creative economies - a national seminar on the creative economy exploring the role of arts in...

tom fleming / creative consultancy /

Supporting Growth in the Arts Economy

www.tfconsultancy.co.uk

Arts Economy

Creative Economies Seminar, June 2012

@tfconsultancy

“It is commonly acknowledged that the arts are the bedrock of the creative economy, making a considerable contribution to the nation’s prosperity and its

• tom fleming / creative consultancy /

nation’s prosperity and its international reputation”.

“It is commonly acknowledged that the arts are the bedrock of the creative economy, making a considerable contribution to the nation’s prosperity and its international reputation…”.

“…But there is a gap here between rhetoric


“…But there is a gap here between rhetoric and reality, with the arts still marginal to much creative economy policy and examples of genuinely integrated approaches to the arts and creative economy the exception

rather than the rule”.

So how did we get


we get ‘here’?

Our Recent History:

An Arts & Creative Creative Economy Timeline


Special pleading, marginalisation,

innovation…then celebration,

’80s to late ’90s


innovation…then celebration, symbolic capital (cool)…

Development & growth, new infrastructure & support,

Late ’90s to early ’00s


infrastructure & support, cultural planning, digital…

Crisis, withdrawal, fragmentation, fear, collision,

Late ’00s


fragmentation, fear, collision, more digital disruption

Fragility, some recovery, celebration, innovation

Early ’10s


celebration, innovation


The Scrap for Resources & Ownership of ‘the Agenda’



Conceptual & Strategic Impasse

© Stephen Adams 1979

Failure to Effectively Articulate the Public Value of the Arts &


Value of the Arts & Creative Economy

The Why:Arts & Culture as must-haves for economic and social development;


economic and social development; for prosperity and wellbeing…

The How:Demonstration, smart investment, incentives, collaboration, risk,


incentives, collaboration, risk, vision, tools...

Ecology / driven by intrinsic arts and cultural activities; expressive of a social relationship between producers and audiences; strongly linked to public

investment and not-for-profit activities…


Economy / driven as much by commercial as artistic and cultural factors; expressive of an economic and

social transaction producers and markets; operating in a mixed economy of different types of private investment,

alongside public investment.

What do we mean by ‘growth’?

‘Clusters’?


‘Clusters’?

‘Innovation’?

Who Benefits?

And How?


And How?

And to what end?

Dangers of austerity planning

Piecemeal, risk averse, pessimistic, closed, devoid of


pessimistic, closed, devoid of aspiration.

Beyond ‘Adaptive Resilience’ (Mark Robinson, 2010).


“What is needed are not new or adapted instruments for

knowledge transfer, but something quite


but something quite different: the spaces in which interactions can take place”

(Geoffrey Crossick, A lecture to the Royal Society of Arts).

Brokering, lifting, converging flows of aspirations, impulses,


aspirations, impulses, ideas, value(s)

Watershed


“We are most interested in collisions of experience and cultures, to create something new. A laboratory for experiment, risk and

disruption. We are a router and amplifier of cultural ideas, creativity and technology” (Dick Penny, Managing Director, Watershed).

Re-appraisal of the role and value of the arts to the heart of the

economy and society


economy and society

Re-appraisal of the types of skills, connections and capacities

required for this.


required for this.

Some Key Shifts Across the Arts & Creative Economy: Organisations

- Disruptions – e.g. digital, disinvestment, audience promiscuity – the ‘war for attention’

- The need / opportunity for deeper and more diverse relationships with audiences; shift between ‘audience’ and ‘producer’

- Balancing reach and excellence



- Toward blended business models – e.g. where the digital enables diverse revenue streams and the scaling of different types of value

- Service providers for other agendas –leveraging brand value and expertise – e.g. in tourism, regeneration, creative industries

- Hubs and brokers of social capital = embedded innovation capacity

- Recession: where is the market?

- Digital: relocating value, increasing scalability and collaboration, issues of risk – what are tomorrow’s business models?

- Hypermobility - but place still matters

Some Key Shifts Across the Arts & Creative Economy: Commercial Creatives



- Slowness – the new ‘growth’

- Access to talent and different types of capital (finance, content, technology)

- Rise of the Creative Ecology

- Death of the creative industries? How to tell the(ir) story?

Some Key Shifts Across the Arts & Creative Economy: Public Sector

- Disruptions – disinvestment, withdrawal, reassessment.

- ‘Creative decommissioning’?

- Unemployment, skills/learning, public order, cohesion, re-balancing the economy

- Local Enterprise Partnerships – opportunities for inter-sectoral collaboration, place-making, clusters – but teeth?



- Knowledge Exchange Hubs – genuine collaboration, but few players.

- New ACE interventions – investment, digital, capital, work.

- Fresh new partnerships – e.g. Sheffield Culture Consortium

- The rise of the city region and creative smaller towns? The renaissance of the high street?

- International opportunities?

Where to locate ‘the arts’


E.g. Regeneration, economy, education everywhere?

A way through the dark matter?


“IF YOU REALLY WANT TO CHANGE THE CITY, ORwant a real struggle, a real fight, then itwould require re-engaging with things likepublic planning for example, or re-engagingwith government, or re-engaging with alarge-scale institutionalised developers. Ithink that’s where the real struggles lie, thatwe re-engage with these structures andthese institutions, this horribly complex‘dark matter.’ That’s where it becomesreally interesting”.


really interesting”.

Wouter Vanstiphout, interviewed byRory Hyde, 2010

Appetite?

Capacity?

Skills?


Connections?

Time?

We Need Effective Public Value Narrative

& ToolsCoherent evidence base


Coherent evidence base

Strong & confident leadership / partnership

Coordinated approach across the ‘value chain’

Sharper investment (public and private)

Nationwide

Demonstration and Evaluation


Real collaboration: in co-creation of the agenda, KPIs, risks


agenda, KPIs, risks and returns.

But that’s not enough


enough

What can we do which is different and exceptional?


(local to global)

Arts / Economy co-created for mutual gain

Economy of the arts and art in the economy.


Economy of the arts and art in the economy.

“The way to get people to build a ship is not to teach them carpentry, assign them task, and give them schedules to meet: schedules to meet: but to inspire them to long for the infinite immensity of the sea”

Antoine de Saint-Exupery


?

The Late ’10s


[email protected]

www.tfconsultancy.co.uk

44


@tfconsultancy

Measuring the economic

value of arts and culture

Arts Development UK:

Creative Economies national seminar

Why do it?

• Internal purposes – understanding (and improving) your impact, benchmarking, thinking about future choices/projects

• External ones – advocacy with funders such as Arts Council, local authorities (and within LAs – making the Council, local authorities (and within LAs – making the case for culture with economic development), raising profile with communities/residents

Four methods used in sector

• Measures of spending:

• Economic impact assessment (EIA)

• Economic footprint analysis (also called size analysis or economic contribution analysis)

• Valuation techniques:

• Contingent valuation (CV) • Contingent valuation (CV)

• Social return on investment (SROI)

Decision tree of options

Contingent valuation

• Aims to estimate extent to which consumers benefit from a product or service, over and above the price they pay for it

• Measures three types of value: use, option and existence. Useful if service or product doesn’t have existence. Useful if service or product doesn’t have market value.

• Favoured by Treasury

Social return on investment (SROI)

• Type of ‘social accounting’ which includes non-economic costs and benefits

• SROI is way of understanding the value of an

organisation’s activities based on their effects on the organisation’s activities based on their effects on the organisation’s stakeholders and audiences.

Economic footprint analysis/ size analysis

• Focuses on measuring the size of an organisation or sector’s activities and comparing it with national economy as a whole

• Rarely used in cultural sector for individual organisations – more common for sectors (e.g. DCMS’s Creative Industries Economic Estimates) or geographical areas

• Usually measures employment and Gross Value Added

Economic impact assessment

• Most commonly used method in sector, arguably best understood

• Tries to measure the wider economic effects of visitors’ spending: in restaurants, cafes, pubs, in hotels as well as the effect of the organisation’s spending on wages, local business suppliers

• Good EIAs take account of additionality effects – some spending • Good EIAs take account of additionality effects – some spending is diverted rather than being genuinely additional to local economy

• Number of standardised benchmarks available (e.g. multipliers)

Toolkits

• Not really viable for contingent valuation, SROI

• More of an option for EIA

• Different options available – depends on the type of

event or activity you are measuring event or activity you are measuring

• West Midlands Cultural Observatory economic impact

• EventIMPACTS

• ALMA-UK

Example: Edinburgh Festivals Impact Study

• Commissioned to conduct an impact assessment of the twelve Festivals represented by Festivals Edinburgh

– Building on a previous study by SQW in 2004/05 on 17 Festivals.

• 51 surveys across the Festivals involving 15,000+ individuals

– Audiences (adults & children), festival management, performers and

delegates, attending journalists, volunteers, temporary staff, delegates, attending journalists, volunteers, temporary staff,

teachers and Festival sponsors

• Main objective:

Update the economic impact while expanding to cover cultural, social, media and environmental impacts.

How we did it

• Gross Economic impact:

– Direct impacts using festival management data

– Indirect impacts from audience expenditure survey

– Induced impacts using government figures

• Additionality:• Additionality:

– Audiences asked what they would have otherwise done (and where)

– Festival management also asked where they sourced their supplies

Headline findings: economic impacts (i)

• Festivals are a major contributor to both the local Edinburgh economy and the national Scottish economy:

– £245m of additional output in Edinburgh

– £261m of additional output in Scotland

– Supported 5,242 new FTE jobs in Edinburgh

• Audience expenditure is dominated by staying visitors

• Economic impact is driven by the large Festivals

Headline findings: economic impacts (ii)

• Economic impact spreads far beyond the immediate cultural economy

– Ticket expenditure only accounts for 13% (=£16m) of net audience

expenditure

• Biggest beneficiary businesses in Edinburgh and Scotland are those in the tourism, hospitality, and leisure sectors

37%

34%

15%

9%

6%

Accommodation

Food and Drink

Entertainment

Transport

Shopping

= £41m

= £37m

= £16m

= £9m

=£7m

Headline findings: cultural impacts

• Festivals provide enriching, world class cultural experiences

– 78% of audiences rate the quality of the Festival experience better or much

better than other comparable events

3.92

How would you rate the quality

of this event against other

comparable events?

– 87% of journalists agreed or strongly agreed that the Festivals had ‘a high-

quality programme of events’

– Social impacts: pride & profile of area increased dramatically by festivals.

1 2 3 4 5

comparable events?

Much Worse Much Better

Conclusions of headline findings

• EIA Methodology allowed us to construct and demonstrate a powerful narrative about the value and impact of cultural events.

• Festivals have positive impacts spanning cultural, social and economic areas and show leadership on environmental agenda

• Study has helped drawing down an additional £3.5m from Scottish government, City of Edinburgh Council & other key Scottish government, City of Edinburgh Council & other key funders for 2012

• Can also be used for local impact, e.g. City of London.

• Can be combined with local case studies.

Other case studies

• Anvil Arts: The Anvil concert hall, Haymarket theatre

• AV Festival: biennial NE festival of contemporary art

• Wildscreen Festival: biennial industry-facing festival for wildlife film industry in Bristol

• St Magnus Festival: Contemporary music (and other arts) festival in Orkney

Thank you

• www.bop.co.uk

• Chris Gibbon, Senior Consultant

• Austin Ashley , Consultant • Austin Ashley , Consultant

ll up – Roll up!

Robertsono Factory Theatre

e Industries Developmentmden Centre 20 June, 2012

ssons learnt from the conversia 100 year old Tobacco Factor

into a theatre –and a whole lot more…

The Tobacco Factory – past and present

1900 - 1910

1970 - 1980

1994 - today

Get good variety of artform slides

The Tobacco Factory Theatre is one of the most exciting theatre venues anywhere in the country. (BBC 2)

The Tobacco Factory is a stunning venue, and produces a rich stream of quality productions throughout the year. (What’sOnStage)

The West Country's theatrical hot spot. (The Mail)

The West Country’s most enterprising theatre. (The Times)

The exemplary Tobacco Factory. (The Observer)

The Tobacco Factory Theatre is as good an argument as I've ever seen for the importance of the arts in the regeneration of a particular area. (The Guardian)

Why has the Tobacco Factory worked?

1. Mixed-use development

Why has the Tobacco Factory worked?

2. The building integrates with the local economy

3. The building supports independent initiative

Are there wider lessons?

The narrative arc of decline and rebirth of the Tobacco Factory is analogous to that of Bristol.

Mercantile Location, Mercantile City

The Handsomest Suburb in Europe (Betjeman)

Less so post WWII

Rough Guide

BRISTOL has harmoniously blended its mercantile roots with an innovative, modern culture, fuelled by

technology-based industries, a large student population and a lively arts and media community.

The Tobacco Factory, and the Tobacco Factory Theatre, areprime examples of 21st century uses of 19th century industriabuildings and structures. A small body of people working in harmony with the local community used artistic and cultural levers and a sustained but comparatively modest level of financial investment to transform the social, cultural and

economic fortunes of a substantial population and geographicarea. While every area has its own issues and opportunities suggest that the narrative arc of Bristol is analogous to that omany mercantile / industrial areas that are seeking new rolesn the 21st century and hence that the Tobacco Factory mode

might usefully be studied and replicated more widely.

Ali Robertson Tobacco Factory Theatre

Creative Industries DevelopmentThe Camden Centre 20 June, 2012

Lyndsey SwiftHead of Partnerships

Culture and the Visitor Economy

“To lead and drive forward the quality, competiveness and

sustainable growth of England’s Visitor Economy”

Our Mission

What VisitEngland does

• Champion the sector and drive forward the industry’s shared Strategic Framework for Tourism

• Promote England's tourism offer

• Provide official intelligence on tourism and visitor economy in England

• Support local areas grow their economies through tourism

• Advise Government on English Tourism issues

• All tourism to a greater or lesser extent is cultural

• Customers don’t make a distinction (facilities by cultural agencies and promotion by tourism delivery bodies

• Need to work more closely with cultural delivery partners nationally and locally for mutual benefit

Cultural Tourism?

So why doesn’t this work better already?

• Some history – different funders, delivery structures and delivery partners

• Definitions and language (consumer/visitor v audience)

• Despite much funding coming from central government – different objectives set by funding streams with different targets/measures of success

• There hasn’t always been a spirit of collaboration e.g. tourists want populist rather then creative content

• Opportunity to make it work better and some clear imperatives to make this happen

• Stimulating growth –Government (public investment targets growth) and industry (e.g. Arts and Tourism Strategic Framework’s)

• Tourism is a main plank of growth:

- Last year 7% growth (£76bn spent by visitors)

- Increased spending has supported growth in tourism jobs up 5% compared to 2010

- Only 1% across all other sectors

What are our shared aims??

Shared objectives

• Attracting customers to our destinations and venues to spend money which supports those venues, their wider local economies and their residents

• Creating reasons for customers to visit in the first place and keep on visiting

• Creating an excellent experience for those customers

• Maximising the impact of the public money invested in our sectors

Visitor Economy?

• Visitors • Leisure/ Business/

VFR • Day/ overnight

• Supply chain• Core

• Accommodation • Attractions• Bars/ restaurants

• Related• Retail• Transport• “other” services –

laundry, petrol stations, food suppliers

● The sector is currently worth £97bn

● It provides 2m jobs

● Made up of 249,000 businesses

● It benefits every part of the country

● Projected to be £158bn (2020)

Visitor Economy: It’s Big Business

Visitor spend adds local value

It helps protect and preserve our heritage

It can support localism

• Financial- Less public money available- A difficult trading environment for

businesses- Consumer spending harder to

attract

• Structural- Loss of Regional co-ordination

(RDAs and Regional Tourist Boards)

- Policy of localism- Creation of Local Enterprise

Partnerships- Increase in the number and

variety of destination management organisations

Recent changes

What do we need to do

• Nationally

Govt appreciate the connectivity – objectives and targets

ACE, VE and others – shared strategic planning

Funding programmes aligned at the outset

• Locally

Shared strategic planning – destination management plans

Sharing of ideas and plans at an early stage

Joined up delivery of the visitor experience – packaging with the tourism private sector

Examples of where it works well

• Iconic attraction led approach - putting the destination on the map; stimulating wider business development and entrepreneurship e.g. Margate

• Adding distinctiveness to the local product

• Creative content provides reasons to visit outside of the main tourism seasons

• Culture regeneration e.g. Liverpool, Newcastle (music, art)

• An event led approach e.g. Hay on Wye, Cheltenham Literature Festival, Brighton

●We have a shared agenda – growth!

●We must share targets

● Align funding streams nationally and locally

● Partnership dynamic is critical

Summary

Lyndsey Swift, Head of [email protected] 578 1456 www.visitengland.org

Essex Summer of Art

Roxie Curry - Arts Development, Rochford District Council

Lindsey Strange – Arts Development, Essex County Council

Art Trails Everywhere, for Everyone

How to turn grass roots will into a

cohesive, annual tourist event

In this presentation, we will:

Look at how Essex Summer of Art developed

How we made it workExamples of how you could make it

work in your area

Essex Summer of Art

20 Art Trails4th Annual Event

2011: £1.3m to Essex economy

180,000 visitors

Essex Summer of Art Development

Grass roots networkShifting perceptions

Efficiency

Making it happen - Partners

Essex County CouncilDistricts & Boroughs

Participating Art Trails

Visit EssexFirstsite

BBC Essex

Summer of Art Launch Event

The offer to tourists

1. Free or low cost2. Collateral spend3. Locally distinct

4. Programming for a local audience

Burnham Art TrailLeigh Art Trail

Rochford Art Trail


Essex Craft & Design Show

Jaywick Open

5. Links to other attractions and Trails

6. Artistic Diversity


7. Regeneration = Rediscovery

Gatehouse in Harlow

Hadleigh Old Fire Station & 2012

Essex Summer of Art modelDestination tourism

Regional Media Campaign

High level political support

Steering GroupCredibility

Media campaign

40,000 brochures and distributionMicro website

Prize Draw£50,000 ‘in kind’

BBC Essex

Tourism Stats

180,000 visitors80% of visitors spend money at Trail

£12.33 per head Net income to Essex £1.3m

Guardian Travel Guide

Published 16th

September 2011

UK Visitor Map

Spend TableSPENDING £1-£10 £11-£30 Over £31

Art and Crafts 49.6% 28.5% 22.0%

Food and Drink 72.7% 23.0% 4.3%

Transport 84.2% 14.2% 1.8%

Shopping 39.2% 45.6% 15.2%

Accommodation 28.6% 9.5% 61.9%

How you can make it work

Create a network / ‘club’Involve Open Studios, galleries

Emphasis on ‘county-wide’ PRIME Report

Follow upEssex Summer of Art Report:

Joanne Thain Arts Development Officer(Essex County Council)

[email protected] Economic Impacts Assessment:

Sergi Jarques – Tourism South [email protected]

Arts Development UK Seminar: Creative Economies20 June 2012

Breakout Session #4:New Business Models

New Business Models

Mary-Alice Stack, Director ArtCo ProjectsArts Council England

Tim Joss, DirectorRayne Foundation

Ruth Jarratt, TrusteeMeWe360

1 Introduction

• In October 2011, Arts Council England approved a budget for the development and delivery of a new pilot programme to provide micro-loans of £5,000 - £25,000 for small and medium scale enterprises operating within the creative industries

• This investment supports the Arts Council’s current priority for strengthening and exploring new business models in the arts as part of its 10 year strategic plan for ensuring that the arts are sustainable, resilient and innovative.

2 Programme aims

The principal aims of the Creative Industry Finance programme are to:

• provide access to finance for small and medium enterprises (SMEs) operating within the cultural/creative industries, enabling business growth and supporting talent development

• improve the business skills and commercial experience of SMEs operating within the cultural/creative industries

3 Programme objectives

The primary objectives of the programme are to:

• improve the financial profile/lending history of creative industry SMEs with growth potential, enabling them to attract further investment from the private sector, thereby becoming more sustainable as independent enterprises

• provide an evidence base for the demand and effectiveness of loan finance as an alternative to grant funding for commercially viable cultural and creative industry enterprises

4 Geographic focus

• Due to the high concentration of Creative Industry enterprises in the London region it has been agreed that, initially, the programme will be piloted in the London area.

• The London pilot launched on 29 May 2012, and is open to Creative Industry enterprises located across all 33 boroughs

• Extension of the pilot to a second Arts Council region or LEP area is planned for early autumn 2012

5 Key features of the programme

The programme comprises two key components:

• Training and support Up to 12 hours one-to-one business development support with a specialist business adviser

• Access to financeOpportunity to apply for a loan of £5,000 to £25,000 to help develop and grow a business

The London pilot will be delivered by East London Small Business Centre in partnership with Arts Council England’s trading subsidiary, ArtCo Trading Ltd.

6 London Pilot Programme - who can apply?

Applicants must be able to demonstrate that their business meets the following key criteria:

• located in one of London’s 33 boroughs• trading for a minimum of 6 months• business activity qualifies under one or more of the

following creative industry classifiers: architecture; crafts; computer games; design; designer fashion; film and video; music; performing arts; publishing/literature; software; TV & radio; visual arts

• creative content is at the heart of their business

7 London Pilot Programme - who can apply?

• We will consider applications from sole traders (individual artists) as well as limited companies, partnerships and not-for-profit/social enterprises

• Applicants must be able to demonstrate that they have been “trading” (ie set up in business) for at least six months;

• Organisations that receive regular funding from Arts Council England as part of the National Portfolio are noteligible to apply for support under this programme

8 How will applications be assessed?

An initial “expression of interest” application will be assessed by Arts Council England using the following criteria:

• Relevance of creative content to the core business activity

• Quality of the creative content

• Potential of the business to benefit with regard to the aims of the programme

9 Range and diversity of applications

• We are hoping that the programme will attract a broad and diverse range of applications from companies operating across the Creative Industries

• We will work in partnership with other agencies and organisations to publicise the opportunity as widely as possible across the sector

• Quality of content is important, but entry to the programme will ultimately be judged by our delivery partners on the strength/viability of the business plan and the commitment, focus and aspiration of the company directors

10 Investment Panel Decisions

• Proposals from businesses that have completed the Business Support Package will be considered by our delivery partners’ investment panels at regular intervals (normally every 6 – 8 weeks)

• The panels will be convened by our delivery partners and include representation from Arts Council England (ArtCo Trading Ltd)

• For the Arts Council fund, lending decisions will take into account both the strength of individual applications as well as the overall balance and range of applications from across the 12 creative industry segments

11 Interest rates

Loans issued under this programme will carry interest charges of 10% APR. The total amount of interest that the borrower will pay depends on the total amount borrowed and length of time over which it is repaid.

Example:

*Interest charges will be paid into the fund and used to off-set loan write-offs (estimated at 30%)

Amount Borrowed

Repayment term

APR Monthly Payment

Total Repayments

Total interest paid*

£5,000.00 12 months 10% £439.58 £5,274.95 £274.95

£7,500.00 24 months 10% £346.09 £8,306.09 £806.09

£10,000.00 36 months 10% £322.67 £11,616.12 £1,616,12

12 Target outputs 2012/13

A £200,000 loan fund has been set aside to support businesses in the London region during 2012/13.

Target outputs (London pilot)• 150 businesses to receive 1 hour business consultation• 75 companies to be offered the business support

package (average10 hours per client)• Up to 35 ‘investment ready’ referrals to loan fund panel• 15 – 25 creative sector businesses supported with

access to finance (total £200,000)

13 Target outcomes 2012/13

• 75 London based creative sector businesses have increased financial awareness and confidence

• Up to 25 London based creative sector businesses have increased gross value added (GVA) after 12 months

• Arts Council England have an increased understanding and evidence base of the business development needs and opportunities for Creative Industry enterprises in the London region

Further information about the Creative Industry Finance programme through the following channels:

Web: www.creativeindustryfinance.org.uk

Twitter: @cifinance

Facebook: facebook/CreativeIndustryFinance

Email: [email protected]

www.artscouncil.org.uk

www.artscouncil.org.uk

Thank you

Mary-Alice StackDirector, ArtCo ProjectsArts Council England14 Great Peter StreetLondon SW1P 3NQ

020 7973 650307947 [email protected]

ARTS VENTURES initiative

Tim JossChair

KEY CONCEPTS

• Social investment• Outcomes• Performance measurement• Due diligence• Investment readiness• Blended return• Leverage

MOTIVATION

• Development of social investment in the charity sector as a means to grow

• Growing pressure for outcomes measurement• Shrinking grant pot• Current low returns for investors

DEVELOPING THE FUND

• STEP 1 Build a longlist of arts organisations for the model portfolio

• STEP 2 Survey Monkey• STEP 3 Survey analysis• STEP 4 Shortlisting by Social Investment

Business + Mission Models Money• STEP 5 Create a model portfolio

Development House for the creative industries

Ruth Jarratt20.6.12

The purpose

MeWe is……. • A new financial model for the creative industries• A new approach to talent development• The brain child of Kevin Osborne who founded Tribal Tree

MeWe’s mission • To identify, develop and invest in untapped talent• Particularly in communities under-represented in the creative industries

MeWe’s objective • To support talent in achieving investment readiness• To match that talent with appropriate investors

The model

MeWe House• Club, hub and talent incubator• Social enterprise

MeWe Money • Venture Capital Fund (£1m invested)• Purely commercial• Will provide future financing route to MeWe House

Cross-sector support• Public: Arts Council• Private: Esmee Fairbairn Foundation• Commercial: Ingenious Media

The features

Special features of MeWe

• Input from top industry players: management consultants, entrepreneurs,

and investors

• Creation of networks and onsite collaboration

• Bespoke/tailored support

• Long-term support from concept to launch: typically 4-7 years

• Programme developed by continuous feedback and adjustment

Progress

Feedback so far• “Inspiring, insightful, affirming, accessible, constructive, informative,

generous, great vibe, great interaction”• Constructive ideas to shape MeWe offering: event programme, online

support

Success for MeWe • Launch of successful businesses• MeWe’s stake in those businesses delivering investment back into the

social enterprise • Timeframe of years not months

Significance

MeWe is action research• A 3 year strategic research project exploring new models and approaches

to developing entrepreneurial and leadership talent supported by Arts Council England.

• Capturing whole process from all sides in real time• Learning to be distilled and shared across the sector

Reaching parts others haven’t • This talent has not been tapped, despite a range or previous interventions• MeWe is honest, open and brave exploration• Of what works …. and what doesn’t

Join us

MeWe event: Connection, Collaboration & Competition

Date: Tomorrow 21st June, 6.30-8.30

Venue: MeWe 360, 15 Golden Square, London W1F 9JG

Guest speakers: • Farooq Chaudry, Producer and co-founder of Akram Khan Dance Company• Sarah Elenany, Creative Entrepreneur of the Year finalist, designer and

founder or clothing label Elenany

See websitewww.mewe360.com

Presentation to Arts Development UK National Seminar20th June 2012

Presentation will cover:‐ Festival overview ‐ How it works‐ Leicester’s economy ‐ Business partnerships‐ Business Partners Club ‐ Dave‐ What is economic impact of DLCF? ‐Why bother?!

Festival overview:Started in 1994 5000 people attendedRange of performances Not just stand‐up2012: over 400 events in 17 daysDeveloped over 19 years; 20th birthday in 2013

How it works:

A bit like Edinburgh FringeCentral office & 160+ promotersParticipation feeMake Me Happy programmeSpecial eventsManaged by Big Difference Company£18k funding/year20 years experience of working with sponsors

Leicester’s economy:

• Just under one million people live in the Leicester & Leicestershire sub‐region, with about a third living within the Leicester City boundary.

• House prices are sufficiently high to contribute to economic buoyancy, and relatively affordable compared to household income and many other areas of the country.

• Local GVA in 2007 was £18.5 billion, the area has a strong tradition in the field of business. It is home to major brands including Next, Walkers, Triumph, Caterpillar, Samworth Brothers, Wal‐Mart, DHL, 3M and AstraZeneca. (GVA = Gross Value Added (GVA) is the principal measure of the total value of goods and services that a geographical area produces.)

• Over 40,000 students study at the three universities in the City and County – University of Leicester, De Montfort University and Loughborough University.

Leicester’s economy:

• Poverty is the root cause of many of the difficulties facing some residents. Average male resident earnings in Leicester are the lowest in the East Midlands.

• 1 in 5 City residents are claiming benefits and 21% are without formal qualifications. The 2007 Index of Multiple Deprivation suggests that Leicester is the 20th most deprived local authority in the country.

• 20,000 manufacturing jobs have gone from Leicester and 23,500 from Leicestershire in the last decade.

• High proportion of public sector employment in Leicester City (one in three jobs) is a potential concern in the light of potential cuts in public expenditure.

• 96% of local businesses employ less than 50 people.

Business partnerships:

Leicestershire Business Voice Burns Night DinnerBusiness Breakfast Mayor’s City PartnershipEconomic Partnership

Business Partners Club‐ Low level sponsorship‐ Special events‐ Active involvement‐ Benefits linked to association with festival‐ Membership increased since Dave‐ Merchandise to extend reach of festival

Dave‐ Title sponsor in 2012‐ Partnership linked to off‐air coverage‐ Extending Dave brand‐ Creation of new projects/shows‐ On‐line presence important‐ Deal secured due to evidence base

What is economic impact of DLCF?‐ £2m contribution to local economy‐ Sustains 21 FTE jobs‐ 5000 hours of volunteer time‐ return on investment by the public and private sector is in

excess of 20:1‐ In 2011, there was an 8% increase in visitors to the festival

staying in hotels in the Leicester, worth £36,000

Why bother?!‐ Argue for public funding‐ Strengthen links with business‐ Demonstrate national reach‐ Part of the “story”‐ KPI’s‐ Benchmark festival nationally

Geoff RoweCEO, Big Difference [email protected]: 0116 261 6812

Creative Derbyshire 2010 - 2013

Rob WadsworthS4W Ltd

Local Derbyshire Context

• Geographically central• Cultural and lifestyle context• Economic structure• Creative economy context

• Technology• Spearhead for labour market change• Low barriers to entry• Engaging young people

Developing the Programme

• Workshops for businesses

• Networking and major events

• Young people and new talent

• Evidence base and economic value• Impact of interventions• State of the sector• Impact of businesses

Demonstrating Improvement

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Demonstrating Improvement

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Confidence before

Confidence after

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Meet the Curator

• All the festivals/galleries said sourcing new talent was critical to their business model

• All the festivals/galleries had leads they wish to follow up

• Selling to Galleries was seen as critical or very important to their business by over two-thirds of artists

• Over two thirds of artists where very or fairly unsuccessful in selling their work to galleries

• All the artists that attended had leads they wish to follow up

Evidence Generated by the Programme

• Around 70% of all businesses we worked with were sole traders (55% in wider economy)

• In a recession, 30% of businesses were expanding or ready to expand

• Creative businesses spend 43% of their turnover within Derbyshire

• Over half of creative businesses are active in business to business markets

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Business sectors that creative businesses in Derbyshire trade with

www.creativederbyshire.com

Funders/Sponsors

Creative LEPs

Mari Martin Jayne Knight

Norfolk and Norwich Festival

Aldeburgh

Norwich – UNESCO City of Literature

Ipswich – DanceEast

What is a LEP?

The Department for Communities and LocalGovernment define Local EnterprisePartnerships as locally-owned partnershipsbetween local authorities and businessesformed to play a central role in determininglocal economic priorities and undertakingactivities to drive economic growth and thecreation of local jobs.

Cultural Tourism Brief • The New Anglia LEP Cultural Board is seeking to identify

the potential for cultural tourism and develop a cultural tourism action plan to deliver growth, which will:

• Enable the New Anglia LEP to fully appreciate and value the potential of its cultural leaders to drive a significant growth in cultural tourism.

• Act as a robust advocacy tool for investment in an ambitious cultural tourism programme.

• Create growth in the visitor economy; establishing East Anglia as a significant cultural tourism destination.

New Anglia Priorities

• Tourism• Energy• Business Support• Green Economy

Nine Growth Sectors • Advanced Manufacturing• Energy• ICT• Ports and Logistics• Life Sciences and Biotechnology• Digital and Cultural Creative Industries• Food, Drink and Agriculture• Financial Services• Tourism

Local Enterprise Partnership Priorities

Note: this is a piece of desk research, based on current information on LEP websites.

Coast to Capital (Arun District Council, West Sussex County Council) http://www.coast2capital.org.uk/

Priorities

Increasing the proportion of businesses which are internationalised Increasing the level of entrepreneurship and business start-up rate Stimulating business growth, innovation, productivity and employment

across a range of key sectors Generating the required investment to bring about major catalytic

investments in key business locations Creating a planning environment which supports business development

and growth Pressing for and helping to secure investment in transport infrastructure,

business premises and other infrastructure

West of England LEP (Bristol City Council) http://www.westofenglandlep.co.uk/

Immediate Priorities

LEP (and Board) culture: ensuring a commitment to working in an entrepreneurial way.

Tackle barriers to business growth Supporting ‘anchor’ businesses Putting West of England on the map Growing the green economy Successful Enterprise Zone/Enterprise Areas

Long-term Priorities

One of Europe’s fastest growing and most prosperous sub regions which has closed the gap between disadvantaged and other communities A buoyant economy competing internationally, based on investment by innovative, knowledge‐based businesses and a high level of graduate and vocational skills.

A rising quality of life for all, achieved by the promotion of healthy lifestyles, access to better quality healthcare, an upturn in the supply of affordable housing of all types and the development of sustainable communities. Easier local, national and international travel, Cultural attractions that are the envy of competitor city regions across Europe.

Success secured in ways that are energy efficient, protect air quality, minimise and manage waste and protect and enhance the natural and built environment. Built upon the benefits of its distinctive mix of urban and rural areas. Real influence with regional and national government, by demonstrating vision and leadership and delivering these achievements.

Sector Groups

Advanced engineering, aerospace & defence Construction & development Creative Distribution Finance, insurance & professional services Low carbon industries Microelectronics Retail Rural economy Social enterprise Tourism

Humber LEP (East Riding Yorkshire council)

http://humberlep.org/

Priorities

Co-ordinate public and private sector activity that is targeted at growing our three key growth sectors (renewable energy, ports and logistics, and chemicals);

Lead on 16-19 and adult skills strategy, particularly in relation to the key sectors listed above;

Take responsibility for the 'Humber business brand'.

York, North Yorkshire & East Riding LEP (East Riding of Yorkshire Council)

http://www.businessinspiredgrowth.com/

Priorities

Agri-Food; Tourism; High Speed Broadband; Business Support; Business Networks; Coastal Regeneration; and Skills and Training.

South East Midlands LEP (Milton Keynes Council, Northamptonshire County Council)

http://www.semlep.com/

Enabling Activities

Enterprise Zone Broadband

Transport Inward Investment Skills

Key Sectors

Advanced Technology Manufacturing Creative Industries Green Economy High Performance Engineering Visit Economies Logistics

Northamptonshire LEP (Northamptonshire County Council)

http://www.northamptonshireep.co.uk/

Priorities

A newer and more commercial approach to returning to growth sees Northamptonshire Enterprise Partnership (NEP) becoming as enterprising as the people it supports.

Support and investment from both the private and public sector is required to generate the levels of return NEP aims to achieve.

NEP will be performance based; delivering activities that make a measurable difference to the local economy, making Northamptonshire the place for Enterprise.

In the first operating year, NEP aims to have supported the creation of 800 new jobs, the attraction of 15 new companies and in doing so attract at least £4m of leverage.

Key sectors High Performance Technologies Logistics Food and Drink Creative and Cultural Industries Financial Services Contact Centres

Enterprise M3 LEP (Woking Borough Council)

http://www.enterprisem3.org.uk/

Priorities

Skills Enterprise Support Infastructure Red Tape Planning

Derby, Derbyshire, Nottingham and Nottinghamshire LEP (Derbyshire County Council) http://www.d2n2lep.org/ Priorities Build on the area's reputation for internationally competitive science,

manufacturing, engineering and creative industries, driving better productivity and growth as we develop a low carbon economy.

Develop our distinctive cultural, sport and tourism offer to world class standards.

Secure investment in regeneration and infrastructure projects that stimulate private sector growth.

Share the benefits of our economic growth across our cities, towns and rural communities.

Meet employers' current and future skills demands through our highly rated and ambitious education partners.

Worcestershire County Council LEP (Worcestershire County Council)

http://www.worcestershirelep.org/default.aspx

Deliver the strategic employment sites and related infrastructure (services, highways access utilities etc) needed to secure sustainable economic growth and a low carbon economy.

Ensure we have the right support for business start up, business growth, business retention – focussing on meeting the needs of our strategic businesses, ‘high growth’ SMEs and the social enterprise sector.

Deliver the right infrastructure for business, including improved high speed broadband availability, improving access from the M5 to the Malvern Hills Science Park and QinetiQ, improving the by-pass leading to the Hereford and Bromyard roads to Herefordshire and creating better access for our strategic businesses and their supply chains in the north of the county to the motorway network through improvements to east-west links and the A449.

Invest in the skills of our workforce ensuring that provision is responsive to business needs, and relevant to future growth and business opportunities.

Hertfordshire LEP (Three Rivers District Council)

http://www.hertfordshirelep.co.uk/

Priorities

Help existing businesses to grow and bring new businesses into the county

Ensure skills provision meets the needs of business Secure investment for key infrastructure Promote Hertfordshire as a place of prosperity to business and visitors

South East LEP (Medway Council) http://southeastlep.com/ Priorities Secure the growth of the Thames Gateway Promote investment in our coastal communities Strengthen our rural economy Strengthen the competitive advantage of strategic growth locations

Delivered through activities below

Strategic Transport Infrastructure Universal Super Fast Broadband Skills New Financial Instruments

Sheffield City Region LEP (Chesterfield Borough Council) http://www.sheffieldcityregion.org.uk/ Priorities

Establishing a national growth hub for advanced manufacturing and materials.

Delivering a new, employer-led approach to improving workforce skills. Improving support for strategically important companies and potential

inward investors. Setting up a private sector-led business support service, focusing on

improving innovation. Securing new forms of finance for businesses and infrastructure

projects. Developing a Digital Hub to get the best out of existing assets

Key Sectors Advanced manufacturing activities such as research and development, product design, bespoke manufacturing, and the provision of related services Low carbon industries (particularly the opportunities for our manufacturing sector) Creative and Digital Healthcare (including medical technologies)

In addition, there are other sectors that are of importance to job creation: Aviation Tourism Retail Construction

Culture, leisure and sport Buckinghamshire LEP (Chiltern District Council) http://www.buckinghamshire-lep.com/home Priorities Innovation, Enterprise and Skills Inward Investment International Trade Infrastructure

New Anglia LEP http://www.newanglia.co.uk/ Priorities Tourism

Visit East Anglia is a new organisation being developed to provide powerful marketing operations for the Suffolk and Norfolk tourism brands. Energy

East Anglia is looking to become the UK’s Energy Coast. We intend to secure investment in major renewable energy programmes along the coastline, and provide the support services/businesses that a successful energy sector needs. Business Support

New Anglia will act as a co-ordinator and ‘enabler’ of business support across Norfolk and Suffolk and will create a business support website Green Economy

New Anglia is a Green Economy Pathfinder. What this means is that New Anglia is the national leader on promoting, showcasing and recommending to government and businesses the work that is underway across Suffolk and Norfolk that can be implemented across the rest of the UK. Key Sectors Energy Tourism Advanced Manufacturing and Engineering Food, Drink and Agriculture Creative and Cultural industries ICT Financial Services Ports and Logistics Life Sciences Construction

Great Cambridge and Peterborough LEP http://www.yourlocalenterprisepartnership.co.uk/ Priorities Skills and employment Strategic economic vision, infrastructure, housing and planning Economic development and support for high growth business Funding, including EU funding, regional growth funding and private

sector funding.

BI S I Department for Business Local Enterprise Partnerships Innovation & Skills

1. Black Country 2. Buckinghamshire Thames Valley 3. Cheshire & Warrington 4. Coast to Capital 5. Cornwall & the Isles of Scilly 6. Coventry & Warwickshire 7. Cumbria 8. Derby, Derbyshire, Nottingham & Nottinghamshire 9. Dorset 10. Enterprise M3 11. Gloucestershire 12. Greater Birmingham & Solihull 13. Greater Cambridge & Peterborough 14. Greater Lincolnshire 15. Greater Manchester 16. Heart of the South West 17. Hertfordshire 18. Humber 19. Lancashire 20. Leeds City Region 21. Leicester & Leicestershire 22. Liverpool City Region 23.London 24. New Anglia 25. North Eastern 26. Northamptonshire 27. Oxfordshire 28. Sheffield City Region 29. Solent 30. South East 31. South East Midlands 32. Stoke-on-Trent & Staffordshire 33. Swindon & Wiltshire 34. Tees Valley 35. Thames Valley Berkshire 36. The Marches 37. West of England 38. Worcestershire 39. York & North Yorkshire

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20

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Local Authorities in overlapping LEPs

12 21

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11

33

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31

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10

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Contains Ordnance Survey data © Crown copyright and database right 2012

Department for Business, Innovation and Skills

The Digital R’n’D Fund

+ why

‘You Must Know Everything’

@PatrickRiot

Workshop 1

Let’s keep this simple.

What was it all about? 2

The Projects

The Projects listed. 3

More Projects…

More projects… 4

Yes More…

Presentation Title 5

Even More…

Lots aren’t there? 6

Last one…handy. Happenstance and importing a mindset…


What is it all about?

‘One of the best things about Happenstance is that we get to put six great digital thinkers and makers in close proximity to three inspiring teams of arts leaders.’

Rachel Coldicutt, Caper


No Fear.

"It speaks of a deep fear of the future, the idea that an authenticity that can only be authenticated in the past, that we've lost faith in a kind a kind of sight for the future, is deeply worrying," explains Bridle earnestly.

Huff Post interview with J.Bridle.


So what is this digital made of?

DataOpen DataBig Data Linked DataAPIs / Interfaces like KinectInternet of Things (Smart Planet IBM)Algorithms Robotics and Ai (Microcontrollers)GPS triggered contentCloudFace recogCrowdfunding (Spacehive & Kickstarter)Community curationTaggingGenerativeAR (sonic and visual)Open movement

GAMING! (the art from for the 21st Century?)etc etc etc

You will need… 12

Roots or Rhizomic

Roots 13

There is no magic, just ingredients…

Start Up Generator 14

Government backs Crowdfunding

Obama-Starter 16

STEM to STEAM

The big picture? 17

Can arts build ‘Next Gen’ Skills?

A forcing ground for skills 18

Loans 19

Stop me if you’ve heard these…

1) Find Start Up culture, real geeks.2) Find your internal geeks.3) Access a hub.4) Read Mashable everyday.5) Think realistic – will your project

‘scale’?6) Think off screen - Kinect.7) Think small screen – mobile.Presentation Title 20

[email protected]

@PatrickRiot

Contact details

Dare to be digital

happenstance

Digital by Default

What is happenstance?

• Investing in people• Allowing ideas to grow from need• Creating open collaboration• Building networks between arts and technology specialists

Deep Immersion

• ‘Happenstance puts creative technologists in deep immersion residencies in arts organisations. The Happenstance residencies are designed to change arts organisations' relationship with digital technology.’

Principle

• Technology is not an afterthought – it is part of the process and needs to be built into the thinking of an organisation from the outset.

Who is involved?

• Site Gallery, Sheffield• Lighthouse, Brighton• Spike Island, Bristol• Caper, London

How does it work?• Establish areas of interest of the orgs.• Get the word out • Advertise (traditional & accelerating WOM)• Recruit (v. carefully!) • Appoint and induct• Sprint 1. – Explore/Challenge• OPEN HOUSE• Sprint 2. – Focus• OPEN HOUSE• Evaluate• All the way through – communicate!

What are the key elements?

• Agile project management• Openness• Investment of people time• Open‐ended research• R&D – up to proof of concept and not beyond• The whole team is engaged

Agile Philosophy

• Individuals and interactions over processes and toolsWorking software over comprehensive documentationCustomercollaboration over contract negotiationResponding to change over following a plan

Testing ideas through doing them!

• The Making Of . . .

Examples of Outcomes

• Time management tools ‐ Trello• Hardware re‐development• Audience Engagement ‐ digitally• Towards a new website – new processes• Advocacy and relationship building (b2b/internal comms)

• Training and staff development (coding to wiring)

What the residents say:

• ‘It’s one thing to have an idea, it’s something else to actually have the time to actually try and get it to work!’

• ‘I knew I was going to enjoy this, but I had no idea it was going to impact me so fundamentally!’

What the team say:

• ‘If there is technology in my working life then I need to know how it works!’

• ‘I am amazed at what I can do on my own now’

• ‘I don’t feel so scared of technology’

What the technology community is saying (to us!)

• ‘I had no idea that arts organisations could be so transformational’

• ‘How are you going to sustain this work?’• ‘I can’t wait to see what Leila and James do next.’

• ‘How can I get involved?’

So, the creative industries

• Arts organisations as think and do tanks for creative industries?

• Where does that leave the art?• Where does that leave the creative?• Where does that leave industry?

PS!

• Don’t invest a lot of money in a technology project that you put in a dark room down a long corridor . . . It won’t work!

Breakout Session 4Creative & Future Cities

Initiatives

Symon EastonDeputy Head of Culture Commissioning

Birmingham City Council

Contents

• Introduction / Background• What is Creative City in Birmingham? • Aims• Who is involved?• Key Issues• Objectives / work programme • Intended outcomes• Relationship with central Government

Birmingham - Creative CityBackground

• Creative City Initiative was announced by Ed Vaizey, Minister for Culture, Communications and Creative Industries in Birmingham on 25 October 2011

• Developed in response to his twin aims of sustaining the cultural sector (particularly through philanthropy) and supporting economic growth

• A partnership between the Greater Birmingham and Solihull Local Enterprise Partnership and Birmingham Cultural Partnership

What is Creative City?

• A partnership between public sector agencies, the cultural sector, creative businesses, industry and private individuals, focussed around three areas of innovation – Business, Place, People

• The initiative is to bring together public and private sector investment in a new fund for Birmingham and the LEP area, to support activities and projects linked to the economic strategy, so that culture and creativity are harnessed as a force to drive recovery

Birmingham - Creative City

Aims

• To test new ways of working in partnership with central government, private sector companies, philanthropic individuals, public sector agencies and local government to attract additional public, private and individual investment through new mechanisms, partnerships and incentives to support a portfolio of key projects

• To integrate support for the growth of creative sector businesses across the partnership with investment programmes based on clear evidence of needs and impact, in order to increase their contribution to the local economy


Aims

• To create a step change in recognition of Birmingham as a centre of innovation and excellence for culture and creativity

• To increase participation in culture by local people through improved local cultural provision.



• Provides an investment programme to support cultural and creative development from grant funding to business loans, incentivised philanthropic giving and reward-based contracts

• Challenges partners across the public, commercial and cultural sectors and private individuals to unite in placing cultural and creative development at the heart of our economic regeneration, advancing our reputation as a great place to live, work and visit.

Who is involved?The key partners are Arts Council England, Birmingham, Arts Partnership and Independent Arts Sector Group, Birmingham City Council, Birmingham City University, The BBC, Creative England, Digital Business Cluster, Greater Birmingham & Solihull Enterprise Partnership, Marketing Birmingham, University of Birmingham. The project is supported by the DCMS.

The partnership will consult with other organisations and bodies across the LEP including cultural partnerships at county/district level, Digital Birmingham, Science City and Finance Birmingham, and Heritage Lottery Fund


Key issues

• Securing engagement from the relevant private / public sector partners and representatives of the creative industries and cultural sector

• Recognising that different approaches will be needed to achieve the objectives under a single Creative City theme

• A risk that the breadth of the creative city concept could lack focus –a need to clarify scope of activity and agree clear work plan

• New (governance) structures need to be developed to support the programme – build on existing framework to be ‘fit for purpose’

• Lack of local control over DCMS / agency match funding to target LEP priorities - need to align existing funding streams under a clear investment plan in order to create an effective and coherent approach


Policy linkages

• Creative City programmes will need to integrate with the existing economic strategy themes of Business, Place and People to support the delivery of targets for inward investment, skills, access to finance, infrastructure and quality of life

• The partnership with DCMS also requires us to progress existing strategic work on the alignment / integration of public sector planning and resources and the development of new and innovative models of resourcing


Birmingham - Creative CityTo deliver against the GBSLEP’s objectives, the Creative Cityprogramme will focus on;

• The cultural infrastructure including assets and programmes and, in particular, the proposal for Curzon Square ‘Museum Quarter’ in Eastside

• Creative sector businesses• Promotion of cultural and creative assets and programmes

The intended outcomes will be;• to improve the cultural offer for residents thereby contributing to

inward investment and to the growth and retention of a skilled workforce by making Greater Birmingham and Solihull a better place to live, work and study

• to improve the capacity of high growth sectors and the supporting infrastructure (e.g. access to 4G and superfast Broadband technology) thereby contributing to increasing GVA and employment and attracting new investment

• to improve the perception of Greater Birmingham and Solihull thereby contributing to inward investment and the growth of the visitor economy


Initial actions include;• Mapping gaps in existing provision including hard and soft infrastructure • Progressing the Museum Quarter project • Identifying target high growth sectors in the creative industries• Sharing research intelligence and analyse barriers to growth e.g.

venues/skills/partnerships/investment required to support the GBSLEP objectives

• Identifying points of synergy and engage in objective based local and national partnership working

• Establishing appropriate structures to progress the programme• Identifying potential sources of investment to support the programme and

develop innovative approaches to funding


Developing a direct relationship with central government

• DCMS to support the GBSLEP in terms of developing contacts with national philanthropists, hosting cultivation round-tables and providing support from international philanthropy specialists to assist local cultural companies in developing their strategies.

• Further commitment has been made to profile our cultural and creative success stories and support us in improving perceptions at a national level (through increased ministerial presence etc).


Developing a direct relationship with central government

• Birmingham City Council will continue to work with Cabinet Office in the development of innovative finance models to support improvements to local cultural provision as part of the social impact bond programme.

• Further discussion of the potential to utilise national funding streams in support of local priorities (under the Localism Bill), further incentives for corporate giving to culture, thematic business improvement districts, influence over “national” assets including national art collections which could form part of the proposed Museum Quarter in Eastside.


• Free admission.• Ikon is a limited company registered as an educational charity.

• From its beginnings in a small kiosk in Birmingham’s Bullring, Ikon’s reputation for innovation, internationalism and excellence has developed over 48 years.

• 24 staff – many part‐time and artists• Rolling programme – no collection

Ikon

• Ikon is funded by 2 principle public bodies:

‐ Arts Council of England West Midlands(approximately £1 million pound)

‐ Birmingham City Council(approximately £100K)

Fundraising Summary

• Exhibitions draw in additional funding through:

‐ Catalogues‐ Exhibition hire fees‐ Sponsorship‐ Trusts and foundations‐ Other grants

In 2011/12 Ikon raised £250K

General Earned Income:

‐ Donations and gifts‐ Corporate Patrons/ Individual Patrons‐ Gallery Hire‐ Interest in banking‐ Café ‐ Bookshop‐ Sales of art work

In 2011/12 Ikon raised £130K