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THINKING THROUGH MAKING
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.
FRAMEWORK COLLECTIVE FUTURES
CULTIVATING CREATIVE COLLECTIVES
RESIDENTS
RESIDENTS 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
COLLECTIVE FUTURES
CULTIVATING CREATIVE COLLECTIVES
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PROCESS
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FINDINGS
OUTPUTS - VALUES COLLECTIVE FUTURES
CULTIVATING CREATIVE COLLECTIVES
OPEN. SUPPORT. PROMOTION.
COLLECTIVE FUTURES
CULTIVATING CREATIVE COLLECTIVES OUTPUTS - BENEFITS
COLLABORATION. MUTUAL BENEFIT. MAGIC IN THE MIX.
CONSTITUTIONAL COLLECTIVE FUTURES
CULTIVATING CREATIVE COLLECTIVES
DECISION MAKING. FORMAL CONSTITUTION. TERMS & CONDITIONS.
OPERATIONAL COLLECTIVE FUTURES
CULTIVATING CREATIVE COLLECTIVES
PHYSICAL & DIGITAL SPACE. MEETINGS. OPEN PROCESSES. FLEXIBLE & ADAPTABLE DEFINED ROLES/RESPONSIBILITIES
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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”
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.
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.
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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TOOLS
OUTPUTS
OUTPUTS INCLUDE: •WEBSITE •SOCIAL MEDIA •DIGITAL CAPTURE(AUDIO & VISUAL)•COLLECTIVES DATABASE •TOOLS •NETWORK •PUBLICATION
OUTPUTS / TOOLS * ADAPT/DEVELOP NEW HIGHLIGHT EXISTING
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.
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.
*ANATOMY OF A COLLECTIVE COLLECTIVE FUTURES
CULTIVATING CREATIVE COLLECTIVES
*JOURNEYS COLLECTIVE FUTURES
CULTIVATING CREATIVE COLLECTIVES
* MODEL: IDEAL COLLECTIVE COLLECTIVE FUTURES
CULTIVATING CREATIVE COLLECTIVES
*ROUTES TO MARKET COLLECTIVE FUTURES
CULTIVATING CREATIVE COLLECTIVES
* FAIRY GODMOTHER COLLECTIVE FUTURES
CULTIVATING CREATIVE COLLECTIVES
HIGHLIGHT EXISTING TOOLS
www.nesta.org.uk/publica+ons/crea+ve-‐enterprise-‐toolkit
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).
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)
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.
WATCH OUT FOR… COLLECTIVE FUTURES
CULTIVATING CREATIVE COLLECTIVES
WATCH OUT FOR… COLLECTIVE FUTURES
CULTIVATING CREATIVE COLLECTIVES
www.collec>vefutures.net #CoFutures
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.
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]