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THINKING THROUGH MAKING Collective Futures Cultivating Creative Collectives

Collective Futures: Cultivating Creative Collectives

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Page 1: Collective Futures: Cultivating Creative Collectives

THINKING  THROUGH  MAKING  

Collective Futures Cultivating Creative Collectives

Page 2: Collective Futures: Cultivating Creative Collectives

WHAT & WHY? COLLECTIVE FUTURES

CULTIVATING CREATIVE COLLECTIVES

Aim:  

Explore  and  define  the  nature  and  form  of  coopera>ve  business  models  used  by  designer-­‐makers  to  sustain  and  grow  their  crea>ve  businesses.  

Objec+ves:  

•     Develop  talent:  prac>>oner  and  academic  collabora>on  to  co-­‐create  guidance  on  establishing  and  sustaining  an  effec>ve  collec>ve.  

•     Contribute  to  the  cultural  economy:  collec>ve  as  a  route  to  market  for  designer-­‐makers;  iden>fying  the  financial,  crea>ve  and  personal  benefits.  

•     Place:  as  a  factor  in  the  establishment  and  success  of  crea>ve  collec>ves.      

Page 3: Collective Futures: Cultivating Creative Collectives

FRAMEWORK COLLECTIVE FUTURES

CULTIVATING CREATIVE COLLECTIVES

RESIDENTS

Page 4: Collective Futures: Cultivating Creative Collectives

RESIDENTS COLLECTIVE FUTURES

CULTIVATING CREATIVE COLLECTIVES

Page 5: Collective Futures: Cultivating Creative Collectives

PROJECT TEAM COLLECTIVE FUTURES

CULTIVATING CREATIVE COLLECTIVES

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RESIDENTS

Sue  Fairburn  Becky  Chan  

Kirsty  Ross  Catherine  Docherty  

Bronwen  Livingstone  David  McGillivray  

North  East  

Central  Belt  

South  West  

&  PROJECT  TEAM  

Page 6: Collective Futures: Cultivating Creative Collectives

COLLECTIVE FUTURES

CULTIVATING CREATIVE COLLECTIVES

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PROCESS

Page 7: Collective Futures: Cultivating Creative Collectives
Page 8: Collective Futures: Cultivating Creative Collectives

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Page 9: Collective Futures: Cultivating Creative Collectives

FINDINGS

Page 10: Collective Futures: Cultivating Creative Collectives

OUTPUTS - VALUES COLLECTIVE FUTURES

CULTIVATING CREATIVE COLLECTIVES

OPEN. SUPPORT. PROMOTION.

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COLLECTIVE FUTURES

CULTIVATING CREATIVE COLLECTIVES OUTPUTS - BENEFITS

COLLABORATION. MUTUAL BENEFIT. MAGIC IN THE MIX.

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CONSTITUTIONAL COLLECTIVE FUTURES

CULTIVATING CREATIVE COLLECTIVES

DECISION MAKING. FORMAL CONSTITUTION. TERMS & CONDITIONS.

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OPERATIONAL COLLECTIVE FUTURES

CULTIVATING CREATIVE COLLECTIVES

PHYSICAL & DIGITAL SPACE. MEETINGS. OPEN PROCESSES. FLEXIBLE & ADAPTABLE DEFINED ROLES/RESPONSIBILITIES

Page 14: Collective Futures: Cultivating Creative Collectives

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Page 15: Collective Futures: Cultivating Creative Collectives

THE JOURNEY: CRITICAL MOMENTS

PEOPLE:  “The  Right  Mix”          

SPACE:  "Need  for  a  local  working  space”  

FUNDING:  “Permits  key  hire  for  skills  gap”,  “Expansion”,  “Building  regenera>on”        

EXTERNAL  VALIDATION/  RECOGNITION:  “AUrac>ng  external  talent”,  “Invita>ons  to  share  prac>ce”      

TIME  &  PROCESS:  “Time  to  reflect”,  “Seek  guidance/support  on  process”  

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JOURNEYS  EMERGING MODELS COLLECTIVE FUTURES

CULTIVATING CREATIVE COLLECTIVES

WAYS  OF  ORGANISING:  Defining  roles/Group  Skill  Sets,  Manifesto/Formal  Cons>tu>on,  the  Working  Space.    

WAYS  OF  COMMUNICATING: Openness/Transparency, Face-to-Face, Skill Share, Brand. WAYS  OF  SUPPORTING: Funding, External Consultants (CEO), Creative Mentors, Experts.

Page 17: Collective Futures: Cultivating Creative Collectives

BRAND IDENTITY COLLECTIVE FUTURES

CULTIVATING CREATIVE COLLECTIVES

WHAT  IS  A  COLLECTIVE  BRAND?  “a  strong  message”,  “a  coherent  voice”,  ‘customer  trust’  allied  to  “a  strong  visual  iden>ty”.    

For  INDIVIDUAL  MAKERS  WITHIN  A  COLLECTIVE,  cul>va>ng  strong  individual  iden>ty  in  the  marketplace  serves  to  strengthen  the  Collec>ve  brand.    

Page 18: Collective Futures: Cultivating Creative Collectives

ROUTES TO MARKET COLLECTIVE FUTURES

CULTIVATING CREATIVE COLLECTIVES

DIRECT:  Physical  space  (independent  shops/galleries/open  studios/exhibi>ons  (most  popular),  closely  followed  by  trade  fairs/events.  

INDIRECT:  Websites  as  a  key  route  by  a  significant  propor>on  of  par>cipants,  accompanied  by  more  extensive  use  of  social  media.  

SUPPORT  REQUIRED:  Staff/freelancers  to  support  +  More  space  +  BeUer  website  &  social  media  support  +  BeUer  marke>ng  and  promo>onal  skills  to  enhance  profile.    

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3%!,!"()($&"+')(!%$)*,+#)*/!,+<+5!"!0$(,)")(&'6+&0+)-&**!-($#!+'&"().!+

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TOOLS          

OUTPUTS  

OUTPUTS  INCLUDE:    •WEBSITE      •SOCIAL  MEDIA    •DIGITAL  CAPTURE(AUDIO  &  VISUAL)•COLLECTIVES  DATABASE    •TOOLS    •NETWORK    •PUBLICATION  

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OUTPUTS / TOOLS * ADAPT/DEVELOP NEW HIGHLIGHT EXISTING

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CASE STUDIES - Collective Case  Study  :  BLACKSAND:  Event-­‐based,  Rota+ng  management  

Lessons  Learned  from  a  7-­‐year  Collec+ve  that  spurred  a  Fife-­‐based  network,    built  a  following,  ran  its  course,  and  was  mutually  dissolved.  

   Blacksand  were  a  Kirkcaldy  based  collec2ve  that  existed  from  2006  to  2013.  The  collec2ve  were  a  cons2tuted  group  of  approximately  eight  members  and  a  management  commiCee  comprising  of  chair,  secretary  and  treasurer.  These  roles  were  voted  on  each  year  at  the  AGM,  although  for  many  years  (2006  to  2010)  the  roles  stayed  with  the  same  people.  During  the  7  years  in  existence  the  collec2ve’s  aims  and  objec2ves  were  to  create  a  mutual  support  network,  to  establish  a  programme  of  exhibi2ons  and  events  and  to  rent,  lease  and  manage  to  provide  studio/workshop  space  or  exhibi2on/event  space.  Their  main  inten2on  was  to  foster  a  sense  of  community  in  the  Kirkcaldy  area  and  to  create  links  with  other  art  groups  and  ar2sts.  

Over  2me  the  original  office  bearers  began  to  2re  of  their  roles  and  responsibili2es,  which  led  to  a  change  in  leadership  and  in  turn  a  change  in  the  management  of  the  organisa2on.  It  took  a  while  for  new  people  to  fill  the  posts  and  as  a  result  the  cons4tu4on  was  changed  to  make  a  rota4on  of  roles  occur  so  that  the  team  could  evolve.  The  inten2on  was  that  this  new  structure  would  alleviate  their  problems,  conversely  members  began  to  leave  and  without  new  members  coming  in  the  rota2on  of  roles  was  challenging.  Reasons  for  leaving  included  members  finding  other  ways  to  further  their  prac2ce,  joining  other  group  and  2me  restric2ons  due  to  day  jobs/studies/family.  There  are  now  several  ar2sts  groups  in  and  around  Kirkcaldy  and  the  exhibi2on  of  contemporary  art  is  a  visible,  frequent  occurrence.  

The  rota2on  of  the  management  roles  from  the  beginning  is  key  for  a  collec2ve.  Overcoming  administra4ve  barriers  such  as  comple2ng  grant  applica2ons  can  help  to  build  skills.  Seeing  challenges  as  opportuni2es  for  personal  and  professional  growth  is  important  -­‐  and  have  fun  -­‐  it  should  not  all  be  hard  work.  One  of  the  last  exhibi2ons  Blacksand  undertook  involved  a  road  trip  that  was  fun  and  working  together  showed  their  strength  in  being  in  a  collec4ve.  

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CASE STUDIES - Agency Case  Study  :  Brian  Skinner:  Landlord  with  Philanthropic  tendencies,    

Sharing  perspec+ves  on  what  a  landlord  looks  for  in  collec+ve  tenants,  what  tenants  should  look  for  in  a  landlord,  and  managing  communica+on  between.    

Brian  Skinner  is  the  Managing  Director  of  Be  Capital  Group  a  privately  owned  property  development  company  based  in  Glasgow  for  5  years.  Ac2ng  as  a  landlord  on  a  na2onal  level  the  company  promotes  and  ac4vely  undertakes  philanthropic  projects  within  the  crea4ve  business  sector.  Brian  has  an  ac2ve  interest  in  suppor2ng  crea2ve  businesses  to  establish  themselves  within  network  of  places  and  spaces  that  are  conducive  to  helping  crea2ve  prac2ce  to  flourish.      In  terms  what  a  landlord  looks  for  in  prospec2ve  tenants  Brian  suggests  that  harnessing  one  collec4ve  voice  is  an  excellent  way  to  approach  a  landlord  to  ini2ate  discussion.  Establishing  the  right  legal  framework  as  a  collec2ve  is  also  vital  for  the  ini2al  mee2ng;  to  be  able  to  outline  a  clear  intent  and  avoid  being  dictated  to.  An  effec2ve  understanding  of  the  landlord’s  mo4va4ons,  company  background  and  strategy  is  also  important  in  building  mutual  understanding,  trust  and  credibility  from  the  outset.  Tenants  should  expect  their  landlord  to  be  in  a  posi2on  to  showcase  tangible  working  examples  of  exis2ng  physical  spaces  or  proper2es  that  are  fully  opera2onal.  Experiencing  the  energy,  vitality  and  commercial  viability  of  different  crea2ve  prac2ces  working  together  under  one  roof  is  a  major  incen2ve  for  all  par2es  involved.  The  landlord  should  iden2fy  the  poten2al  to  commercialise  the  crea2ve  energy  of  a  collec2ve  and  the  value  of  transforming  it  within  an  appropriate  physical  context.      Brian  recommends  looking  into  the  incen4ves  available  to  the  crea4ve  sector  as  local  authori2es  seek  to  build  vibrant  communi2es  in  ci2es  where  economic  regenera2on  represents  a  real  opportunity.  Striking  a  balance  between  the  crea4ve  and  commercial  mo4va4ons  on  both  sides  is  also  important,  especially  when  it  comes  to  the  func2on  of  space.  Crea2ng  spaces  that  are  flexible,  adaptable  and  easily  transformed  is  key  to  successful  occupa2on  helping  to  build  a  physical  legacy  of  use  that  brings  heart,  character  and  crea2vity  into  a  building.  

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*ANATOMY OF A COLLECTIVE COLLECTIVE FUTURES

CULTIVATING CREATIVE COLLECTIVES

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*JOURNEYS COLLECTIVE FUTURES

CULTIVATING CREATIVE COLLECTIVES

Page 25: Collective Futures: Cultivating Creative Collectives

* MODEL: IDEAL COLLECTIVE COLLECTIVE FUTURES

CULTIVATING CREATIVE COLLECTIVES

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*ROUTES TO MARKET COLLECTIVE FUTURES

CULTIVATING CREATIVE COLLECTIVES

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* FAIRY GODMOTHER COLLECTIVE FUTURES

CULTIVATING CREATIVE COLLECTIVES

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HIGHLIGHT EXISTING TOOLS

www.nesta.org.uk/publica+ons/crea+ve-­‐enterprise-­‐toolkit  

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KEY INSIGHTS COLLECTIVE FUTURES

CULTIVATING CREATIVE COLLECTIVES

Business  Models  Different  models  –  no  one  size  fits  all  Collec>ve-­‐specific  support  is  important  –  Peer,  Agency,  etc.      Learn  from  each  other  and  share  /  build  on  each  others  skills  

Residents  on  the  Process:  The  process  has  been  therapeu>c  with  >me  to  reflect  on  their  collec>ve  Share  tools  with  their  board/commiUee  Mee>ng  up  and  sharing  face-­‐to-­‐face  is  best  Confidence  in  the  range  and  different  types  of  collec>ves  

On  place:  Collec>ves  in  rural  areas  give  outlets  for  young  prac>>oners.  Crea>ve  Collec>ves  as  an  economic  lever  for  regenera>on/improvement    (rural  &  urban).  

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KEY INSIGHTS COLLECTIVE FUTURES

CULTIVATING CREATIVE COLLECTIVES

Next  Steps:  Collec>ve  of  Collec>ves  is  already  happening  though  fragile  Sofa  surfing  for  collec>ves  Share  prac>ce  (Catherine:  Portugal  –  Crea>ve  Hubs  April  2014)    Educa>onal  links  to  be  explored  (Gray’s  School  of  Art/RGU  HE  Project  2014/2015)            “Collabora4on  :  Collec4vism  :  Par4cipatory”  

This  is  what  we’re  thinking  are  ways  to  take  it  forward:  

Formalise  an  on-­‐line  network/presence  (Collec>ve  of  Collec>ves)  Design  of  tools  &  Guidance  (aggregate  resources  from  elsewhere)  Visual  mapping  of  Collec>ves  (database  of  >60  crea>ve  collec>ves  in  Scotland)  

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COLLECTIVE FUTURES

CULTIVATING CREATIVE COLLECTIVES

A Collective of Collectives: where the  knowledge  and  capabili>es  of  members  are  brought  together  to  support  new  collabora>ons  and  to  strengthen  exis>ng  ones.  

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WATCH OUT FOR… COLLECTIVE FUTURES

CULTIVATING CREATIVE COLLECTIVES

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WATCH OUT FOR… COLLECTIVE FUTURES

CULTIVATING CREATIVE COLLECTIVES

www.collec>vefutures.net  #CoFutures  

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COLLECTIVE FUTURES

CULTIVATING CREATIVE COLLECTIVES

A  few  words  from  the  Residents:    

“the  concept  of  collec2ves  now  feels  familiar.”  

“I  no  longer  feel  threatened  by  other  collec2ves  –  I  see  a  rich  network  of  crea4ves.”  

“…realisa2on  of  the  poten2al  to  share  resources.”  

“Learning  can  come  from  Agencies,  but  learning  comes  through/embeds  itself  through  peers  and  ac4vi4es.“  

“I  now  understand  the  prac2cal  issues  and  solu2ons  -­‐  focusing  on  the  prac2cal  issues  was  good.”  

“The  tools  sussed  out  structure  &  resources.  The  ac2vi2es  gave  structure  to  our  thoughts.”  

The  progression  from  WS1  >  WS2  >  WS3  has  helped  me  to  clarify  the  stage  we’re  at  and  what  we  now  need  to  do.  

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COLLECTIVE FUTURES

CULTIVATING CREATIVE COLLECTIVES

Thank you.

We’d like to hear from you. If you have any comments or questions about the project, please get in touch:

Catherine Docherty [email protected] David McGillivray [email protected]

Sue Fairburn [email protected]