phase 2 what happens next?

INQUIRY INTO THE CIVIC ROLE OF ARTS ORGANISATIONS

PHASE 2

WHAT HAPPENS NEXT?

Our case studiesillustrate best practice inthe UK and overseas.Left: Baxter Theatrepresents the best ofSouth African andinternational theatre todiverse communities.(Photo: PerformersSizwesandisile Mnisi,Back Ameera Conrad,Oarabile Ditsele, TankisoMamabolo, Cleo Raatus,Sihle Mnqwazana,Thando Mangcu atBaxter Theatre. Courtesyof Baxter Theatre.)

Front cover: Leeds-basedSlung Low makes theatreimmediate, relevant anduseful (Fairy PortalCamp. Photo: SamAllard)

Published in 2018 byCalouste Gulbenkian FoundationUK Branch50 Hoxton SquareLondon N1 6PB+44 (0)20 7012 [email protected]/uk-branch

Society is at a crossroads. In such uncertain times thearts have much to offer: as places of learning, spaceswhere people can come together, platforms forunheard voices, and the means through which we canthink about difficult issues.

Through this Inquiry, we aim to connect all those whobelieve the arts are central to society and want theirarts organisations to play a ‘civic role’. Our ambitionis to build a movement of change-makers, withimpact in their local communities, across the UKand internationally.

We are not alone in believing in this agenda. We’vecompiled an extensive bank of case studies show -casing innovative practice from arts organisationsaround the world to inspire those interested inthese ideas. Many others are working in this area,from the Paul Hamlyn and Baring Foundations,from universities to the British Council and ArtsCouncils themselves. The Cultural Cities Enquiry isconsidering how culture can be more effectivelyresourced across the UK, to ensure that it continues toenrich our cities and the lives of citizens. And the

Inquiry into the Future of Civil Society has laid barethe urgent need for a new PACT: a radical change inPower Accountability Connection and Trust.

To survive and thrive in this new era, artsorganisations must evolve to keep pace in our changingworld. Our case studies show what is possible. Thosereceiving public investment will be called to articulatemore clearly the value they bring. Now is the time torethink our relationships within our communities.Tomorrow is too late. We believe our Inquiry proposesways forward. But only by sharing delivery will weproduce a whole that is more than the sum of its parts.As we begin this next phase of our work we want tohear from, and work with, organisations who showcourage and want to embrace the future.

Andrew BarnettDirectorCalouste Gulbenkian Foundation (UK Branch)

FOREWORD

INQUIRY INTO THE CIVIC ROLE OF ARTS ORGANISATIONS • PHASE 2: WHAT HAPPENS NEXT? 3

The Inquiry into the Civic Role of Arts

Organisations seeks to promote the

valuable role that arts organisations do

and could play nationally and in their

communities. Consultations with arts

organisations about our Phase 1 research

have shaped what we plan to do next.

Phase 2 will deliver plans you have helped

us develop.

This summary outlines the feedback we received onour findings and sets out our next steps. In brief:

l We identified six areas for consultation: definingthe civic role; barriers and levers for change;supporting the development of practice; capacitybuilding; funding; and influencing public policy.

l Our priorities for action in Phase 2 are:

– supporting trustees to think about the civic role

– encouraging and supporting more organisationsto showcase exemplary practice throughfellowships and/or awards

– making connections that share innovativepractice and learning, nationally andinternationally

– providing evidence of impact to boost moreflexible funding

– fostering partnerships that maximise impact

– influencing national policy and strategy.

l Work we have already begun with partners in PhaseTwo includes:

– Creative Civic Change: a new £4m fundinginitiative for local communities using the arts tomake positive social change where they live.

– Co-Creating Change: a national network tosupport and share co-created models of ‘artsfor social change’.

– HEY100: a pilot in Hull and East Yorkshire forplace-based leadership development that bringstogether people from social and culturalorganisations.

– International Study Visits: we piloted a week-long study exchange for emerging culturalleaders from four countries and are looking toscale this up.

– Governance Now conference: we were part of anational event for arts and culture sectorprofessionals exploring how governance isessential in promoting a civic role.

Read on for more detail.

We plan to fund strategically, galvanising networksand groups that will embed ‘the civic’ into artsorganisations, arts funding and arts policy.

INQUIRY INTO THE CIVIC ROLE OF ARTS ORGANISATIONS

PHASE 2

WHAT HAPPENS NEXT?

4 INQUIRY INTO THE CIVIC ROLE OF ARTS ORGANISATIONS • PHASE 2: WHAT HAPPENS NEXT?

Rethinking Relationships revealed thelack of a common language andclassification system for the civic roleperformed by arts organisations. Welooked at outlining this role in flexibleways that could reflect the diversity ofboth practice and aspirations.Rethinking Relationships suggested thatprinciples are preferable to definitions –they are inclusive and harnessaspirations.

To help explain why this role isimportant, we drew up five metaphors.We felt these provide a usefulframework for discussion with a rangeof arts organisations and stakeholders.These metaphors describe artsorganisations as:

l Colleges – places of learning

l Town halls – places of debate

l Parks – shared spaces open to all

l Temples – places of enlightenmentand solace

l Home – places of belonging.

1DEFINING THE CIVIC ROLE –USING PRINCIPLES AND METAPHORS

We identified nine operating principles shared by artsorganisations with a strong civic role:

l Demonstrate strong and effective leadership andgovernance. The civic is part of the DNA of their directors. Itis not an ‘add on’. It is how they deliver great art. Theirboards of trustees are fully committed to the civic andengaged in creating links with other local civic organisations.

l Are rooted in local needs. These organisations understandtheir role in their localities. They are aware of and respondto opportunities to work with other community partners,including those from other sectors to meet local needs.

l Develop community agency. The local community plays asignificant role in determining the artistic programme.

l Build capability. These organisations are effective indeveloping community skills, capabilities and creativity.

l Build social capital. Often significant volunteeringopportunities are provided. Sometimes these organisationsfocus on encouraging kindness, empathy and understandingof others.

l Champion artistic quality. This is quality in both processand in artistic output. These organisations tend to believethat, to have a positive social impact, the art produced mustbe of the highest possible quality.

l Champion diversity. They aspire to fully represent theircommunities, to tell untold stories and to give a platform topeople and issues which may often be ignored orinsufficiently recognised.

l Provide challenge. They encourage discussion and debate,often on difficult issues. They challenge prevailingorthodoxies and ways of working.

l Are open and reflective. They engage in ongoing reflectionand dialogue, and are open to challenge.

(These principles were heavily influenced by the OurMuseumprogramme from the Paul Hamlyn Foundation.)

1 • DEFINING THE CIVIC ROLE – USING PRINCIPLES AND METAPHORS


NEXT STEPSWe share the concern that a civic role mustnot become a tick-box exercise. The work canbe upheld in the ethos and at every levelincluding trustees of an arts organisation.This is one of the key tenets that we will carryinto the next phase of our work.

We aim to support the production ofguidance and tools for the boards of artsorganisations to support them in consideringtheir organisation’s civic role. (See Section 4,Capacity building, page 10, for more on this.)

What did you think?

Organisations identified with the principles ascharacteristic of both their current work and theiraspirations. Some said it was refreshing and usefulto see artistic work in a holistic form rather thandelivery-based or economic. However, severalrespondents felt that organisations might assumethat, if they ‘tick the boxes’ of these principles,there will be no need to examine their work at astructural level.

Many respondents agreed that the metaphors:

l Reflect the purpose of arts organisations’ work

l Are a useful way of communicating the rolesand value of arts organisations

l Are frames that allow us tobroaden the conversationand engage new voices.

However, feedback also highlighted howthe metaphors are based on places orbuildings. Some organisations that aren’tbuilding-based were concerned thatbecause the metaphors all share thesame basis in place, they imply that asystem of comparable and measurableoutcomes can be applied to all civic rolearts work in a similar way. We believemetaphors can imply what happens in aplace beyond the function of a building.

A civic role must notbecome a tick-boxexercise

The civic role of artists

One question came up repeatedly in Phase 1:‘why aren’t you focusing on the civic role ofartists?’

The Inquiry’s remit is publicly funded artsorganisations in England. We feel duty-bound to question how and on what publicmoney is spent. However, we do not feel thesame way about individual artists. Webelieve the way artists spend their energyand creativity is entirely up to them,although we’d be delighted if this movementinspired the wider arts sector.


Rethinking Relationships outlined eight barriers tochange.

l Leadership: Many leaders do excellent work, butthey can be overstretched and under-supported.

l People and skills: Producers, curators and artistsmay need training and support to co-produce withcommunities.

l Partnership working: Creative partnerships withcommunity organisations exist, but for manyorganisations this remains largely an aspiration.

l Funding: Work with communities oftensits uncomfortably within conventionalarts funding and evaluation processes.

l Growth and replication: Organisationswant to replicate their models, but mayworry about weakening community rootsor artistic quality if they grow.

l Business models: Adopting a civic rolerequires working in new ways but can alsoopen access to more mixed funding.

l Diversity: Ensuring that participants, staff anddefinitions of ‘the arts’ all reflect the demographicmakeup of the community the arts organisationworks in can be a challenge.

l Language and communication: With no commonlanguage for the civic role, it can be difficult todescribe and promote.

2BARRIERS AND LEVERS FOR CHANGE

What did you think?

The barriers resonated widely with artsorganisations, especially smaller groups.

However, feedback also made it clear thatthese barriers are interrelated. For thisreason, our work does not focus on thesetopics individually, but consideration ofthese is integrated throughout ourthinking and plans.

Barriers to thecivic role areinterrelated:responses mustaddress this

2 • BARRIERS AND LEVERS FOR CHANGE


NEXT STEPSOur Phase 2 work focuses on those areas that havethe most potential and that consultation identifiedas priorities.

We want to work with others to connect the nextgeneration of leaders, enable them to bridgedifferent sectors, give them time to reflect andlearn together, and inspire them with practicefrom the UK and abroad

Arts organisations can reconsider their purposeand emphasise their role within communities.Indeed, many were founded with this as theirguiding philosophy. This requires community-aware and engaged trustees from differentbackgrounds who ask the right questions. We planto test ways we can support trustees to connect,think about these issues and plan ahead (see page10 on Capacity building).

We are seeking partners in developingtraining and funding projects that encouragethe arts sector to adopt and demonstrate bestpractice, for example:

l a training programme for artists, curatorsand producers working in social contexts

l a reflective ‘self audit’ for artsorganisations to understand in detail therole they currently play

l practical tools for trustees of artsorganisations

l investigate the potential to supportfellowships or awards for exemplarypractice.

Arts and civic society under the lens

We are far from the only organisation consideringthese themes. Some of the exemplary workhappening in this field is:

Creative People and Places – putting people in thelead in choosing, creating and taking part in excitingart experiences in the places where they live.Developed by Arts Council England (ACE) with aninvestment of £37m from the National Lottery, theprogramme first ran between 2013 and 2016. ACE hascommitted a further £17m for the existing 21 projectsto deliver new activity for a further three years.

The Warwick Commission on the Future of CulturalValue – was a one-year investigation into the social,economic and artistic value that culture brings toBritain. The Commission was launched by theUniversity of Warwick and led by Vikki HeywoodCBE, Chair of the RSA.

King’s College London – is at the forefront ofresearch into the impact of the arts on health andwellbeing.

The Baring Foundation - supporting participatoryarts with people over 60 through its Arts and OlderPeople programme (2010-2017).

64 Million Artists/get creative – encouraging peopleto use their creativity to make positive change intheir lives and the world around them. It has workedwith schools, universities, cities, workplaces, culturalinstitutions and health and government bodies toexplore ways of reconnecting people with theirinnate creativity.

Our Museum – an initiative by the Paul HamlynFoundation which sought to make museums andgalleries more active partners within theircommunities.

Cultural Cities Enquiry – This UK-wide enquiry bringstogether cities, UK Arts Councils and leaders fromthe cultural, education, design, development,hospitality and technology sectors. It will look at howculture can be more effectively resourced across theUK, to realise its full potential to benefit cities andcitizens.


Rethinking Relationships showed that goodpractice is not widely communicated, isoften ignored by critics, and not wellunderstood. Consequently, learning onmethodology, structure and behaviour isnot shared and so the work rarely spreads.

3SUPPORTING THE DEVELOPMENTOF PRACTICE

What did you think?

Feedback confirmed our findings that time andresources are spent ‘reinventing the wheel’ andtrying to work around similar hurdles that othersin different regions are also facing. As a result,good practice is rarely scaled up or replicatednationally or internationally.

The role of boards also emerged as importanthere, in ensuring civic practice is threadedthroughout an arts organisation, starting from itsmission.

We want to act as acatalyst for internationaldialogue and inspiration

WORK UNDER WAY: International exchange

Local context matters, but there is inspiringpractice beyond our shores. We are alreadysupporting With One Voice, a globalnetwork of arts organisations working withhomeless people. Our bank of case studies(available on our website) includes over 20international examples from countriesincluding Kenya, New Zealand andSingapore. In 2018, we also piloted a week-long study exchange for emerging culturalleaders from four countries. We plan tothink even more internationally, makingconnections and sharing what we learnacross borders.

We are supporting With One Voice, aglobal network of arts organisationsworking with homeless people. InNovember 2018 With One Voiceheld the world’s first arts andhomelessness summit and festival inManchester. (Photo: With One Voice)

3 • SUPPORTING THE DEVELOPMENT OF PRACTICE


NEXT STEPSWe want to share proven approaches from theUK and internationally that arts organisationsmight follow to develop their civic role. We areseeking funding partners to help us developmodels. We want to examine how artsorganisations could play a ‘connector’ role, inpartnerships with the social and commercialsectors and public authorities.

We want to invest in innovative civic artspractice and find project partners to:

l Support arts organisations that helpcommunities develop entrepreneurial skillsor establish creative enterprises

l Test radical and new thinking inorganisational learning and change.

We want to step up our international workand act as a catalyst for internationaldialogue and inspiration. We will:

l Launch an international exchangeprogramme in 2019

l Investigate hosting a majorinternational conference in 2020

l Investigate laboratory approaches,such as the inspirational ‘InclusiveCulture Laboratory’ model from Exekoin Montreal.

L I S B O N

P O R T OP O U S S O S

P A R I SB E R L I N

S T P E T E R S B U R GB E R G S L A G E N

B E L A R U S

M A R S E I L L E

B A R C E L O N A

C A P E T O W N

M E L B O U R N ES Y D N E Y

S I N G A P O R E

C H R I S T C H U R C H

A H M E D A B A D

C H I S I N A U( M O L DOVA )

K E N YA

R I O D E J A N E I R O

MATOG RO S SO

N E W Y O R K

B O S T O N

S AVA N N A H

A U S T I N

D E N V E R

L O S A N G E L E S

S A N TA C R U Z

A N C H O R A G E

M O N T R E A L

Takumã Kuikuro

Redes da Maré

Baxter Theatre

MitOst

Free Theatre (+ in London)

Theatre Project Vmeste

OberlihtLieux Publics

RUIDO Photo

Eroles project(Pyrenees + Granada)

Council (+ international)Good Chance

Museu CalousteGulbenkian

PELE

SAMP

The non-existent Centre

Public Art Agency (Sweden, national)

Conflictorium

Drama Box

Gap Filler

First Nations Arts FestivalFootscray Community Arts Centre

YIRRAMBOI Arts House

Big hART (+ across Australia)

Amani Peoples Theatre(+ across East Africa)

Deep Center

Boston AIR

Forklift Danceworks

Museum of Contemporary Art

Out NorthArt Hives

(+ across Canada and US)

Exeko

Carnegie HallCenter for Urban PedagogyFoundry TheatreThe Laundromat ProjectQueens Museum

Cornerstone Theater Company

Museum of Art and History

We added 40 more case studies to our ‘bank’of innovative and inspiring practice, with afocus on featuring more international work.

INTERNATIONAL CASE STUDIES


Rethinking Relationships identified capacity as themost significant limitation to fulfilling a civic role.The need for stronger networks and access toleadership training were identified as the keycapacity issues.

4CAPACITY BUILDING

What did you think?

Feedback confirmed that capacity is amajor issue, especially for smallerorganisations and those using substantialamounts of volunteer work. Peer-to-peernetworks were repeatedly mentioned as a‘missing ingredient’. Feedback alsorecognised that leaders needed moresupport and better networks to captivateand cultivate expertise.

A civic role is as muchabout mission as it isabout practice

WORK UNDER WAY: Co-Creating Change Network

This national network aims to bringtogether people from culturalorganisations as well as individual artistsand producers to share practice andcreate work. We are supporting BatterseaArts Centre, with co-funding from the PaulHamlyn Foundation and Arts CouncilEngland, to establish the network. Webelieve this project will build capacity,connect leaders and share examples ofinnovative practice.

WORK UNDER WAY: Governance Now conference

This national event for professionals from thearts and culture sectors explored best practicein governance and how to place the civic roleat the heart of organisational mission andgovernance. We are continuing to work withthe Clore Leadership Programme and a widercollation of partners on this issue.

4 • CAPACITY BUILDING


NEXT STEPSWorking with other funders, we want toexplore options for:

l Networking, international exchange andleadership training

l Training, support and networks for artists,producers and curators co-producingprojects with communities

l Guidance and tools for the boards of artsorganisations to help them consider what acivic role might mean for them (see alsopage 4, Defining the civic role).

We believe a civic role is as much about mission asit is about practice. We want to build capacitythrough leadership development, internationalexchange, and practical resources and tools.We’re looking to collaborate with others to takeour current projects long term. Plans include:

l Co-funding a new Governance Alliance to helpcultural and arts sector trustees become strong,adaptive leaders and improve governancepractices across the sector. Elements alreadyunder way include online resources andtraining, a conference (see box) and an eventsprogramme.

l Evaluation of how London International Festivalof Theatre (LIFT) immersed its team in itsTottenham community, to provide pointers onplace-based practice for other organisations.

l Investigating ways that HEY100 (see box) couldbe expanded to cultural sector leaders andmanagers in other places.

WORK UNDER WAY: HEY100

This pilot provides free leadership andmanagement training to the voluntary, culturaland community enterprise sectors in Hull and EastYorkshire. It is a Clore Social initiative, which weare supporting jointly with Arts Council Englandand the Rank Foundation. It will bring togetherleaders from social and cultural organisations,build leadership skills and capacity, and in turnenable community and voluntary projects to grow.

Read more: hey100.org.uk

Hey100 by Clore Social Leadership is pilot inHull and East Yorkshire for place-basedleadership development that brings togetherleaders from social and culturalorganisations. We are co-funding this workwith Arts Council England and the RankFoundation. (Photo: HEY100)

https://www.hey100.org.uk/


Unsurprisingly, Rethinking Relationships foundthat funding is an ongoing concern for manyarts and cultural organisations. In particular,there is a conflict between strict fundingguidelines that require certainty of process,outcome and timeframes and the flexibility thatarts organisations require to co-produce workwith communities.

5FUNDING

NEXT STEPSWe want to examine the potential forgreater collaboration between funders.There is a need for funding for ‘light touch’infrastructure and capacity building.We want to look at the feasibility ofincentives for large and small artsorganisations to work together andappropriate processes for application,evaluation and accountability.

We want to work with other funders andarts organisations to make funding moreflexible and fit for purpose.

What did you think?

Several responses confirmed that fundingguidelines can limit organisations’ ability to co-produce work in the community. Arts funding isoften separated into distinct categories and thiscan also be problematic. Work that seeks toperform a civic role often crosses many categoriesand so ‘falls between the gaps’ for funding.

Strict funding guidelinesrestrict the flexibility thecivic role needs

WORK UNDER WAY: Prosper

During 2017–18, Prosper offered workshops,webinars, resources and business supportthrough a network of expert business advisersto 70 arts and cultural organisations. Designedand managed by Creative United, it aimed toimprove staff resilience and organisations’commercial capacity and understanding ofinvestment.

Read more:creativeunited.org.uk/programme/prosper/

http://www.creativeunited.org.uk/programme/prosper/

5 • FUNDING


C A R D I F FB R I S TO L

C A N T E R B U RY

P LYMOU T H

BO U R N EMOU T H

TOT N E S

D E R BYNOT T I N G H AM

WOK I N G

H U L L

M I D D L E S B R O U G H

U LV E R S TO N

N EWCA S T L E /G AT E S H E A D

L I V E R P OO L

L E E D S

MAN C H E S T E RLO N DON

Derby Museums

mimaStreetwise Opera/With One Voice

DuckieThe Lightbox

Bluecoat

Grizedale

Welfare State International

Effervescent Encounters

Bournemouth Symphony Orchestra

Hull Freedom Festival

Slung LowYorkshire Dance

People United

Artes MundiParaorchestraSituations

Contact TheatreStreetwise Opera/With One Voice

National Theatre Wales(touring) Voluntary Arts

(national)

New Adventures/Re:Bourne(touring)

Streetwise Opera/With One Voice

Shetland Arts Development Agency

AmberThe NewBridge ProjectSage GatesheadTyne & Wear Archives & MuseumsStreetwise Opera/With One Voice

The AlbanyAssemble

Battersea Arts CentreBookTrustEntelechy

Fun PalacesGrand Union Orchestra

ImprobableLIFT

Ministry of StoriesNational Theatre

Poet in the CityRoundhouse

Streetwise Opera/With One Voice

Researched and written byarts journalist Maddy Costa,we have added to our ‘bank’of case studies.

UK CASE STUDIES

Our case studies illustrate best practice inthe UK and overseas. Contact theatreempowers young people in Manchesterthrough the arts. (Photo showingperformers in Contact Young Company’sshow There is a Light: BRIGHTLIGHT)


Rethinking Relationships found that funding cutsand reduced public spending are having aserious impact on arts organisations’ capacity.National interest in the responsibilities oforganisations that receive public funds is alsoinspiring arts organisations to be more creativewith their budgets, and encouraging them tohelp local authorities achieve better outcomes insectors such as health and social care.

Arts Council England is working on its next tenyear strategy. It commissioned Britain Thinks tosurvey the public about their views on the futureof arts and culture, which were published in areport titled The Conversation. We alsocommissioned Britain Thinks to compareThe Conversationwith our Phase One reportRethinking Relationshipsand were pleased it foundthe main themes werevery similar.

6PUBLIC POLICY

What did you think?

Many responses referenced the need for a policyenvironment more conducive to arts organisationsengaging with their civic role. To achieve this,some suggested that arts organisations must haveinfluence over public policy decisions throughindividual supporters at policy level – such aschampions in local government and town parishes.

There is a desire to work more closely with socialorganisations and public services within a policyframework that helps arts organisations fulfil theircivic role. However, there was concern that artsorganisations must not be expected to be a cheapalternative to social services.

Arts organisations mustnot be seen as a cheapalternative to socialservices

WORK UNDER WAY: Civil Society Futures

The debate over organisational relevance hasbeen made all the richer by Civil Society Futures.Its final report calling for a reimagining of howinstitutions and groups operate underlies ourbelief in the civic role. We look forward tocollaborating with arts organisations on makingthese findings real.

WORK UNDER WAY: Local Government Association

Research by Hatch Regeneris for the LocalGovernment Association shows how culture-ledregeneration delivers quantifiable economic andsocial benefits through a range of models. Itprovides guidance to councils on how to achievethe greatest impact in their area and evidence ofthe effectiveness of local arts funding for socialchange.

6 • PUBLIC POLICY


NEXT STEPSWe agree the arts and culture sector should berecognised as adding value to other publicservices – and certainly not as replacing them.We want to work with government at differentlevels, to create supportive conditions for artsorganisations to fulfil a civic role.

We are delighted that Arts Council England hasalready responded favourably to RethinkingRelationships. We hope to continue to work withArts Council England, in particular around itsnext ten-year strategy.

WORK UNDER WAY: Creative Civic Change

This three-year funding programme provides£4 million for communities to make positive socialchange in their area. In partnership with the BigLottery Fund, Local Trust and Esmée FairbairnFoundation, we will support approximately 16communities to use the arts to create change inways they themselves have identified. We believeCreative Civic Change will show the value ofsupporting community-led projects for creativesocial change, provide evidence on the benefits offlexible community-led funding, and demonstrateinnovative practice and how to build capacity.

Read more: bit.ly/creativecivicchange

We launched Creative CivicChange, a new arts fundingprogramme for localcommunities. The programmeis a partnership between theBig Lottery Fund, the CalousteGulbenkian Foundation, EsméeFairbairn Foundation and LocalTrust.

http://localtrust.org.uk/our-work/creative-civic-change/


CONCLUSION

The relationship between arts organisations andthe public is changing. Those organisations thatreceive public investment need to articulate moreclearly the value they bring, including to localcommunities. Changing mindsets and practicetakes time and courage. For Phase 2 of theInquiry, we have deliberately avoided a neatlydefined programme with a set beginning and

end. Instead, we are focused on developing theright partnerships that, together, may have animpact that is lasting and systemic. We seeourselves as a catalyst. We know that we don’thave all the answers: we can only ask thequestions and connect those with thecommitment and expertise to help make adifference.

GET INVOLVED

We believe we make a big impact by working withothers. We are looking to partner with other funders,organisations and individuals.

We need your help to focus on the key areas wherewe can make a difference, We want to hear from, andwork with, organisations which show courage andwant to embrace the future.

Interested? Get in touch or keep up to date:

Email:[email protected]

Follow us on Twitterhttps://twitter.com/CivicRoleArts

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phase 2 what happens next?

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