Creative Economies - A national seminar on the creative economy exploring the role of arts in economic development

tom fleming / creative consultancy /

Supporting
Growth in the
Arts Economy
Creative Economies Seminar, June 2012

www.tfconsultancy.co.uk @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
international reputation”.

• tom fleming / creative consultancy /

“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
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
‘here’?


Our Recent
History:

An Arts &
Creative
Economy
Timeline


’80s to late ’90s
Special pleading,
marginalisation,
innovation…then celebration,
symbolic capital (cool)…


Late ’90s to early ’00s

Development & growth, new
infrastructure & support,
cultural planning, digital…


Late ’00s

Crisis, withdrawal,
fragmentation, fear, collision,
more digital disruption


Early ’10s

Fragility, some recovery,
celebration, innovation


The Scrap for Resources &
Ownership of ‘the Agenda’

© Stephen Adams 1979

Conceptual & Strategic Impasse


Failure to Effectively
Articulate the Public
Value of the Arts &
Creative Economy


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


The How:
Demonstration, smart investment,
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’?
‘Innovation’?


Who Benefits?
And How?

And to what end?


Dangers of austerity
planning
Piecemeal, risk averse,
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
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,
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


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


Creative Economy: Commercial
Creatives
- 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

- 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?


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, OR
want a real struggle, a real fight, then it
would require re-engaging with things like
public planning for example, or re-engaging
with government, or re-engaging with a
large-scale institutionalised developers. I
think that’s where the real struggles lie, that
we re-engage with these structures and
these institutions, this horribly complex
‘dark matter.’ That’s where it becomes
really interesting”.

Wouter Vanstiphout, interviewed by
Rory Hyde, 2010


Appetite?

Capacity?

Skills?

Connections?

Time?

We Need Effective
Public Value Narrative
& Tools
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
and returns.


But that’s not
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.


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

Antoine de Saint-Exupery


The Late ’10s

?


info@tfconsultancy.co.uk

www.tfconsultancy.co.uk

@tfconsultancy

44

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
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)
• Social return on investment (SROI)

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
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 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
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
• 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,
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:
– 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

Shopping 6% =£7m

Transport 9% = £9m

Entertainment 15% = £16m

Food and Drink 34% = £37m

Accommodation 37% = £41m

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

How would you rate the quality
of this event against other 3.92
comparable events?

1 2 3 4 5

Much Worse Much Better

– 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.

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
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

ll up – Roll up!
Robertson
o Factory Theatre

e Industries Development
mden Centre 20 June, 2012

ssons learnt from the conversi
a 100 year old Tobacco Factor
into a theatre –
and a whole lot more…

The Tobacco Factory – past and present

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

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)

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, are
prime examples of 21st century uses of 19th century industria
buildings 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 geographic
area. While every area has its own issues and opportunities
suggest that the narrative arc of Bristol is analogous to that o
many mercantile / industrial areas that are seeking new roles
n 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 Development
The Camden Centre 20 June, 2012

Culture and the
Visitor Economy

Lyndsey Swift
Head of Partnerships

Our Mission

“To lead and drive forward the
quality, competiveness and
sustainable growth of England’s
Visitor Economy”

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

Cultural Tourism?
• 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

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

What are our shared aims??

• 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

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 • Supply chain
• Leisure/ Business/ • Core
VFR • Accommodation
• Day/ overnight • Attractions
• Bars/ restaurants

• Related
• Retail
• Transport
• “other” services –
laundry, petrol
stations, food
suppliers

Visitor Economy:
It’s Big Business
● 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 spend adds local value
It helps protect and preserve our heritage
It can support localism

Recent changes
• 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

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

Summary

● We have a shared
agenda – growth!

● We must share targets

● Align funding streams
nationally and locally

● Partnership dynamic is
critical

Lyndsey Swift, Head of Partnerships
lyndsey.swift@visitengland.org
0207 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 work
Examples of how you could make it
work in your area

Essex Summer of Art
20 Art Trails
4th Annual Event
2011: £1.3m to Essex
economy
180,000 visitors

Essex Summer of Art
Development

Grass roots network
Shifting perceptions
Efficiency

Making it happen - Partners
Essex County Council Visit Essex
Districts & Boroughs Firstsite
Participating Art Trails BBC Essex

The offer to tourists

1. Free or low cost
Burnham Art Trail
2. Collateral spend
Leigh Art Trail
3. Locally distinct
Rochford Art Trail
4. Programming for a
local audience


5. Links to other Essex Craft & Design
attractions and Trails Show

6. Artistic Diversity Jaywick Open


7. Regeneration = Gatehouse in Harlow
Rediscovery

Hadleigh Old Fire
Station & 2012

Essex Summer of Art model
Destination tourism
Regional Media
Campaign
High level political
support
Steering Group
Credibility

Media campaign
40,000 brochures
and distribution
Micro website
Prize Draw
£50,000 ‘in kind’
BBC Essex

Tourism Stats
180,000 visitors
80% of visitors spend money at Trail
£12.33 per head
Net income to Essex £1.3m

Guardian Travel Guide

Published 16th
September
2011

Spend Table
SPENDING £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 up
Essex Summer of Art Report:
Joanne Thain Arts Development Officer
(Essex County Council)
joanne.thain@essex.gov.uk
PRIME Economic Impacts Assessment:
Sergi Jarques – Tourism South East
sjarques@tourismse.com

Arts Development UK Seminar:
Creative Economies
20 June 2012

Breakout Session #4: New Business Models

New Business Models

Mary-Alice Stack, Director ArtCo Projects
Arts Council England

Tim Joss, Director
Rayne Foundation

Ruth Jarratt, Trustee
MeWe360

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 finance
Opportunity 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 not
eligible 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:
Amount Repayment APR Monthly Total Total
Borrowed term Payment Repayments 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

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

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: cifinance@artscouncil.org.uk

www.artscouncil.org.uk

Thank you

Mary-Alice Stack
Director, ArtCo Projects
Arts Council England
14 Great Peter Street
London SW1P 3NQ

020 7973 6503
07947 451355
mary-alice.stack@artscouncil.org.uk

www.artscouncil.org.uk

ARTS VENTURES
initiative
Tim Joss
Chair

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

KEY CONCEPTS

• 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

MOTIVATION

• 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

DEVELOPING THE FUND

Development House
for the creative industries

Ruth Jarratt
20.6.12

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 website
www.mewe360.com

Presentation to Arts Development UK
National Seminar
20th 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 attended
Range of performances Not just stand‐up
2012: over 400 events in 17 days
Developed over 19 years; 20th birthday in 2013

How it works:

A bit like Edinburgh Fringe
Central office & 160+ promoters
Participation fee
Make Me Happy programme
Special events
Managed by Big Difference Company
£18k funding/year
20 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 Dinner
Business Breakfast Mayor’s City Partnership
Economic 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 Rowe
CEO, Big Difference Company
geoff@bigdifferencecompany.co.uk
T: 0116 261 6812

Creative Derbyshire 2010 - 2013

Rob Wadsworth
S4W 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
Press & PR for the

Confidence after
Creative Sector

Confidence before
Preparing Your Marketing

Confidence after
Approach

Confidence before

0 1 2 3 4 5

Demonstrating Improvement
Introduction to Social

Confidence after
Media

Confidence before
How to sell your Creative

Confidence after
Output Online

Confidence before

0 1 2 3 4 5

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

Business sectors that creative businesses
in Derbyshire trade with
35

30

25

20

15

10

5

0

Creative LEPs

Mari Martin
Jayne Knight

Norwich – UNESCO City of
Literature

What is a LEP?
The Department for Communities and Local
Government define Local Enterprise
Partnerships as locally-owned partnerships
between local authorities and businesses
formed to play a central role in determining
local economic priorities and undertaking
activities to drive economic growth and the
creation 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 SI Department for Business
Innovation & Skills
Local Enterprise Partnerships

1. Black Country
2. Buckinghamshire Thames Valley
3. Cheshire & Warrington Local Authorities in
4. Coast to Capital overlapping LEPs
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 20
19. Lancashire
20. Leeds City Region
21. Leicester & Leicestershire
15
22. Liverpool City Region
23.London
24. New Anglia 3 14
25. North Eastern
26. Northamptonshire
27. Oxfordshire 32
28. Sheffield City Region 21
29. Solent 12
30. South East 1
31. South East Midlands
6 26
32. Stoke-on-Trent & Staffordshire
38
33. Swindon & Wiltshire
34. Tees Valley 31
35. Thames Valley Berkshire
11 27 2
36. The Marches
37. West of England
38. Worcestershire
35
23
39. York & North Yorkshire
33
10

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Produced by Statistical Analysis Directorate 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?

Data
Open Data
Big Data
Linked Data
APIs / Interfaces like Kinect
Internet of Things (Smart Planet IBM)
Algorithms
Robotics and Ai (Microcontrollers)
GPS triggered content
Cloud
Face recog
Crowdfunding (Spacehive & Kickstarter)
Community curation
Tagging
Generative
AR (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

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.

Contact details

www.artsandbusiness.org.uk
Patrick.Hussey@artsandbusiness.org.uk
@PatrickRiot

Dare to be digital

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 tools Working software over
comprehensive documentation Customer
collaboration over contract
negotiation Responding 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 4
Creative & Future Cities
Initiatives
Symon Easton
Deputy 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 City
Background

• 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

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

To deliver against the GBSLEP’s objectives, the Creative City
programme 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

Creative Economies - A national seminar on the creative economy exploring the role of arts in economic development

Creative Economies - A national seminar on the creative economy exploring the role of arts in economic development

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Creative Economies - A national seminar on the creative economy exploring the role of arts in economic development