Oct 292015
Today I am at Central, in Edinburgh, for Access All Areas, a national conference organised by Culture Republic. You can find full details of the event here.  I will be blogging throughout the day, wifi permitting. And the usual caveats applying: this is a live blog so there may be some errors or omissions and I am very happy for comments, corrections, etc.
Janet Archer, Chief Executive of Creative Scotland
Our job is to provide artists and arts workers to provide insights to audiences and tools, and being at the centre of the network gives us a unique perspective. And this our first conference will enable us to share learning and experiences. Looking at patterns of behavior at arts venues, festivas etc. We are, subject to many of the same biases around accessibility to be addresses.

We need to ensure we are doing anything we can to ensure we challenge inequality in our own approach. The bias of opnion effects the work we do, the artists employed etc. We do face barriers but we still have much to learn. We benefitted from some eye opening training preparing for today.

We have contacted many artists, stakefolders, leaders, across the world. And there are many not here in person, watching the livestream. We have packed the programmed with talented and opinionated set of speakers. We want to talk not only about who your audiences are, but also who they might be.

If you change one thing about your practice when you return to work, we’ll have done our job.

Kirsty Walk

I’m very happy to have been asked to take part today. Cultural engagement enriches lives. Everyone here today are absolutely committed to changing the engagement in Scotland. I’ve seen how iemersion in the arts changes people, giving a voice, and dignity. And all of you here can deliver that give the right passion and tools Todau isn’t about takjuf of problems, but talking about answers. 

David Goodhart, Director of the Demos Integration Hub and a former director of Demos.
I rather stumbled into the world of diversity rather by mistake 10 years ago when I wrote an essay for the magazine I was editing at the time, Prospect. That led to more writing, conferences, and I wrote a book on the topic as a result. I set up a website at integrationhub.net. This is an attempt to be hard headed and realistic about diversity in modern Britain. I was inspired by Trevor Phillips who was committed to diversity all of his life. His background was in science and he believed in numbers, and it is important for us to understand the data in this area.
So I have set up this website, and it inevitably has an element of how different groups are doing… Integration in a liberal society is hard to define and a very disputed area – it is unclear how we can tell that we have an adequately integrated society. And that is not just about ethnic integration. It is also tricky to understand what integration means, and how it matters – we all speak differently, we can’t all live parallel lives or converge on a single lifestyle set. But it’s much easier to understand what the opposite looks like. And we have seen significant recent advances in openness in British society. A wider choice of schools, a reduction in symbols to rally around, these things can lead to increasingly separate or divergent experiences. One of the great policy questions of our time is just how much separation is compatible with an open and healthy mixed society.
But why should we worry about integration at all? Well there is such a thing as society. A recent conference on refugees where people were talking about global demographies – talking about youth bulges in the Balkans vs aging populations in Northern Europe… At that people were suggesting we just more one set of people to a new place but actually society is not just about random people in a place, it is about family, culture, etc.
So, what is happening with ethnic integration? Well England and Wales are more diverse than Scotland for instance, since Scotland only has 4% ethnic minorities. But if you are looking at England and Wales, and including white ethnic minorities, we have about 23% ethnic minorities. The majority of minority British consider themselves British and speak English. I think 1 in 8 households include more than one ethnicity. There are clear success stories for Chinese, Indian Hindu, and Indian Sikh communities for instance in terms of educational achievement, progression to universities etc. And there have been cultural shifts in attitudes.
On the negative side there is more mixing, but more amongst minorities themselves. A worrying trend recently is that the white British have become more separate from minorities. An expert analysis of wards found that 42% of visible ethnic minority Brits live in a ward where white British are the minority, and I don’t think that’s a positive development. And we have challenges around shorter term commuting minorities who also choose to be more separate.
But none of this properly speaks to the lived experience… [And here David effectively talks about code switching…]. So, what do we do about this? I have some suggestions for our discussion here.
Julia Middleton, Author of Cultural Intelligence – CQ: the Competitive Edge for Leaders Crossing Borders
On a daily basis you have to imagine, create and perform culture. It seems to me that you give us an ability to feel that we belong to something, and when you are exceptional you give us an opportunity to understand our own culture and the fact that it is multiple…
I don’t know about you but if I am asked where I come from it is a complex thing… There are so many factors. But it seems to me that you give us cultural insight. And I think all I do is reflect on culture. I’m passionate about the idea of cultural intelligence. Some people thrive on culture and crossing cultures, with the dangers arising when we don’t engage with other cultures. We find culture more fragmented than before, so we need more people who can cross those boundaries and bring us together. The internet enables so much, but many of us use it to seek out others like us. Do you follow people who agree with you on Twitter? Or do you engage and reflect on the experience of engaging with those you hate or disagree with?
Diversity is crucial – can you imagine any problem that will be resolved by homogeniety. I’m with the beatniks that new ideas will only arise from discord.
We used to have an idea of IQ, and then of Emotional Intelligence (EQ). The problem with EQ was people would say “I’m good with people”, omitting the “like me” part of this. And it is crucial to engage with poeple who are not like us. The future will be about cultural intelligence, of engaging people in crossing cultures.
When I travel around the world people have been so excited about how different sectors and partners came together for the Commonwealth Games in Glasgow, they want to understand how that was done… But what about after that? Does that continue? The definition of the word partnership – the sublimation in pursuit of funding!
You have people from across the world studying in Edinburgh, and what do they do when they get here? They meet others like them and leave with a poorer knowledge of Edinburgh than they had before. And that’s our fault – my son was a student and he wasn’t talking to his Chinese student down the hall – what an opportunity to learn from cultures from across the world!
So Cultural Intelligence is about behaviours, skills, capabilities, values, beliefs, identity, spirit. You are you and that’s a core thing… But there are so many things you can flex on, and this is where Cultural Intelligence comes. There are some people who are all core and no flex, and won’t adapt to others. Then some people will flex greatly – saying anything to achieve their goals. But Cultural Intelligence lies on that line between core and flex – and you move that line and you move it only with great consideration.
So, for instance, I was doing some work in Jeddah and was thinking about how I would dress and how much I would cover myself… For me I decided that what I wear is my area of flex. I decided to cover up. But when others here that they critique the fact that women who cover themselves there, don’t change their practice here… But what I wear is in my flex, for those women what they wear is part of their core. It is different and illustrates this idea of what is core, and what is flex…
That idea of your core, that changes over time… As we get older I think many of us start to see our core expanding – that others should think like you. But the more you unpick this stuff… People assue you get cultural intelligence by revealing yourself and learning from that. But the most difficult culture to unpick is your own… Whether it’s views based on prejudice or judgement or where you have biases – and we all have those. What you understand of the word and what gets in the way of your ability to move beyond your core and flex where you should… Sometimes you have to learn to live with your biases, and move past them, to flex. It’s a journey that fascinates me… all of us have our own way of connecting up the world and have insights into your sector that will have huge value to share with the world.

And now Kirsty Walk is introducing Fiona Hyslop… 

Fiona Hyslop, MSP and Cabinet Secretary for Culture, Europe & External Affairs
When Kirsty had us talk to the people around us I met someone I actually met at an event in Paris just last week, and here we meet again at a national conference – and I think that says a lot about this country and how we work.
I’ve been asked to set out the Scottish Government’s strategic priorities, the agenda of partnership, and what we are doing nationally and how it effects the culture sector. We are focused on a more open and diverse Scotland.
A stronger sustainable economy, stronger and fairer Scotland, protection our public services and connecting communities. It is important that we as a sector develop new partnerships and ways to engage. The Scottish festivals are a big part of that with a real community focus. Edinburgh’s position as a “world festival city” continues to attract national and international audiences and contribute £260M to the Scottish economy. The Glasgow Commonwealth Games culture programme evaulation report demonstrated success of the ambitions to celebrate culture in Scotland, attracting more than 2.1 m participations.
The Scottish government is committed to tackling equalities in Scotland and make Scotland a stronger, fairer, more inclusive society. Cultural heritage is an opportunity to be challenged and stimulated by culture, and that’s part of why health and wellbeing is one of the measures we use.
Scotland has high cultural engagement with around 9 in 10 engaging in cultural engagements in 2014. Our young people are key to think under the umbrella of Time to Shine and by various institutions. We don’t want anyone’s background to be a barrier and support the opening of national cultural records, and museums. The National Young People Advisory Group play a key role in shaping delivery.
We have seen a blooming of brass bands in the country, because of investment in young people’s bands, overcoming barriers and inequalities in areas that have seen deprivation or the loss of industry. We have also seen cash back for culture activities again enabling communities to engage in culture and overcome substantial difficulties, pushing proceeds of crime back to support the effected communities.
We are also protexting and reforming public services and strengthening communities whether urban or rural. And we launched our strategy for cultural heritage, “Our Place in Time”, last year. We also continue to work with local authorities and COSLAS to find ways to address joint challenges to protect our culture in tough financial times.
We want Scotland to be a fairer place and will have a social justice action plan to build a fairer Scotland, culture has to be part of that, I don’t want culture’s voice to be silent as we talk about a fairer Scotland. There is a website, fairer.scot and we encourage comments and input there. We have austerity measures and spending review due this autumn and it will have an impact but I’m invested in cultural heritage in Scotland and I want to continue to nurture our artists and cultural life and create further opportunity and experience for participation by communities, recognising the central role of culture in Scotland. We need to embrace and make use of changes and challenges and work together to show leadership going forward. And it is also about spirit, who we are, celebration, expression, and the joy that arts and culture resides in.
Q) How do you ensure grassroots engagement in strategies
A) For a fairer Scotland that website fairer.scot is open to all. But on an ongoing basis our cabinet goes around the country every month and we get questions from across the country. I don’t get as many questions as I’d like about culture, but there are opportunities there, and we get to see some of those cultural projects in action.
Q) Every area of government if under financial pressure, so how do you ensure protection for culture?
A) We work in partnership, but the cashback work was in collaboration with the justice minister and I work with colleagues across government.
And now the panel session… 
Q) Thinking about that core and flex… diversity isn’t just about background but also income… How do we do that?
A – Julia) It is about delivering to those we don’t agreement. I thought that the minister was impressive in terms of explaining how the culture budget fits with other areas… Sometimes the arts sector can have the same barrier as the NGO sector I am part of… Our own passion can get in the way.. Can end up dismissing the views of those who do not agree with us. We can be so passionate about our subject, our rightness, we can dissuade others from joining us. Sometimes we have to switch down the passion to make space for others to engage with us and talk to us.
Q) What about settling into a culture
A – David) I thought it was interesting that the minister talked of brass bands – can’t get more core than this. I think the last election was so much about voting for core cultural values, the SNP in Scotland, UKIP in England. The parties associated with multiculturalism, the Lib Dems took a kicking…
A – Julia) My core is many cultures though…
Kirsty) And those brass bands aren’t necessarily
Julia) I now have a daughter in law is from Bangalore and that is shaping and changing my core…
Q) Hurrah for Fiona Hyslop, the only person today to speak about Scotland today. We have had two privately educated speakers from London – one with borderline racist views… So, my question is to the conference organiser, how can you have a conference on diversity in Scotland with two speakers who do not know about the context here.
Kirsty) This is a conference that welcomes people no matter where they come from across the world, but it is a valid question.
A – Julia) I have never been to a private school in my life, and I am passionate about Scotland, And I think that it is a tragedy that just because I am English you made that assumption!
A – David) I am not as familiar with culture in Scotland, but I am familiar with allegations of racism… We have a history of discrimination and a social history that makes these conversations emotional and difficult. But there are patterns of ethnic outcomes that we should be able to talk about confidently.
Q) I liked the idea of core and flex, but I wanted to ask about a specific practical issues. One of the specific issues we face is the erosion of local authority arts, and that matters because of the grass roots. We have quite an archaic set up for arts funding, often around performances of an evening, or visual arts in a specific context. That’s our core. But the flex, getting out there but not on our terms, is a huge challenge and has always been a huge challenge. So how do apply that Cultural Intelligence context to that practical space.
A – Julia) With huge pain. The world over there is a struggle away from old models, and towards new models. I happen to love chaos, as from that you can often find new ideas and solutions.
Kirsty) The whole thing here is about partnerships and some organisations are resistant to partnerships with the private sector. I wonder if we have to expect companies to do more to support the arts.
A – Julia) I’m obsessed with the end result and if the end result is young people in Scotland gaining a better understanding of the arts and culture, and their wellbeing, that is worth doing.
LAB ONE – New Partnerships for Wider Engagement
This is described in the programme as: New business models and programmes, innovation, adding value and increasing connectivity.
Kerry Micheal, Artistic Director – Stratford East
I started at Stratford East in Marketing. I’m a Greek Cypriot and started my role marketing a Mike Leigh production about Greek people, and my job was to run around postering for it… And I’m a marketer at heart.
Stratford East is one of the poorest but also most diverse communities in London. We have a community that is 17% White British, 70% non British. 180 languages are spoken. 28% of adults engage in the arts. And against all of that we played to 86% capacity in our 460 seat theatre, and we specialise in new work, engaging with our audiences. As artistic director I look for the sweet spot between a good show that connects with a vibrant diverse audience. The more diverse the audience, the better that work has to be. Hamlet played to 400 kids with audiences is great, a version that plays to blue rinse WI members is great, but a Hamlet that can play to the diversity of both those audiences is better, that is excellence. An auditorium full of white faces is too easy so we have to leave room for new audiences.. In the old days cultural diversity was the phrase but now we look more widely in terms of class, gender, age. Government funders have failed on the culture diversity debate and are fudging this new debate.
My personal background is second generation Greek Cypriot… The terms used to label us can be tricky.. I was too different to be white, not confident enough to be Cypriot… And we have seen terms move across… We have Black and Minority Ethnic… But there are two A’s there. There’s Black, Asian and Minority Ethnic… And why is Black top billed? In my community black is not minority anymore! We are now people of colour. Martin Luther King used a term in 1963 that unites racial groups for equality not hierarchy. The term minority is being disenfranchised. In London 40% of the population are non white and that is growing, particularly as we have more and more mixed race families. So no more BAME-ing please…
Some of you would say they do diverse productions… But in our brochures we see lots of white disabled
Our cultural leaders are smart intelligent people and are good problem solving… So why don’t they make, find, support and encourage more diverse work. Is it because deep down they don’t like the work? Are they afraid to say so? Do they worry people won’t show up? We have to progress critical debate on what is good, and what is not. And why some pieces of information are important in collective history. If we had more diverse people writing and rating cultural work, then we would see that drive towards making the work. Next time you see an award ceremony count the number of non white faces you see collecting awards!
One of the things we did recently was to do an Open Stage project, opening up our stage to our audience… We had events, and asked them for what they want. We were sure we’d see themes… But actually we saw really different interests. Most of our audience wanted co-creation, to feel closer to us. So, we set up the Stratford East Singers.. For anyone to join and engage with that. And a year and a half later they’ve been on Gareth Malone’s show – and through to the finals. We did that activity, set that singing group in motion, to be inclusive, to work with our audience.
Another example is home theatre which came through work in Brazil – making a bespoke piece of work for the home. We did this in London and Birmingham. In London we had 30 one-person pieces and we did 10 in east London and 10 in other areas… We did half of those with homes already engaged in the arts, half for those who’d never gone to the theatre. And those new pieces of work happened on the same night (and you can see all of those pieces on our website this Saturday). That was a really interesting project. The statement of intention is huge. We got 20 new stories about our city and sensed th etemperature of our city The show lasted 20 minutes – the hosts get the show for free but then we ask thenm to provide refreshments aftewards. And that meant we had conversations – we trained our staff to be part of these and bring that back to us. And we’ll do that agian in 2016 with 10 countries across the globe .
Our building is our biggest asset. Things that have nothing to do with theatre take place in our theatre, and that’s brilliant for civic engagement, a great way to engage people.
Panel Session
The panellists are:
  • Janet Archer, Creative Scotland, @JanetArcher1
  • Tanya Raabe-Webber, Visual Artist, @tanyaraabe
  • Claire Cunningham, Performing Artist, @ClaireCprojects
  • Annie George, Writer and Director, @mrsanniegeorge
  • Kerry Michael, Theatre Royal Stratford, @Kerry_TRSE
  • Johnny McKnight, Random Accomplice, @randomaccomplic
  • Dr Maria Balshaw, the Whitworth Gallery, @mbalshaw
Q) Do you think that that statement of intent
A – Kerry) We all needed a statement of intent for what the Olympics meant for us, as we thought about that development in the area.
A – Maria, Whitworth) All of those of us that receive public funding have an active responsibility to engage with the public in the cities and the areas of the country we work in. It is part of the artistic mission of the organisation. So you need to think about what your institution means to the community – you seek out people who wish to engage. The responsibility and advantage of that is that you connect to people who may not think that the arts is for them, and let them see what that means for them. YOu have to open your doors, and that’s more than a simple physical thing. We had two sets of doors at the Whitworth, and we used to only open one of those, engaging one set of audiences… I was talking to someone about democracy in the arts and the importance of buildings, how we operate them, and the works we produce in them to engaging different types of people.
A – Johnny) Someone early said passion can get wearing… I don’t agree… Myself and my colleague started a theatre company as we didn’t think that, as a gay man, and as a woman, we’d get lost in the mix… In 12 things nothing has changed in a way… Your work started with your passion and you have to reach out from there… I don’t think we’ve actually solved any of these inequalities, and we have to use our passion to fight that…
Q – Kirsty W) But you don’t care who your audience is, as long as they come…
A – Johnny) I have worked with people who said that “your performance is dodgy”  they grew up in the 60s and were more liberal than me… It’s conservative talk for the sake of conservative…
Q – Kirsty W) In terms of deepening diversity, how do you do that…
A- Claire) There is something about getting out there… As an artist I can be in my bubble and I rely on partnerships, on my producer and promoter… And as I progress in my career I am more aware of my box, and how to get out of it. Last year I did work on how different religious faiths regard disability… And meeting attitudes of “well no deaf person asked for signing” or “no wheelchair users are coming in” – well they won’t without that support… There is an idea of the inclusion agenda, of getting people through the door… But how do you make people know that they can come, and take part in the first place…
Q – Kirsty W) I am interested in this idea of box ticking… How does Creative Scotland encourage diversity?
A – Janet Archer) It is important to open up the conversation, and we encourage artists to think more broadly in terms of who they perform and engage with. We have to be imaginative in working with communities. And passion is a huge part of fuelling that… And to understand how others see the world. On a practical work we’ve literally removed some of the box ticking: our small project funding has huge flexibility, and Time to Shine – which we heard about earlier – engages those with a totally different take on culture.
A – Annie George) Box ticking does happen, and there can be tokenism. I’m one of these minorities… I normally say I’m black…. And we can spend so much timing trying to label people that we are afraid to actually have the conversations. I’m just finishing a tour and as far as I am aware that’s the first national tour for an Indian artist for 25 years…
Q – Kirsty) You spoke of the last 25 years being barren for Indian performers… Is there something that can be done differently…
A – Annie George) I find that I’ve done shows in large and small theatres… I’ve had some of them expecting those shows to play just to ethnic minorities, not their mailing list of 23,000 people… You have to have conversations, to make it clear that everyone is invited.  You don’t have a party without inviting poeple…
A – Janet) That 4% has doubles in recent years and diversity will shift in Scotland. We are a welcoming country i think ad we have dialogue with 180 organisations we support and diversity and inclusion is part of that conversation with an equality action plan. Your audience is not just for an Indian audience but for all…
A – Annie) All the work I’ve done… I’ve been developed and trained… With this production I’m expected to develop an audience, what about the marketing… Why do I have to get black people into my show and why it is my responsibility.
A – Kerry) The elephant in the room is we don’t know how to assess diverse work… People cannot translate that to their own self… We have to have a critical debate about culture which is poor and we have to open up the conversations. And the flip side is that o one says that play that a black person was in was not good, we need the muscle for that debate too.
A – Tanya) I have worked for 7 years with Project Ability in Glasgow. I am kind of interested to see what we haven’t or have got… Some learning disabled artists or representation of that to celebrate the culture of learning disability as are forms. My work has been digitised for a National Disability Art Collection and Archive funded by the Big Lottery… And interested in what that will do, for future generations.
Q – audience) I want to speak up for signs… Of being visibly welcoming…
Q – audience) We’ve had a number of permanently funded organisations and that portfolio, it has been noted, has
A – Janet) Maggie Maxwell, who leads this area, and I are discussing this and I would like to open the door and bring more conversation from people that are not in this area. I was at an Indian Cultural Festival on Calton Hill last week, with 600 people in a tent. We have to engage with those groups and spaces as robustly as other organisations.
Q – Kirsty) And how diverse was that audience there?
A – Janet) I was rather in the minority there… But there was a mix of backgrounds and it was a good day. Perhaps more could have been done to market it more widely, but it was a community event.
A – Maria) It must look easy to find diverse audiences in Manchester – where we have a very diverse population, second only to London. But if we think of Alex Putts and his festival is for international artists and performers and he describes performers from across the world as he would anyone else, not referencing where they come from. For us our collections are chock full of Indian textiles so why wouldn’t we show exciting work from some of the best artists in India, exciting new work in China…
Q – Kirsty)
A – Johnny) Is is incredibly easy to do… We keep retelling the same story… I write a lot of pantos and usually it is 6 men to 2 women… And I decided to switch up the balance as more women go to drama schools so your cast is better. And I made the love story between two lassies… And it was playing to Catholic primary schools so I was nervous about how that would go down, but it went down well!
Q – Kirsty) Are we self-censoring?
A – Johnny) I think we are and we have to be braver…
A – Kerry) I think we’ve had 50 years of culture and diverse work… We have to get out of 1 or 3 years funding instead having 10 year plans and funding, the stability to change and expand what we do…
A – Janet) I’l have a word with Fiona Hyslop… But it does follow political cycles… There are some organisations in England have longer funding cycles…
Comment – Kirsty) But there are issues there too for other organisations….
Q – audience) I think we should talk about difference, rather than equality… I think if we can get that starting point different… as Kerry said…. So you say to Fiona Hyslop is what we are gong to do… We are in a place where potential is assaulted from every angle so we have to celebrate and recognise difference.
A – Janet) I agree. Our plan is “Unlocking Potential and Creating Ambition”is about that conversations, about understanding for humans to connect. I think one thing we don’t talk about is class. I was brought up in Japan and Brazil and when I moved here I was shocked to see the boxes we put people in… We have to unlock those barriers and that is never part of that debate.
Comment – Kirsty) Some companies are addressing this in their productions..
Q – audience) In terms of access and digital access… Tanya you talked about your work being digitised. When you put work out there it makes it more globally accessible… But does it help in terms of generating revenue and sustaining you?
A – Tanya) It is global exposure, and the more people access your work, the more invitations you get to speak, to collaborate, to work in partnership elsewhere… I’ve had invitations from Australia, working in partnership in New York in San Francisco… It works to an extent but it doesn’t really get across the sense of the work and the artist… So I’m about to embark on live portrait sittings taking place globally. I wanted to do it in Scotland, but couldn’t as Arts Council England wouldn’t allow me to put in a bid to do that work in Scotland! But I will do that work, with Project Ability, in January in Glasgow.
Q – Kirsty) Kerry you talked about putting work online… Do enough of us make enough of putting work online around performance?
A – Kerry) It’s not a money earner. But it is a statement of intent… It’s like the welcome signs… It’s about reaching outwards…
A – Johnny) There is a danger of engaging only online… We publicised on social media, online etc. We got an audience, we got a younger audience… But we usually have an older audience too and that excluded them… We can fixate too much online.
A – Maria) There is a whole tranche of work that we developed through social media… and is a different audience… But many of the friends of the Whitworth are over 60 and many still love paper, it’s about different needs and channels for different audiences…
A – Tanya) Digitising the work is a first step… But you can’t engage with a painting digitally in the same way, you need to see it, but it is a starting point…
Q – Kirsty) Much of what we’ve talked about is government funding… And is that conservatism seems to be shaping work, so how do we engage with big funders?
A – Kerry) But in many places those big funders, in the USA say, come with a price tag, with their own agendas of how their funding is used… We have a range of funding sources but if we only go to private funders we let the government, and society off the hook.
Q – audience) I manage an arts venue and one of the shows we have is the Lady Boys of Bankok… That is diverse but also light entertainment and I’ve been asked if we’ll carry on with that. Now that work engages people, and will subsidise other productions… And there is sometimes an innate conservatism there about more commercial productions, but that has to be part of what we do… In terms of how we tackle this… We should just “do”. We programme for the public and they, and each other, need to prod each other…
Comment) We are discussing diversity here… In a room of mainly middle class, middle aged, central belt audience… Not economically diverse – because of the admission price –
Comment) I would caution against being too focused on audiences as there are 1000s of people doing creativity across the land t kitchen tables which is inherent to what we are… Those of us who are publicly funded we must engage with grass roots, allowing arts to flourish and for participation to take place at every level.
Comment) I am from Wales and on a bursary place btw. I wanted to talk about technology not only for performance/as a place for work but also to support work, their accessibility… for disabled audiences, for language support, to welcome and support all people.
Comment) Many of us come into the arts to evade the box ticking due to economics, class, ethnicity or gender… We have to allow escape and transcendence.
Kirsty) A final 30 seconds from each panellist.
Johnny) The key to diversity needs to come from us and the idea of the banks taking over makes me boke on the floor. It has come from us.
Kirsty) I got read by a journalist as a middle class arts director… But at 17 I’d never been to a museum… It matters that we change access to all of the arts… Transcending categories is so important, and the arts gives us a means to challenge that.
Tanya) I think that, when talking about working with disabled artists, understand that there are different cultures, if you are going to work with a cultural identity group you have to engage with that cultural.
Annie) You have to open the doors… Have people in all the time… Change your staffing, change your boards… And give people ownership. There is no point in saying “here is the art that we will present to you”. It is criminal, and people are paying, through the public purse, for this. You have to be open to everyone.
Claire) Bringing people in is absolutely essential but integration and inclusion is not the same thing. And we have to ensure that this isn’t tied up with ideas of assimilation into what is normative – and largely dictated by white middle class men . There is creative advantage of difference which are less boring with art from lived out experience, rather than from middle class white British people.
Kerry) Lets celebrate it. We have moved on in the last 20 years. You have to also value popular work, to recognise what matters to audiences.
Janet) Scotland as seen in this room may not look so diverse but it is diverse and we just have to keep on having those conversations.
And after a wee break for lunch, we are back with Kirstie Walk introducing our next speaker… 
Maria Belshaw, Whitworth Gallery 
I am conspicuously not Scottish, as you can hear, but I do live some of my time in Bute – and I’m delighted to see colleagues from Bute here.
I’ve been asked to talk about working with audience, artists for diversity and equality. I was given several quotes which focuse on diversity as being about power, equality, and social justice, and ensuring that subsidy ensures that the arts meet the needs of the community. And I’m going to talk about our experience at the Whitworth, which recently won Museum of the Year, and I’ll be talking about the changes we’ve made.
When I arrived 10 years ago we had 80,000 visitors a year. Then we had 180,000 when we closed for refurbishment… and since refurbishing and reopening we’ve served 400,000 visitors per year. The level of change here represents a much greater chance about this organisation being relevant to the community. There used to be a foreboding Victorian entrance… Fine if you know how to cross that threshold, you might think you will be charged, you might be put off by thinking that it’s part of the University (which it is). And our back view of the Whitworth was a wall really. It said “go away” to the public. We have transformed the space, it’s huge and open, for visitors to do whatever they need us to do. It is usually hugely busy, particularly following the reoperning. We showed difficult contemporary work, digital works, we gave over some of our new grand spaces to the families that live around the gallery to make art in our galleries. In the evenings we gave the space to entertainment – a local grind band on the Saturday, a specially commissioned classical work responding to the works on the Sunday. And we took advantage of our University connection – we had the co-discoverer of graphine take graphite from a William Blake work, then used breathing on the graphine, triggering charge, to trigger a meteor shower chereographed by Cornelia Parker in the park, creating a Blakian sky… This could only happen in Manchester… And we had Blake songs playing, whilst projections of our works showed outside…
We have young people curating for us… We ran a project asking our audiences what the Whitworth meant for us – one of our youger visitors said “the Whitworth is a place people come to learn to be wonderful”.
But this stuff doesn’t just happen. This is about ongoing work, about years of progress to this point. The everyday helps show this – we have a snapshot here which captures access in such diverse ways – from visitors with walking frames and wheelchairs to our deaf staff member and her explainer leading a tour… We live in our audience space and scaffold their ability to enjoy what we do…
So, I want to talk about what has happens to get to this place… We used to have 80,000 visitors and despite being in a hugely diverse area of Manchester, we had a very undiverse audience in terms of race, class, etc… So we had the challenge to reach out. So, I have a picture of Iranian wrestlers. About 5 years ago we arranged a show with the British Museum of Persian objects, and we wanted to show work by an Iranian artist, Cosimo ?, whose work is too controversial to display in Iran. Added to that we have one of the biggest Iranian communities outside of the country… We had these activities that culminated in an Iranian new year celebration, with wrestling! And a member of that community commented that it was just like Iran – everyone was eating and people of all classes mixing together…
We had an indian artist come in, using a tent from Goa as a canvas for a live charcoal drawing… This is weird live art that you’d usually only see in hipster spaces… But we’d done months of work with the area around us, Manchester’s curry mile. One man, who’d moved to Manchester from Goa and had stayed because he couldn’t afford the fare back, kept returning
We had to close for 14 months for the refurbishment. And during that time we based some of our staff in care homes, as one group that rarely visits is older single men, usually because their partners have died. So we had them curate some of those works. Similarly we have young people curating works. This means our civic leaders value the Whitworth – engaging older isolate people, engaging with families, helping children to learn. And doing big high profile exhibitions – a big China exhibition whilst Manchester airport was bidding for a route to China – was really clever. It’s about thinking creatively here. About making the Whitworth a space for the city and for the people that know about the arts and those who don’t. In 1932 Whitworth Director Margaret Pilkington stated that she thought that a successful gallery is one where people feel welcome.
I was also asked about the kind of leadership required to make this sort of change… And actually it’s about modelling the behavior and culture for the organisation, being connected, partnering with other organisations and being a force for social justice and change within our city.
LAB 2: New Technologies for Online Engagement
  • Dianne Greig, Culture Republic
  • Antonia Lee-Bapty, Euan’s Guide
  • Jo McLean, The Touring Network


Julie McGarry, Culture Republic is introducing our session and our speakers:

Diane Greig, Culture Republic – background in social sciences research, business and marketing and she works a lot on integrated digital marketing.

Antonia Lee-Bapty, Euan’s Guide – Antonia is passionate about digital and work’s at Euan’s Guide, the award winning disabled access website.

Jo McLean, The Touring Network – background as a performing musician. Working on performing arts and crafts.. Background in developing and producing signature events. Now working as a consultant at national and international level, and commissioning works.

Diane Greig

I’ll be setting the context for the next two speakers… I’ll give a mix of examples for how technologies that enable information to be created, stored or shared in digital form… I won’t talk about labeling of particular characteristics etc.

Digital marketing is so much more than social media. So technology through the lens of digital marketing, so areas like CRM, Social Media, Analytics, Emerging Technology, Content Marketing etc. For an organisation analytics would probably be at the centre.

We are seeing increasing expectations… For instance Starbucks has reimagined their Covent Garden store – with new techniques for coffee snobs… Orders and payment via iPad, apps to pre-order coffees.. The public is more and more engaging with new technologies and new ways for customer experiences.

John Lewis have a Labs initiative which encourages development new ideas. For instance the Localz/lmarks app which uses iBeacons to alert a passing shopper to pick up an order, and alerts the store to prepare it… The point here is that they are really focused on their customers – though it works for audiences able to access smartphone apps etc.

On the flipside a recent report from Ipsos MORI for GO ON UK find that 23% of UK adults lack basic online skills. In Scotland specifically 19% lack basic skills. And when we think about mobile signals there are huge gaps in rural areas in Scotland – big gaps though that we have to be aware of. And in Dumfries there is high percentage – 33% – do not have internet access. The reason cited is that people don’t know how, need help and support.

Ofcom Comms Market Report August 2015 show that for the first time smartphones overtake laptops as device internet users say is most important for connecting to the internet. 34% of Scotland have 4G access.

In that same report we see that 12-15 year olds using social media include 24% using Snapchat more than 10 times a day…

Culture Republic – we have access to tons of social media presences via our system, Sheldon. Websites are 59% on desktop, 17% on tablet, 25% on mobile. And social media more dominated by mobile devices. And that is increasing…

Looking at how people are using technology in culture… Here’s a wee bit of projection mapping… Which overlys emotions or actions on statues… The Fine Arts Museum in Lyon invited an artist to do this.

I don’t know if you have heard of the I’m @ app which has social logins and uses iBeacons to feed information, content, etc to explore arts ad culture – and tracks that user as they move around venues.

We track loads of arts organisations social media and Visual Arts have a brilliant Content Marketing content.

Activcancas uses augmented reality to engage visitors in galleries – via flyers but also in galleries…

47% of arts organisations websites are not mobile optimised… When we see that stat on devices used to access the internet that’s really a provocation!

Antonia Lee-Bapty

We are an organisation on disability access… Euan is a local chap, who you’ll see about. He and his sister had the idea of the site to review anywhere – fun stuff but also post office, supermarket, shops, etc. The idea is for the guide to empower disabled people to get out and about – because that information just wasn’t available.

This isn’t just for wheelchair users, but for all disabled people. And we have been going for 2 years, and we cover many cities but focused on Edinburgh and the UK. We are all about physical access, but also digital access of course matters so we test our site on a whole range of accessibility devices.

Now our reviews come from users – and we’ve recently added a way for others to approve that review, or disagree, or say that they visited a venue because of a review.

The venue listings give you a chance to close the circle, an opportunity for you guys to shout about the work you are doing… Why do this? Well to promote your facilities; tell people what you have got; and tell people what you haven’t got – set appropriate expectations. If you take one thing away: Ask disabiled visitors what they want, and Inform your disabled visitors of what you’ve got.

A good listing has photos – lots! Details of events especially accessible events. Access statements. And a good listing encourages reviews.

Outcomes in these first two years have included a raised awareness from venues of accessibility, they’ve had an opportunity to showcase accessibility and realize commercial possibility of that, and build on feedback. And for our reviewers they get their voice hear, take up a challenge, make some changes, and we’re seeing offline communities form as well.

And we’ve been lucky in receiving endorsements from Ian Rankin, Stephen Hawking, and J.K. Rowling.

We are an ambitious start ups, launching new releases every month… And we have cool gamification coming up in the next 12 months.

We have Disabled Access Day 2016 coming up – a great date to throw open your doors, show what you do, find out what they think… See what we do.

Our aspirations is to make accessibility mainstream, and not just best practice. 

Jo – The Touring Network

I’m going to talk a bit about the Touring Network. We exist to ensure that there is a rich culture of rural touring for arts throughout the Highlands and Islands. It began in the 1960s but it formalized in 1998, as PAN – the Promoters Arts Network – and we became the Touring Network more recently to include performers as well as promoting. Our current venues cover half the landmass of Scotland and we represent 60 promoters and usually around 700 events of all types across the year. We enable companies to put on events, we can support some performances in some under served communities, and help ensure events are accessible to all.

Small venues have a maximum of 200 people, with venues ranging from purpose built high end facilities with accommodation, to small village halls… So venue information is crucial to running these events.

We do work digitally but we also do a lot of face to face promoter networking meetings, and an annual gathering. This year the theme is Audience Development.

Our digital work… We created a subsidiary project called Innovation Lab for digital, design and data for the Touring Sector. We have several areas… Tourbook is to stimulate activity in touring, to support performers, to build a community round touring… It’s kind of like a dating website for events. So, as a performer you login and write about your show… The venues can then search for that show, and they understand their audience and needs. Currently only open to members of the network in the Highlands and Islands…

But we have a new version coming… This will be open to a wider network across the whole of Scotland… It will have a searchable database for performers and promotors… Various improvements and developments will go live. And in either this or the next version will be on sustainable touring – understanding the emissions and carbon cost of touring. We trialled that with the company, but we also surveyed our audience, their transport, the wider purpose of their trip… When pulled together that gives us a rich picture of the emissions per show. And also recommendations for offsetting… But also what the impact of a more modern vehicle, lower weight of kit, etc.

So, the development of this platform and other projects, have potential for others and the wider sector in Scotland and worldwide.


Q: Is Creative Carbon Scotland involved?

A – Jo) Yes, we presented at their “50 shades of Green”


Q) Can I ask the panel generally, is there one thing you wouldn’t do without that have the most impact for your audiences…

A – Jo) Tourbook for us… But there is more to do with that…

A – Antonia) Twitter for us – for engaging reviewers, venues, etc. We have a social media and was one of the first people we hired.

A – Diane) Actually understanding your audience is so fundamental, and so many people find that hard to do… Most people don’t have time… Understanding data is the base stuff… That’s so important and it’s what is missing. From a social science perspective I can be dispassionate about product, and that can be helpful. Audiences can often reflect the artistic director’s vision…

Comment) Check if your website is mobile friendly seems important.

A – Diane) One artist, started to understanding her audience, then using that for targeted Facebook ads and increased audience by 1000% and that’s empowered her to be able to buy new equipment etc.


Q) Talking about the stats… It’s again understanding the user… Having tried to make apps, integrating audio for partially sighted… Have you had experience of doing that for a fairly visual interface?

A – Antonia) We take audio reviews… But we did have a young person’s charity who wanted to take part, and they do video reviews… Same technology though.


Q) In terms of iBeacons… If you can programme a smartpone to access data in a form that’s suitable.

A – Antonia) Actually Barclays is doing good work with iBeacons and apps to flag accessibility needs to their staff in store – lots on their website.


Q) How, as a technology specialist, do we engage with this sector…

A – Diane) It’s difficult but

Purple7 – the I’m @ app – engage with them, with Tate , Liverpool etc. Talk to them…

A – Jo) Also lots of workshopping and events to do that. Cultural Enterprise…

A – Diane) Potentially working with 10 museums and galleries around iBeacons… So you could put a pitch in…


Q) How about older audiences and technologies… Are there any technologies that work better with older audiences…

A – Diane) Social media has an impact, Facebook works well… Different organisations have different demographics… Lots of festivals have lots of older people engaged. Twitter can be useful… I see these all as distribution channels with different purposes…

A – Antonia) The mobile accessibility of websites is crucial too.

A – Julie) Don’t ignore the traditional distribution channels too.


LAB 2: New Approaches for Community Engagement

Sarah Drummond, Snook

I work at Snook and when I say I am a designer people ask me if I make dresses, do I design websites… Actually what we do is service design and what that means is seeing what you do through the eyes of your users, your audience. And designing for that experience. Understanding the end to end experience.

We had some designers working with the Culture Hack Scotland Geeks In Residence project for the Tattoo… The idea was to use apps to show things throughout the show, and that meant understanding the full process, from buying tickets, to downloading the apps, to engaging in that experience.

I love my job and a lot of what we do – and others are talking about today – are talking about co-creation, co-design, co-production… To engage them in every stage of the service…

Do any of us use Uber? It has it’s issues but as a user the experience is easy – I use it to book a taxi and know when they will come, how much it will cost. And the guy that’s the face of Uber in Glasgow is working with taxi drivers to make a manual, which is great.

We work with customers to make services happen… We worked with an organisation who had amazing caves under their building and didn’t know how to make a service, an experience from that. We worked with them for very basic making and prototyping ideas and solutions, to try things out and see what they doing. Similarly we are working with the Broadway Cinema in Nottingham to try stuff out in public – seeing if things work, or if it doesn’t.

It’s fine to say that we should prototype ideas, to bring things together… But how do we make these spaces? We are working on the project Culture Aberdeen to bring citizens together. We are also working on a project called Dearest Scotland – for writing to the future of Scotland – an opportunity for customers of the country, essentially, to get their voices heard.

Q) How do you deal with these types of ideas, and that not all will work?

A) You have to kind of focus on the positive, things that work. But you also have to let others define the problem first, and to respond to that, rather than

Amanda Broan – Marketing Services Manager, Glasgow Life

I’m going to talk a bit about Glasgow Life. We are a charity and have 2700 staff, with over 8 million visitors to our events and venues last year. We are a really big organisation. And we have projects that each have their own systems, and it was hard to pull data from those systems… So we have resolved that by pulling that data together through a CRM. So that we could gather customer records/history, clean data, get single customer view, but also be able to use that data to segment our audience and informed our future marketing and programming activity.

Our CRM is Market Developer and every night we feed in data from other systems, with customer record, history, data protection permissions, equalities information (anonyised). We don’t bring in any financial records. And we keep our data for the last 2 years. So that allows us to see all the touch points we have with our customers, how they engage, what they are doing, who is highly engaged, and how we can learn from other areas. Some of our venues, such as museums, are free to access. So we have created a form for staff to collect customer data.

Right now we have 582K records in the system – loads more to come as we bring in our libraries information. 52% permission by emails, 64% permission by mail – likely to go down as a percentage when sports and libraries data comes in.

What we’ve learned is that at the front line our data capture can sometimes be quite poor. Pushing back data to management systems is not straightforward – and we’re working on that. There is a nervousness from staff/management system suppliers. Staff processing large queues, inputting customer data can be difficult – so we are trying to get them to capture summary/brief data where possible. Market Developer is a complex system – so a lot to do to get up to speed. And once the data is in, it’s crucial to clean the data regularly so we are looking at reviewing it every 6 months.

So, when data comes in we review it, we clean it, and then we add to records. That’s quite a big commitment going forwards. The other thing we are very aware of is data safety, so we ensure staff only access what they need. All staff have to do a mandatory data security course. We can have users from read only to super users. All data via secure FTP. All portable devices are encrypted. Ad doc data removed from LAN. No financial information transmitted. Secure data centre and back up centre in the UK. By the end of our financial year (March) we should have all of our systems included.

Q) How are you using this data so far, in terms of programing of customer experience…

A) We’re using it for emails, for SMS… But at the data collection stage and making it usable. But what we want to do is ensure we are commuicating customers how they want us to – so if they want email, only email; if they want social media, use that… But we want deeper information on what they want and need. At the moment we are doing 3-4K emails a month, a significant number.

Artlink Edinburgh & Lothians – Jan-Bert van den Berg, Adrienne Chalmers

Jan-Bert: I’m going to talk about art, how it is made and how it is shared. As an artist, producer, presenter… working with a defined audience of visually impaired people, then how do I have that inform my work. It is simple… You have to listen and to talk to folk but that has taken me ages to do… To develop work with the audience in mind. And that’s challenging, you get views and demands that vary and it is your job as an artist to make sense of those views and needs.

Adrienne: We’ve been doing work with The Poor Boy Theatre at Greyfriars last year. They had been doing a lot of work on how to engage with those with visual impairments… They gave us noises, atmosphere, smells, food at the pub later too! But we worked with Poor Boy with a group of visually impaired people who are used to attending the theatre, and to work with them on drama, including Arthur Miller, in a way to make it easier to access and engage with for visually impaired audiences. That enabled them to understand what was possible, but also for the visually impaired audience to understand what is possible, works well, etc.

Jan-Bert: We engage with a broad range of people and we want our work to be informed… But we do this on small scale so how do we do that on a bigger scale? Have a dialogue around them. To see the work and examine it, seeing what it contributes and how. For me there is huge potential in seeing the work being informed at every level we do. And it is bloody simple: it’s about listening and engaging and we are all in the business of creating work that is good, which touches us and is important.


Q) I have in one ear that this is easy… But also remembering an experience of going to a playwriting workshop in the midlands that wasn’t succeeding in getting asian writers in… I was just wondering if there are any good communication practices or models to look to, so that that idea of listening and engaging really works.

A – Jan-Bert) We work with care workers, social workers, but first and foremost we work with the people we want to reach in that audience. But you have to acknowledge that every particular moment has it’s own community and audience… And you have to work to make that happen. Now that sounds awful in a way… Pulling everything together to be appreciated by everyone… But that’s not it… You pool people, you find what you want out of that, and you stick to that. You won’t please everyone… But you can talk that through or work that through with them, so they understand why you make those decisions as well. And it’s understanding the context, how that is informed, and working with that without fearing mistakes…

A – Sarah) That was a great answer. There is an organisation, Lankelly Chase, bringing together organisations and users with multiple complex needs, working mostly in England and Wales, who are a foundation funding works, and we are part of a project called the “Promoting Change Network”. They are running residential projects, bringing 150 people together. Those who have and have not been part of the events. With commissioners, organisations using services, and service users/those with lived experience of their support. You’ll be familiar with Open Space methodologies – they’ve been tried before but that hasn’t provoked debates as much as might be useful. So this event will provoke debate, to look forward in a positive way. And to ensure all in the room is treated as an equal – so even if you don’t agree, you take something useful away for you…  There are so many methods and models but… I like the model of the Design Studio, of critiquing and collaborating – the aesthetic of the space for sharing and engaging.

Q) How is your CRM project being supported?

A – Amanda, Glasgow Life) It is a self-funded project, and the additional income generated should offset that.

Sarah) A question for the audience – what are you doing that is new in terms of approaches?

Audience member) We actually used Open Space as a format, looking at the scale those work at. But also understanding what the differences are across a region, and how needs vary… I decided to go geographically and choose someone in a post code and engage with them.

Audience member) For us the idea of prototyping quickly, failing, moving on… is very different and not well supported by the statutory funders. So I think it’s about that. And about relinquishing the need for control, to be open to partnership, to innovation… To be innovative in who you are and how innovative you can be in your own approach… But sometimes it’s hard.

Sarah) Someone asked a question in a recent event of “what’s hard about doing this” – well it’s about this traditional approach, it’s quite contrary to that. We have to look at the barriers to doing that and understanding those… I don’t believe anyone can complete a funding form and know there won’t be any mistakes… We all make mistakes. We have to embrace those, understand that, and embed it in organisations, funding models, etc. Nobody can always get it right.

And with that the session draws to a close…

Kirsty Walk is now introducing our final session, and asking attendees at the various labs for their highpoints, the Partnerships session mentions “threshold” and citizenships being important; the new ways to do Community Engagement spoke of being open to engaging, of listening and trying things out; new Insights spoke of major regional variations in Scotland, requirements of EDI plans for Creative Scotland and toolkits to help with that, and also collaboration with organisations, diversity of activities with elderly generation needs lots involved; Had an excellent session on technologies and tools, each asked for most essential tool and the overriding element was that if you don’t understand your audience, the tools and technologies aren’t the issue, discussion of budget (or lack of) and role of paid social, tools for older people, connectivity in rural areas (and lack thereof). 

Panel Discussion: Changing mindsets
How do we shape the cultural landscape of the future?
What resources equip us to tackle the complex challenges of creating art that is inclusive, accessible and diverse in every way?

Featuring Jill Miller of Glasgow Life, Leonie Bell of Creative Scotland, Dr. Maria Balshaw of the Whitworth and Jackie Killeen of the Big Lottery Fund, also Julie Tait (CE) from Culture Republic.

Leonie: I oversee five art forms and creative learning which includes the ring fenced funding that the cabinet secretary spoke about earlier. We fund through open project funding, and have day to day contact and invite advice, post application advice. Funding is core but we also see ourselves as an organisation for developing the sector, and pushing influence beyond those we commonly speak to.

Jill: We deliver directly in the city and rarely do that on our own, mostly with partners and stakeholders. We work with the commercial sector, the cultural sector, and the private sector. But fundamentally its about local people  – the artists, the community. We have to listen to our local communities, to develop our services and programmes that are well suited to our audiences. You can’t just take your work to your audience, you have to ensure your work is accessible in terms of what you do, not just where you are doing it.

Jackie: My sector is broader than the cultural community, we are here for culture and community, to make life better for people in need. Culture is a big part of that and we see it as a resource and asset. Day to day we try to make sure we find, fund, support and learn across communities in Scotland.

Julie: Our team are researchers and marketers and that’s represented in their strategies for engagement. Sometimes I feel a lot of the people making decisions have to get out more in front of people and hear the challenges faced and also looking at the broadest range. The data is the reality, the end result, what happens when people pay for a ticket or cross a threshold.

Kirstie: Is there a lack of ambition Jill?

Jill: The funding conversation and capacity there is a major issue and I think we’ve seen some of these conversations taking place for years and years… We have to see things getting better, make some of these things work. The ambition is there but we have to see action, not just conversations.

Kirstie: Outreach is a social good perhaps but maybe there a way to make engagement happen would be to look at boards, and to ensure there is representation on boards.

Leonie: There is something quite formulaic about boards, that there is someone from the organisation, your accountant.. But are you representing the social not just the governance aspect of what your board is for. We have to ask this ourselves, but also do this as well… We exist under the Government requirements so our board is 50% women and actually quotas are OK, when we want to make a real change.

Jackie: As was said this morning, you need some discord to get to good decisions. Increasingly the work we are supporting is valued by, and is valuable for the community the work is for. That’s been a shift to ensure that the community truly benefits. Having people on the board is one way, but not if it’s tokenistic. YOu need to be intentionally more open, more inviting, more welcoming and accessible, as Maria from the Whitworth talked about. We have a programme called Young Start. That was for projects run by or engaging with young people… Lots of great examples of where that is happening now.

Kirstie: New Insights particularly talked about how arts organisations should be working and collaborating more…

Jill: It’s how we collaborate and learn from each other. We are loking at it from a negative position and there are some brilliant examples in Scotland. Conversations around intent, and openness. And the recognition of the gap between the intention to reach and engage “looked after children” and actually delivering that is huge… So you have to think about the partners who can bridge that gap. The board thing is a particular thing but there are other ways…

Kirstie: Fiona Hyslop made it clear that she has to fight her corner for funding… When Creative Scotland are doing funding, are you looking for organisations to work together?

Leonie: The ten year thing is a really heavy burden for funders. But to pick up on what Jill said, most in this space are doing great stuff already. We don’t know what is happening in the future finanically but we are, as an organisation, looking at the economic impact of the arts, but also the social justice impact of them. We all work in partnership all the time, but there are models of cooperation around e.g. utility bills, location, etc. which may be useful going forward.


Q from online audience) Reflecting on one of the labs section, there is an interesting discussion of partnerships taking place – how can we enable small businesses, partnerships, one man bands, etc. to address that.

Jill: It’s back to communication really, and thinking also about where we can get involved, and when we can’t. Sometimes being a big organisation makes you better place to facilitate rather than be a full partner. But you need real points of contact so that people know how to engage, who to speak to. And providing frameworks for managing and supporting them.

Jackie: Speaking to others and meeting for the first time is so valuable. We should be a catalyst to make connections, opportunities to talk, especially for smaller organisations.

Julie: We can also undertake Cultural mapping to understand the marketplace, who is already out there, what they do,. Arts is an ecology with organisations of all sizes, and interconnections and networks aren’t always clear, although we do see it as our role to bring people together in this way.

Q audience) My question is about measuring audiences, not just numbers or diversity, but the impact and value of that engagement. If we challenge economic rationale, what is the evidence we need and how do we do that.

Leonie) I think it is essentially back to stories, of the different something has made as an individual or the community. Jill and I worked together on the Commonwealth Games to tell that story of your audience and peer experience and professional arts and cultural experience and it was an interesting piece of work to learn from. Those numbers sometimes matter, but stories really do matter – we are comfortable with that but we need to get better at telling stories to others too.

Julie) One aspect here also is technology and understanding a person’s context, their friends and family, their network.

Jackie) Sometimes the things we ask or look for in monitoring reports, as a funder, is not the stuff that mattered most… And that doesn’t always get reported. And we need to think about how we can capture that to, to be flexible enough to let that come out…

Kirstie) So you might need to remodel what you’re looking for.

Jackie) We missed the point – for example we did work with Kilmarnock reoffenders and had missed what had happened in the community to support those people returning to them…

Kirstie) As a result of today, what will you take away to build on or refocus on?

Jill) I think language is a challenge, even for those working in this area full time. We had lots of examples of how people were labelled or grouped and what has come through for me is the social justice aspect of that… And the complicatedness underneath that which is helpful. It’s about long term planning and making sure we make a difference.

Leonie: The concept of equality in relation to diverse people, and work we spoke about.. I think that there is a lack of confidence about talking about equality in everything we do. We also have to deal with thinking beyond Council and political timings and boundaries – we do think ahead, to the next generation, but that is still hard to do and we need to do that. Fiona Hyslop drew evidence around ring fenced funding but they don’t exist along… you have to have something before, around them, and following up to make those useful.

Jackie) Even though things are challenging at the moment, you are some of the most creative people and if you don’t know how to overcome those challenges nobody does! We have to keep challenging ourselves to be ambitious and talented, to keep on the curve, not behind it. We have slightly more regularity to our funding… And we’ve been asking ourselves about that… We do have grants that grow over time, enabling that natural life cycle of development.

Julie) For me more than ever before, the opportunity to come together and meet each other… We are all facing the same strategic issues – there is a tremendous amount of experience and knowledge working together which will have even greater impact when we bring those together.

Kirstie) Thank you to everyone today for your participation, your tweets – I’d hoped to read some of the juicy ones – and for those watching online. And I think we have an amazing creative community in this country and that is work celebrating for every effort you are making.

Julie) Thank you to all of our speakers and participants today for some fantastic talks and engagement today. I also have to thank our sign language team, our live note takers, our web team, and the webcasting team from Glowcast. And to the Culture Republic team who have put today’s event. The next steps: the session recording will be available to view online soon. And the Culture Republic sessions on population profiles on disability is coming up, then on ethnnicity,  race, older audiences etc. And our new podcast series speaks about how you are reaching out and sharing what you know… And there is training coming up soon from specialists in disability in the arts. And finally today we’ll have some performance from Indepen-dance who are a new young dance company – so we can see not only talk about the arts today!

And with that I’m wrapping up this blog to enjoy the dance, a very quick drink and networking, but then I’m off to the Internet of Things Meet Up on Maker Cultures, which I’ll also be blogging here. 


May 102011

This weekend my colleague Gavin and I decided it would be useful (and fun!) to head along to Culture Hack Scotland, a 24 hour hackday organised by the Edinburgh Festivals Innovation Lab and themed around both the festivals and the wider Scottish cultural scene.

The Edinburgh Festivals Innovation Lab is a new(ish) initiative which has emerged from Edinburgh Festivals, the organisation that is jointly funded by all 12 of the official Edinburgh Festivals to enable them to work together throughout the year, promote initiatives and festival content etc. The idea for the Innovation Lab apparently emerged out of discussions with all of the festivals about their use or interest in digital technology: there were lots of ideas and potential for projects but they didn’t necessarily have the time or skills to take these forward. Last year the Lab hired their inaugal geek-in-residence Ben Werdmuller (he of Elgg fame) and the Culture Hack Day was a significant outcome of the work he has been doing over the last few months. Continue reading »