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7/29/2019 Curious Minds State of the Region Report 2012
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STATE OF THE REGION
Regional intelligence report on arts and cultural provision or children and young people in the North West 2012
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State o the Region 2enablingcreativecollaboration
Contents
Contents
click to jump to sectionIntroduction 2
Our Methodology 7
Analysis of the Sub Regions 10
Local Authorities 26
Schools and the Education Sector 35
Relationships Between Arts and Cultural Organisations and Schools 47
The Creative and Cultural Sector 58
Collaboration and Partnership Working 77
Networks and Networking 83
Information and Communication 89Engaging Young People 98
Engaging Families 113
Outreach and Engagement 118
Achievement and Progression 121
Arts Award 129
Quality and Excellence 134
Artsmark 146
Funding 149
Threats for the Bridge 152
Advocacy 155
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Introduction
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Curious Minds is part of a national network of ten bridgeorganisations funded by Arts Council England to useour experience and expertise to connect children andyoung people, and schools and communities with art andculture. We, along with the Arts Council, believe that everychild and young person should have the opportunity to
experience the richness of the arts and culture.
Our approach to delivering the North West Bridge role will
be underpinned by a set of ve core principles:1. Collaboration,dialogueandpartnership
actingasabroker,enablerandfacilitatortodevelopasustainableculturalecologyforchildrenandyoungpeople
2. Coheringandsimplifyingstreamliningandsimplifyingthemechanismsthatfacilitatechildrenandyoungpeoplesparticipationinart,cultureandcreativelearning
3. Recognisingtheuniquecontributionofschoolsacoherentstrategythatfocusesonhighqualityarts
experienceswithinschools4. Continuouslystrivingforqualityandexcellenceraisingqualityacrosstheregiontosustainengagement
5. Enablingchildrenandyoungpeoplesvoicesupportingchildrenandyoungpeopletodevelopasindependentandinformedconsumers,critics,consumersandcommissionersofartsandculture.
MappingandthegatheringofinformationisakeyelementoftheBridgeinitiative.Inordertobuildacoherentapproachtothedevelopmentofchildrenandyoungpeoplesengagementinartsandculture,inandoutofschool,weneedtobeawareofthecurrentoffer,contextanddemand.Thisreportaimstogatheraregionalpictureoftheprovision,needsandbarriersaroundartsandcultureforchildrenandyoungpeople.
ThereportwillbeusedtoplantheBridgeprogrammewewilldeliverin2012/13andensurethatitisrootedinstakeholderneedandreectiveofthedistinctivecontext,challengesandpotentialoftheNorthWestregionatthismomentintime.ItwillbeusedtounderpinthepartnershipinvestmentandsubcontractingdecisionswemakeandhowweprioritiseourtimeandbudgetasaBridgeorganisation.Ourpurposeistomakeadifferencetoasmanychildrenandyoungpeopleaspossibleandourmissionistobuildonwhatworkswellandbeunafraidtoworkinpartnershipto
changethethingsthatcouldbebetter.
ForthepurposesoftheBridgeremit,ourdenitionofchildrenandyoungpeoplecovers0-19yearolds.
Introduction
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Strategic landscapeChildren and young people are living and learning in aperiod of great economic and social change, a time inwhich their emotional and physical wellbeing, the spaceafforded them to imagine, create and innovate and theirability to nd work or access further or higher education
are all playing out in a context full of challenge. For manyin the North West, which includes the most deprivedSuper Output Areas in the whole of England, this will
compound already high levels of disadvantage.
Thisisatimeofgreatuxforartsandculturalworkwithchildrenandyoungpeopleandithasbeenachallengetodevelopacoherentoverviewoftheconstantlyevolvingcontextinwhichweareoperating.Thisisakeytransitiontimeinwhichmanyfundingstreamshaveandarecontinuingtochange.Ratherthanfocusonwhathasbeenofferedhistoricallywesetouttofocusonprovisionplannedfor2012/13.Thatsaidwenowknowsomeof
theorganisationswehaveconsultedwithaspartofthisresearchwillceasetoexistinafewmonthstime.Othersconsiderthemselvestobeatriskwhilesomearemerging,restructuringorstillworkingthroughthedetailsoftheirofferforthenewnancialyear.Wearenotoperatinginastaticenvironmentbyanymeansandassuchweofferyouaperspectiveofthecurrentcontextasweareabletointerpretitatthistime.
Thisreportisnotaboutmakingthecaseforartsandcultureforchildrenandyoungpeople;althoughthereismuchworktodointhisarea,forthepurposesofthisreportwetakethebenetsofartsandcultureforchildrenandyoungpeopleasagiven.Instead,thisreportseekstobringtogetherinformationaboutcurrentlevelsofprovisionforchildrenandyoungpeopleandanalysewhatchildrenandyoungpeopleandthekeypractitioners,deliverersandfundersworking
withandforchildrenandyoungpeoplearetellingusarethemostimportantissues,challengesandopportunitiesfacingthematthistime.Wehaveattemptedtorepresentinasobjectiveamanneraspossiblewhatpeoplehavetoldus.Wehavecollectedavastamountofdataandintelligenceduringthisprocess.Whatwepresenthereisessentiallyanexecutivesummaryoftheinformationgatheredoverthelastfourmonths.Thedetailedsummariesofindividualorganisationaloffers,theparticularissuesfacingspecicschoolsandthedifferingdynamicsoflocalauthority
areascannotbepresentedhere,thereissimplytoomuchinformation.Howeverwewillcontinuemakingfulluseofthisdetaileddataasweinitiatepartnershipworkingandbegindevelopingourprogrammes.
Introduction
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Theprocessofmeetingandconnectingwithsuchlargenumbersofpeopleandorganisationshasbeenjustasimportanttousasgatheringthedata,enablingustoforgenewrelationships,makefreshlinkagesandreconnectwithmanyexistingpartners.
Wehavemadeadeliberatedecisiontoanonymisethoseconsultedwherepossible.Ourreasonfordoingthiswastoencourageopenandhonestconversationthatwouldbuild
arealpictureoftheregionandtobesurethatwewerenotseentobefavouringanyoneprovideroveranyother.Wefoundinfactthatthemajorityofkeythemes,needs,barriersandpotentialpresentedtouswerenotspecictooneartformareaorgeographicallocation.Insteadarangeofcommonthemesemergedandsothereportisarrangedtoreectthis.Westartwithspecicintelligenceabouteachregion,moveontolookatthespeciccontextfacinglocalauthorities,theculturalsector,schoolsandchildrenandyoungpeople,andthenturnourfocustothemostcommon
themesthatcameupinourconsultation.
OurroleasaBridgeistolistentowhatwehaveheardandworkwithpartnerstodevelopcreativesolutionsthatindividuals,organisationsandcommunitiescanimplement.Weofferasenseofrealisminthepictureweportrayandasolutionsfocusedapproachinourresponse.Someofourideasforrespondingtoidentiedneedsarefeaturedhere.Otherswillfollowaswedevelopourprogramme.
Todatewehaveconsultedwithapproximately450people
andwouldliketotakethisopportunitytothankthemallforsharingtheirtime,expertise,experienceandcreativeideas.Afulllistoftheindividualsandorganisationswehaveconsultedwithcanbefoundinanappendixattheendofthisdocument.
Thisisonlythebeginning;weknowtherearemanypeoplewehaveyettoconnectwithacrosstheregionandwelookforwardtodoingsoaswemoveforwards.
Introduction
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Many thanks also to the individuals and organisationswho have supported us in gathering intelligence acrossthe region. Particular thanks go to:AllAboutAudienceBarnardosActionwithYoungCarersBlessedTrinityHighSchool,BurnleyClaireOBrienCreativeFuturesCumbriaEmmaAylett
CYCES-aschoolforyoungpeoplewithemotionalandbehaviouraldifculties,runbyTheTogetherTrustGayleSutherlandTheHollinsTechnologyCollege,HyndburnJaniceMcNamaraLyceumYouthTheatre
MidPennineArtsNaomiWhitmanNeilWinterburnNorthLakesSchool,PenrithPaulHinePeshkarYoungPeoplesGroup
RosieCrookStPatricksCESchool,EndmoorSheniRavji-SmithDrStephanieHawkeYoungPeoplesAdvisoryservice(YPAS)ZionYoungPerformer
Introduction
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Representatives from Bridge organisations around thecountry came together to create an audit tool that wouldcollect statistical data around arts and cultural provisionfor children and young people, including educationalattainment, deprivation and other key indicators that wouldhelp us identify areas of particular need. Meanwhile in
the North West we spent time devising a comprehensiveprocess that would enable us to gather intelligence from asmany young people, teachers, practitioners, funders and
deliverers as possible.
We focused our attention on the following:
Childrenandyoungpeople Schools ArtsOrganisations-NationalPortfolioOrganisations(NPOs) ArtsOrganisations-NonNPOs Museums/HeritageandLibrariessector Thirdsector,communityorganisationsandcharities LocalAuthorities Arts,culturalandeducationnetworks
Our Methodology
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Feedback from these groups were gatheredusing the following methods:
Statisticalevidence SurveytoallschoolsintheNorthWestandasurveyto
allartsandcultural,museumsandheritageorganisationsintheNorthWest;thiswaspartofajointconsultationdeliveredbyAllAboutAudiencesandCuriousMindsfocusingonartsandculturalprovisionforschools.
FocusGroupsaseriesofgroupsessionswithleaders
fromarangeofsectorsandbackgrounds.Theseweretargetedatthefollowing:I. ArtsmarktrainersII. ArtsAwardadvisersIII. ArtsAwardtrainers/moderatorsIV. NPOsV. MuseumandHeritagesectorVI. PrimarySchoolsinruralsettingsVII. SecondarySchoolsinruralsettingsVIII. PrimarySchoolsinurbansettingsIX. SecondarySchoolsinurbansettingsX. LocalauthorityartsofcersXI. SENschoolsXII. Thirdsectorandcommunityorganisations
Thesub-regionalfocusgroupscontainedrepresentativesfromalloftheabovesettings.
XIII. Sub-regionalLancashireXIV. Sub-regionalMerseysideXV. Sub-regionalGreaterManchesterXVI. Sub-regionalCheshireandWarringtonXVII.Sub-regionalCumbria
One:OneInterviewsweconductedinterviewswithoverahundredleadersfromtheartsandcultural
sector,museumsandheritage,libraries,musichubsandschools. Consultationwithchildrenandyoungpeopleone
facilitatorworkedwithtwodifferentgroupsofchildrenandyoungpeopleineachregion.Theirmainfocusofenquirywaswhatinspireschildrenandyoungpeopletobecomeengagedinartsandculturalactivity.
NetworkAnalysis-weresearchedthekeynetworksintheregionthathaveafocusonartsandculturalworkwithandforchildrenandyoungpeople.
CulturalandChildrenandYoungPeoplesStrategyAnalysis weconductedananalysisoflocalauthoritystrategiesaroundartsandcultureandchildrenandyoungpeopleintheNorthWest.Thiswastoidentifythekeyprioritiesforchildrenandyoungpeopleacrosstheauthoritiesandtheplanslocalauthoritieshaveinplacetosupportthem.
Researchoncurrentpoliticalandculturalpolicy
Our Methodology
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Bridge organisations agreed to focus on gatheringintelligence around Needs, Barriers and Potential withinthe following key areas:
Thestrategicissuesfortheregioninthecontextofchildrenandyoungpeople
KeythreatsandopportunitiesintheBridgecontext Thespecicdynamicsofindividuallocalauthorities Fundingandcommissioningagencies
andpotentialpartners
Geographicareasofneedforchildrenandyoungpeopleandopportunity Musiceducationlandscape
In bringing together the transcripts of interviewsand focus groups we pulled out the main trends fromconversations that sat within the above six areas.Some of these were sub region and sector specic whileothers cut across these boundaries and were relevantto the contributing sectors and region as a whole. The
common themes were identied as:
Informationandcommunication Engagingyoungpeople,theirfamilies
andthehardtoreach Achievementandprogression Quality Money Advocacy
Arrangingthereportinthiswayhasenabledtobringtogetherthevoiceofyoungpeople,teachers,artspractitioners,fundersandlocalauthorityleadsasone.Foreachofthesectorspecicandkeythemesectionswesharethekeyintelligencecollatedincludingneeds,barriersandpotential.WealsoshareourcurrentthinkingaroundthekeyareastheBridgewillprioritiseinyearone.
Our Methodology
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Analysis of the Sub Regions
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Cheshire and Warrington is situated in the south and eastof the region and includes the following local authorities:
CheshireWestandChester CheshireEast HaltonBoroughCouncil WarringtonBoroughCouncil
Thesub-regionhasamixtureofcityandlargetownsaswellasalargeruralcommunity.Becauseofthisgeographicalmake-upthereareareasofhighprosperityandareasofhighdeprivation.
ThereareveNPOsinthesubregion.ThisisanincreasebyonefromtheRFO(RegularlyFundedOrganisations)structure.
HoweverallNPOsarebasedwithinCheshireWestandChesterandnonewithintheotherauthoritiesalthoughaculturalofferisprovidedthroughlocalauthority,educationalandcommercialsettingsintheotherauthorityareas.ApartfromCheshireDancewhoconductsworkacrossCheshireEastandWest,theotherNPOsmainfocusistheirimmediateandneighbouringlocalities.
Cheshirerecentlywentthroughaunitarysplitandbecametwoauthorities(CheshireWestandCheshireEast).Ithastakenanunderstandableamountoftimetorestructure.HaltonandWarrington,fromourconsultations,appeartosufferfromalackofstrongconnectionandidentitywithchildrenandyoungpeople,withtheirfocusbeinginuencedbythenearbyLiverpoolCityRegionand
ManchesterCitycentreculturaloffer.
What the statistics tell us, is what came up during theconsultation process:
Inthesubregionasawholethelevelsofdeprivationarelow.Howeveritisonlywhenwefocusdownatamorelocallevelthatwestarttondparticularneedsandbarrierswithinpocketsofdeprivation.AreassuchasEllesmerePorthavesomeofthehighestlevelsofdeprivationandloweststandardsofeducationalattainmentintheUK.Thiscouldeasilybemissedifonthegroundintelligenceandstatisticsarenotgathered.
There is the perception that Cheshireis afuent so does not need unding
Cheshire and Warrington
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The Cumbrian sub-region is made up of one localauthority and six district/city councils:
CumbriaCountyCouncil AllerdaleBoroughCouncil CopelandBoroughCouncil BarrowinFurnessBoroughCouncil CarlisleCityCouncil
EdenDistrictCouncil SouthLakelandDistrictCouncil
Thesub-regioniswellknownforthehomeoftheLakeDistrictandaruralwayoflife.HoweverthiscanhidethefactthatCumbriaisaverycomplexgeographicalareafraughtwithbarriers.
TwomainbarriersexistInthearea;economicdeprivationinthewestandsouthoftheregioninareassuchasBarrowinFurnessandWorkingtonandruralisolationIntherestofthecounty.Particularconcernswereraisedinconsultationsaroundtransport,lackofaccessibilitytoartsprovisionandhowartsandculturalprovisioncouldbetakentocutoffareas.
Thereare14NPOsintheregion.ThisisanincreaseoftwofromtheRFOstructure.
NPOsandthemuseumandheritagesectorplayakeyroleinthelifeandeducationofthepeopleofCumbria.Althoughthereisalotmoreprovisionavailableintheregioncomparedtothenationalaveragearoundthecountry
(outsideofLondon)thesizeoftheprovisionissmallandusuallyfocuseduponthenearlocality.
WhenaskedduringtheconsultationwhattheywouldliketoseehappenintheCumbrianregion,mostpeopleaskedforamorejoinedupofferacrosstheregionandstrategichelpwithtransportpolicyandroutes.CumbriaCountyCouncilhighlightedthattheprovisionfor11-19yearoldsisthinonthegroundandhaveinsertedthisintotheirchildrenandyoungpeoplespolicydocumentasapressingneedtoaddress.
Cumbria
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Statistics for Cumbria
1. Population(0-19)108.5(000s)(20-24)25.3(000s)
2. PopulationCYP(0-24)133.8(27.4%oftotalpopulation)
3. ArtsAward283successfulawardsApril2011-September2011TotalArtsAward0.35%ofyoungpeople(NorthWestaverage=0.18%/NationalaverageforEngland=0.17%)
4. ArtsMark54settings=15.7%ofsettings(NorthWestaverage20.6%/NationalaverageforEngland=19.2%)
5. PercentageofCYP(under16s)livinginpoverty15.1%(NorthWestAverage=22.8%,NationalAverage=20.9%)
6. UnemployedUnder257360=29.6%oftotalclaimants(NorthWestAverage29.4%,NationalAverage26.9%)
7. IndexofMultipleDepravation21.06(10outof39inEngland)NorthWestAverage=25.61NationalAverage=19.15
8. Settingsclassedascoldspots(Nationalrankingoutof354)
65thAllerdale73rdBarrow
9. Settinglistedintop50highestNEETSlevelsNone
Particulargeographicalareasofneedmentionedinconsultations WestCumbria Barrow Workington Areasofruralisolation Eden SouthLakes Carlisle Copland
Analysis of the Sub Regions
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The Greater Manchester sub-regionis made up of 10 local authorities:
BoltonMetropolitanBoroughCouncil BuryMetropolitanBoroughCouncil ManchesterCityCouncil OldhamMetropolitanBoroughCouncil RochdaleMetropolitanBoroughCouncil
SalfordCityCouncil StockportMetropolitanBoroughCouncil TamesideMetropolitanBoroughCouncil TraffordMetropolitanBorough WiganMetropolitanBoroughCouncil
GreaterManchesterisacityregionmadeupofauthoritieswithmanysimilarneedsandbarriers.ThroughthelocalauthorityunionofAGMA(AssociationofGreaterManchesterAuthorities)thesub-regionhasbuiltajoinedupapproachtoartsandcultureinthearea,ensuringprovision
andfundingisspreadacrossthewholeregionwithkeyorganisationsfocusingonspecicneedsandbarriers.ThismeansthattheworkCuriousMindscarriesoutinthissubregionwillbuildonwayofworkingandinfrastructurethatisalreadysuccessful.
However,thiswayofworkingdoeshaveitschallenges.Ourconsultationssuggestthatthiswayofworkingcanmissimportantareasoffocus.ThesizeoftheconurbationandwhereandwhentheculturaloffertakesplacedoescausemanyIssuesforchildrenandyoungpeopleinaccessingartsandculturalprovision.
NaturallytheManchestercityregionholdsthehuboftheculturaloffer,anofferthatisaccessedbyresidentsandyoungpeoplefromoutsidetheGreaterManchesterregion,aswellaswithin.ThebarriersthataffectyoungpeopleacrossGreaterManchesterincludestreetbystreetgangseparation,lackofidentitywithinthelocalarea,transportdifcultiesgettingfromonesideofthesub-regiontotheother,deprivationandyouthunemploymentinthemainsurroundingtownssuchasRochdale,andthethreatofacitycentrewithaculturaloffermuchricherthanayoungpersonsownneighbourhood.
Greater Manchester
Analysis of the Sub Regions
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WiththemoveoftheBBCtoMediaCityinSalfordthereisasenseofanewleaseoflifeandopportunityforanumberoforganisations.ButthisisalsoseenasathreatwithaconcernthatfundingandaudienceswillheadinthedirectionofSalfordQuaysinsteadoftheoutlyingareaswhichstatisticsshowhavethehighestdeprivationanddisengagement.Thissaid,Salforditselfisseenasanareaofhighdeprivationtoo.
Aswithmanyareasthemainchallengetoartsandculturalorganisationisreducedfunding,theexpectationtodomorewithlessandthecapacitytoachievethis.Withinconsultationstherequestforextrafundingcamethroughloudandclearbutthereisaverypositiveattitudetotryingnewandsustainablewaysofworkingtoachievethis.Fundingisnotalwaystheanswer;sharedworkingandprogrammingalignedwiththeprinciplesofopennessandhonestywassuggestedasthekeywayforward.
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Statistics for Greater Manchester
1. Population(0-19)650.2(000s)(20-24)211.4(000s)
2. PopulationCYP(0-24)861.6(30.6%oftotalpopulation)
3. ArtsAward526successfulawardsApril2011-September2011TotalArtsAward0.18%ofyoungpeople(NorthWestaverage=0.18%/NationalaverageforEngland=0.17%)
4. ArtsMark229settings=18.3%ofsettings(NorthWestaverage20.6%/NationalaverageforEngland=19.2%)
5. PercentageofCYP(under16s)livinginpoverty25.6%(NorthWestAverage=22.8%,NationalAverage=20.9%)
6. UnemployedUnder2573090=30.7%oftotalclaimants(NorthWestAverage-29.4%,NationalAverage26.9%)
7. IndexofMultipleDeprivation28.44(4outof39inEngland)NorthWestAverage=25.61,NationalAverage=19.15
8. Settingsclassedascoldspots(Nationalrankingoutof354)20thWigan30thSalford37thRochdale53rdBolton61stTameside63rdOldham
9. Settinglistedintop50highestNEETSlevelsRochdale&OldhamVeryHigh:Around20%BoltonHigh:Around18%ManchesterMedium:Around15-17%
Particulargeographicalareasofneed
mentionedinconsultations Rochdale
WiganM62corridorTamesideNorthManchesterEastManchester
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The Lancashire sub-region is made up of 3 localauthorities and 12 borough councils:
LancashireCountyCouncil BlackburnwithDarwenBoroughCouncil BlackpoolCouncil BurnleyBoroughCouncil ChorleyBoroughCouncil FyldeBoroughCouncil HyndburnBoroughCouncil LancasterCityCouncil PendleBoroughCouncil PrestonCityCouncil RibbleValleyBoroughCouncil RossendaleBoroughCouncil SouthRibbleBoroughCouncil WestLancashireBoroughCouncil WyreBoroughCouncil
Lancashireisasub-regionwiththreemainareasoffocus;theBlackpoolregion,PennineLancashireandcentralLancashireCentral.Allthreeareashavetheirowncharacteristicsandartisticcommunities.
Economicallytherearemajorareasofdeprivationaroundtheregion,someurbanandsomerural.WhencompilingstatisticsinLancashireitissometimesdifculttoseewherethemostdeprivedareasare.Forexample,WestLancashirecanbeseenasanafuentareabutifonelooksmorecloselyweseethattownssuchasSkelmersdaleandvillagessuchasTarletonsufferfromsignicantlevelsofdepravationandminimalopportunitiesforengagementinthearts.Thishasresultedinsomeareasbeingoverlookedforfundingorinvestmentovertheyears.Thisisasimilarissuerightacrossthesub-regionofLancashire.
OverrecentyearsLancashireCountyCouncilhasworkedwithlocalpartnerstobringtogetherastrongculturaltourismapproachtotheregionasawhole.Thiswillhopefullybringininvestmentandtourismtomuchneededareas.ThereisacentralregionalpulltowardsmakingPrestonthecentreofthesub-region;
howeversomesub-regionalpartnersfearthattheirareaortownmayloseinvestmentandsufferfromsimilarprovisionissuesfacingtheGreaterManchesterandMerseysideregionswhosufferfromthepullofthecitycentresofManchesterandLiverpool.
Lancashire
Analysis of the Sub Regions
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LancashireasawholehassufferedfromtheNationalPortfolioOrganisationrestructure,leavinganareawithoutanyNPOsacrossthewholecentreofthesub-region,includingPreston.AddedtothatistheendoftheCreativePartnershipsprogrammewhichbroughtahugeinvestmenttofreelanceartistsandartsorganisationsacrossthesub-region,resultinginafeelingofneglectaroundartsandculturefrommajorfundersandgovernment.AnumberoforganisationswithpreviousstrongpresenceinLancashirearestrugglingorbeingdisbanded.
Duringourconsultationsweaskedwhatthemainneedsandbarriersforthissub-regionare.Keymessagesincluded;Highdeprivationcausingeconomicrestrictionstoaccessingactivity;someareasfeelingtheyareapoorrelationofthecountyandoverlooked;thelossofartsandculturalprovisionforchildrenandyoungpeopleatcountyandboroughlevelthroughrestructure;alackofactivities
andvenuesavailable;badaccesstotransportroutesaroundthecounty;andrurallocalitieshavinggeographicalchallengesinaccessingactivitydespitenotbeingdeprivedareasthemselves.
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Statistics for Lancashire
1. Population(0-19)353.8(000s)(20-24)97.2(000s)
2. PopulationCYP(0-24)1425.3451(31.6%oftotalpopulation)
3. ArtsAward204successfulawardsApril2011September2011TotalArtsAward0.11%ofyoungpeople(NorthWestaverage=0.18%/NationalaverageforEngland=0.17%)
4. ArtsMark196settings=14.5%ofsettings(NorthWestaverage20.6%/NationalaverageforEngland=19.2%)
5. PercentageofCYP(under16s)livinginpoverty20.6%(NorthWestAverage=22.8%,NationalAverage=20.9%)
6. UnemployedUnder2528150=29.2%oftotalclaimants(NorthWestAverage29.4%,NationalAverage26.9%)
7. IndexofMultipleDepravation24.42(9outof39inEngland)NorthWestAverage=25.61NationalAverage=19.15
8. Settingsclassedascoldspots(Nationalrankingoutof354)15BlackburnwithDarwen16Preston18Burnley26Hyndburn50Blackpool59Pendle123Rossendale
9. Settinglistedintop50highestNEETSlevelsBlackpoolVeryHigh:Around20%
Particulargeographicalareasofneed
mentionedinconsultations Rossendale
SkelmersdaleBurnleyHyndburnRawtenstallBlackpool
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State o the Region 23enablingcreativecollaboration
The Merseyside sub-region is made up of 5 local authorities:
KnowsleyMetropolitanBoroughCouncil LiverpoolCityCouncil SeftonCouncil StHelensMetropolitanBoroughCouncil WirralMetropolitanBoroughCouncil
Merseysideisasub-regionhugelyinuencedbythecentralmagnetofLiverpoolCityCentreandtherichculturalprovisionprovidedthere.Butitisalsoacomplexregionwithhighlevelsofdeprivationanddisengagementinartsandculturalactivities,fordifferentreasonsfromoneareatotheother.IthasmanysimilaritiestotheGreaterManchestersub-regionbuthasitsownindividualityandovertheyearshasbeenandseesitselfasacompetitortoitsnearbyneighbourofGreatManchester.
TheCityofLiverpoolwasawardedtheEuropeanCapitalofCulture2008duringthemid2000sandthisbeganare-growthoftheartsandculturalservicesinthecityandfurtheraeld.ThecitycentrealreadyhadgreathistoricalartsandculturalorganisationssuchasNationalMuseumsLiverpool,RoyalLiverpoolPhilharmonicOrchestra,theEverymanandPlayhousetheatresandtheBluecoat,buthadbeenjoinedinrecentyearsbytheTATELiverpool,LiverpoolBiennialandFACT(FoundationforArtandCreativeTechnology).ThecapitalofcultureproleenabledtheBigSeven,withUnityTheatre,tojointogetherasonevoiceintheLARC(LiverpoolArtsandRegenerationConsortium)structure.Thisenabledmorefocusedculturalprogrammingandculturaltourismacrossthecityandsub-region.SharingservicesandexpertisethroughschemessuchasThrive,thecitysmainartsandculturalorganisationswereabletoreachoutanddevelopdisengagementprogrammeswithcommunitiesinthecityandbeyond.Specically,theFind
YourTalentprogrammestartedtobuildajointmovementtobringarichartsandculturaloffertochildrenandyoungpeopleacrossthesub-region,untiltheprogrammewascutshortbythenewpoliticaladministration.
Merseyside
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State o the Region 24enablingcreativecollaboration
AlthoughtheFindYourTalentandThriveprogrammesdidsomefantasticworkintheLiverpoolcityregiontheydidnotalwaysreachallofthesub-regionintheirwork(thatwasnotnecessarilytheirremit).OutlyingareassuchasSouthport,Sefton,SouthLiverpoolandtheWirralhavecontinuedtoseelittleinvestmentinartsandcultureandtheprovisionhassurvivedintheseareasbythehardworkanddeterminationofindividualartists,afewartsorganisationsandthelocalauthorities.LiverpoolRiverside,forexample,wasmentionedintheoriginalCapitalofCulturebidbyLiverpoolCityCouncilasanurgentareaofinvestmentbutbecausethemainfocusofThriveandFindYourTalentwasNorthLiverpool(anotherareaofhighdeprivation)theRiversideregionstillsitsontopofthetablesfordeprivationandpoverty.Thisisasimilarsceneacrossthesub-region.Thatisnttosaythoseareaswhohavehadsignicantinvestmentoverthelast6yearsarenowvibrantandrollinginarichartsandculturaloffer.Thoseareasstillhavesome
ofthehighestlevelsofdeprivationeconomicallyinEngland.WhattheydohavethoughIsagenerationofchildrenandyoungpeoplewhoweregivenachancetoleadanddeveloptheartsandcultureprovisionaroundthem.Alargenumberofthoseyoungpeoplenowfeelaconnectionwithartsandcultureanditispartoftheirweeklylives.
ThelocalauthoritystructureacrossMerseysideIsparticularlystrong,withrelationshipsbuiltupthroughnetworks.Thishasresultedinallauthoritiesplacingchildrenandyoungpeopleatthecentreofmanyoftheirplans.Duringourconsultations,peopleworkinginthesectorcameupwithmanyneedsandbarriersinrelationtotheartsandcultureoffer.AmongstthesewerethethreatofthecitycentreofLiverpoolandthefocusoffundingandprovisionbeingofferedherewhiletheoutlyingareasareforgottenabout.Thereisaneedforamorelocaltownbytownapproach.
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Statistics for Merseyside
1. Population(0-19)348.3(000s)(20-24)115.6(000s)
2. PopulationCYP(0-24)463.9(32%oftotalpopulation)
3. ArtsAward484successfulawardsApril2011September2011TotalArtsAward0.24%ofyoungpeople(NorthWestaverage=0.18%/NationalaverageforEngland=0.17%)
4. ArtsMark191settings=29.3%ofsettings(NorthWestaverage20.6%/NationalaverageforEngland=19.2%)
5. PercentageofCYP(under16s)livinginpoverty27.6%(NorthWestAverage=22.8%NationalAverage=20.9%)
6. UnemployedUnder2548760=28.6%oftotalclaimants(NorthWestAverage29.4%,NationalAverage26.9%)
7. IndexofMultipleDepravation32.74(1outof39inEngland)NorthWestAverage=25.61NationalAverage=19.15
8. Settingsclassedascoldspots(Nationalrankingoutof354)8StHelens43Knowsley
9. Settinglistedintop50highestNEETSlevelsWirralVeryHigh:Around20%LiverpoolHigh:Around18%
Particulargeographicalareasofneed
mentionedinconsultations SeftonFormby/Southport(feelscutoffandnotconnected)
LiverpoolRiversideKirkbyStHelensWirral
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Local Authorities
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Our consultation has involved conversations with county,city, borough and district councils as well as unitaryauthorities. Culture is viewed very differently across thelocal authorities in the North West with radically differentprioritisations of arts and culture there appears to beunder supply in some areas and possibly even over
supply in others.
Strategic landscapeThereisconsiderablevarianceatpresentintermsof
securityofpositionforlocalauthorityartsofcersandabilitytolong-termplan.Whileonecountycouncilsartsservicehasbeenprotectedforthenextthreeyears,anotherartsofcerinaneighbouringauthorityhasnosenseofherpositionorwhenitwillbecomeclear.Inthelightofuncertainty,manyarendingithardtodeveloporimplementmeaningfullong-termstrategiesaroundartsandculture;equally,havingastrategyisnoguaranteeofcontinuance.Thereiscurrentlymuchstasiswithinlocalauthoritieswhilerestructureandreviewcontinuesata
variedpace.
Anumberoflocalauthorityrepresentativesdescribedhowoftenartsandculturalprovisionwasmovedaroundwithindirectorates.Inoneauthority,CulturalServiceshassatwithinfourdifferentdepartmentsinthelasteightyearsandcurrentlyresidesinTechnicalServices.Thisagsupissuesaroundwidercouncilsupportfortheartsandcultureandhighlightsalackofunderstandingaroundhowculturalservicescandelivercorporateobjectivesacrosstheboard.
Ithasbecomeclearthatculturalteamsdontalwayswork
orcommunicateeffectivelywithChildrensServices.Manydepartmentswereveryinwardfacingandcouldnotofferanyinsightintotheircolleaguesprioritieswithinotherteams.Thereisaperceptioninsomeauthoritiesthatfundingforsocialservicesdrainswiderresources.
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Impact of the cutsLocalAuthoritycutsareimpactingonservicestochildrenandyoungpeoplebytakingawaysignicantnumbersofstaffandoftenwholeareasofservicesuchasArtsDevelopment,theYouthServiceorChildrensLibraryServices.Thisishavingahugeimpactwithremainingofcersoftencoveringtwoorthreeroles.Thosewhoremainarestrainingtollthegapsandthisishavingabigimpactoncapacity.
Insomecaseshowever,combiningpostsisstretchingandmaximisingstaffskills;forexample,insomeareasArtsDevelopmentandMuseumLearningOfcersarecombiningtheirdutieswithothersectionssuchasEvents,Tourism,andLibraries.Thisisenablingawholenewrangeofideas,relationshipsandpossiblepartnershipstoemergeaslibrariansworkinmuseumsandmuseumofcerstakeonartsdevelopmentroles.
Spendingcutsmeanthatpointsofaccess,referralandsignpostingforyoungpeoplearebeingeroded.Buildingclosures,thelossofnationalagenciesforyouthdanceandtheatre,thelossoflocalauthoritylinkworkersandspecialistofcerswereallgivenaspertinentexamples.
Someserviceshavebecomeconsolidated(mergingwithChildrensServicesorculturalservices),somearebeingoutsourced,somearedevelopingatradingarmwhichmayinvolveartseducationandconsultativeservicesfor
artssubjects.
LocalAuthorityprioritieshaveshiftedwidelyacrosstheregionandtheeconomicpressuresarecausingtwocontrastingthingstohappen.Inthelightofcuts,someartsservicesarebecomingmoretargeted,aligningtheirworkwithwidercouncilprioritiesandmeaningthewiderpopulationofyoungpeoplemaymissout.Othersarebecomingmoreuniversalandmainstreamintheirprovision,offeringsomethingtoasmanypeopleaspossibleinabid
torepresentvalueformoney.
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Connecting with schoolsManyauthoritiesarestrugglingwithnarrowingthegapandturningroundschoolsinspecialmeasures,inmanycasestheSchoolImprovementteamhavebeenretainedsolelytodeliverstatutoryfunctionswithandonbehalfofschools.TheHeadofSchoolImprovementinonelocalauthoritytoldusthatamoretargetedapproachtoculturalandartseducationinschoolswasnotastrategytheycouldseeasrelevanttosupportingthesekeypriorities.
Localauthoritiesfreelyrecogniseschoolsarenotlookingtothemforsupportanymoreandacknowledgetheycouldnotofferthatsupportnoweither.Somelocalauthoritiesseeakeyroleforthebridgeorganisationinbridgingthatvoid.Somearekeenforustodevelopartsclustersofschoolstosharepracticeandothersnowseeusasthemechanismtogettheirofferouttoschools.Oneboroughcouncil,forexample,hasaskedifwecanpromotetheirdanceandanimationsummerschoolprogrammeforthemthisyear.
Collaboration across local authoritiesWhilesomeauthoritiescurrentlyappearveryinwardfacing,othersarekeentoconnectoutwardsandarerequestingsupportwithmakingconnectionsacrosssubregionalareas.Someseethebenetinmountingajointefforttocreateanevidencecasefortheworkthatwillhelpmapandcontextualiselocalgapsanddevelopstrongersub-regionalconnections.
Infactthereisincreasingcollaborationbetweenlocal
authoritiesforexample,nineofthetenAGMAdistrictscametogetherrecentlytoprepareamegahubMusicEducationPlanbid.CHAOS(CheshireandWarrington),LearnTogetherPartnership(Merseyside,Halton,CheshireandWarrington)andGreaterManchesterLocalAuthorityArtsOfcersareallexamplesofthrivingnetworks.Thisisbeginningtogobeyondsharingpracticetojointdelivery.
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CommissioningWhenthedustsettlesmanylocalauthoritieswilllooktowardsthecommissioningofexternalpartnersasamodelformeetingtheiraims.Thegrowingbodyofevidencedemonstratingthatarts,culturalandcreativeapproachescanhaveapowerfulimpactinareassuchashealth,education,communityempowermentandcrimereductionsuggeststhereshouldbekeyopportunitiesforthebestcreativeandculturalproviderstooffersupport.Inmanywaysthemarketismoreopenthaneverbefore
andtherearesignicantopportunitiesforartsandculturalorganisationstooffercompetitiveprovisionthatwouldpreviouslyhavebeendeliveredbythelocalauthority.
Localauthoritycommissioningapproacheswerefeltbymanytobetooinaccessibleandpaper-basedanditwasfeltthatmoredialogueandrelationshipbuildingshouldbecomepartoftheprocess.Onestrategiccommissionersaidshewouldalwaysprefertohearwhatchildrenandyoungpeoplewhohavepreviouslyworkedwithaparticularproviderhad
tosaybeforemakingadecision.
Cultural tourismSomelocalauthoritiesareworkinghardtopromoteculturaltourisminanattempttobringmorevisitorsintothearea.Thishasseensomeinterestingprogrammesofcollaborationbetweenheritagevenues,forexample,butitalsoraisesachallengingdebatearoundtheroleofpubliclyfundedandcommercialactivityandhowthesemixedeconomiescanworktogethertoattractexternalvisitorstoanarea.
Cultural buildingsSomeauthoritiesareworkinghardtomaketheirculturalbuildingsaccessibleandpopular,somearedisposingofthemorclosingthem.Inoneauthoritytheartsofcerexplainedhowclosingvenueswashavingaknock-oneffectonfamilyengagementasparentsliketoseeend-of-projectperformancesinaprofessionalvenue.
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Key Bridge priorities for year one
WorkcloselywithlocalauthoritycommissionerswhowishtodeveloptheirunderstandingofthecontributionartsandculturecanmaketotheChildrenandYoungPeoplesplanandbroadersocialagendas.
Facilitateconversationsbetweencommissionersandcreativeandculturalproviders,supportingproviderstocommunicateincommissionerfriendlylanguage;e.g.XyoungpeopleexperiencedYandthebenetsareZ.
Radicallyincreasetheproleoflocalauthoritieswithin
theNorthWestwhoarechampioningartsandculturalprovisionforchildrenandyoungpeople;thiscanbeusedasapromptandtooltoreengageotherauthorities.
AttendlocalauthorityArtsOfcernetworkmeetingsandofferaregionalperspectiveandopportunitiestojoinupprogrammesandapproaches.
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Local authorities Children and Young Peoples Plans
The most common priorities for the Children and YoungPeoples Plans (CYPPs) for the ve sub-regions are to;
Promotehealthylifestylesandhealthychoicesandreducebehavioursandidentifythoseatriskofharmatanearlystage;
Improveaccesstoandinuenceoverservicesandopportunitiesforvulnerablegroups;
Promoteenjoyment,positiveplay,recreationand
leisureactivitiesforallchildrenandyoungpeople; Provideopportunitiesforchildrenandyoungpeople
toengageandbevaluedasresponsiblemembersoftheircommunities;
Raisetheaspirationsofallchildrenandyoungpeopleinallaspectsoftheirlives;
Supportchildren,youngpeopleandtheirfamiliestoachieveeconomicwell-beingandreducethenumberslivinginpoverty;
Toimprovetheemotionalwell-beingandresilience
ofchildrenandyoungpeople; Safetyandsafeguarding.
ThereisverylittleexplicitdiscussionofartsorcultureinmostoftheCYPPs,withthefocustendingtobemoreonpositiveandleisureactivities.
The type of priorities raised include:
Increasingthetakeupofleisure,sportsandculturalactivitiesbyallchildreninsideandoutsidetheschoolcurriculum;improvingdevelopmentopportunities,adviceandguidanceandpositiveleisureactivities;improvingattainmentofpupilsatearlyyears;andfamilycommitment
tolearning.
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Local authorities strategies for arts and culture
Children and young people are mentioned throughoutlocal authorities strategies for arts and culture includingpriorities relating to schools and schooling:
enhancingopportunitiestochallengeandsupportschoolsandthewidercommunityindevelopingthecurriculumorprojects;
workingwithpartnerstoprovidesupportandtrainingtoensureacreativecurriculuminschools;
engaginginthedevelopmentofthe1419curriculumincludingvocationalopportunitiesrelatedtotheculturaleld;
supportingprimaryschoolsbyplacingprofessionalcreativepractitionersintoschoolsandotherlearningenvironments;
incorporatingcultureandsportwithintheBuildingSchoolsfortheFutureprogramme;
increasingaccesstocreativelearningforchildrenandyoungpeopleinandoutsideofschoolsandensuring
thatcreativityisacorepriorityinlifelonglearning.
Other related agendas include:
developingculturescontributiontothechildrenandyoungpeoplesagenda;
promotinglife-longlearningopportunitiesinarangeofvenues;
sharingbestpracticeinartseducation; developingeducationandtrainingopportunitiesrelevant
totheneedsofbusiness,individualsandthecommunity; providingarangeofformalandinformallearning
opportunitiesinarangeofsettings; developingyouthledpracticeempoweringyoung
peopletoidentifyareastheyareinterestedin,inordertosupportsocialregeneration;
makingtheenjoymentofandparticipationincultureandcreativityaccessible,affordable,importantandenrichingforallpeople,especiallytheyoung;
improvingtheself-esteemandhealthofchildrenandyoungpeople.
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Other relevant themes within the local authorities arts andcultural strategies include:
Arts,culture,thebuiltenvironmentandsenseofplace; Economiccontribution,regenerationanddevelopment; Increasedparticipationandaccess; Fortheartsandculturetobeanintegralpartof
supportinghealthandwell-being; Engagingwithartandartists; Funding,developmentandpolicymaking; Providingopportunitiesforyoungandoldtowork
alongsideprofessionalartistsandcreators; Addressingissuesofsocialinclusionthrough
concessionschemes; Developingopportunitiesforhighqualityartsactivitiesto
takeplaceinruralandoutlyinglocations; Increasingaccesstoinformationaboutfunding
opportunitiesforthearts; Workingwithorganisationstosecuresourcesoffunding
andtoencouragethedevelopmentofbids.
Youth workTherearerealchallengesherewiththehugelossofopenaccessservices,theimpactofdeliveringtargetedonlyservices,andtheshiftoftheseservicestoschoolsettingsforyoungpeoplealreadydisengagedwiththeformaleducationenvironment.TherealsoseemstobealackofconnectivitybetweenYouthServicesandotheragencies.
Youthworkersareamajorassettoenablingyoungpeopletoaccessartsandculturalprovision,theyhavelocal
knowledgeandcontactsinthemostdeprivedareasandexistingrelationshipswithhardtoreachyoungpeople.Theyalreadyrunartsbasedactivitiesamongstmanyothertypesofactivityandareoftenresponsibleforyoungpeoplesrstexperiencesinculturalparticipation.
Howeverthereareoftenissueswiththequalityofthisprovision,whichwarrantsfurtherexploration.Itisacknowledgeditcanbehardtondtherightpeopletospeaktoinmanyyouthsectoragenciesto
initiatepartnership.
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Schools and the Education Sector
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It is widely acknowledged that schools are uniquelyplaced to ensure that children and young people have theopportunity to access the very best in arts and culture.For the vast majority of children, schools form the mostsignicant part of their education and for those fromthe most deprived backgrounds, school is particularly
important in offering experiences children may neverotherwise have access to.
Schoolsofferingexcellentartsandculturalprovisioncombinestructuredcurriculumlessonsinwhichchildrenandyoungpeopleparticipateinadiverserangeofartsandculturalactivitiesasastimulusforlearning,alongsideprogrammesofafterschoolactivityforchildrenwithpassionsforparticularartforms.Manyschools,particularlyhighperformingschools,bringincreativepractitionerstoworkalongsideclassroomteachers.Thesecreativepractitionersmaybefreelancespecialistsoremployeesofartsandculturalorganisationsorprivate
sectorcompaniesfromthecreativeandculturalindustries.Ourvisionistosupportmoreschoolstoembedartsandcultureacrossthecurriculumandbeyondsothatpupilsexperiencearichdietofculturalexperienceseverydayandcometoexpectnoless.
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Strategic contextSchoolsnowhavemoreautonomyandchoiceabouthowtheyspendbudgetsanditispossiblethatsomeschoolswillusethisopportunityalongwiththenewlyslimmeddowncurriculumtosupportartsandculturemorefreely.Therearemanyexcellentexamplesofschoolsusingculturallearningtodemonstratetoparentsthattheyoffernotonlyahighstandardofeducationbutalsodynamicnewexperiencesthatmaketheirchildrenbettercommunicators,betterlearners,morecondentand
ultimatelymoreemployable.
The2010SchoolsWhitePaperTheImportanceofTeachingstatesthatchildrenshouldexpecttobegivenarichmenuofculturalexperiences.However,therearerealconcernswithintheregionthattheEnglishBaccalaureateactuallyincentivisesschoolstodeprioritisetheartsandculturallearningbecausethemajorityofschoolswillchoosetospendmuchoftheirmoneyinareastheyknowtheywillbejudgedonthemost.Thereisasignicantand
growinguneasethatsubjectssuchasArtandMusicwillbecomelessvaluedinschools.Thefullimpactofthisremainstobeseen.
ManyoftheschoolsmostcommittedtoartseducationhavedemonstratedthisthroughachievingArtsmarkGoldorthroughbecomingCreativePartnershipsschoolsorachievingspecialistartsstatus.Itistheseheadteacherswhoaresayingthattheirideologyandtherealitiestheynowfaceareindirectconict.Theyarestillpassionateabouttheintrinsicbenetsofartsandculturebutsaythatasitsnotstatutoryormeasured,amyriadofotherpressuresaretakingpriority.
MoneyHistorically,localauthoritieswouldoftencommissionartsandculturalorganisationstoworkwithclustersofschoolsandthisenabledcoherentinterventionstotakeplaceonalargescale.Delegatedbudgetsnowmeanschoolscanjudgethemarketmoreindependentlyandmaketheirowncommissioningdecisions.Inmanywaysthiswillbeapositivestepforschoolsbutitdoesmeantheyarelessabletobenetfromtheeconomiesofscaleandsecuritythatcamewithblockbookingsandbeingpartofalocalauthority
co-ordinatedprogramme.
SchoolsthemselvesareconcernedaboutfundingandsaythatwithoutthebudgetstheyusedtohaveoreasyaccesstoCreativePartnershipsstyleinitiatives,valueformoneyandcosteffectivenessareincreasinglybecomingthemostimportantfactorsinselectingexternalprovision.
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The role of parents and culture in schoolsFormanychildrenandyoungpeople,parentsarethemostinuentialadultsintheirlivesanditisvitallyimportantforschoolstodevelopparentsunderstanding,experienceandattitudetowardsartsandculture.Schoolsarekeytoengagingparentsinunderstandingboththevalueofparticipationinartsandculturalexperiencesandtheartsandcreativeindustriesasaviablefuturecareeroptionfortheirchildren.
Withfallinglocalpopulationsandpupilenrolments,whereparentschoosetosendtheirchildrencanincreasinglymeanthedifferencebetweensurvivalandclosure.Insomeareas,familyandparentalvoiceisbecomingasimportanttoschoolsasleaguetables.Highqualityartsandculturalprovisionandemphasisonexperientiallearningopportunitieswillmakeschoolsmoreappealingtomanyparents,whileotherswillmakeselectionsbasedonpastperformancetablesandOfstedreports.
Time and moneyMostschoolshavelittleexperienceoforskillsinfundraisingandthisissueiscompoundedbythelackoftimeavailableinschooltobuildthiscapacity.Whenopportunitiesaresentintoschoolthatrequirecompletionofalengthyapplicationformwithlittleguaranteeofsuccess,therealityisthatmoreoftenthannottheywontbecompleted.Schoolsrecognisethatbuildingalongertermrelationshipwithanartsorganisationwillbemutuallybenecialbutoftentheirbudgetonlyenablesthemtoaffordaworkshopfromanarts
organisationorapractitionerforaday.
Schoolsdowanttoknowaboutqualityprovisionavailablelocallybutagaindontoftenhavethetimetodothenecessaryresearch.Relevantinformationdoesntalwaysgetthroughtoteacherseitherwithopportunitiessometimesbeingdiscardedbyreceptionbeforetheyareevenseen.SchoolswouldlikethemostrelevantinitiativestobesignpostedtothembytheBridgealongwithsupportwritingthebid.Theywouldalsolikeexamplesofbidsfrompeople
whohavereceivedfundinginthepast.
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The role of the senior leadership teamSchoolswithastrongtrackrecordinartsandculturalprovisionhavebuyinatseniormanagementteamlevelfromindividualswhounderstandandcanarticulatehowsustainedhighqualityculturalinterventionscontributetoschoolimprovement,improvedlearningoutcomesandraisedachievement.
SchoolswelcomedHenleysideaofaculturallearningleadineachschoolwhowouldbeamemberofthesenior
leadershipteamandactasarstpointofcontactandculturalchampionwithintheschool.Thispersonwouldberesponsibleforknowingwhatsavailable,bringingappropriateculturalprovisionintoschoolandsignpostingpupilstoculturalactivityinthewidercommunity.TheywouldalsobeakeycontactfortheBridgewhowouldgivethemasmuchinformationaspossibleandencouragethemtofeedbackonprovisiontakenup.Theyfeltthisroleshouldbedeliveredbyamemberofexistingstaffwhowouldunderstandthecomplexitiesoftheschool
andbeabletonegotiatethesefromwithinwhenplanningprogrammesandinitiatives.
Withoutexternalfundinghoweveritwasfeltthatthiswouldbedifculttoembedonanysignicantscale.Therearetoomanyotherpressuresandnotenoughtimeorcapacityforexistingmembersofstafftoprioritisethiskindofwork.Oneschoolsuggestedaclusterofschoolscouldshareresponsibilityfortakingonanindividualtofullthisrole,signpostinglocalprovision,poolingresourcesandcoordinatingactivitiesbetweenschools,usingamodelsimilartothatoftheExtendedServicesCo-ordinatorsortheSchoolSportsCoordinatorroles.
Professional development
Itsimportanttoadvocateforthespecicroleteachersthemselvesplayandwillcontinuetoplayindeliveringartsandculturaleducation.Manyofthoseconsultedbelievecurrentprofessionaldevelopmentinrelationtodevelopingartsandculturallearningopportunitiesintheclassroomiswhollyinadequatefortheschoolworkforce.Lookingtowardsopportunities,theelevenTeachingSchoolsintheNorthWestcouldprovideavaluable
resourcehere,perhapssupportingNQTstodeliverartseducationinpartnershipwithartsorganisations.Thiswoulddeveloprealworldconnectionstotheculturalsectorandensurerealrelevance.
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Free schools and academiesItishopedthatsomeinterestingmodelsmayemergeintheregionwherefreeschoolsandacademiescomeforwardandprioritiseculturallearning.Thereareopportunitiesfortheculturalsectortoplayaroleinadvocatingtoheadteachersandgovernorsforthisapproach.Schoolscouldinvolvecreativepartnersincurriculumplanningandintegrateculturalactivityintotheirdaytodayworkbytakingoncreativepartnersasmembersofthecoreteam.Suchschools,ratherlikeCreativePartnershipsSchools
ofCreativitycouldsupportotherstotakethisapproachbysharingpracticewidelyandevidencingtheimpacthighqualityartsandculturalprovisioncanhaveonlearningoutcomesandachievement.
Schools as cultural community hubsOurvisionistodeveloptheconceptofschoolsasoutwardfacingculturalhubsincommunities.Wewillworkwithschoolstohelpthemdenethemselvesasculturalspaceswhichareaccessibleandrelevanttothecommunitiestheyserve,andwhichhavewideknowledgeoflocalprovisiongroundedinlocalnetworks.Despiteallofthecontextualchallenges,thereisstillrealappetiteamongstteacherstopushforartsandculturetobetheheartofschoolimprovement,familyengagementand
learningprogrammes.
TherearesomepracticalbarriersemergingfromnewBSFschoolsinrelationtothisvision,onewhoreportsnotbeingabletoputpupilsworkonthewallsthemselves(ithastobesenttoacompanythatturnsitintoapeelabletransparency)andanotherwhodescribesthebarrierstousingschoolspacesforthecommunity(youhavetobuythespacebackatextortionatecommercialratesoutofcoreschoolhours).
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Cluster workingThechangingrelationshipswithlocalauthoritiesmeanthatmanyschoolsarenowkeentodevelopnewclustersorstrengthenexistingclusterswithafocusondevelopingartsandculturalprovision.Theseclusterswouldcometogethertoshareexpertiseindifferentartformareas,exploreprinciplesofgoodpartnershipworking,poolfundingresourcesandworktogethertoco-commissionprovision.ThebridgewillworkwiththeseclusterstoofferadviceandideasaroundintegratingartsandcultureintoSchool
ImprovementPlansandusingArtsmarkandArtsAwardtoimproveengagement,progressionandachievement.
Networks and advocacyThereisaclearrolefortheBridgeintappingintoexistingschoolnetworksofheadsthroughtheNationalCollegeforSchoolLeadership,theTeachingSchoolsNetworkandacademynetworks,forexample.Subregionalnetworksofschoolscanactasleadersandadvocatesforarts,cultureandcreativityinthisnewlandscape.TheBridgewillworkalongsidethesenetworksandotherkeyregionalandnationaleducationalpartnerstosupportthecampaignforartsandculturetoremainacorepartofthecurriculumas
separatesubjectsandtoensureallchildrenandyoungpeoplehaveregularaccesstoartsandculturewithintheireducationalsettings.
Localauthoritiesoftensayitisthesameschoolsthatengagewitheveryofferoverandoveragain.ThereisworkfortheBridge,artsandculturalorganisationsandotherkeypartnerstodotoengagemoreschoolssothatagreaterproportionofchildrenandyoungpeoplehaveaccesstotheseopportunitiesandnotonlythoseattendingthemost
culturallyengagedschools.
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Key priorities for the Bridge in year one Signpostschoolstorelevantopportunities
andofferbidwritingsupport. Researchforumsforaccessingschoolsenmasse
andusetheseopportunitiestoadvocateforartsandcultureineducation;e.g.PrimaryandSecondaryHeadAssociationsannualconference,NationalCollegeforSchoolLeadershipeventsalongwithNorthWestregionaleducationgatherings.
Launchacampaignencouragingeveryschoolin
theNorthWesttonominateamemberoftheseniorleadershipteamasaCulturalEducationChampionastheirrstpointofcontactfortheBridge.Signupasmanyschoolsaspossibleintherstsixmonthsandensureregularcontactismaintained.
WorkwithsubregionalschoolclusterstoofferadviceonartsandculturalprogrammesandhowArtsmarkandArtsAwardcanbeusedtoimproveengagement,progressionandachievement.
Investtimeinadvocatingforschoolstoregularlyinclude
artsandculturalactivitiesinthedecisionstheymake. Offersupporttoheadteachersandteacherstokeepthe
creativeandculturalagendaalive. DevelopstrategicrelationshipswiththeTeaching
SchoolsintheNorthWest.
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A secondary school in the North WestTheschoolhashadaveryunstablefewyearsduetolowstandardsandothersignicantchallengesthatcomefrombeinginadeprivedarea.Theschoolhasafallingrollwhichissettocontinue.Thismeansthereisalotlessfundingaroundwhichismakingisdifculttoimplementnewinitiativeswhentheyaresimultaneouslymakingstaffredundant.Staffarealsoverystretchedfortime,andtheschooloffersawiderangeofsubjectsatKS4whichmakesthetimetableverytrickyandnotveryexible.Recentlythey
havebeenconcentratingonsettlingandcoheringthestaffteambuttheheadisnowkeentousecultureandcreativitytoenliventhecurriculum.
Theschoolhasexcellentartteachersandastrongperformingartsdepartment.Schoolproductionsarealwaysincrediblywellattendedbythelocalcommunityandpupils,andthereisverylittleotherprovisioninthelocalarea.Theheadisawarethattheschoolisliterallytheheartofthelocalcommunity.Hetakesthisresponsibilityveryseriouslyand
wouldliketogrowtheschoolintoacreativehubfortheuseofthewholecommunity,notjustthepupils.
Theschoolhaslimitedculturalconnectionsbuttheydohavealotofexperienceofworkingwithotheroutsideagencies,especiallyaroundsport.Therearesomevisitstoculturalinstitutions,buttheywouldbenetfrommore.Thereareahandfulofartistswhoareusedoccasionallytoenhanceclassroomactivity.Theytendtousepeopletheyhaveusedbeforeoraskotherschoolsforrecommendations.TheydonotcurrentlyengagewithArtsAwardorArtsmark,butmightconsiderthisonceothermorepressingissuesareaddressed.
Theheadbelievesthatcultureandcreativitycouldholdthekeytomakingthecurriculummoreaccessibleforthetypeofpupilshisschoolhas.Hefeelsthecurrentcurriculumistooacademicanddoesntworkforhispupils.Hispupilshavelimitedexperienceofthewiderworldandopeningupmoreartsandcultureexperiencescouldraisetheiraspirations.Hebelievesculturallearningencouragesresilience,enthusiasmandcuriosity.Forthisteacher,qualityissomethingpersonalisedtohispupils,somethingwhich
engagesthemsuccessfullyandsomethingwithalongtermimpactwithclearoutcomes.
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A Special Educational Needs school in the North WestThisisaspecialistperformingartscollegethatrunstheirowntheatrecompanyinpartnershipwithaprofessionaltheatrecompany.ThewholeFEdepartmentgiveafulldayaweektothetheatrecompanyandareinvolvedwitheveryelementofproductionincludingprops,costumeandtechnicalprovision.TheytourtootherschoolsandhaveperformedatadulttrainingeventsforthoseworkingwithSENchildren.Asaspecialistcollege,theyalsoprovideCPDtrainingtoschoolsaroundKS3dance,drama,musicandart.Thedeputyheadisconcerned
thereareveryfewprogressionroutesfortheirpupilsandwantstousethetheatrecompanyasaformofadvocacytocommunicatewithpeopleresponsibleforSENpost19provision.
Theywanttocontinuetoactivelysupporttheprofessionaltheatrecompanyworkingwiththemastheyareworriedtheymaysoongooutofbusiness.Thisistheonlycompanythatprovidesartsandculturalprovisionoutofschoolthatisaccessiblefortheirpupilsinthelocalarea.
Teachersareveryenthusiasticandonboardbutsometimestheparentsneedpersuadingandtheydolotsofopensessionstoencourageparentstocomealongandseewhattheirchildrenaregettingoutoftheartsandculturalprovisiononoffer.Manypupilscanttravelindependentlyandtheschoolspendsalotoftimeadvocatingthevalueofartsandculturalexperiencestoparentsassomanyofthepupilsarereliantontheirparentsandcarerstomakeanythingpossibleforthemoutofschoolhours.
Forthisschooltheartsandculturearethekeywaysinwhichtheysupportpupilstocommunicateandexpressthemselvesandtovaluetheirwork.Beingcreativeissecondarytoallthisfortheseyoungpeopleitsawayofdevelopingtheskillstheyneedforlife.
Inselectingpractitionerstheschoolalwaysstartswithpeopletheyveworkedwithbeforewhomtheyknowtheytrust.Ittakesalongtimeforpeopletogettounderstandthecomplexitiesofthepupilsandtheschoolsotheyre-usepeoplewhereverpossible.Thedeputywilloccasionallytakeariskonsomeonenewbut
prefersnotto.Forthisteacher,aqualitypractitionerissomeonewhoinvestsinplanningandreectingaspartoftheprocess,providesequalemphasisacrossprocessandproductandengagesallpupilsinachievingsomethingnew.
Fundingisntcurrentlyaproblemastheyhavethisthroughtheirspecialiststatusalthoughthiswillendnextyear.Theyhavepreviouslyhadfundraisingtrainingtohelpstaffsourcemoney.FromtheBridgetheschoolwouldliketobepartofanetworktoshareideaswithotherteachersandattendartistmarketplace
eventstondnewpeopleandinformationaboutfundingandhelpinaccessingit.
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A primary school in the North WestThiswasaCreativePartnershipsChangeSchoolandintheacademicyearfollowingtheendofCreativePartnershipstheschoolgovernorscommitted20ktoartsandculture,whichwasusedtobringintwoexcellentpractitioners,supportingallclassesforafullyear.Thisfundinghasnowgoneandwillnotberenewed.
FollowingOfstedthisyeartheschoolisunderincrediblepressuretoimproveattainmentastheyarenotcurrently
hittingtheiroortargets.Thefallingstandardsareputtingenormouspressureonstaff,theyareworriedtheywillbeforcedtobecomeanacademyandarestronglyresistanttothis.Theheadisnotagainstartsandculturebutnotparticularlyinvolvediniteither.Thecurrentfocusisrmlyonraisingattainmentandtheschoolarelookingforquickwins.Thereisageneralperceptionwithintheschoolthatusingcultureasatoolforlearningdoesgetresultsbutnotquicklyenough.
TheyarestillusingalotoftheskillslearnedthroughCreativePartnershipsandhavedonesomeinterestingprojectsbutlessthantheywant.Theyhaveregulardanceworkshopsfundedthroughtheschoolsportspartnershipbutfeelthisisslightlydifferentbecauseitcomesfromasportperspective.Thechildrenthemselveswouldreallylikeachoirandtheirclassteacheristryingtomakethishappen.FormostchildrenEnglishistheirsecondlanguageandsingingandvoiceareapriorityfortheschooltoencouragethechildrentobevocalandtoexpresstheiropinions.
However,thestaffdontfeeltheyhavetheskillswithinthestaffteamtomakethechoirhappenandthereisnomoneytobringanyonein.
Wideningtheirperspectivesandexperiencesoflifeisessential,asthesechildrendoverylittleexceptgohome,havedinner,dohomework,gotomosque.Tocombatthistheschoolhasshortenedtheofcialdaybythirtyminutestoensuretheyofferthepupilssomeculturalexperienceswithinschooltime.Thisdoesmeanhoweverthatthedayis
veryrushedandthereislesstimetosqueezeeverythingin.
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Forthisteacher,aqualityartsandculturalexperienceispractical,handsonandinteractive.Itmusthaveahighvisualcontentbecauseofthelanguagebarriersandbegoodvalueformoney.Sheprefersindividualpractitionerstobigcompaniesasshefeelslargercompaniesdontlistenproperlytoschoolsneedsandjustdowhattheydo.Thisteacherwouldchooseapractitioneriftheyhadbeenrecommendedbyanotherschool.Theytendtousethesamepeopleandplacesasnewthingsareagambleanditstimeconsumingtondoutaboutthem.
FromtheBridgethisteacherwouldlikeadirectoryofopportunities,particularlyiftheyhadreviewsfromotherteachersfromasimilartypeofschool.Shewouldlikethebridgetoworkwithartiststohelpthemunderstandschoolsbetterandtobeabletoexplainmoreclearlywhatareasofthecurriculumtheirworkwillbenet.Everythinghastobelinkedtolearningoutcomesandpractitionersarenotalwaysgoodatmakingthelinks,whichmeanstheteachershavetodoextraworktomaketheselinksexplicit.
Itwouldbegoodtocreateaforumwhereschoolscanmeetandtalkalthoughgettingoutofschooliscostlyandproblematic,soitmustbeeffective.Schoolscouldclustertogethertobringcompaniesfromfurtherawayandsharethecostoftravelandaccommodation.Fundinginformationwouldbeusefulbutitwouldhavetobequickandeasytoaccess.
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Relationships Between Arts and
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A key remit of the Bridge organisation is to help schoolsidentify and access arts and cultural opportunities andhelp cultural organisations bring the experiences theyoffer to more children and young people. This sectiongathers a range of perspectives on the issues, challengesand benets of partnership working between schools
and cultural organisations that result in effective learningoutcomes for children and young people. We also offersome actions we will take to support effective partnershipworking between these sectors.
Itisnoexaggerationtosaythatthesesectorsliveindifferentworldsandoneofthebiggestchallengesinbringingtogethertwosectorsusedtodifferentrealities,terminologies,conceptsandpressuresisdevelopingasharedlanguagethatenablesmeaningfulcollaborationtofollow.Goodpracticerequiresatwowayowoflisteninganddialogue.
Accessing one anotherSupportingartsandculturalorganisationstondandaccessoneanotherisonlythebeginning.Butitisoneofthebiggestchallenges.Culturalorganisationsoftenndschoolsdifculttomakecontactwith.Manymoreteachershaveemailnowthantheydidafewyearsagobutitcanstillbehardtoaccesstherightemailaddressandensureinformationreachesitsdestinationandisnotlostatthereceptiondesk.Themajorityofartsandculturalorganisationsengagedwiththusfarwantaccesstoschools
simpliedandopenedup.
Schoolssaytheyknowtherearebrilliantpeopleouttherebuttheydonthaveenoughtimetoresearchtheoptionsavailabletothem.Weknowthatteachersdonthavethetimetospendhoursresearchingprovisionsowehavetomakeitaseasyaspossibleforthemtoaccess.Teachersoftenliveawayfromtheimmediateareaandsomaynotknowwhatshappeninglocallyinthecommunityinrelationtoculturalopportunities.
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Selecting provisionWhenaskedspecicallyaboutthearts,schoolsvaluedawiderangeofartforms;music,theatre,danceandvisualartswerethemostpopularbuttheirperceptionisthataffordableprovisionisnoteasilyaccessible.Artsorganisations,withthesupportoftheBridge,needtogetbetteratpositioningthemselvesasaninvaluableresourcetoschools.
Themostcommoncriteriaaffectingschoolsselectionof
externalprovisionarevalueformoney,positiveexperiencesofworkingwiththembefore,theirexpertiseofaparticularartformandtheircapacitytolinktheirworktothecurriculum.Someschoolswillonlyusepractitionerstheyhaveworkedwithbeforeorwhocomehighlyrecommendedfromschoolssimilartotheirown.Theysayqualityvariesgreatlyandifyoudontknowthepersonorprovision
Therewasastrongviewinoneartsofcersnetworkthatsomeschoolsarefavouringpriceoverqualitywhenbringinginartsandculturalpractitioners,havinganunsatisfactoryexperienceandthenabandoningartsandculturealtogether.
ReferencewasoftenmadetothelearningandvalueofthebrokerageprocessdevelopedthroughtheCreativePartnershipsprogramme;encouragingculturalorganisationstodiagnoseneedsandbrokerabespokeresponseisperhapsthemosteffectivewaytoengage
schools.However,someculturalorganisationsworkinginthecurrentcontextstruggledtoseehowthiswouldbepossiblewithincreasinglylimitedresourcesimpactingoncapacitysostrongly.
Schoolsmaybemorecondentinapproachingartsandculturalorganisationstheydonthavehistoricalconnectionswithiftheycantrustprovidershaveattainedcertainstandards.HenleysuggeststhisshouldalignwithhowOfstedassesseswhetherlearningisofahighstandardandbelievesthiswouldhelpheadsbemorecondentintrustingtheyarespendingmoneywiselyandtheirinvestmentwillhavesignicantimpact.Someteachersapplaudedthisidea.Otherssaidtheywouldstillwantrecommendationsfromaschooloranotherheadtheyknewlocally.
Its a lottery as to what youll get.People market themselves so well but
oten it doesnt mean anything, its just words.
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MoneyTheschoolssurveyedintheAllAboutAudiencesschoolsurveyhadallspentsomethingonexternalartsprovisioninthepastyearbut56%spentlessthan1000and41%saidtheywouldspendlessmoneynextyear.Onlytwoschoolssaidtheywouldspendmore.
TwothirdsofschoolssurveyedbyAllAboutAudienceshadengagedwithanartsorculturalorganisationinthelasttwoyears.For92%ofschoolsthemostcommonway
ofconnectingwasthroughaoneoffworkshopinschooloravisittoashow,exhibitionorevent.Twothirdsofschoolshadworkedwithfreelanceartspractitionersandathirdhademployedfreelancepractitionersforamonthormore.Thisisbynomeansarepresentativesamplebutitdoeshighlightaparticularchallengeforartsorganisations.Itappearsthattheschoolsmostopentoengagingwithexternalartsandculturalprovisionaremuchmorelikelytoemployafreelancepractitionerforanextendedperiodthanengagewithanartsorculturalorganisationforthesamelengthoftime.
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Relevance to the curriculum and learning outcomesSchoolswanttoworkwithartsandculturalorganisationswhocanprovideaclearoffertiedtopupillearningoutcomes.Theyalsowantorganisationstobeexibleabouttailoringtheirapproachtoschoolneedsandwanttoworkwithpractitionerswhoarekeentodevelopdialoguewithteachersandareopentojointplanningapproaches.Schoolsthereforeneedtotakeresponsibilityforarticulatingtheseneedsclearlyandbeexplicitaboutrequiredlearningoutcomes.
Culturalorganisationsmustensuretheiractivitiesarefulllingtherequirementsofschools,byensuringtheiroffersupportsclassroomlearningandmakesexplicitlinkstothecurriculumandsupportslearningoutcomes.Organisationsneedtotaketimetounderstandthemarketandworkhardtokeepuptospeedwithanychangesincurriculumfocus.Understandingthepressuresschoolsfacecanhelporganisationstargettheirofferaccordingly.Ifschoolsareunderpressuretoimproveliteracy,numeracyandwellbeing,thenaprogrammesupportingteacherstomeetoneormoreoftheseneedsmaybewelcomedwithopenarms.
MuseumsandGallerieshopethattheirpotentialforcrosscurriculumappealbasedonthebreadthoftheircollections,staffresourcesandbuildingscanbemadeknowntoschoolsandinthewiderculturalsector.Itwillbeseeninthesectiononpartnershipsthatpeoplewereexcitedbythepossibilityofcollaborationsacrossthesectortodothis.TheyalsohopethattheirrelationshipwiththeBridgewillhelpthemunderstandArtsCouncilEnglandanditsaimsandpriorities.
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Practical challengesSomeschoolslooktonationalinstitutionssuchastheRSCratherthanlocalprovidersbecausetheybelievetheyaremoregearedupforsendingatouringcompanyintoschools.
Someteacherssayprovisionhastocometoschoolasitistoodifculttotakepupilsonexternalvisits.Transportandtheassociatedexpense,riskassessmentsandotherpaperwork,thetimeittakestoorganiseandnotbeingallowedtotakepupilsofftimetableareallgivenas
signicantreasonsfornottakingpupilsoutofschool.Formanyculturalvenuesandsitesthisisproblematicastheybelievetakingprovisionintoschoolsreinforcesthenegativeperceptionsmanychildrenformfromarstexperienceofculture;thevisittoschool.Theywantyoungpeopleearlyontoformpositivememoriesandexperienceimaginativeencounterswithculturallearningexperiencesinincrediblesettingsoutsidetheclassroom.
Solutionstosomeofthesechallengeswereofferedfrommanyorganisationstohelpwithpaperworkandbureaucracyincludingdownloadableriskassessments,modeldocumentsonwebsites,previsitactivitysessionsalongwithideasforINSETS.Exampleweregivenwheretheschoolcanjustifythecostofacoachbecauseculturalorganisationshavecollaboratedtopresentfantasticcombinedexperiencesthatlastafulldayandlinkwithspeciccurriculumtopicareas.
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Models of partnership workingTherearemanymodelsofexcellentpracticeforpartnershipworkingbetweenculturalorganisationsandschoolswhichshouldbesharedmorewidely.Insimpleterms,artsorganisationsandschoolsneedtoworkmorecloselytogether.Programmesdesignedaroundadhocshortterminterventionswillnotsustainculturalorganisationsinthelongerterm.Insteadprogrammesneedtobedevelopedinresponsetotherealneedsofschools,linkedtothecurriculum,shapedbyteachersandpupilsandalignedwith
theschoolcalendar.Ifartsorganisationsliaiseeffectivelywithanumberofschoolswhocanbeclearaboutwhattheywouldliketobuy,perhapsayearaheadifnecessary,thenifthatpackageisofhighqualityitfollowsthatotherschoolswillbeinterestedinthispackagetoo.
Onegalleryhassetupapopularbi-monthlyprimaryschoolartteachersnetworkwhileacitybasedtheatrecompanyhasregularsecondarydramateachersgatherings.Atthisgatheringoneteachersuggestedmoreschoolswouldbooktheatretripsiftheywerescheduledtorunat4pmsotheycouldbebroughttothetheatrestraightfromschool.Thiswaypupilswouldnthavetogohomeandthencomebackagainandeveryonewouldbehomebymidevening.This,coupledwithprogrammingappropriateperformancesattherighttimesintheschoolcalendarinresponsetoteacher
feedback,hasbeenattributedtothemassiveincreaseinticketsalesfromschools.Despiteallthechallenges,manyculturalorganisationsbelieveworkingwithschoolsratherthanininformalsettingscanhavegreaterimpactonchildrenandyoungpeoplebecausetheyareacaptiveaudience.Withoutofschoolgroupsitcanbeverydifculttoestablishcontactwithagroupthathasthestabilitytodevelopworkoveranextendedperiodoftime.
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Partnering schools and cultural organisationsWeareinterestedindevelopingaprogrammewhereschoolsandculturalorganisationspartnerup,ratherlikeatwinningprogrammebutwithschoolsandorganisationsselectingoneanotherfreelyandhopefullydevelopingmeaningfulandlongtermbonds.Wewouldliketoexplorewithsmallgroupswhatthismightlooklikeiforganisationsandschoolsweretwinnedandmadespacetobuildarelationshipbasedonopenandhonestdialogue.
Thesewouldbereciprocalrelationshipswhereinartsorganisationsgatheradeeperunderstandingofschoolneedsandvaluablefeedbackonrecentinitiatives,whileteachersshareandgatherideasforcurriculuminnovationinthearts.
Forculturalorganisationsitcouldbeanopportunitytogettogripswiththelanguageoflearningoutcomesandthepressuresschoolsface,aspaceforartistresidenciesorresearchanddevelopment,anopportunitytogathertipsforsellingpackagestootherschoolsandanopportunityforaudiencedevelopmentthroughengagingdirectlywithmoreparentsandfamilies.
Forschoolsitcouldofferaccesstotheuseofavenueasaperformance,accesstonewpractitionersandCPD
opportunitiesandrealworldopportunitiesforpupilstoconnectwithaprofessionalculturalorganisation.Astheserelationshipsdevelopadeeperunderstandingofschoolneedsemerge,resultinginhigherqualityprogrammesandincreasedbusiness.
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Bridge key priorities in year one
Information
Createacomprehensiveinformationandbrokerageservicetoschools,workingcloselywithawiderangeofartsandculturalprovidersandexistingnetworkstocohereandsignpostprovisionandmakeiteasierforschoolstoaccess.
Raiseawarenesswithinschoolsandyouthsettingsofwhatlocalculturalorganisationscanoffer.Encourageschoolstomakebetteruseofwhatisgeographicallyclosetothem.
Supportartsandculturalproviderstotailortheiroffertotheparticularneedsandprioritiesofschoolsthroughhighlightinggoodexamplesandsignposting.
Brokerage
Explorehowgenuinedialoguecantakeplacebetweenschoolsandartsorganisationsasabasisfordevelopingnewmodelsofengagementthatleadtosustainedcreativeandculturalprovisionforchildrenandyoungpeopleandreportbackonthis.
Supportschoolsindevelopingtheirabilitytoengage
withculturalpractitionersandculturalorganisationsandbecomeeffectivecommissionerswithamoresophisticatedunderstandingofqualityandvalueformoney.
Supportbestpracticethroughsignpostingresourcesonourwebsitesuchasforums,casestudies,toptipsandhowtoguides.
Networks and events
Stageannualmarketplaceevents,coincidingwiththeschoolnancialyear,inwhichschoolscanmeetprovidersforanon-committalface-to-faceconversation.Thisisviewedpositivelybyschoolsasanefcientwayofmeetingpeoplefacetofaceandmakingcontactsfortheyearahead.
Offeropportunitiestoshareinnovativepartnershipworking
ideasacrossnetworksandatspecicevents. SupportexistingArtsandCultureNetworksrunbyartsand
culturalorganisationsforteachersandextend,encourageorintroducenewnetworkswherethesearelacking.
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A model of partnership workingAruralsecondaryschoolinLancashirehasastrongpartnershipwithalocalperformingartsvenueandtheextenttowhichyoungpeopleareengagedininuencingactivitywithinthisorganisationisimpressive.Thevenuefacilitatesaforumofyoungpeople(inschoolhours),supportedbyfourlocalhighschools.Thisforumstronglyinuenceswhatisdeliveredbythevenuesothattheprogrammescanbegenuinelyseentorepresentyoungpeoplesideasandcurriculumneeds.Forthevenueits
ashorttermguaranteethatticketswillbeboughtforcurrentshowsandalongtermaudiencedevelopmentstrategybasedoncustomerloyalty.Forschoolsitsaboutconnectingoutward,havinggenuineownershipandarealworldconnectionwithprofessionaltheatre.
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Ideas from the cultural sector focus groupsfor engaging schools
Agreeorganisationspecialismsanddolessbutdoitbetter,co-ordinateofferacrossorganisationsandagreewhoandwheretotargetsowerenotallhittingthesameschools.
Dripfeedschoolswithinformation,promotingthroughlotsofkeypartners.
Bringschoolstogetherforcreativeeventsandbuildontherelationshipdevelopedfromthesesharedexperiences.
Workwiththehighestqualityartiststodevelopsharedprogrammesoftrainingforschools.
Getschoolsandartsorganisationstoworktogethermorestrategicallyaspeerssharingskills.Encourageskillsexchangeandamutualsupportmentality.
Schoolsneedtobeinvolvedfromthestarttotakeownership.Findoutfromheadswheretheyseeartsandculturettingintotheirschoolworkingday.Ithastostartwiththeneedsoftheschoolsratherthanwhatwethinkts.
Phoneupteachersandbuildthepersonalrelationship.Makesuretheyhavetherightinformationtohand,makethemfeeltheyarepartofsomethingbiggerthattheycancontributeto.
Haveanetworkofheadsandteachersbutlookforwaystokeepinformationowingtothewiderstaffnetwork.
UseArtsAwardasavehicletoaccessschools;accreditationopportunitiesoftenengageheads.
Offershorttwilightsessionsininspirationalculturalvenuesorinformalsessionsaroundatheme,ratherlikeabookclub.
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In this context the creative and cultural sectorencompasses individual freelance practitioners, smallto medium enterprises and larger cultural institutions. Itincludes arts organisations, museums and libraries, andorganisations specialising in heritage and lm.
Thebridgewillplayakeyroleinprovidingsupporttotheartsandculturalsector,bothintermsofprovidingaregionaloverviewtosupportstrategicprogrammingandintermsofprovidingconstructivechallengedesignedtodriveupquality.Artsandculturalorganisationsareaskingforvaryinglevelsofsupport,fromengagingschools,familiesandwidercommunitiestocreatingrelationshipswithvenuesandhelpingschoolsraisemoney.Ourkeyaimistobringmoreyoungpeopleandartsorganisationstogetherinmeaningfulways.
Strategic landscapeThepictureiswideandvaried.ThepublicationoftheHenleyReviewofCulturalEducationandthegovernmentspositiveresponsehasprovidedarecentboosttotheculturalsector.However,manyorganisationsacrosstheartsandculturalsectorhavebeenseverelyaffectedbybudgetcuts.Otherswillhavemoremoneythisyear.Cutsandreductionsinfundingmeansomeorganisationsmayceaseworkingwithchildrenandyoungpeople.Therecessioncontinuestohaveanimpactonorganisationsdependentonticketrevenueand/orcommissions.ThemostanxiousartsorganisationsarethosewhowereunsuccessfulintheirbidtobecomeanNPO.
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National Portfolio OrganisationsFormanyNPOs,theirworkwithchildrenandyoungpeoplewasakeyelementoftheirsuccessfulfundingapplicationandsotheirprovisioninthisareawilleitherremainstable,increaseorinsomeinstancesbecomeasignicantstrandoftheirworkforthersttime.Forothers,theirprovisionforchildrenandyoungpeoplewillremaintheprimarypurposeoftheorganisationandtheywilluseACEfundingalongwithotherconrmedfundingstreamstosupporttheirwork.
SomeorganisationsfeelthatbecominganNPOwillcreateaperceptiontheyhaveplentyoffundingandwillmakeitharderforthemtobringinadditionalresources.NPOsarenolongerabletobidintoGrantsfortheArtsandforsomeNPOsthishadaccountedforupto50%oftheirfundinginthepast.Thisiscausingconcernforsome.
Othersareworriedabouttheirownlackofskillsinapplyingforandndingfunding,coupledwithalackoftimeandresourcetoseekfundingopportunities.Otherscitelackofmarketingsupport,expertiseorbudgetaskeyissues.
Impact of local authority cutsThedecreasedcapacityoflocalauthorityofcers,artsdevelopmentteams,neighbourhoodandrenewalmanagersandyouthsupportisnotonlyimpactingdirectlyonthetargetedservicestheydeliverbutalsoonthecapacityofculturalandcommunityorganisationstoreachouttowideraudiences.Theseorganisationsarendingithardertoattractmatchfundingtocontributetograntapplicationsandpartnershipprojectswithoutlocalauthoritysupportandorganisationswhohavehistoricallybeencommissionedbylocalauthoritiestodeliverservicesforchildrenandyoungpeoplearendingitdifculttoplanahead.
Thehighturnoverofstaffduetocutsandrestructuringismakingitdifculttosustainrelationshipsandcontinuity.Inrealitypeoplehaverelationshipswithotherpeopleratherthanwithorganisationsandwhenaparticularchampionofanorganisationleavesalocalauthority,forexample,itcanfeelasifthepartnershiphadneverexisted.
Itiswidelyrecognisedthatlocalauthoritiesarenolonger
aroutetoaccessschoolsandthereisnolongeradirectconduitthroughthelocalauthoritybetweenschoolsandotherorganisations.Organisationsarendingitmoreandmorechallengingtocontactschoolsandverytime
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intensive.WiththelossofLEAadvisersanddisappearanceofschoolclusters,itisvirtuallyimpossibletocontactschoolsenmasseandtheeconomiesofscalethatmadeblockbookingspossiblehavebeenlost.
Insomeinstancesartsandculturalorganisationsmaynowbecompetingwithnewlyindependent,ex-localauthorityschoolimprovementprovidersforschoolcommissions.However,aseducationalsettingswillnolongerreceiveschoolimprovementservicesfromthelocalauthoritytherearerealopportunitieshereforculturalorganisationsthemselvestobecometrainingsupportproviders.Artsorganisations,museumsandlibrariesarefollowingmanyofthetraditionalengagementpaths,focussingonyoungpeoplewitheconomicdeprivation,disabilities,offendingbehaviour(includingimprisonment),addictions
andsubstanceabuse,BMEcommunitiesorsimplelackofengagement.Meanwhile,localauthoritiesareeitherpursuinganeverythingforeverybodymodelinwhichtheirresidentscantryeverythingregardlessoftargetingorserviceshavetobesominutelytargetedthatthereisnoroomfordevelopment.TheremaybesomesupporttheBridgecanofferinreconcilingthesetwoapproachesasthelocalauthoritiesareinmanycasescommissioningorfundingtheartsorganisationstodeliver.
SomesaidthatartsandculturalorganisationsneedtogetmuchbetteratusingthefundingthatisavailablefromChildrensServicesandhealthservicestodeliverrealmeasurableoutcomes,offeringamorerigorousapproachtoplanningandmeasuringimpact,andwithagreateremphasisonprofessionalstandardsandqualityassurance.
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Partnerships with schoolsArtsorganisationsaresayingthereisabigslumpinbookingsfromschoolsandthatschoolsarebeingthriftywithwhattheyhavebecausetheyarestillwaitingtohearaboutfuturefundingandthefullextentofthelongtermcutsfacingthem.Theconsensusisthatschoolshavelessmoneytospendonexternalpartnersanditshardertoworkwiththembecausetheyresoburdenedwithtargets.
TheendofCreativePartnershipsfundinghashadabigimpactonsomeorganisationsintermsofreducedincome.Therearelessrequestsforsupportwithafterschoolprovisiontoo.Someculturalorganisationssaypersuadingschoolstoconnectwithafullysubsidisedfreeofferischallengingenoughandoftenimpossible.
Atsomepointculturalorganisationswillhavetodecidewhethertofocusonastrategythatengageswithasmanyschoolsandyoungpeopleaspossibleorwhethertooffermoremeaningfulrelationshipsinfewersettings.Someorganisationsarecurrentlyfeelingthetensionsbetween
thesetwoapproaches.Howthisplaysoutwillofcoursedependonhowthemarketemerges,whichatthistimeisdifculttopredict.
The impact of reduced funding on direct workwith children and young peopleReducedfundingwithinartsandculturalorganisationshasresultedinreducedstaff,particularlyforoutreachworkandthisisimpactingoncapacitytodeliverlongtermsustainedworkwithandforchildrenandyoungpeople.Nearlyallartsandculturalorganisationshaveaspecicstrategicobjectivearoundaccessandinclusion.Butasthemoneyrecedes,specialprojectsdeliveringaccessworkasoutreachareseeminglybeingreplacedwithpartnershipsforimaginativeprojectsinthemuseum,galleryortheatreitself.
Thereisaperceptionthatmostofthefundingstreamsopentothecreativeandculturalsectornowareveryprojectfocused.Individuallyfundedprojectsoftenprovideirregularburstsofactivity,makingitmoredifculttooffersustainedactivityforchildrenandyoungpeopleoverextendedperiods.Itisfeltthatoutreachworkcannotbefundedeffectivelythroughshorttermprojectfundingandcorecostsarenowrarelyavailabletofullthepurposeofoutreach.ThereismoreaboutthisintheEngagement
sectionofthisreport.
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Manyfundersappeartobepushingfornumbersoverquality.Forsomeartsorganisations,thesheerdiversityoffundingstreamstheyaremanagingmeansthatprojectshavesuchavarietyofgoalsandaudiencesthatanyoverallofferforchildrenandyoungpeoplehasbeenconsiderablydiluted.
Forthoseworkingwithintheconstraintsofacommerciallyoperatedvenueitisprovingdifculttoensurethatprovisionforchildrenandyoungpeopleisprioritised.Oneorganisationcommented;
Therearealargenumberofprivateprovidersofferingdrama,dance&musicprovisionofvaryingdegreesandquality.Thiscanbequiteexpensiveandmanyfamiliescannotaccessthistypeofprovision.Someorganisationsexpressconcernthattheyareincompetitionwiththeseproviderswhomarketthemselvesallovertheplace.
Somelocallybasedartsorganisationsarenowbeingaskedtodelivertheirofferacrossamuchlargergeographicalareatowidentheirreach.Thereareconcernsthatcapacitychallengeswillmeanthisoutreachofferisinrea