10 CAIM — 10 years supporting arts in the community
Welcome This publication has been prepared to mark 10 years of arts and culture supported by Craigavon Arts in Motion. In it, you will find 10 case studies that capture the variety of scale and style of projects that benefited from this funding. The case studies are arranged into 5 distinct categories, which describe the range of motivations that have led groups to seek CAIM funding. Both the case studies and the categories into which they fall are snapshots of an extensive, diverse, and decade-long funding scheme.
A toolkit to help groups develop, implement and evaluate their projects
There are many dozens more projects worthy of being shown here which we have had to omit for brevity but which have nonetheless made an invaluable contribution to the cultural life of the Borough since 2005. To ensure that the legacy of great art projects can continue beyond the life of CAIM funding, we have provided a toolkit to help groups develop, implement, and evaluate their projects. To give a sense of the scale of the funding and work it enabled, you will find the projects summed up in numbers at the rear of the book. We would like to take this opportunity to extend our gratitude to all the groups who have worked with us to avail of this funding through the years, to the CAIM funding sub-group, and to local Councillors for their support. Arts Development Department Armagh City, Banbridge, and Craigavon Borough Council
Researched and presented by PLACE on behalf of Armagh City, Banbridge, and Craigavon Borough Council
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Contents
Introduction
1: Enjoyment / Being Together Age on Stage
4-5
6-7
8-9
10-11
Bog Oak Memories
4: Cultural Exploration
24-25
Room to Rhyme
26-27
All Set Cross-Cultural Project
28-29
5: Developing Talent
30-31
Shrek & Donkey’s
4
2: Local Action / Public Art
12-13
Lough Shore Adventure
Life Through the Lens
14-15
Piping & Drumming in the Community 34-35
Re-Imaging Killicomaine
16-17
3: Social Inclusion
18-19
Busy Hands
20-21
Fabric Pictorial
22-23
32-33
Art Project Planning Toolkit
36-41
CAIM: A Lasting Legacy
42-44
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Introduction CRAIGAVON ARTS IN MOTION: A REFLECTION ON ITS DECADE OF EXISTENCE – A LEGACY FOR THE FUTURE UNDER ARMAGH CITY, BANBRIDGE & CRAIGAVON BOROUGH COUNCIL.
It is our belief that CAIM can be shown to have met the objectives outlined in its Constitution. It is our firm hope that Officers and Councillors charged with affording and improving access to the arts in all its many forms – whether visual, verbal or performing – will continue to support both individuals and voluntary oganisations who seek to broaden the population’s participation and enjoyment of all forms of artistic endeavour. It is my privilege to have been involved for most of the 10 years during which CAIM has existed. During that time I have been greatly impressed by the wide range of organisations involved in sustaining and developing the arts, as well as the willingness of artists to share their expertise in projects devised to afford opportunities for people of all ages to sample or develop new skills and abilities.
90,000 people have attended performances or exhibitions
The range of activities undertaken include animation workshops, blacksmithing, candle making, ceramics, choral music, circus skills, costume & scenery design, creative writing, dance & drama workshops and performances, film and jewellery making, instrumental practice and performance, painting, patchwork & quilting, photography, pottery, reminiscence workshops, sculpture-making spray art/graffiti art and murals, stone and wood carving, story telling, poetry writing, willow weaving, among others.
Some 130 artists & tutors (mostly, but not exclusively from Craigavon), have been involved in working with over seven thousand individuals, from pre-schoolers through all age groups – sometimes in cross community or inter-cultural settings. Adults and young people in the care of health service professionals have also had the chance to benefit. It is significant that some 90,000 people have been at performances or exhibitions following completion of projects, as well as being able to enjoy artworks now on permanent display locally. The average cost per participant per project assisted under grant aid from CAIM was £19.73 from a total of £150,860 approved by Craigavon Borough Council on the recommendation of CAIM’s funding sub group - by whose members all applications for project funding, of up to £2,400, were scrutinised. It is worthy 6
of note that all unsuccessful applicants were fully informed of the reasons they had not been awarded grant aid and, where appropriate, were assisted in formulating a revised application. We are pleased to find that 35% of projects in receipt of grant aid were from beyond the Portadown, Brownlow and Lurgan centres of population and that 40% came from Youth & Community Organisations throughout the Craigavon area. As well as project funding, it has been possible to award bursaries to individual artists to subsidise their attendance at annual events such as the John Hewitt Summer School and to assist those invited to attend presentation ceremonies marking achievement awards at national level. Small Grants – a maximum of £250 per group were awarded to support on-going programmes. At each committee meeting and on every other occasion, large or small, there was always the invaluable sharing of future plans, forthcoming events, and feedback on how the work of groups was going. Networking continued between meetings, often proving inspirational. In this respect, I’d like to acknowledge the significant contribution made to arts promotion and its development by those who were already heavily involved in running or leading their own group who have faithfully attended CAIM committee, sub-group, or event-planning meetings. Finally it would be remiss of me not to praise the invaluable, enthusiastic and constant support of Arts Development Officers of the Council and indeed that of Councillors who gave their time to attend CAIM meetings, special events, and to visit and encourage groups at local level. As one whose life experience, until relatively recently, included little or no artistic activity, I salute all those who enrich the lives of others through artistic endeavours of all kinds! CAIM are always encouraging new members if you have a passion for the arts please contact c-aim@armaghbanbridgecraigavon.gov.uk
George Kennedy George Kennedy was born and reared in Belfast. Now married with three sons and five grandsons, he has lived, with his wife Maree, in Portadown for 44 years. Trained as a teacher, specialising in PE, George has been involved in the early development of school-based youth work, Duke of Edinburgh’s Award, Outdoor Education and various bursary schemes as well as support, guidance, and training for youth workers. He has been working in a voluntary capacity in Seagoe Youth Group for many years. Since retiring, George has been a committed member of Portadown Male Voice Choir. It was through them that he became involved in CAIM, of which he has been Chair since 2011.
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Enjoyment / Being Together Very often, voluntary or community groups have sought funding to create opportunities in the local area for people to come together, be creative, and enjoy themselves. Projects in this category have included community festivals in rural areas or housing estates, local drama projects, summer schemes and arts events. They have been located in every part of the Borough of Craigavon and have showcased almost every art form.
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Age On Stage Groups ABC Community Network Age on Stage
Year
2013 18
About the group ABC Community Network was set up in 1995 to support community groups in the Armagh, Banbridge and Craigavon council areas.
About the project Age on Stage Craigavon commenced in October 2013 with 10 weekly dance and movement sessions, delivered in Brownlow Hub. The emphasis is on movement and performance with a particular focus on creativity, fun, and meeting others. Everyone was encouraged to enjoy dance as both a physical activity and as an art form. Between autumn of 2013 and spring of 2014, twenty sessions of dance and movement were delivered in the Brownlow Community Hub Dance Studio by Anthea McWilliams, who led the seniors through relaxation techniques with gentle stretching, breathing and fun dance exercises to memorable soundtracks from the 1940s, 50s and 60s.
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Participants
Audience
50
Dance tutor Anthea said, “The emphasis is on movement and performance skills with a particular focus on creativity, having fun, and meeting others. All the participants are very enthusiastic and the feedback has been very positive”. Indeed, the focus on playfulness and creativity clearly made an impression, with two participants attending a late October class fully dressed in Hallowe’en costume, much to the delight of the tutor and the other group members.
Enjoy dance as both a physical activity and as an art form 11
Bog Oak Memories Year
Participants
Audience
2012
35
60
About the group
About the project
Since 2004, Derrytrasna Senior Citizens Group has been organising reminiscence projects involving creative writing, storytelling, intergenerational workshops and crafts.
Beginning March 2013, the group ran a project in woodcarving, facilitated by local artist Jonny Kerr. The 12-week course began with an introduction to some famous woodcarvings, and a look at work produced by the artist-facilitator, before leading into the process of sourcing suitable wood, which was obtained from a local businessman who had recently felled a large tree. Once the material was collected, the group learned how to work with the tools, beginning by chiselling simple number-plates for their homes before moving on to more complex objects of their own design.
The participants had beautiful objects to take home
Though some of the group had reduced mobility in their hands, they were involved in the process of making by sanding, varnishing, and painting the wood. At the end of the project, the participants had beautiful objects to take home, featuring designs of animals, celtic symbols, and family names - all chosen for personal significance and memory.
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Local Action / Public Art Many groups have used funding to engage people in improving their local area, to tackle anti-social behaviour or express local culture and traditions. Projects have included spray art, mosaic, print, sculpture and temporary artworks. Very often, these projects attempt to address a problem or issue within a particular community, such as improving a derelict underpass or providing opportunities for skills development and creative inspiration to young people. The projects have led to increased understanding between generations, with older residents feeling safer and younger participants gaining experiences that they have relished.
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Helping young people gain self esteem and confidence
Life Through the Lens Year
Participants
Audience
2015
8
60
About the group
About the project
YMCA is a safe, shared space in the centre of Lurgan. Since 1986, it has been working to develop young people personally and socially, to see communities come together in a positive way.
‘Life Through the Lens’ took place over six weeks in the Spring of 2015. The idea was to develop photography skills in young people and, through this to help them gain self esteem and confidence. The project engaged with six young people from the Lurgan area, beginning with discussion sessions about their personal experiences of where they live. The group then worked with a professional photographer, learning how to use a digital SLR camera, and exploring, through the lens, parts of their town where they would otherwise not go. The project ended with an exhibition of the young people’s work. The experience had a huge impact on the participants, and some of the group got together later in the year and used their skills to create a photography course, raising almost £500 for the Lurgan YMCA.
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Re-Imaging Killicomaine Year
Participants
Audience
2012
6
1,600
About the group
About the project
Fuse Youth is a faith-based detached youth project established in 2009 and working mainly in the Killicomaine area of Portadown. It seeks to help young people by delivering diversionary and positive interventions to improve their life outcomes.
The bus shelter in Killicomaine has long been associated with underage drinking and antisocial behaviour.
the group developed ideas and created a piece of public art
The Re-image programme engaged the young people who were using the bus shelter for underage drinking. It was felt that an improvement in material conditions within the area might lead to a reduction in anti-social behaviour. Beginning work with artist Tim McCarthy, the group developed ideas and learned spray art skills to turn the bus shelter into a piece of public art that reflects the experience and ambitions of the area’s young people. The programme has benefited the community in a number of ways. It empowered the young people to lobby Craigavon Borough Council with other stakeholders to bring a Multi Use Games Area to their community. Residents also report feeling safer in the area around the bus shelter after the hours of darkness, especially as the bus shelter is adjacent to the local shop.
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Social Inclusion The value of arts projects to people who have a disability, are older, unwell, or isolated has been recognised by both the community & voluntary sector and the health professions. Involvement in the arts tackles social exclusion, providing an outlet for self expression, strengthening personal networks, and building social capital. These projects, using photography, dance, textiles and many more art forms, have helped participants come together and open up new opportunities for social contact, improved health, awareness, understanding, and empathy.
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Busy Hands Year
Participants
Audience
2014
25
50
About the group
About the project
Since 2004, Derrytrasna Senior Citizens Group has been organising reminiscence projects involving creative writing, storytelling, intergenerational workshops and crafts.
‘Busy Hands’ consisted of two workshops delivered in 2014 & 2015, developing skills to increase movement in the hands as well as being therapeutic for the participants. The first workshop involved fine painting and began in August 2014 for a period of 8 weeks and was delivered by local artist Bruce White. The workshops involved drawing exercises, observational skills, brush stroke techniques, and discussion of shared memories to generate ideas for their finished pieces. The second workshop, ceramics and pottery, began in January 2015 and ran for 6 weeks facilitated by Ciara Campbell. Using a portable potter’s wheel, the group worked with the clay, learning different techniques of moulding. After discussion, they decided to make a ceramic bird feeder, moulding them into shape and adding their own details using a variety of tools, before painting them with glaze and sending them off to be fired.
The group derived a lot of pride from the finished works
Both skills were new to many of the participants, and the group derived a lot of pride from the finished works they took away with them.
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Fabric Pictorial Year
Participants
Audience
2008
20
150
About the group
About the project
Ballydougan Patchwork and Craft Group was set up in 2001 as a voluntary group who develop annual programmes of activity that include patchwork, embroidery, crochet, and knitting, and which involves social events and outings.
The Group wanted to introduce the more contemporary fabric pictorial style of patchworking to the participants, as a departure from the traditional patchwork style they had previously focused on.
New experience and an introduction to new types of materials
After researching the technique, Mandy Northey Damms, a skilled textile artist was brought in. The techniques involved include preparing fabric for dyeing, using the colour wheel to create the mix of dyes and learning various types of embellishment using special threads. The group learned how to use the sewing machine threaded with special embroidery threads to effectively paint with thread, and, using various wools, they couched these with colourful thread to create an abstract picture. The participants also learned to create fabric flowers by sewing onto soluble fabric which, when washed away, only the sewn thread was visible to create a lacy effect. The people who took part in these workshops gained new experience and an introduction to new types of materials. This exercise was enjoyed by all and everyone appreciated the opportunity to take part.
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Cultural Exploration Arts projects provide a safe space for exploring cultural backgrounds and promoting positive community relations. Groups have used painting, song, photography, multi-cultural dance, and craft in projects, working side-by-side in a participatory way that increases understanding between people of different ethnicities, cultures, or religions.
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Room to Rhyme Year
Participants
Audience
2015
70
70
About the Group
About the Project
The Armagh Rhymers are one of Europe’s most celebrated folk theatre ensembles. A respected professional group of entertainers, they have delighted audiences for over 30 years with their unique blend of Mumming, poetry, music, drama, song and dance. Their style is deeply rooted in the old Irish Mumming traditions and they are easily recognised by their willow masks.
‘Room 2 Rhyme’ took place across May and June 2015 at the Richmount Centre in Portadown, engaging with older people from the village of Scotch Street and surrounding areas. The project consisted of 4 sessions of Rhymers workshops and performances, commencing with a short talk on the history of Mumming and the arts. The project encouraged interactive reminiscence from the group to build singalong workshops and short performance involving participants.
Dance, drama and storytelling
The people in attendance engaged in active participation both physically and mentally through dance, drama, storytelling, and questions, with interactive conversation. The project also made a major contribution to the ongoing programme of Arts and Culture being pursued by the Richmount Road Community Asscoiation.
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All Set CrossCultural Project Year
Participants
Audience
2012
70
150
About the group
About the Project
All Set was established in 1996 to bring pupils from linked schools across Belfast together through a traditional arts programme. In 1999, with funding from Arts Council of Northern Ireland, the project expanded across the region and opened up to the community through public performances. The project continued to develop further, with its ‘Culture for Peace’ programme across four schools in Craigavon. This project gave 200 pupils an insight into sectarianism and racism through the media of dance, drama, and music.
Since receiving CAIM funding in 2012, the All Set Cross-Cultural Project provides 1,500 pupils from partner schools with an exciting artistic programme highlighting traditional dance and music each year. This particular project offered pupils from a mainstream school (St Anthony’s PS) with a special school (Ceara Special School). The All Set project breaks down barriers, combats social exclusion, and enables all levels of ability to come together. The programme has a long-lasting impact on the pupils as they engage with each other and learn to accept and understand differences. The communities attached to the schools also enjoy the benefits and the experience of observing and taking part in the performances.
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Pupils engage and learn to accept and understand differences
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Developing Talent There is a thriving voluntary arts sector in Craigavon, and these groups have sought support for their work, new ventures, social events or skills masterclasses. Through these projects, thousands have enjoyed the results of participants exploring their talents in Dance, Song, Music, Poetry, Writing, Painting and Craft. Voluntary arts groups are often self-funding and a little extra support has helped them buy music or equipment or seek a larger grant from another funder. Masterclasses have provided groups with the opportunity to bring new skills to groups, enabling them to engage respected artists to work with them, increasing skills and exploring new areas. Whatever project they are currently engaged, in these groups are busy with new productions, performances, competitions and publications, giving local people pleasure and enjoyment.
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Shrek & Donkey’s Lough Shore Adventure Year
Participants
Audience
2010
30
70
About the group
About the project
Derrytrasna Community Group was formed in 1997. A small group, their promise is to promote the interests of the elderly, families, and children in the Derrytrasna area, especially in the fields of education, the environment, and social welfare.
Shrek & Donkey’s Lough Shore Adventure was a two-week drama and art project that took place from 5-16 July in Sarsfields Hall, Derrytrasna. The workshop was delivered by four student teachers - Jessica Breen, Shauna Harvey, Rachel O’Hara, & Vicky O’Neill - under the supervision of Jennifer Jordan, and with the support of four volunteer youth leaders.
The group performed their play to the local community
During the first week, the group of 31 children, aged 8-12 years-old, began to develop the 3-Act play, including costume designing and painting of a backdrop.On the final Friday, the group performed their play to parents, friends, and the local community.
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Piping & Drumming in the Community Year
Participants
Audience
2011
24
3,000
About the Group
About the Project
Battlehill Pipe Band was formed in 1908 and is a current member of the Royal Scottish Pipe Band Association. The band is dedicated to developing the musical talents of young players, and performs at RSPBA competitions, live concerts, carnivals, solo performances, school performances, football matches, youth parades, and other special events.
Piping and Drumming in the Community began in the Summer of 2011, and took place over a 10-week period in the Carleton Street Hall in Portadown. The project aimed to bring piping and drumming to the community by opening up their practices for the duration of the project. In addition, the band put on a number of performances throughout Craigavon to showcase their talents to a wider audience. The funding also provided a welcome boost to empower the group to improve performance levels and technique with expert tutors’ assistance. The project also enabled us to reach new audiences, attracting new young people to learn a musical instrument and also help to rebuild the band.
Showcasing talents to a wider audience
As a result of this funding, the band enjoyed a very successful competition season in 2013 which resulted in being upgraded to a higher grade level. They were awarded 5th place at the 2015 World Championship this year.
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Art Project Planning Toolkit
This Toolkit is divided into 3 sections — ‘Before’, ‘During’, and ‘After’ to help you get the most out of your arts project at all stages.
Before
There are a number of grants available to individuals and organisations and each comes with its own application and reporting procedures.
Developing Your Project
Sponsorship
To develop a project that meets the needs of your stakeholders, ask yourself the following questions. Write down your answers, keeping them simple and clear. They will form the heart of your project. There are no right or wrong answers to these questions, but thinking about them before you start will help build a solid foundation on which to plan your activity.
Some companies have a policy of supporting charitable events throughout the year and have a budget set aside for this. They will want to understand what they will receive from the partnership, such as profiling, opportunities for their staff to develop skills or experience, or an opportunity to enhance what they do through arts and culture, for example.
— — — — — — — —
Budgeting
What difference do you want your project to make? Why is this change needed? What activities will help you to make this difference? Who will benefit from your project? Who will you work with to make the project happen? How will you reach your beneficiaries? Who is your audience? What will your project produce?
Funding your project Once you decide on your objectives, audience, and outputs, you can identify the most appropriate source of funding for the project. There are a few options - selffunded, grants, sponsorship, or a mixture. There are pros and cons to each of these, but choosing the right way to fund your project from the beginning is important.
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Grants
One of the major constraints on arts projects is cost. Careful budgeting helps plan expenditure and ensures that your project costs will not be higher than your funding or income. Below are some headings to consider when preparing your budget: — — — — — — — — — — — — —
overheads eg. Heat, light, phone, internet management fee professional fees travel hall/room hire equipment materials print marketing hospitality volunteer expenses small miscellaneous expenses insurance
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Art Project Planning Toolkit
Before
When writing your budget, check that the costs are as accurate as possible. It is also important to note that If you are applying for a grant there may be stipulations about what the grant can and cannot cover.
Marketing Marketing is all about making sure that your project reaches the right people at the right time. When you develop your marketing strategy, ask yourself the following questions: — Who is your audience? — Where can you find them? (e.g. online, through local media, through a personal phone call, through an advert on local radio, in their homes, at a local community centre or religious congregation) — What tools can you use to reach them? (e.g. a facebook page, word-of-mouth, fliers through people’s letterboxes, advertising in local media) — What action do you want them to take? Arts marketing should have a clear call to action. Do you want your audience to come along to an event, to buy a ticket, to sign up for a workshop? — What is the best time to reach them? Make sure you give ample time for your audience to take action, but not so long in advance that they forget your project is happening. This will depend on the nature of your project. For a one-off event, a month to two weeks is often ample notice, but for a project that is ongoing for an extended period, your audience may need more time to plan if they wish to participate
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During
Monitoring Your Project Once your project is underway, it is important to be attentive to how participants and audience are responding to it, and to ensure that its implementation is delivering on the objectives set out in the planning stage. The following details should be monitored during a project to help with evaluation at a later stage: — Numbers of people attending — Details of people attending, including name, contact details, date of birth, equality monitoring information where appropriate — Have they participated or attended previously? — Reasons for attending — Expectations for the project — Self-assessment of current skill level, where appropriate to the project
Documenting Documenting a project involves keeping a record of what happened. It is an important part of delivering a project, and may even be a funding requirement in some cases. Good documentation helps to create a legacy, enhances participants’ enjoyment of the project, and supports future funding applications. There are many techniques for documenting, and it can be varied from project to project, but by far the most useful and versatile is good photography. Below are some tips for taking good photographs with even basic equipment.
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Art Project Planning Toolkit
During
— Make sure participants have given written permission, or have obtained permission from parents or guardians, to be photographed — Try to take lots of photos at all stages of the project — Keep it simple: Don’t try to include too many details or too much activity in a single photo. — Try photographing from a lower angle - it creates a more interesting composition and is especially useful when working with children or photographing a seated group — If you want to take a picture of a smaller detail, go up close to it rather than relying on the zoom function
After
Legacy Legacy is concerned with the impact your project will have after it has ended. In some cases, it is appropriate for your project to have a legacy in the form of a separate output. If this is the case, deciding the purpose of that legacy will inform what kind of output this will be. Is it to share the documentation or to create an archive for future audiences? Is it to use as a way of sharing information on the project for people who couldn’t attend?
Evaluation
— Move around and take lots of pictures of the same thing from different positions - you can always delete some later
Evaluation is a crucial element of delivering an arts project. It measures how well the project achieved its objectives and outcomes. It is especially useful if you intend running the event in future. It also helps to have facts, figures and feedback to present to potential future funders.
— Try to shoot in good light rather than relying on the flash. It is better if the light source is coming from behind you and keeping your subject well-lit
It may be useful to gather feedback from general public, participants, staff/volunteers, project venues among others.
— Try to hold the camera still as you click on it. If necessary, rest your arm or the camera on a table or other solid object. Wait a few seconds after the click before you move it. This will help get a sharp, clear image
Feedback can be captured in a number of ways, depending on what is appropriate for the project.
— Make sure the lens is clean and smudge-free
— Online feedback forms — Street surveys — Facebook/Twitter/Blog/Instagram etc. comments — Direct emails/calls — Preparing staff/volunteers to be aware of audience comments throughout project
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A LASTING LEGACY
PROJECTS
AWA R D VA L U E
111 £151K
O R £ 1 5 0 , 8 5 9 .7 8 T O B E P R E C I S E
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PA R T I C I PA N T S
7,293
ARTISTS
136 45
A LASTING LEGACY
AUDIENCE
Design: Andy Henry
103,730 46