 2003 One programme, one application pack. Wider range of eligible applicants – increases the reach and range of the work we can fund and the people we can benefit, but also increases the pressure on our funds. Important to make applications as strong as possible. This presentation is the start of helping applicants achieve this.
- These six points set out our major ambitions for the next three years. Everything we do relates in some way to at least one of these. Cultural diversity is essential to us and we want it to be a central value of our work, running through all our activities and relationships. The term can be interpreted in many ways - we take a broad and inclusive interpretation, as meaning the full range and diversity of the culture of this country. In some cases our focus will be on disability, for example, and in others on race and ethnic background. We are making more funds available for culturally diverse arts and we are taking steps to change the employment profile, governance and activities of our own organisation and the funded arts sector.
- So who can apply? In the past the focus has mainly been on funding organisations, now there is greater opportunity given to the individual and collective of people as well We are able to offer a wider scope now than has been before: Artists; Performers; Writers; Curators; Promoters; Presenters, And other individuals working in the arts As well as: Organisations; Consortium bids; Local Authorities; Partnerships / Collectives; creative industries and Primary Care Trusts. And another feature: Groups whose activity is not arts related but are planning arts related projects
- These are the five areas we will assess on: The quality of your activity , what it is you are actually applying for You should describe what it is you are looking to do Artistic quality . What is the merit of this to you and your discipline? Is this an exciting and challenging project? Is it unique or a new way of looking at things, how do you sum it up? Have you the capability to manage it ? Is it over ambitious? The second criteria is all about how you are going to deliver what you have just set out in section one : the planning of the event/project, You are basically demonstrating your capabilities Depending on the size and ambition of your idea you will have to go into detail to show how you plan to manage the event You should aim to address this with as much thought as the event itself If you are a local authority or arts organisation who will lead on the project, what are their skills? Is it similar to other projects or something you have already done before? If you are a consortium or individual what is the framework you will put in place to ensure this project is a success? Will you work with others to achieve this? Have you involved other people for their capability to help deliver or have you the skills yourself? A tip is that we are looking to mitigate the risk of investment: to see that this has some thought behind the management of the event. Finances : do they stack up? This ties in with the application form budget section. The application was a summary of your income and expenditure. On the proposal, depending on your request, you will have to submit additional monetary details. Obviously the more you are applying for the greater detail in your proposal budget breakdown. We check this at the input stage (pre-assessment) and we look to see if your budget adds up correctly Ok, on this budget you should be providing a further narrative detail on some of the more complicated issues with the budgets such as funds to be raised, what stage other applications to funding bodies are at and what effects the financial proposal has on you or your organisation such as changes in insurance, increase in staff, running costs etc…need to demonstrate you have a knowledge of all aspects. For larger applications what are your financial controls and the long term financial implications of this. What is the benefit to the public …how will they be involved..is the involvement well thought out? (NOTE: public money looking for public benefit) Firstly, how is this strategically helping you or your organisation? Is this developing new strands of output that you previously could not partake in? Has it augmented your experience and developed you or your organisation to be able to deliver in new areas? Does it allow you to improve services, developing you and your publics? Remember the Arts Council finances are PUBLIC MONEY and it is key that we are able to assess your application for how this benefits the public at large? And finally How does it meet our aims – it must meet one of the Arts Council’s five aims which are…
- Three categories of applicant: Individuals, Organisations and National Touring The guideline for how much you can apply varies . For individuals, grants will range from a simple £200 ‘go-and-see’ taster grant or up to £30,000. However, from analysing past trends, we anticipate the average awards to be around the £5,000 / £10,000 mark. Organisations can apply for up to £100,000. However, we anticipate that applicants at this end of the scale will have to demonstrate exceptional artistic ideas and management. Realistically we are asking applicants to stay close to the £30,000 mark that is published in the material as demand for the scheme is high
- Visual arts review will be a similar exercise to the theatre review five years ago, creating a new ten year strategy for contemporary visual arts. Public value exercise will involve the Arts Council consulting with a wide range of people. 78% of public believe the arts play a valuable role in the life of the country, and 84% believe that arts and cultural projects should receive public funding. FUNDING MARK. The enquiry will ensure we, the Arts Council, are better connected with the public as well as artists, organisations and other partners such as local authorities.
- RES and DES and GES programmes include training and guidance and action plans are monitored through the annual review of our funded organisations. The audience segmentation work will be key to supporting ACE and its partners in increasing participation. We work in partnership with artists, arts organisations local authorities and others to find new ways to excite, engage and inspire people. To inform this work, we have developed a new arts-based segmentation of English adults comprising 13 distinct groups. The segmentation provides new insight into how and why different kinds of people engage with the arts in England today. It can also be used as a source of insight and ideas for building new audiences for the arts. The publication and data can be found at www.artscouncil.org.uk/audienceinsight Find your talent – is being piloted in 10 pathfinder areas across England and offers children and young people regular involvement with arts and culture both in and out of school. The North West Cultural Offer Regional Development Group is made up of key cultural and education partners from the region including MLANW, NW Vision & Media and Creative Partnerships. This group exists to ensure that the pathfinders take advantage of the wealth of cultural organisations and children and young people initiatives which already exists in this region, but it is also developing a programme of activity to support 8 other areas of the NW who are committed to developing cultural offer plans. Engagement posts: Our aspirations regarding Public Engagement We want to do three things: Increase the number of people engaging in the arts Broaden the range of people engaging in the arts Increase the depth of experience of people engaging in the arts Attending arts events This includes all forms of performing and visual arts and literature events and exhibitions, in formal (e.g. theatres, galleries, concert halls) and informal settings (e.g. street arts, festivals). Participating in arts activities This is about people being part of a creative process and includes participating in organised activities and informal, self-generated activities. emphasis on bridging the amateur and professional arts sectors 5 posts in total: Allerdale and Copeland, Blackpool, Oldham, Pennine Lancashire (based in Blackburn) and St Helens . Almost all have been recruited.
- Arts Award is a national qualification which supports young people to develop as artists and arts leaders. Young people aged between 11-25 can achieve Arts Awards at levels 1, 2 and 3 on the national qualifications framework. Prescap is the NW Regional Development Agency which is funded to provide regional training and advocacy. To date 1586 young people have received an Arts Award in the NW and 2010 sees AA’s 5 th birthday celebration. Visual arts and disability equality research We commissioned DaDa (formerly NWDAF) to undertake this research and to develop and deliver two regional seminars that will focus on sensory access in the performing arts and visual arts. the seminars will raise awareness and profile work by disabled artist working in this area. The two dates are Thursday 25 June at the Lowry – focus on performing arts Wednesday 1 July at Storey Gallery – focus on visual arts The programme is being pulled together now and will feature key disabled artists and disability led arts organisations, best practice from mainstream organisations, short updates on the DDA and public duty and feature some art. There will be afternoon breakout sessions focusing around programming/curating and audience development. Artsmark provides a benchmark for arts provision that encourages schools to consider the opportunities they offer in art, dance, drama and music. The application form for Artsmark acts as an auditing tool, through which schools may gain an overall picture of their arts education provision. 10 years old next year. NW has had continuous success with nearly 1500 (1471) schools receiving Artsmark status so far.
- And here is the overall segmentation that emerged through detailed data analysis When it comes to the arts the English population breaks down into thirteen different segments of different sizes. Percentages show the proportion of English adults that are in each segment. Relative size varies from 2% to 20%. A very quick run through the 13 segments. They fall into three broad types: 2 highly active segments, with different types of preferences. The urban arts eclectic are younger with a broad range of tastes, from video arts to live music gigs and also high rates of participation; the traditional culture vultures tend to be older and the most frequent attenders at opera, ballet, theatre etc. In the middle there are seven segments that we refer to as ‘occasional engagement’. These segments are a lot less active than the top two; they engage much less frequently and have a narrower range of interests. On the left are 4 attender groups with medium to low levels of engagement The most active of these are fun, fashion and friends: infrequent attenders at fairly mainstream events, many also participate Mature explorers are more into street arts, carnivals, exhibitions, craft exhibitions – something active; day-time activities that they come across and engage with spontaneously Dinner and a show – typically approaching retirement, very infrequent attenders at big name rock/pop music, musicals or theatre – low levels of participation Family and community focused – interested in events where they can spend time with their family or be part of a local community; typically attend carnivals or pantomime/theatre Three participant groups divided by age The youngest (under 30s) we call Bedroom DJs: into playing an instrument, computer art – solitary activities – but also go to the cinema, clubs, hang out with their friends Mid-life hobbyists – not very active, occasionally photography, playing an instrument, painting or crafts, maybe some with their children Retired arts and crafts – textile crafts but also playing an instrument, photography, painting or drawing And then 4 unengaged segments – currently unlikely to either attend or participate in the arts – doesn’t fit into their lifestyle. They cite different reasons for not engaging Time-poor dreamers are often quite harassed parents - they lack both time and interest when it comes to the arts A quiet pint with the match are typically older, male, working-class – they have a routine they are very content with and the arts are pretty far removed from their experience of life Older and home-bound are elderly people, often suffering poor health Relaxing on a budget have limited means; often dealing with social or economic hardships; practical issues such as cost, transport are real barriers