Culture Strategy

BETTER TOGETHER THE THREE SISTERS REGIONAL CULTURAL STRATEGY 2016-2025 KILKENNY, WATERFORD, WEXFORD

BETTER TOGETHER - THREE SISTERS’ REGIONAL CULTURAL STRATEGY

C ONTENTS Welcome ...................................................................................................................... 3 Vision ........................................................................................................................... 4 Mission ......................................................................................................................... 5 Values .......................................................................................................................... 5 Introduction ................................................................................................................. 6 Defining Culture ........................................................................................................... 9 Current Context ......................................................................................................... 10 Key Issues and Challenges ......................................................................................... 16 Methodology/Approach ............................................................................................ 18 Strategic Priorities...................................................................................................... 19 Strategic Priority A: Regional Model for Partnership................................................................................... 19 Strategic Priority B: Creative and Cultural Economy Programme ................................................................ 21 Strategic Priority C: Culture-Led Social Development .................................................................................. 23 Strategic Priority D: Urban and Rural Regeneration Programme ................................................................ 24 Conclusion ................................................................................................................. 26 Appendices ................................................................................................................ 27 APPENDIX 1 ................................................................................................................................................... 27 APPENDIX 2 ................................................................................................................................................... 28 APPENDIX 3 ................................................................................................................................................... 29 APPENDIX 4 ................................................................................................................................................... 31

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W ELCOME Culture is an integral part of how we lead our everyday lives. It connects us through our rituals and traditions to our region’s heritage through our landscape, language, sport, food, song and dance. It roots us and gives us a sense of place. It assists our health and wellbeing, gives expression to our creativity and provides outlets for participation, engagement, reflection, celebration and entertainment for all citizens. But culture can also act as catalyst for change and it with this change in mind that we as joint Chief Executives of the Three Sisters region present our first Regional Cultural Strategy.

This strategy has been developed in part as an output of the Three Sisters regional bid to win the title of European Capital of Culture in 2020 but moreover to respond to an identified need for us to work together in partnership to increase our visibility nationally and internationally, provide greater access to culture throughout our region, promote opportunities for co-creation, innovation and entrepreneurship in culture and creativity, contribute to our economic and societal development, and chart a future for the Three Sisters through culture-led development.

We are a region rich in culture from our national cultural and design institutions and organisations to our production of culture via our cultural players across the arts, heritage and creative industries and our individual artistic practitioners.

This strategy acts provides a vision for the Three Sisters to 2025, delivering an over-arching framework to assist the region within the context of our combined wider economic and social development agenda and sets out high-level goals for cultural development.

Together, we look forward to further developing our joint partnership and implementing our new cultural agenda.

Sincerely,

Tom Enright

Colette Byrne

Michael Walsh

Chief Executive Wexford County Council

Chief Executive Kilkenny County Council

Chief Executive Waterford City and County Council

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V ISION A REGION WHERE CULTURE IS UNDERSTOOD, APPRECIATED AND RESOURCED TO IMPROVE THE LIVES, OPPORTUNITIES AND PROSPECTS FOR ALL WHO LIVE, WORK AND VISIT THE

THREE SISTERS REGION

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M ISSION TO TRANSFORM THE THREE SISTERS REGION THROUGH CULTURE-LED PARTNERSHIP AND INVESTMENT TO ENHANCE THE LIVES OF OUR CITIZENS THIS WILL BE ACHIEVED BY: 1.

PROMOTING AND SUPPORTING SUSTAINABLE CULTURAL DEVELOPMENT ACROSS THE REGION

2.

INVESTING IN THE EXPRESSION OF AND ENGAGEMENT WITH CULTURE AND CREATIVITY THROUGH OUR PEOPLE, PLACES AND PROGRAMMES

3.

WORKING WITH LOCAL, NATIONAL AND INTERNATIONAL PARTNERS TO DEVELOP OUR CULTURAL CAPACITY AND POTENTIAL FOR COLLABORATION

4.

CREATING OPPORTUNITIES FOR THOSE OPERATING IN THE CULTURAL AND CREATIVE SECTORS TO FULFIL THEIR POTENTIAL

V ALUES This Regional Cultural Strategy is guided by our commitment to: 

Providing leadership and transformational change to develop the Three Sisters as a functioning region



Valuing culture in all of its forms



Inclusivity in our approach to cultural development



Excellence in our processes, services, programmes and people



Providing appropriate resources, structures and processes to implement the regional cultural strategy



Fostering a culture of collaborative working across the region



Building cultural capacity and competency



Supporting innovation and enterprise



Developing opportunities to share learning across the region, nationally and internationally



Ensuring openness in our communications with all stakeholders

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I NTRODUCTION The Three Sisters is a region in the south east of Ireland comprising the counties of Kilkenny, Waterford and Wexford with a combined population of 354,000 people. Together they encompass a rich and diverse tapestry of culture spanning the arts, heritage, sport, language and traditional culture, and the creative industries. A broad base of culture is at the heart of how people live, work and play in the region.

The Three Sisters is an exploratory model of regional partnership development and a new model in the Irish cultural context. The partner counties, working together to improve the future for their citizens and understanding that they are stronger and better together, have set aside their historical rivalries to embrace collaborative cultural planning, which has the potential to enhance the quality of life and wellbeing for citizens, contribute to a developing economy and transform the visibility and competitiveness of the region. Through this Regional Cultural Strategy they have designed their development approach reflecting existing competencies, strengths and distinctive attributes in the individual partner counties and charting the potential for coherent future cultural planning, development and provision.

This strategy is being developed in tandem with and inspired by the Three Sisters regional bid to host the European Capital of Culture in 2020. While distinct and separate documents, the strategy and the bid are inherently aligned in their ambition for culture-led regional transformation, going beyond the region encouraging collaboration with international partners across Europe and further afield.

The strategy is informed by European, national and local policy context, frameworks and plans specifically the Arts Council’s Strategy to 2016-2025 – Making Great Art Work1 and the European Union’s Strategic Framework – European Agenda for Culture2. The Three Sisters region is determined to play an innovative, leadership role at European level in highlighting regional transformation through culture. It is also timely in that it is being developed against the backdrop of Ireland’s first National Strategy for Culture – ‘Culture 2025’3.

1

Making Great Art Work. Leading the Development of the Arts in Ireland. Arts Council Strategy (20162025). The Arts Council. Dublin, 2015.

2 Resolution of the Council of 16 November 2007 on a European Agenda for Culture (2007/C 287/01), European Union, 2007.

3 Culture 2025 - Discussion Document. Department of Arts, Heritage and the Gaeltacht, Dublin 2015.

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Within the Three Sisters there exists a desire for the value of culture in its widest form to be recognised, valued and effectively planned for and resourced. This joint and complementary approach to culture-led regional development responds to the future of the region as outlined in the National Spatial Strategy 2002-20204. Its implementation will enable the partners to align resources from local and national programmes into planning and development for culture through;  support of the creative and knowledge economy  enhanced opportunities for cultural and creative enterprise, innovation, programming, practice and engagement  the development of vibrant urban centres and place-making for rural regions  enhanced growth in the region’s tourism sector in line with Fáilte Ireland’s Irelands Ancient East umbrella destination brand5  positioning the region as a place where culture and creativity is embedded in the fabric of life The partners appreciate the significance that the Regional Cultural Strategy can play in developing a ‘functioning region’6, a region which is desirable to live in, where people’s talents are supported and maximised, where excellence and enterprise are celebrated, creative approaches to funding culture are explored and implemented, and where meaningful access, engagement, participation and inclusion underpin the cultural agenda.

The Regional Cultural Strategy is the beginning of a journey, commencing the process to deliver on the region’s currently under-played potential; where working together can deliver multiple economic, societal and cultural benefits. Its objective is to chart a path for culture-led development in the region for the next decade. It aims to reconnect culture to how we think about what it means to live in the Three Sisters region and in turn to present new ways of thinking and resourcing these experiences. It’s about people – plugging into the landscape, understanding where we have come from and being part of the decision-making process about where we are going.

This document is an evolutionary process towards 2025. It focuses on policy over and above the issues of delivery. It is concerned with building flexibility and responsiveness to an ever-changing cultural and economic landscape in the region. It will serve as a guidance document, having regard to and 4

National Spatial Strategy for Ireland 2002-2020 – People, Places and Potential. Stationary Office, Dublin. 2002.

5 http://www.failteireland.ie/Ireland-s-Ancient-East.aspx 6 By ‘functioning region’ we are referring to the entire partner counties of Kilkenny, Waterford and Wexford which support the Gateway City of Waterford and the two regional urban hubs of Kilkenny City and Wexford Town.

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aligning with the strategic objectives of existing statutory plans and frameworks across the partner counties.

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D EFINING C ULTURE There are multiple definitions of culture and for the purposes of this Strategy we reference the definition of culture as outlined in the Government’s Discussion Document for A National Cultural Policy - Culture 20257 and build upon this definition to reflect the nuances of our region. We define culture as: 





The arts, as defined in the Arts Act 2003, which means “any creative or interpretive expression (whether traditional or contemporary) in whatever form, and including, in particular, visual arts, theatre, literature, music, dance, opera, film, circus and architecture and includes any medium when used for those purposes.”

Creative industries, including film and television production, animation, broadcasting, electronic games, architecture, design and fashion, publishing, media and advertising, innovation, R&D and SMART technologies Cultural heritage, including galleries, libraries, archives and museums, built and natural heritage, Irish language and folk traditions, craft, sport, food and brewing.

(See Appendix 1)

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Culture 2025 - Discussion Document. Department of Arts, Heritage and the Gaeltacht, Dublin 2015.

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C URRENT C ONTEXT C U L TU R A L S E C T O R - H I G H L I G H T S The arts sector and in particular the festival economy is strong across the region with key festivals in each partner county drawing significant national and international audiences year on year and a high level of participation in visual and performing arts practice and the literary arts. The Three Sisters is home to some of Ireland’s leading thinkers in arts and cultural programming and models of excellence in arts and health, collaborative and cross-artform programming, exchange and residencies, street arts and spectacle, and arts networking.

Waterford and Wexford are both pioneers for arts, health and wellbeing, with a track record of long-term partnership and programming in hospitals, care settings, community spaces and in the home, specifically through the Waterford Healing Arts Trust and the nationally recognised Arts Ability model in Wexford. KCAT – Kilkenny Collective for Arts Talent is a pioneer in inclusive art practice both in Ireland and internationally, initially via the EU Horizon programme.

The region is home to the National Opera House, located in Wexford town which hosts the acclaimed annual Wexford Festival Opera. Visual arts are well-represented across the region with the Butler Gallery and Lismore Castle Arts of particular significance and the Blackstack Print Studio artists’ collective. Wexford Arts Centre is a hub for a blend of voluntary and professional activity and exhibitions with strong national and international partnership links.

Theatre and performing arts are key features of artistic expression in the region, underpinned by numerous theatres born from communities of practice, where amateur activities in rural and urban areas have spawned international excellence and the type of cultural cooperation organisations in larger cities struggle to sustain.

The region’s association with festivals is central – Kilkenny Arts Festival has gathered many of the world’s finest musicians, performers, writers and artists in Ireland’s medieval city each August. Street Arts is well known via 10 | P a g e

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the Spraoi International Street Arts Festival and Buí Bolg. Spraoi also provides professional services in street arts for a range of cultural entities outside the Three Sisters region and has well-established international connectivity across Europe.

The ArtLinks programme is a model providing grants for individual and collaborative arts practice and a range of mentoring, training and networking supports for professional and emerging artists across the region. ArtLinks is an initiative of the local authority Arts Officers in the region (and the in neighbouring county Carlow).

Traditional culture and heritage are key components of the regional identity and the region has much to offer in terms of linguistic diversity and cultural richness. ‘Gaeltacht na nDéise’ in Waterford is one of seven Gaeltacht areas in Ireland where our native language is still spoken as a living, community language as are its associated cultural elements (Irish music, song, dance and storytelling). In addition, our musical traditions are celebrated through local branches of Comhaltas Ceoltóirí Éireann and active participation in the Fleadh Cheoil.

Sport is an important element of our cultural heritage in particular hurling – and Gaelic Football organised by the Gaelic Athletic Association. Both have an unparalleled network of voluntary and community activity, which are a major cultural asset for the Three Sisters and a cohort of high-profile players who act as ambassadors for their individual sport.

Our cultural heritage is preserved and managed through our libraries, archives and museums services8, which provide a lattice of connectivity between culture and the wider communities of the Three Sisters. The Waterford Museum of Treasures plays a particular role in highlighting the region’s heritage of invasion and arrivals. The Three Sisters is a microcosm of European cultural diversity and integration, with an increasingly intercultural 8

and through the Waterford Institute of Technology, which acts as a repository for knowledge in relation to the region’s heritage

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community of recent arrivals. Our sport and traditional culture is channelled thorugh the work of the Gaelic Athletic Association and Comhaltas Ceolteoirí Éireann at local level. The built and natural heritage of the region is a key feature of the landscape and presents a backdrop for innovation in new uses for ancient spaces and programmes which celebrate our rich heritage proposition.

C R E A T I V E I N D U S TR I E S The Three Sisters is home to a wide variety of cultural and creative industries, mostly micro in scale and across a wide range of industry sectors.

Recent research on the current profile of the creative industries in the region was carried out to support the European Capital of Culture Bid9 and highlighted clusters of activity in specific locations across the region, most being micro in scale, working in isolation and many with no more than one person employed.

It is widely accepted that a vibrant creative industries sector stimulates innovation in other sectors. The importance of this sector to growth and development was outlined in the Indecon Report10 published by the Arts Council in 2011 which showed the annual value of the creative industries to be €4,644 million GVA to the Irish economy, representing 2.8% of gross domestic product and with 48,000 jobs and more than 29,000 indirect jobs 9

Baseline research for the cultural and creative industries in South East Ireland (Waterford, Kilkenny Wexford) prepared by Dr Angela Goff and Dr Richard Hayes, Waterford Institute of Technology 2015.

10 Economic Impact of the Creative Industries in Ireland. (Indecon Report), Arts Council, Dublin. 2011.

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resulting within the sector. In addition a recent landmark research report; Cultural and Creative Spillovers in Europe11, provides an evidence base which captures the spillover effects of 98 projects across Europe. Further research which supports this thesis was carried out in the craft and design sector in the South East during 2013.

Creative and Cultural Industries in the Three Sisters are of growing significance. An initial baseline regional mapping study was commissioned for the Three Sisters European Capital of Culture 2020 bid and identified over 1700 creative businesses alone, many experiencing development challenges including accessing talent, supports and market knowledge for their continued sustainability. A current mapping process to further define the creative sector in the region is being undertaken as part of the ECOC bid development process and will be completed by June 2016.

The Three Sisters is also home to the Design & Crafts Council of Ireland (DCCoI) champion of the craft industry in Ireland, fostering its growth and commercial strength, communicating its unique identity and stimulating quality design, innovation and competitiveness in the craft and design sector with a clear focus on enterprise development. Their strategic focus provides an important backdrop for this strategy document not least of which in its drive to develop centres of excellence for ceramics (Thomastown), glass making and design (Waterford)12 and Jewellery and Goldsmithing (Kilkenny) providing a regional response to a national policy agenda, cohering the development of the design sector in the region.

ECONOMY Waterford was designated as a Gateway City under the National Spatial Strategy (NSS) with Kilkenny and Wexford as hubs forming a strategic ‘growth triangle’ in the south east of Ireland. Together it is intended that they will drive regional growth by building on their complementary strengths (including, heritage, tourism, quality of life, etc), developing substantial capacity for the region to balance the type of critical mass that has been achieved elsewhere on the island of Ireland.

11

Cultural and Creative Spillovers in Europe: Report on a preliminary evidence review. Tom Fleming Creative Consultancy, London, 2015.

12 Developing the Vision for Waterford as an International Centre for Glass Design and Making. (Karan Thompson Consulting) DCCoI. Kilkenny, 2015.

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The growth of a Waterford/Wexford/Kilkenny triangle of strength needs to be supported by a co-ordinated and integrated approach that builds on their complementary strengths.13

The significance of interconnectedness of both the rural and urban landscape is also highlighted in the NSS, which states that ‘County towns, other towns, villages and more rural areas should be positioned to support the full realisation of the potential for economic development throughout the region, with a particular emphasis on complementing the gateway and hub approach’14.

Economic performance in the region is poor and unemployment is higher than the national average. Businesses are predominantly micro in scale with no more than 15 companies employing over 150 people and accounting for 32% of all employment. The Agri-food sector plays an important part in the regional economy where larger firms are increasingly complemented by an emerging artisan food producer base.

Support for the development of the creative and cultural economy provides an opportunity for the region to create new models of enterprise which will stimulate the cultural and creative sectors, grow indigenous industry and support growth in the overall economy of the region over time.

EDUCATION The region is home to Waterford Institute of Technology (WIT) a third-0level college which caters to a campus population of over 10,000 people. It specialises in research, innovation, technology, creativity and regional development. WIT currently delivers an engaged institutional response to regional need and provides critical and independent thinking, supported by a research agenda which provides a demonstrable impact on the local region and a commitment to cultivating innovation. The cultural agenda for the Institute is serviced through the School of Humanities. WIT acts as an advocate for the region attracting new talent via its student cohort and internationalising its approach to teaching, learning and research.

WIT is currently in the process of finalising its strategic agenda for the next five years. The orientation of the institution is through the continuance of its regional development approach alongside further enhancement of its research capabilities and engagement with the wider community.

13

National Spatial Strategy for Ireland 2002-2020 – People, Places and Potential. Stationary Office, Dublin. 2002.

14 Ibid

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WIT’s Telecommunications Software and Systems Group programme and ArcLabs Innovation Centre provide developments in digital innovation and connectivity, cutting-edge technology and embedded human capital with the potential to harness new ideas and convert concepts into thriving, commercial businesses through cross-disciplinary solutions that will bring the region together.

The Wexford Campus is an integral part of the Institute of Technology Carlow and is alma mater to over 3,000 students . It offers degree and higher degree courses in business and humanities and runs renowned arts programmes and is home to the School of Art and Design.

The Kilkenny Campus of Maynooth University offers a range of courses at undergraduate and postgraduate level to adult learners from the south east region.

TOURISM Tourism is a key economic driver in the Three Sisters region with 744,000 overseas visitors and 765,000 domestic visits to the region in 2014 alone and over 77% arriving from Britain and mainland Europe by sea and air. It boasts a range of visitor attractions, cultural spaces, and excellent public realm infrastructure across the three counties which reflect the history and heritage of the region and its linkages with European and global communities, while positioning it as a culturally aware destination, one associated with excellence in cultural programming, design and making and a distinct cultural identity.

A strategic priority for tourism development nationally is Fáilte Ireland’s Ancient East umbrella proposition for the south and east of Ireland. This programme is intended to create critical mass and increase consumer recognition for the destination in overseas markets specifically for the culturally curious visitor.

The tourism officers in the region have already begun a collaborative process to deliver a regional marketing focus for the Three Sisters.

Development of this working relationship and maximising opportunities presented by both the ECOC Bid and Ireland’s Ancient East will be critical success factors in positioning the region as a destination for culture in the coming years.

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K EY I SSUES AND C HALLENGES It was appreciated during the information gathering process that embracing a culture-led regional development approach is not an easy route to take given the historical competitive context between the partner counties; however, the potential impact, societal value and benefit for the region and its citizens to deliver transformational change over time, improving visibility and competitiveness of the region and the potential direct and indirect economic impact, was an opportunity not to be missed15.

Commitment to the successful implementation of the Regional Cultural Strategy offers the region a chance to increase its cultural capacity to compete on an international stage, develop new enterprises in the cultural and creative sectors and connect people and place across the region.

The four strategic priority areas for culture-led development, as identified during the research and consultation process, are: 1. A Regional Model for Partnership 2. A Creative and Cultural Economy Programme 3. Culture-Led Social Development 4. An Urban and Rural Regeneration Programme Leadership to drive this culture-led change process is a necessity and needs to be championed at executive level within the partner local authorities for success. It is of vital importance that the strategy be adopted by the local authority leadership and is integrated into Council’s core objectives to ensure its successful delivery.

Clear governance and ownership of the implementation of the Regional Cultural Strategy will be a critical success factor in delivering on the above priorities. A bespoke delivery structure, which incorporates key performance indicators linked to existing social and economic goals and a formal evaluation process, is required.

It is proposed that an autonomous, regional executive structure with dedicated resources with relevant skills and experience be put in place as this delivery mechanism and for ongoing culture-led development across the region. (See Table 1)

15

Supporting research examples included in Creative Dividends: An Assessment of the Economic Impact of Wexford County Council’s Support for the Arts Sector. Wexford County Council, 2013.

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Table 1: Proposed structural model for implementation of the Regional Cultural Strategy

Partner County Chief Executives

RCS Director

Local Authority Officers

Cultural Partners

Education and Research Partners

Industry Stakeholders

The Three Sisters Bid for the European Capital of Culture is already delivering long-term benefit and driving positive strategic change within the region as evidenced by the shared need to developing this Regional Cultural Strategy plus it has already ignited key demonstration projects which bring to the fore collaboration and innovation. Should the bid be successful, it would create an impetus for the implementation of this strategy to be moved forward with urgency and the strategic aims of the strategy itself to be revisited and scaled up to meet the ambition of the ECOC year.

Should the bid be unsuccessful, the Regional Cultural Strategy would be the key apparatus for sustainable culture-led regional development going forward. Its implementation will be imperative for culture-led redevelopment.

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M ETHODOLOGY /A PPROACH The development of this Regional Cultural Strategy commenced in 2015 as a component part of the first phase of the Three Sister’s Bid to become European Capital of Culture 2020 (ECoC). The Bid process made it clear that a joined up regional approach was required for sustainable culture-led development; given the existing issues of a small-scale, fragmented, underconnected and under-leveraged cultural sector which was not achieving its full potential and the positive benefits to be gained by sharing resources and knowledge, interconnecting the region and providing greater access to culture in all its forms.

Having a cultural strategy in place for the region is a requirement of the ECoC Bid process however, the above issues and potential highlighted that a Regional Cultural Strategy was required to move the cultural agenda forward in the region, with or without the ECoC. Four Strategic Pillars were identified during the consultation process for the Bid and which were outlined in the Three Sisters’ pre-selection Bid Book and which are addressed in the following section, they have informed the development of this strategy.

The methodology for the development of this strategy document was based on deep and extensive consultation across the entire region of the Three Sisters and beyond, with expertise and insights provided by cultural players working in the wider European context. The approach taken is outlined below and the full methodology is available in Appendix 2. 

Outcomes from the consultation process which formed part of the pre-selection phase to become European Capital of Culture 2020



A desk research and information gathering process on existing documentation available from local, regional national and international sources. (Appendix 3)



A consultation process with relevant internal personnel in the partner counties and external consultees from local and national stakeholder agencies and organisations. (Appendix 4)



Analysis of the research and consultation findings, review and development into this final strategy document

It is intended that the Implementation Plan to support the Regional Cultural Strategy will be developed towards the latter part of 2016.

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S TRATEGIC P RIORITIES The strategic development process identified four core areas to act as the focus for culture-led regional development and in order to achieve a sustainable and significant impact in the region over the duration of the strategy. These priority areas are:

A. B. C. D.

REGIONAL MODEL FOR PARTNERSHIP CREATIVE AND CULTURAL ECONOMY PROGRAMME CULTURE LED SOCIAL DEVELOPMENT URBAN AND RURAL REGENERATION PROGRAMME

S TR A TE G I C P RI O RI TY A: R E GI O N AL M O D E L

FOR

P A RT N E RS HI P

G O A L 1: C R E A T E E F F E C TI V E G O V E R N A N C E S TR U C TU R E S F O R C U L TU R E - L E D R E G I O N A L D E V E L O P M E N T 1.1

Commence implementation of the Regional Cultural Strategy during 2016

1.2

Establish and effectively resource an independent agency/structure with responsibility for the implementation of the Regional Cultural Strategy and sustainable culture-led regional development

1.3

Embed culture in future strategy documents and delivery mechanisms by the partner local authorities

1.4

Create an evaluation mechanism to review the implementation and impact of this strategy

1.5

Work to deliver an innovative and excellent programme for the European Capital of Culture 2020 (pending a successful outcome from the bid process in 2016).

G O A L 2: D E L I V E R E X C E L L E N C E A N D I N N O V A TI O N I N S E R V I C E DEVELOPMENT AND DELI VERY

2.1

Effectively resource cultural services to implement the Regional Cultural Strategy to respond effectively to the cultural development agenda at national and international level and develop effective programmes and supports for artists and creatives 19 | P a g e

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2.2

Enhance opportunities to share knowledge and learning across local authority services for culture, to include; arts, heritage, libraries, archives, sport, tourism and community services

2.3

Adopt cross-sectoral, cross-agency and cross-disciplinary work practices to enhance regional cooperation

2.4

Respond to international funding opportunities and programme partnerships – specifically in relation to Creative Europe

2.5

Provide a leadership role in promoting the Three Sisters as a ‘Region of Culture’

2.6

Build transnational partnerships for shared learning and exchange, artistic and creative collaborations and cultural and enterprise development

2.7

Embrace the opportunity presented by the European Capital of Culture Bid to promote the region to a European audience and increase partnerships across Europe

G O A L 3: D E V E L O P T HE P O T E N TI A L O F T H E R E G I O N T O I N C R E A S E I TS A P P E A L TO V I S I TO R S

3.1

Work in partnership with Fáilte Ireland to deliver on the potential of Ireland’s Ancient East to increase visitor numbers and dwell time in the region by 15% to 2025

3.2

Develop an over-arching tourism agenda for the Three Sisters which incorporates a framework for regional marketing for tourism and a narrative which positions the region as a ‘region of culture’

3.3.

Further develop the existing regional partnership between tourism officers to build capacity, quality, range and seasonality of the tourism product offer

3.4

Create inter-agency supports for micro and SME businesses to develop industry and market-ready, targeted tourism propositions

3.5

Support product development within food tourism and microbreweries

3.6

Maximise opportunities presented by built heritage attractions in the region and assess the feasibility of a coordinated management approach for publicly-funded smaller-scale attractions across the region

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S TR A TE G I C P RI O RI TY B: C R EAT I V E

AN D

C U L T UR A L E CO N O MY P RO G RA M M E

G O A L 4: D E V E L O P S U S T A I N A B L E A U D I E N C E S F O R C U L TU R E A C R O S S T HE R E G I O N

4.1

Enhance digital connectivity in the region to support regional approaches to marketing and promotion, cultural engagement and participation

4.2

Implement the audience development strategy created for the ECoC 2020 Bid, building on the potential for shared programme, services and promotion and learning from international counterparts

4.3

Ensure audience development in the region is socially inclusive and cognisant of community led cultural initiatives

4.4

Work with the Arts Councils Investment Strategy to investigate the establishment of a multi-annual funding model for cultural organisations/festivals to enable effective long-term planning for culture

4.5

Work in partnership with national tourism partners to leverage opportunities for increased tourism to the region

G O A L 5: E F F E C T I V E L Y R E S O U R C E A N D S U P P O R T F E S T I V A L E C O N O M Y 5.1

Facilitate co-creation and shared resourcing for festival programming regionally, nationally and internationally

5.2

Support core strengths in festival programming and develop opportunities for increased digital programming (e.g. creative technology festival)

5.3

Develop greater convergence between tourism and festival product to maximise the potential from the festival economy and messaging of a region ‘en fête’

5.4

Design a process to leverage capacity within the festival sector (across professional and community festivals)

5.5

Create opportunities for collaboration and cooperation in touring and 365 festival development across and without the region

5.6

Leverage opportunities provided by a strong food festival culture to deliver a coherent regional food festival offer

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G O A L 6: B U I L D C A P A C I T Y W I T HI N T H E C U L TU R A L A N D C R E A T I V E S E C T O R T O S U S TA I N C U L TU R A L D E V E L O P M E N T

6.1

Develop new funding/investment models to support innovation, entrepreneurship and research and development in the creative and cultural industries

6.2

Develop competency of cultural players in the region to leverage regional expertise in applying for European Commission and other funding programmes for culture

6.3

Promote the continuance of the regional Cultural Steering Group to establish mechanisms for co-production and touring, promotion of intangible cultural and linguistic heritage and shared learning from players within the region

6.4

Benchmark programmes and projects against international standards/models of best practice in cultural planning

6.5

Invite international expertise to build further capacity specifically in the area of digital technology approaches to cultural programming

6.6

Measure the spillover effects of the cultural and creative sector into the wider economy of the Three Sisters region

6.7

Develop ongoing capacity-building programmes with education providers to support cultural development

6.8

Provide supports to artisan food and brewing sectors to reflect growing significance of this industry sector in the region

G O A L 7: S U P P O R T TH E D E V E L O P M E N T O F T HE C R E A T I V E I N D U S TR I E S SECTOR TO BECOME A DRIVER FOR ECONOMIC CHANGE

7.1

Work with national agency partners to support the development of Centres of Excellence across the region

7.2

Continue partnership with Waterford Institute of Technology to commission research into creative industries potential for the region, maintain an enterprise focus and design bespoke programmes to support sectoral development

7.3

Work with Local enterprise Offices and Chambers of Commerce in the region to develop cross-agency supports and regional networking opportunities for sustainable business development for micro businesses in the Creative Industries sector

7.4

Create ‘meanwhile’ and ‘activation’ spaces for creative entrepreneurship and assess the potential for development of new uses for old spaces to house micro-industries in the creative sector 22 | P a g e

BETTER TOGETHER - THREE SISTERS’ REGIONAL CULTURAL STRATEGY

7.5

Position the region as a destination for creatives emanating from its historical context of international learning via the Kilkenny Design Workshops and WIT creative industries focus

7.6

Utilise the outputs of the mapping of creative industries (part of the ECoC bid) to plan for development of the creative industries sector in the region.

S TR A TE G I C P RI O RI TY C: C U LT U RE -L E D S O CI AL D EV ELO P M EN T

G O A L 8: D E V E L O P A S O C I A L C O N TR A C T F O R H E A L T H A N D W E L L B E I N G F O R TH E R E G I O N 8.1

Improve access to culture-in-health and community settings across the region

8.2

Work with regional third level institutions and health care providers to devise and implement a new collaborative approach to arts and health through education

8.3

Commission research to explore a holistic approach to health care that integrates culture and creativity with care of the most vulnerable in our society

G O A L 9: E N S U R E A L L C O M M U N I TI E S O F T HE T HR E E S I S TE R S A R E I N C L U D E D I N T HE C U L TU R E - L E D R E G I O N A L D E V E L O P M E N T P R O C E S S 9.1

Embed the voice of children and young people, the old, young, disadvantaged and minority communities in strategic cultural policy development, planning and programming

9.2

Work with industry and agency partners to effectively plan for inclusive cultural programming which embraces cultural diversity

9.3

Contract partnership agencies e.g. Waterford Area Partnership, Kilkenny Leader Partnership and Wexford Local Development and others to deliver on collaborative regional cultural agendas

9.4

Investigate supports for artists/creatives across the region, so that they are facilitated to live and work in urban and rural communities

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BETTER TOGETHER - THREE SISTERS’ REGIONAL CULTURAL STRATEGY

S TR A TE G I C P RI O RI TY D: U RB AN

AN D

R U R AL R E G EN ER AT I O N P RO GR A MM E

G O A L 10: D E L I V E R O N P HY S I C A L R E G E N E R A TI O N P R O J E C T S T O S U P P O R T T HE C U L TU R A L D E V E L O P M E N T A G E N D A

10.1

Embed culture into future planning and development in the region

10.2

Work with industry partners to improve access into and across the region via additional air routes from Europe into Waterford Airport and car and foot passengers via Rosslare EuroPort

10.3

Commit resources to deliver planned infrastructural developments including cycle-ways, waterways, driving routes, access roads and cultural trails

10.4

Investigate development of creative living/working spaces for those operating in the cultural and creative sector

10.5

Resource the upgrade of existing cultural venues/sites and assess the potential of new uses for culture in heritage spaces

10.6

Develop a memo of understanding with Office of Public Works for increased access to and development of buildings and lands under their control

G O A L 11: E N S U R E C O N N E C T I V I TY A N D A C C E S S TO C U L TU R E F O R A L L C I T I Z E N S I N T H E T HR E E S I S TE R S R E G I O N 11.1

Support community led cultural initiatives, particularly those which support inclusion of people who experience barriers to engaging with cultural activities

11.2

Work with WIT to support innovation in the digital sector which promotes accessibility and interaction in the design, development, production and presentation of cultural content

11.3

Establish a digital research and development fund to build digital capacity in the cultural sector

11.4

Work with industry partners to support the improvement of WIFI and broadband connectivity throughout the region

11.5

Work with industry, agency and educational partners to develop supports specifically designed for those operating in the creative and cultural industries

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BETTER TOGETHER - THREE SISTERS’ REGIONAL CULTURAL STRATEGY

11.6

Develop effective responses to networking (digital and native) to connect the cultural community across the region; to include individual emerging and professional practitioners

11.7

Promote active citizenship through well supported mechanisms such as resourced volunteering action plans, building on exiting models in our region.

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BETTER TOGETHER - THREE SISTERS’ REGIONAL CULTURAL STRATEGY

C ONCLUSION This Regional Cultural Strategy provides the first steps in the Three Sister’s culture-led regional development process. It represents the ambition and aspirations of the combined partner counties. It highlights the region’s commitment to being ‘’Better Together”16. It speaks to a regional agenda and responds to regional needs within a wider European context. It shows the commitment of the partners to leading transformational change.

The strategy itself responds to two different agenda – one in fulfilling the requirement as candidate region for the title of European Capital of Culture, and two – in expressing the value of culture in the region and planning for its future development. It is not intended to deliver a script for cultural development in the Three Sisters for the next ten years, but rather to provide an over-arching framework which will embed the cultural agenda into sustainable regional development over the period of the strategy.

The delivery of this culture-led approach to regional development will bring multiple benefits across the Three Sisters region, not least of which by improving access to culture, but also in sustaining and developing cultural provision over time, increasing the capacity and capability of our cultural players, creating opportunities for enterprise development and positioning the region as a place of culture and innovation and a desirable place to live and work and visit.

Effective and timely delivery of this strategy is of paramount importance in maintaining the commitment of the cultural and creative industries sectors to drive growth and development in the region and ensure the protection, development and enhancement of culture for future generations. It is intended that work to develop an implementation plan to support this strategy document will commence during 2016.

16

Currents of Culture - Sharing, Thriving, Re-imagining Together. Three Sisters Bid Book for European Capital of Culture Pre-Selection Process. 2015.

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A PPENDICES APPENDIX 1 C U L TU R A L A N D C R E A T I V E I N D U S TR Y S E C T O R S C O V E R E D W I T H I N T HE C O N T E X T O F T HI S S TR A T E G Y D O C U M E N T                

Arts (Performing, Literary, Visual and Street) Advertising Architecture Broadcast Media / Television and Radio Craft Cultural Tourism Design Digital Media Festivals and Events Film, Video and Photography Food and Brewing Heritage (Linguistic , Built and Natural) Innovation - Gaming, SMART Tech and Agri-tech Publishing and Electronic Publishing Sport (Indigenous sport – Hurling, GAA Football, Camogie) Traditional Culture (Aural and Oral – Music and Dance)

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APPENDIX 2 R E G I O N A L C U L TU R A L S T R A TE G Y M E T HO D O L O G Y PHASE 1- PRE-SELECTION

FOR

ECOC

CONSULTATION

(JUNE – SEPT 2015)

Outcomes from the consultation process which formed part of the preselection phase to become European Capital of Culture 2020 and which included consultation meetings and/or workshops with: 1.

2.

3.

4.

5.

6.

7.

8.

Members of the public across the Three Sisters region Cultural stakeholder meetings National agency partner meetings Cultural Steering Group for the Bid Local Authority Partners at Executive level Local Authority Officers Working Group Community Groups Education and Tourism Partners

PHASE 2 - DESK RESEARCH

AND

INFORMATION GATHERING (JAN – FEB 2016)

Desk research was carried out on existing documentation including County Development Plans, Local Economic and Community Plans; Arts; Libraries; Heritage; Tourism plans and additional online research into best practice regional strategy development. Documents accessed during the research phase are included in Appendix 3.

PHASE 3 - CONSULTATION

AND

ANALYSIS (FEB -MARCH 2016)

The consultation process included a Regional Cultural Strategy Stakeholder Workshop held in February 2016 and individual telephone interviews with relevant internal personnel in the partner counties and external consultees from local and national stakeholder agencies and organisations. See Appendix 4.

PHASE 4 – DRAFT CULTURAL STRATEGY DEVELOPMENT

AND

REVIEW (MAR 2016)

This Draft Regional Cultural Strategy is informed by the outputs from the research and analysis process. It presents a series of strategic priorities and goals for successful culture-led regional development for consideration by the Local Authority and supporting partners. This draft document will be reviewed by a team of identified stakeholders in order to inform the final strategy document.

PHASE 5 – REGIONAL CULTURAL STRATEGY SIGN OFF (MAY 2016)

Regional Cultural Strategy adopted by each of the Three Sisters County Councils. It is intended that an Implementation Plan to support the Regional Cultural Strategy will be developed towards the latter part of 2016.

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APPENDIX 3 D E S K R E S E A R C H A N D D O C U M E N TA TI O N A C C E S S E D Arts in Education Charter. Department of Arts, Heritage and the Gaeltacht and Department of Education and Skills, 2012.

Baseline research for the cultural and creative industries in South East Ireland (Waterford, Kilkenny Wexford) Dr Angela Goff and Dr Richard Hayes, Waterford Institute of Technology, 2015.

Creative Clusters: Economic Analysis of the Current Status and Future Clustering Potential for the Crafts Industry in Ireland. (Indecon) Crafts Council of Ireland.

Kilkenny, 2013.

Creative Dividends: An Assessment of the Economic Impact of Wexford County Council’s Support for the Arts Sector. Wexford County Council, 2013.

Cultural and Creative Spillovers in Europe: Report on a preliminary evidence review. Tom Fleming Creative Consultancy, London, 2015.

Cultural Connections - Strategic Plan for Cultural Services Division, 2009-2014.

Donegal County Council. 2009.

Cultural Heritage Policy in the European Union. European Parliamentary Research Blog http://epthinktank.eu/2014/12/16/cultural-heritage-policy-in-theeuropean-union/ Culture 2025 – Discussion Document. Department of Arts, Heritage and the Gaeltacht, Dublin 2015.

Culture for Cities and Regions http://www.cultureforcitiesandregions.eu/culture/project/activities/cultural_and_ creative_industries Currents of Culture - Sharing, Thriving, Re-imagining Together. Three Sisters Bid Book for European Capital of Culture Pre-Selection Process. 2015.

Design & Crafts Council of Ireland Annual Report 2014. DCCoI, Kilkenny. 2014.

Developing the Region’s Creative and Cultural Sector – Douglas Hyde Conference Presentation, Western Development Commission, 2015.

Developing the Vision for Waterford as an International Centre for Glass Design and Making. (Karan Thompson Consulting) DCCoI. Kilkenny, 2015.

Draft Wexford Local Economic and Community Plan - Part 1 Draft Socio-Economic Statement and High Level Goals Economic Impact of the Creative Industries in Ireland. (Indecon Report), Arts Council, 2011.

Kilkenny Corporate Plan Kilkenny County Arts Plan 2004-2009 29 | P a g e

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Kilkenny County Development Plan 2014-2020 Kilkenny Heritage Forum Strategy 2006-2012 Kilkenny Integration Strategy Kilkenny Local Economic and Community Plan (2016-2021) Making Great Art Work. Arts Council Strategy (2016-2025) Arts Council of Ireland.

Dublin, 2015.

Much more than books. Waterford City Council Library Development Plan 20122017 National Spatial Strategy for Ireland (2002-2020) People, Places and Potential.

Stationary Office, Dublin, 2002.

Regional Cultural Strategy. Arts and Cultural Council for Greater Rochester, UK 2010.

Regional Policy of the European Commission http://ec.europa.eu/regional_policy/en/policy/themes/culture/ Resolution of the Council of 16 November 2007 on a European Agenda for Culture (2007/C 287/01), European Union, 2007.

South East Action Plan for Jobs 2015-2017. Department of Jobs, Enterprise and Innovation. 2015.

Strategic Action Plan for Creative Entrepreneurship in Donegal. Local Enterprise Office, Donegal County Council. 2015.

Strategy for Culture & Arts 2016-2026. Department of Culture and Arts Northern Ireland, November 2015.

Waterford City 2013-2019 and Waterford County 2011-2017 Waterford City and County Corporate plan 2014 2019 Waterford County Arts Plan 2012-2017 / Waterford City Arts Plan 2011 – 2016 Waterford Local Economic and Community Plan 2016-2021 Wexford Corporate Plan 2015-2019 Wexford County Council's Arts Strategy 2011-2015, Wexford County Council.

2011.

Wexford County Development Plan 2013-2019

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APPENDIX 4 LIST OF CONSULTEES R E G I O N A L C U L TU R A L S T R A TE G Y D E V E L O P M E N T J A N – M A R C H 2016 I N D I V I D U A L I N TE R V I E W S Individual

Organisation

Louise Allen

Design & Crafts Council of Ireland

Tom Banville

Wexford Local Enterprise Office

Fionnuala Brennan

Waterford Institute of Technology

Head of Enterprise Course Leader MA in Arts & Heritage Management

Mary Butler

Kilkenny County Council

Arts Officer

Colette Byrne

Kilkenny County Council

Chief Executive

Lynn Cahill

Waterford City and County Council

Tourism Officer

Jane Cantwell

Waterford City and County Council

City and County Librarian

Katherine Collins

Bid Team Lead

Three Sisters 2020

Josephine Coyne

Kilkenny County Council

Acting County Librarian

Tom Enright

Wexford County Council

Chief Executive

Tom Fleming

Tom Fleming Creative Consultancy

Creative and Cultural Consultant, Bid Adviser Three Sisters 2020

Bernadette Guest

Waterford City and County Council

Heritage Officer

Aisling Hayes

Kilkenny County Council

Tourism Officer

Richard Hayes

Waterford Institute of Technology

Head of Humanities

Karen Hennessy

Design & Crafts Council of Ireland

Chief Executive Officer

Mary Hickson

Clonmel Junction Festival

Kathryn Kiely

Waterford Institute of Technology

Director Industry Services Manager

Dearbhala Ledwidge

Kilkenny County Council

Heritage Officer

Declan McGonagle

Role Innovation and Development Programmes Manager

Independent Arts and Culture Consultant

Sean McKeown

Kilkenny Local Enterprise Office

Head of Enterprise

Eileen Morrissey

Wexford CC

Acting County Librarian

Margaret Organ

Waterford City and County Council

Catherine Power

Waterford Area Partnership

Arts Officer Social Inclusion Coordinator

Michael Quinn

Bid Director

Three Sisters 2020

Madeline Quirke

Chambers of Commerce South East

Chief Executive Officer

Máire Seo Breathnach

Waterford City and County Council

Irish Language Officer

Michael Walsh

Waterford City and County Council

Chief Executive

Richie Walsh

Waterford Local Enterprise Office

Head of Enterprise

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R E G I O N A L C U L TU R A L S T R A TE G Y W O R K I N G S E S S I O N A T TE N D E E S Name Fionnuala Brennan

Organisation Waterford Institute of Technology

Role Course Leader, MA in Arts & Heritage Management

Mary Butler

Kilkenny County Council

Arts Officer

Lynn Cahill

Waterford City and County Council

Tourism Officer

Jane Cantwell

Waterford City and County Council

City & County Librarian

John Carley

Wexford County Council

Director of Service

Katherine Collins

Three Sisters 2020

ECOC Bid Team Lead

Josephine Coyne

Kilkenny County Council

Acting County Librarian

Mick D’Arcy

Three Sisters 2020

ECOC Bid Team

Seamus Doran

Wexford Local Development

Rural Development Programme

Eugene Downes

Kilkenny Arts Festival

Director

Tom Fleming

Tom Fleming Creative Consultancy

Three Sisters 2020 Bid Consultant/Adviser

Rosemary Grant

Three Sisters 2020

ECOC Bid Team

Bernadette Guest

Waterford City and County Council

Heritage Officer

Emma Haran

Three Sisters 2020

ECOC Bid Team

Aishling Hayes

Kilkenny County Council

Tourism Officer

Richard Hayes

Waterford Institute of Technology

Head Of Humanities

Maura Hickey

Kilkenny County Council

Tourism Officer.

T.V. Honan

Spraoi Street Arts Festival

Director

Brian Kehoe

Wexford Local Development

Chief Executive Officer

Petra Kindler

Poet and Comedian

Ann Marie Laffan

Three Sisters 2020

ECOC Bid Team

Dearbhala Ledwidge

Kilkenny County Council

Heritage Officer

Colm Lowney

Bui Bolg

Artistic Director

John Lynch

Irish Rail

General Manager

Rupert Maddock

Waterford City and County Council

Senior Architect

Eamonn Maxwell

Lismore Castle Arts

Director

Mary McCarthy

National Sculpture Factory

Three Sisters 2020 Bid Consultant/Adviser

Eamonn McEneaney

Waterford Museum of Treasures

Director

Declan McGonagle

Independent Consultant

Evelyn McNamara

Design & Crafts Council of Ireland

Project Manager

Maria Melia

Kilkenny County Council

Director of Service

Eileen Morrissey

Wexford County Council

Acting County Librarian

Ann Mulrooney

Carlow VISUAL

Director

Conor Nolan

Waterford City and County Council

Arts Officer

Donal Nolan

Waterford Chamber of Commerce

Strategic Project Director

Naoise Nunn

Cat Laughs / Kilkenomics

Director

Jane O’Reilly

Three Sisters 2020

ECOC Bid Team

Margaret Organ

Waterford City and County Council

Arts Officer

Anna O’Sullivan

Butler Gallery

Director

Catherine Power

Waterford Area Partnership

Social Inclusion Coordinator

Grace Quinn

Three Sisters 2020

ECOC Bid Team

Michael Quinn

Three Sisters 2020

ECOC Bid Director

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Name

Organisation

Role

Declan Rice

Kilkenny Leader Partnership

Chief Executive Officer

Joanne Rothwell

Waterford City and County Council

Archivist

Rosemary Ryall

Waterford City and County Council

Conservation Officer

Máire Seo Breathnach

Waterford City and County Council

Irish Language Officer

Mairéad Stafford

Wexford Craft Trail

Chair

Jimmy Taaffe

Waterford Leader Partnership

Waterford Leader Partnership

Karan Thompson

Karan Thompson Consulting Limited

Three Sisters 2020 Bid Consultant/Adviser

Michael Walsh

Waterford City and County Council

Chief Executive Officer

Elizabeth Whyte

Wexford Arts Centre

Director

Sara Zabola Mari

Three Sisters 2020

ECOC Bid Team

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Straitéis Chultúrtha Luimnigh Creat

Limerick Cultural Strategy A Framework

2016-2030

Contents Foreword 4

THIS PAGE: FUSION SHOOTERS. COVER: FUSION SHOOTERS, MAURICE GUNNING

1.

Definition of Culture 6 2.

Introduction 7 3. Limerick – Culture 9 4. Towards a vision for European Capital of Culture: Belonging 14 5.

Context 15 6.

Remit 16 7.

Roles 17 8. Ambitions and Objectives 19 9.

Conclusion 25 10.

References 27 11.

Appendix 29

EVA International, Michael Joo “This beautiful striped wreckage (which we interrogate)”

2

3

Limerick Cultural Strategy

Limerick Cultural Strategy

Foreword

“Limerick values its cultural achievements and recognises and embraces the potential for major international success.”

Liam Galvin, Mayor of the City and County of Limerick

Limerick has a proud and rich history and heritage that has informed our culture. Our cultural life helps us to shape our understandings of the world and our identities.

This is the first Cultural Strategy Framework 2016-

to all of Limerick’s citizens. Culture contributes

2030 for Limerick City and County Council. It was

to the quality of living and we are fortunate that in

adopted by the Elected Members on 23/05/2016.

implementing this cultural strategy we are working

It sets out a clear vision and ambitions.

with, and building on, the achievements of a network of organisations, practitioners, projects, partnerships

We have seen the successful delivery of Limerick

with communities and an approach to nurturing

National City of Culture 2014 and building on that

creative opportunities for all.

Limerick’s Bid for European Capital of Culture 2020 continues the process of embedding culture into

I invite you all to work together to build a better

our Local Authority strategies. Limerick values

Limerick, that reflects our aspirations, identities

its cultural achievements and recognises and

and ideas. The level of feedback from the public

embraces the potential for major international

consultations, which were delivered to the whole

success. This Cultural Strategy Framework allows us

of Limerick City and County, indicates the interest

to strategically plan and look to the future to ensure

in and dedication to culture that already exists.

culture continues to contribute to a vibrant Limerick,

Thank you for your engagement in the process and

in developing the city and region.

I look forward to working with you on delivering this strategy.

This is an exciting opportunity to invest in culture, to bring new energy, synergies and excitement

“The perceptual change since hosting the first National City of Culture in 2014 has given voice to the power of culture to transform.”

Sheila Deegan, Deputy Director, Limerick 2020 Bid Team

The development of a new Cultural Strategy for Limerick presents an opportunity to re imagine Limerick, draw together its indigenous creativity, reach out to citizens as collaborators and realise a new dynamism for building and enriching our future.

Limerick has always been a place of culture but

giving of their time and expertise to ensure cohesive

we have been slow to shout about it. However, the

voice and vision has been created.

perceptual change since hosting the first National City of Culture in 2014 has given voice to the power

On behalf of the team in the Limerick Arts Office and

of culture to transform.

Limerick 2020, we look forward with confidence to delivering this vision.

The new Cultural Strategy for Limerick celebrates and recognises the multiplicities that make Limerick unique, colourful and diverse. It is a chance to collectively tell a powerful story about the valuable impact this strategy can make. The Limerick Cultural Strategy is an integrated set of choices that will pave the way for effective planning to achieve change through cultural engagement.

We would like to thank our partners in this process, Limerick Arts and Culture Exchange (L.A.C.E.) and Professional Limerick Artists Network (PLAN) for

4

5

Limerick Cultural Strategy

1

Definition of Culture “A set of distinctive spiritual, material, intellectual, and emotional features of society or a social group, and that it encompasses, in addition to art and literature, lifestyles, ways of living together, value systems, traditions and beliefs.”

UNESCO, Universal Declaration on Cultural Diversity

Limerick Cultural Strategy

2

Introduction Limerick is entering an important phase in the history of its cultural development with the preparation of the Limerick Cultural Strategy A Framework 2016-2030. Limerick National City of Culture 2014 and the bid for European Capital of Culture 2020, have supported culture as a catalyst for a reimagining of Limerick.

The document uses the term culture in a broad

Limerick’s time as National City of Culture, 2014 has

and inter-dependencies across city and county to

sense to include a range of activities which is not

provided a powerful legacy. Due to its significant

create vibrant communities. It will guide change

limited to the traditional components such as the

economic and social impact, it has demonstrated

and investment, and inform a new perspective

live arts, heritage, fine art, or literature, but follows the

that nurturing culture can create great places,

on Limerick locally, regionally, nationally and

definition of culture formulated at UNESCO’s World

change perceptions, and engage communities

internationally.

Conference on cultural policies.

through greater public participation and engagement in cultural activity, the development of skills and

The 2030 Cultural Strategy has evolved through

talents, the opportunity to collaborate, create and

extensive engagement with the cultural sector,

promote new programmes. It has unleashed a real

public, community and voluntary sector stakeholders,

desire from within the citizens of Limerick to harness

and allowed a clear vision for Limerick to be defined,

this potential and develop vibrant cultural resources,

drawing on Limerick’s strengths and addressing the

skills and talents to drive further physical, economic

challenges facing into the future. The objectives set

and social renewal.

out in the 2030 Cultural Strategy define the priorities identified by Limerick City and County Council

It has also provided the platform for Limerick’s bid for

and how it hopes to see cultural activity supported

European Capital of Culture 2020 which lies at the

and developed in Limerick. They are high level

heart of the 2030 Cultural Strategy and infuses it with

statements of intent and the detail of how they are

a drive and ambition not seen before in Limerick.

to be achieved will be outlined in action plans arising from this strategy.

The 2030 Cultural Strategy recognises that culture is not an optional extra, but an inherent element in physical, social and economic revitalisation and in the quality of life and personal well-being of individuals. That is why this 2030 Cultural Strategy is central to our strategic vision for Limerick for the next 15-20 years.

Realising a viable and vibrant cultural place can only be achieved through an integrated approach.

The 2030 Cultural Strategy is developed based on this approach emphasising the strong links

6

7

Limerick Cultural Strategy

3

Limerick – Culture The cultural profile of Limerick is as multiple and diverse as its citizens and landscape. The historic origins of Limerick as a Viking settlement, its role as a significant place of power throughout the medieval period, and the growth spurt in the 18th and 19th centuries, which gave us the most westerly Georgian City in Europe, provides the backdrop against which Limerick’s rich heritage and contemporary culture has evolved since the establishment of Limerick in 812, and its charter in 1197.

Limerick’s rich history, culture and strong heritage

Limerick has produced an array of stars across the

remain ever present in its structures, streets and

cultural spectrum from Oscar nominated Richard

people, from the historic towns of Kilmallock and

Harris to broadcaster Terry Wogan and Pulitzer

medieval village of Askeaton, to the archaeological

prize winner Frank McCourt. Limerick’s musical

site at Lough Gur and Limerick’s churches which

credentials include the Cranberries, Bill Whelan,

contain a rich cultural heritage of the work of such

composer of Riverdance, independent music artists

craftspeople as Wilhemina Geddes and Harry

like Hermitage Green and Rubberbandits, a vibrant

Clarke, a legacy of Ireland’s position as a centre for

band scene as well as the hugely successful Music

excellence in the design and manufacture of the

Generation programme and the Irish Chamber

highest quality of stained glass.

Orchestra. Artists like John Shinnors and Sean Keating along with EVA International have also

There is a unique blend of first class contemporary

put Limerick on the world stage for visual art and

facilities across the city and county such as -

created a profile for the wealth of working artists,

Limerick City Gallery of Art, the Hunt Museum,

art collectives and galleries including the Made

Dance Limerick, the Lime Tree Theatre, RTE Lyric

in Limerick design hub. Limerick is also home to

FM, Irish Aerial Creation Centre, the recently re-

a flourishing film sector that is steadily gaining

opened Belltable, Friars’ Gate Theatre and the

international recognition and accolades.

FUSION SHOOTERS.

Honey Fitz Theatre. There is a vibrant alternative and independent live cultural scene in Limerick, led by

There is a dynamic and active festival and events

individuals, and communities of interest and a myriad

scene which includes the Limerick Literary Festival

of innovative cultural organisations such as Limerick

in honour of Kate O’Brien, Éigse Michael Hartnett

Printmakers, Ormston House Cultural Resource

Literary and Arts Festival, the Fresh Film Festival, St.

Centre, Fidget Feet, Amalgamotion, Limerick Youth

Patrick’s Day Festival, HearSay International Audio

Theatre, County Limerick Youth Theatre, CallBack

Arts Festival, Bualadh Bos Children’s Festival and

Theatre Company, Sidhe, Bottom Dog and Honest

Ireland’s only visual art biennial, EVA International

Arts among many others.

among many others. Limerick’s stadiums also host large-scale cultural activities all year round.

Dance Limerick Launch

9

Limerick Cultural Strategy

Belltable Relaunch

Limerick has distinguished world-class creative

However there are challenges. There is a need to

education facilities in the Limerick School of Art

strengthen and develop the way culture is delivered

and Design at LIT which is one of the world’s top 50

in Limerick and increase its visibility. Limerick’s

fashion colleges; the Irish World Academy of Music

outstanding third-level based arts and cultural activity

and Dance; SAUL School of Architecture; Product

has the potential to deepen its connections with the

Design at University of Limerick; Mary Immaculate

wider cultural sector to support the emergence of

College (University of Limerick) arts programmes and

new talent and innovation. It is necessary to foster

the creative technologies programme at Limerick

greater connectivity and networking across Limerick

Institute of Technology. Between them these

city and county to ensure that the cultural sector in its

education facilities host a vibrant community of over

totality works in a unified and integrated manner. It is

3,700 students studying a wide range of creative

also critical to continue to invest in the physical and

disciplines.

human capital and resources required to sustain and develop Limerick as a region of international standing

Within the region there are also significant cultural and heritage attractions that include museums, interpretative centres and heritage sites like Bunratty Castle and Folk Park, the Foynes Flying Boat Museum, the Cliffs of Moher Interpretive Centre, (which receives more than one million visitors a EMMA MCNAMARA

year) The Burren Centre, Adare Heritage Centre, the Ailwee Caves and King John’s Castle on King’s Island which is currently being developed into a major tourist attraction.

that is rooted in its community.

IRISH CHAMBER ORCHESTRA - COURTESY IRISH CHAMBER ORCHESTRA, OPENHOUSELIMERICK - DEIRDRE POWER, SEAN LYNCH - STUDIOWORKS PHOTOGRAPHY, IRISH CHAMBER ORCHESTRA (2) - COURTESY IRISH CHAMBER ORCHESTRA, COUNTY LIMERICK YOUTH THEATRE - COURTESY COUNTY LIMERICK YOUTH THEATRE, GANDELOW - FUSION SHOOTERS, LIMERICK CITY GALLERY OF ART - COURTESY LIMERICK CITY GALLERY OF ART

Limerick Cultural Strategy

Blindboy Boatclub at Limerick City Gallery of Art

Irish Chamber Orchestra

Riverfest

OpenHouse Limerick

Adventure: Capital, Sean Lynch, Limerick City Gallery of Art Irish Chamber Orchestra, Sing Out With Strings

Irish Chamber Orchestra

County Limerick Youth Theatre

Brother Anthony at Gandelow Launch

10

11 MA in Festive Arts, UL students at Limerick City Gallery of Art

Askeaton Contemporary Arts

Belltable re-launch

Belltable re-launch

Dance Limerick

Éigse Michael Hartnett Literary and Arts Festival

SHANE SERRANO

ASKEATON CONTEMPORARY ARTS - MATTHEW GIDNEY, BELLTABLE RE-LAUNCH - EMMA MCNAMARA, DANCE LIMERICK - CONOR BUCKLEY, BELLTABLE RE-LAUNCH - EMMA MCNAMARA, ÉIGSE MICHAEL HARTNETT LITERARY AND ARTS FESTIVAL​- DERMOT LYNCH, EVA INTERNATIONAL

Limerick Cultural Strategy

EVA International, Sarah Pierce, "The Question Would Be the Answer to the Question, Are You Happy?"​

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Limerick Cultural Strategy

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Limerick Cultural Strategy

Towards a vision for European Capital of Culture: Belonging The concept which underpins Limerick’s European Capital of Culture programme for 2020 is Belonging.

Limerick’s bid for European Capital of Culture (ECoC) 2020 is the catalyst at the heart of this 2030 Cultural Strategy.

In line with the European Parliament and the Council of Europe objectives for ECoC, our plan for ECoC 2020 and our Limerick 2030 Cultural Strategy are inextricably linked and mutually reinforcing. The key objective underpinning both, is to strengthen and develop the links between the cultural and creative sectors and the links between education, research, environment, physical, social and economic development as the basis for the long term sustainability of culture for Limerick.

Our first phase bid application described our

So as Limerick moves from recovery to rebuilding we

concept of Multiplicity. It formed part of a thoughtful

wanted to find a way of capturing and harnessing the

cultural mapping which has laid a foundation for our

Multiplicity, the spirit and the atmosphere of Limerick

progress to become European Capital of Culture in

and the yearning and hopes of our citizens. And we

2020. Multiplicity opened up new ways to look at

realised that our vision, our strategy, the future of

Limerick. Based on an innovative model of cultural

Europe can be summed up in one word. Belonging.

mapping developed by Limerick’s Intelligence Unit

Our plan for Limerick 2020 and beyond is that

(IU) it allowed us to talk and think about Limerick in a

people in Limerick are actively encouraged to find

different, more inclusive and generous way.

their own individual or multiple ways of Belonging; to their families, their real and virtual communities, their

Limerick is full of potential and possibility. We know

schools, university, and workplace, Limerick, Europe.

this because of a strengthened amalgamated Local

And to find new ways of belonging and share that

Authority and the visions that have been created as

sense of belonging.

a result.

In 2030, Limerick will be a much more inclusive and Multiplicity highlights the potential for an

engaged place. Our people will feel connected to

interconnected Limerick. Citizens are the curators

Limerick, to each other and to Europe. They will

of their own lived experience, navigating the daily

understand that belonging comes in many forms and

realities of life in a way which is both unique and

that they can find it here on their terms. In that

familiar to them. They may connect with others’ lived

way Belonging is our concept, our action and our

experiences or a renewed sense of civic pride or

concrete legacy. And, we hope, in a little way, for

choose not to! But of itself it does not intervene. Or

Europe too.

5

Context

The 2030 Cultural Strategy must fit with and

The Department of Arts, Heritage and the

contribute to the implementation of a range of

Gaeltacht’s “Culture 2025, Discussion Document”:

public policies and programmes, from EU through to

a new approach to national policy that recognises the

national, regional and local level. These include:

role and contribution of culture in addressing social and economic challenges, presenting an opportunity

Limerick National City of Culture 2014: a tipping

for Limerick to influence national policy based on its

point for culture in Limerick. It allowed for new cultural

experience as National City of Culture in 2014.

opportunities and ways of working to be developed and a new sense of cultural pride to be established.

Limerick City and County Development Plans: the

This 2030 Cultural Strategy will build a legacy on this

statutory planning documents for the city and county

great year.

reference culture in relation to policies specifically regarding the built heritage and archaeology.

Limerick 2020: the opportunity and the process to become European Capital of Culture (ECoC) is

Limerick 2030 Economic and Spatial Plan for

central to the strategy and embedded in it. To bid,

Limerick: the long term vision for Limerick provides

to plan and to deliver will provide an opportunity to

the impetus for cultural partners to show what

grow the cultural sector and its role. Regardless of

they can contribute to the economic and social

the outcome, the ambitions for culture remain the

development of Limerick through job creation,

same, and will inspire and drive the momentum for

tourism, place-making and improving quality of life

sustaining the cultural activities beyond the year of

and well-being.

the title. Through this process, Limerick is forming a new relationship with Europe through new residents,

Limerick Local Economic and Community Plan

who originate from across Europe and the world,

(LECP) 2016-2021: bringing local government

and how they influence the way Limerick works. Our

to the citizen, a partnership based approach,

2030 Cultural Strategy will offer a way to embrace

provides the incentive to connect the cultural

this and build greater understanding.

sector with non sector organisations and initiatives, including education and community and to engage

The Arts Council, Making Great Art Work, Leading

communities and citizens.

the Development of the Arts in Ireland, Arts Council Strategy (2016-2025): this new strategy

Other important key plans are:

will be implemented through three three-year plans

• Limerick Regeneration Framework

starting in 2017 with an emphasis on the inextricable

Implementation Plan 2014

role of the arts in social and cultural development and

• Local Area Plans

change. Within it “A Framework for Collaboration”, a

• Limerick City and County Heritage Plan 2030

new agreement between the Arts Council and Local Government is a ten year agreement as the guiding

This list will continue to be updated.

framework for individual conversations, about local arts development, between the Arts Council and each Local Authority.

activate.

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15

Limerick Cultural Strategy

6

Limerick Cultural Strategy

Remit

7

The 2030 Cultural Strategy is aligned to and integrated with other departmental strategies within Limerick City and County Council as part of a new operating model of social, economic and physical development.

statutory duty to make adequate local provision for cultural activities, to stimulate public interest in and promote knowledge of the appreciation and practice of cultural activities. But it is for the reasons outlined in the preceding sections of this document that LCCC’s support and commitment to cultural activities extends beyond that legal requirement.

LCCC’s commitment must be seen in the context

Limerick has learned many lessons from the successes and challenges during its experience of being awarded Ireland’s first National City of Culture 2014. It is now taking that experience to lead the development of a comprehensive and coordinated cultural strategy for Limerick working in partnership

COURTESY THE ARTIST AND EVA INTERNATIONAL

Limerick City and County Council (LCCC) has a

Roles • Advocate: Consolidating and valuing the role of culture in Limerick in a local, national and European context • Broker: Connecting people, organisations and opportunities through culture • Innovator: Successfully developing new ways

with others. We have identified six roles to reflect

of working, new business opportunities and

how we intend to do this. We will undertake these

supporting growth

roles working in partnership with other departments within LCCC as well as local, regional and national stakeholders. These will include cultural practitioners, venues, Limerick Arts and Cultural Network (L.A.C.E),

• Supporter: Continuing to create sustainable support, resources and investment in the cultural sector • Promoter: Finding new and interesting ways to

Professional Limerick Artists Network (P.L.A.N),

showcase, host or promote culture in Limerick,

government departments such as the Department

identifying exciting ways for Limerick’s city, towns

of Arts, Heritage and the Gaeltacht; national delivery agencies such as The Arts Council, the Irish Film Board, the Heritage Council and the Design and

of a changing environment for local government,

Crafts Council of Ireland and others. The roles for

with currently declining resources and increasing

Limerick City and County Council are as follows:

and villages to “be the venue” • Reflector: Reviewing, monitoring, analysing and critiquing the cultural strategy.

obligations.

There is a recognition that the role of LCCC is changing, that there is no longer an expectation that it will be in a position to provide all services directly, and that this requires greater collaboration with other organisations. In relation to cultural activities this means that, while LCCC will continue its role as a direct provider, it must also look at new ways of working. This will involve a more enabling role for LCCC. It will build upon existing work with external agencies and develop support through partnership.

It will further develop joint working relationships with external organisations and the private sector to maximise external funding opportunities.

The delivery of the 2030 Cultural Strategy will require FUSION SHOOTERS

a combined effort by the public, private and voluntary sectors. However, this process will need to be spearheaded and co-ordinated by Limerick City and County Council.

Fidget Feet Launch of Riverfest 2016 EVA: Luc Deleu’s ‘Construction X’

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Limerick Cultural Strategy

8

Ambitions and Objectives The 2030 Cultural Strategy is designed to effect change in the way things are done in relation to culture in Limerick through the following ambitions and objectives.

1. To grow Limerick’s cultural capacity by retaining

avail of the scheme in the provision of arts and

and attracting creative practitioners to live and

culture infrastructure

work in Limerick The strengths of Limerick’s cultural sector lie in its people and organisations. By investing in the development of these, Limerick will grow its capacity

• Develop strategies for the development of individual art forms • Support good governance and leadership of cultural organisations.

to create a stronger cultural community and ensure that the people of Limerick are provided with the opportunity to enjoy cultural performances and

2. To grow the physical and human resources,

activities of the highest national and international

infrastructure and support for staging large

standards. We aim to achieve this in the following

scale interventions, performances, festivals and

ways:

productions

• Encourage the highest standards of creativity and

The 2030 Cultural Strategy will seek to maximise

excellence in all aspects of cultural activities • Ensure that funding conditions are clear and

Limerick’s economic regeneration, and to enhance

monitored to maintain standards and achieve

and promote its national and international profile

good practice

as a creative, cosmopolitan place which appeals

• Support and develop the creativity of individual

to its citizens as well as tourists, businesses

artists in Limerick through recognising the need to

and visitors. Festivals and events offer important

support the making and development of creative

opportunities for artists, communities and people

work as well as its presentation and exhibition

to interact in a celebratory way through sharing

• Advocate for increased funding for cultural

COURTESY THE ARTIST AND EVA INTERNATIONAL

the contribution of cultural festivals and events to

a sense of place, identity and meaning through

provision through opportunities presented by

creativity and imagination. They also provide a

external sources such as local, national and

powerful mechanism for retaining creative talent and

European funding agencies

attracting talented workers from overseas which is

• Support audience development initiatives, in

crucial to the future of Limerick as a vibrant festival

collaboration with other cultural providers

and events location. We aim to achieve this in the

• Support focused sectoral training, up-skilling and investment in creative talents and assets for practitioners and creatives at different stages in their career • Encourage international mobility and touring opportunities • Attract international cultural productions and artists to Limerick • Develop a coherent Public Art policy to capitalise on the Per Cent for Art scheme in all public projects being delivered in the city and county and make public bodies aware of their entitlement to

following ways: • Host more and larger events and activities, building new audiences and attracting national and international visitors • Stimulate cultural activity in Limerick’s public spaces including greater use of empty premises and outdoor spaces • Market and promote festival and event activities and position Limerick city as a “venue” and unique tourism offer for audience development • Bring coherence to the current range of offerings in Limerick and provide a structured and strategic

EVA International, Alfredo Jaar "The Cloud Photo"

19

Limerick Cultural Strategy

FUSION SHOOTERS

FUSION SHOOTERS

Limerick Cultural Strategy

EVA International 2016 launch

approach for future development through the provision of a festivals and events strategy • Build capacity around EVA International- Ireland’s Biennial of Contemporary Art, and consolidate our reputation as a major international centre for visual art • Maximise the use of festivals and events as a platform to promote the work of local, national and international artists • Attract major international events to Limerick and recognise that this can bring additional investment opportunities, including tourism, audience development and participation • Develop partnerships through working with public agencies, the commercial and private sector and the voluntary and community sector, to ensure a more co-ordinated approach to programming, funding and promotion.

sector through partnership and collaboration

4. To foster multiple examples of imagination,

working with Limerick Arts and Culture Exchange

innovation and integration in Limerick and to use

and county and ensure this is made available in a

(L.A.C.E) and Professional Limerick Artists Network

creative approaches to help citizens and visitors

wide range of formats

(P.L.A.N)

re-imagine Limerick

• Support and grow innovative and creative

All of Limerick’s citizens should have equality of

• Provide information on events throughout the city

• Ensure that events taking place in local areas receive support and encouragement

collectives that will unify and bring the sector

access to cultural activities which cater to different

together and stimulate productive partnerships

age groups and interests across the geographic,

performances and exhibitions reflects the cultural,

and co-operation

cultural, generational and socio-economic

geographical and ethnic diversity of the citizens of

communities of Limerick. There is significant

Limerick

• Promote greater urban rural linkages across city and county, increasing social cohesion and

potential for cultural activity based in the community,

extending economic opportunities to benefit the

working with cultural organisations and other types

population through projects such as Culture Night

of community organisations, to co-create new work

• Build and strengthen networks of cooperation

with local people. We aim to achieve this in the

• Ensure that the LCCC’s programme of events,

• Recognise the role of amateur arts activity in Limerick and its contribution to creating cultural value • Support the role of local history and its role in

including local partnerships and regional, national,

following ways:

fostering pride of place, community and civic

European and other international networks, to

• Open up Limerick to all citizens to explore culture,

engagement through working with departments

develop new cultural opportunities

participate and see their lives reflected through

• Exploit the potential to develop cultural

volunteering, employment and lifelong learning

and creative hubs and clusters in renewal programmes such as the revitalisation of the

opportunities • Nurture a greater sense of “public ownership” of

within LCCC and other stakeholders • Support the role of culture in stimulating a greater appreciation of and interest in Limerick’s natural environment through working with departments

Georgian Quarter and historic towns, to achieve

the cultural amenities and facilities of Limerick

3. To support and grow innovative and creative

critical mass in specific cultural and creative

through a strategy of promoting accessibility and

• Work with departments within LCCC and other

collectives in Limerick

sectors and promote a strong cultural identity

participation in cultural activities, festivals, events

stakeholders to promote greater awareness

and cultural organisations

of archaeology and access to archaeological

The concentration of cultural and creative

• Support the role of cultural and creative

practitioners, organisations and networks has already

industries in the creation of initiatives such as the

• Foster the development of greater partnerships

added social and economic value to Limerick and

SmartSTEM-Pop-Up Knowledge Centre, to foster

with community groups and voluntary sector

has increased the visibility of culture that in turn has

a cross-platform creative sector and new digital

including organisations involving young people,

encouraged the growth of audiences, visitors and

enterprise as part of the city centre business

older persons, women’s and men’s groups,

creative economy. We aim to further achieve this in

cluster.

the following ways: • Continue to foster dialogue and build strong relationships between LCCC and the cultural

20

Limerick Museums and Archives

within LCCC and other stakeholders

excavations and artefacts.

marginalised groups and disability groups • Ensure where possible that all venues are accessible in terms of transport, physical access and cost

21

Limerick Cultural Strategy

5. To place culture at the heart of the economic

6. To engage citizens through involvement in

growth and regeneration of Limerick

culture

Investment in culture is a proven catalyst for wider

Cultural organisations in Limerick have demonstrated

economic development. Culture has a crucial role

a distinct expertise in their participatory approaches

to play in the development of an authentic sense

to creative and artistic work. Active engagement and

of place by contributing to the vitality and quality of

participation in cultural activity has the potential to

urban spaces and strengthening Limerick’s national

bring about transformative change to individuals and

and international profile. We aim to achieve this in the

communities. We aim to achieve this in the following

following ways:

ways:

• Build on the legacy of Limerick National City of

• Recognise and support the contribution of cultural

Culture 2014 to make better use of Limerick’s existing high quality historic and physical assets for cultural use • Develop high quality recreational and cultural amenities for citizens through maximising the use of libraries, museums and arts infrastructure to promote a welcoming and dynamic Limerick which values its culture and heritage • Support the development of new physical cultural

activities to the lifelong learning process • Place a strong focus on social inclusion including providing opportunities for participation by marginalised communities and social groups at • Develop opportunities for young people as they move from school into adult cultural activities • Expand the open learning facilities in libraries, community centres and non-traditional spaces to create increased opportunity for cultural

exhibition, presentation and consumption of

participation and engagement

cultural activity

• Explore new modes of cultural engagement through utilising and strengthening existing

throughout Limerick for temporary, “pop-up”,

networks of engagement such as the Public

cultural purposes and to animate the streetscape

Participation Network (PPN) across the city and

to support the day-time and night-time economy such as “Creative Limerick” • Make submissions to plans which shape the

county • Recognise the relationship between participation and engagement for active cultural citizenship.

policies for economic growth and statutory

enterprise to maximise the contribution that the

partnership with others

creative industries make to the economy. We aim to

• Support initiatives that encourage citizens to work

7. To become a centre for active research and

development

problem-solving in culture that will have local, national and European significance

achieve this in the following ways:

together to share ideas, troubleshoot problems

• Explore the creation of a programme of civic and

and continuously evaluate how well Limerick’s

economic interventions to attract, support and

cultural aims and ambitions are being met

grow micro and community enterprise in the

• Seek out European and international best practice to ensure that Limerick is a “thought leader” and influencer in cultural development • Connect the research talent within the universities the emergence of new creative enterprises and

that proposed developments support cultural

innovations • Host conferences, debates and networks in pursuit of exchange of experience at a Europe

in all Limerick’s development projects and

Limerick has a unique and distinguished academic

encourage the best possible standards of

and artistic research practise in the areas of the arts,

contemporary architecture while respecting the

culture and creative technologies and is a centre of

programmes such as Horizon 2020, to support

historic streetscape

expertise and excellence on the island of Ireland.

pan-European research projects.

wide level • Seek out opportunities to access EU funding

creative industries • Develop links between Sciences, Technology, Engineering, Arts and Maths (STEAM) • Support the role of new technology and recognise the opportunities for using this as part of the teaching and enjoyment of creative industries • Recognise the role new technologies play in contributing to the energy and excitement of youth culture • Recognise the need to provide graduation space for fledgling enterprise and creatives to kick-start new ideas • Support new and imaginative uses for retail space

• Recognise the unique qualities of Limerick’s

The opportunity exists to maximise the potential of

in the areas of fashion, furniture, textiles, craft,

heritage - historic and contemporary – and

the research community in a national and European

design, artisan food to strengthen Limerick’s

incorporate these into development plans and

context and to engage in collaborative and innovative

8. To increase and support the role of the creative

creative place-making strategies as a force for

cultural research projects. We aim to achieve this in

industries in Limerick

revitalising urban space and communities

the following ways:

The creative industries are a significant driver of

Limerick who are involved in working within, or

• Strengthen Limerick’s research community

economic activity and job creation and in Europe

supporting, cultural and creative activities, such

• Establish an inter departmental cultural working

position as a cultural and creative hub • Foster partnerships with organisations throughout

group that meets a minimum of twice a year

through the creation of a network of research

amounting to €654 billion, representing 2.6% of

as public bodies, higher and further educational

made up of relevant experts from the different

bodies and provide a forum for exchange

Europe’s GDP. They are the fastest growing sector of

establishments, national institutions, museums

• Build on research that has been commissioned

the economy and present opportunities for Limerick

and galleries, the commercial and private sector.

and undertaken to date to capture the social

to harness its strengths in fashion, design, and digital

departments.

22

and economic value of the cultural sector in

and higher education sector to opportunities for

land use as they come up for renewal to ensure

• Seek the achievement of architectural excellence

Irish Chamber Orchestra, Sing Out With Strings

risk of exclusion

infrastructure and facilities for the production,

• Encourage greater use of unoccupied spaces

COURTESY IRISH CHAMBER ORCHESTRA

Limerick Cultural Strategy

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Limerick Cultural Strategy

9

Conclusion This document is a road map for cultural development in Limerick. It has been co-created in consultation with the cultural community, LCCC departments, citizens, businesses and voluntary and community organisations across city and county to ensure sustainable long-term cross-sectoral commitment. It has set out LCCC’s ambitions for the advancement of cultural development in Limerick.

LCCC recognises that it cannot deliver this cultural

The 2030 Cultural Strategy will act as a catalyst

strategy alone. It is looking forward to continuing

for a further step-change in Limerick’s cultural

to work in close partnership with all agencies and

development, building on the success of National

individuals who have an interest in, or are actively

City of Culture in 2014. It is a forward looking strategy

involved in, cultural provision to build relationships

that sets out the building blocks for sustaining

of trust, mutual understanding and collaboration.

cultural development in Limerick, strengthening the

Success will require a co-ordinated response with

capacity of the cultural and creative sectors and

a unitary vision, organisation and implementation

developing long-term links between the cultural,

led by Limerick City and County Council to ensure

economic, physical and social sector. It will also

that citizens in Limerick have the opportunity to

generate a greater local, national and international

determine local cultural policies and provision.

understanding of the transformative power of culture in Limerick, through its citizens, artists, cultural sector

LCCC recognises the need to commit to matching

and all those who use their creative skills to find new

the ambitions and objectives of this strategy with

ways of belonging to Limerick and to each other.

a resourcing plan that is specific, measurable, achievable and realistic. Detailed plans will be prepared over the coming months which will provide a description of the work programme that will take place between now and 2030.

In order to enshrine the 2030 Cultural Strategy as a long term plan for successful development in Limerick we will also include measures to monitor and evaluate activity on an on-going basis against the ambitions and objectives laid out in this strategy.

These monitoring reports will also examine the local, SHANE SERRANO

regional, national and international context to make sure that the 2030 Cultural Strategy remains relevant and fit for purpose.

The Wedding

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Limerick Cultural Strategy

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References

Montgomery, J. (2003). Cultural quarters as mechanisms for urban regeneration. Part 1: Conceptualising cultural quarters. Planning Practice

Belfast City Council, (2012). Cultural Framework for

& Research, 18(4), 293-306.

Belfast 2012-2015.

Official Journal of the European Union. 2014.

Birmingham Cultural Partnership, (2010). Big City

DECISION No 445/2014/EU OF THE EUROPEAN

Culture, Birmingham 2010-15.

PARLIAMENT AND OF THE COUNCIL of 16 April 2014.

BOP Consulting, (2016). Cultural Strategy

Open Method of Coordination, (2012). EU Working

Framework for Limerick, Phase 1 Bid Book.

Group on Cultural and Creative Industries, How to strategically use the EU support programmes,

European Commission, (2014). European Capitals

including Structural Funds, to foster the potential of

of Culture 2020-2033. Guide for cities preparing to

culture for local, regional and national development

bid.

and the spill-over effects on the wider economy?

European Commission.

Glasgow City Council, (2006). Glasgow’s Cultural Strategy, The Place, The People, The Potential. Be

The Arts Council / An Comhairle Ealaion, (2016).

Part of It.

Making Great Art Work. Leading the Development of the Arts in Ireland. Arts Council Strategy 2016–2025.

Limerick City and County Council, (2015).

Age Friendly Limerick, 2015-2020.

The City of Edinburgh Council, (1999). Towards the New Enlightenment – A Cultural Policy for the City of

Limerick City and County Council, (2013). Limerick

Edinburgh, 1999.

2030 An Economic and Spatial Plan for Limerick, 2016.

The Department of Arts Heritage and the Gaeltacht, (2016). Culture 2025, Discussion

Limerick City and County Council, (2015). 2015-

Document.

2019 Corporate Plan.

Temple Bar Properties, (1996). Development Limerick City and County Council, (2016). Limerick

Programme for Temple Bar.

Local Economic and Community Plan (LECP) 20162021.

UNESCO, (2002). Universal Declaration on Cultural Diversity, Cultural Diversity Series No 1.

Limerick National City of Culture 2014, Visual Art Legacy Project, (draft 2015). Towards a Sustainable

University of Limerick and Limerick 2020, IU

Visual Arts Eco-System in Limerick.

Intelligence Unit, (2015). Culture Lab Mapping of Limerick.

Limerick National City of Culture 2014, Volunteer Ireland, (2014). Limerick National City of Culture Programme Report.

FUSION SHOOTERS

Limerick National City of Culture 2014, (2015).

Social Impact Study, Theatre Forum.

Limerick National City of Culture 2014 (2015), Limerick National City of Culture 2014 Economic Impact Assessment. Grant Thornton Ireland, (2015).

Ormston House

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Appendix - Public Consultation As part of the formulation of this 2030 Cultural Strategy, submissions were invited from stakeholders and members of the public on issues of relevance and concern. We also hosted a series of public forums, focus groups and a World Café, in partnership with Friars’ Gate Theatre and Arts, the Belltable and Dance Limerick on the following dates: Public Meetings • Limerick City and County Council, Local Area Office, Newcastle West, Tuesday 12th April • Limerick City and County Council, Local Area Office, Adare Rathkeale, Tuesday 12th April • Friars’ Gate Theatre and Arts, Kilmallock, Thursday 14th April Focus Groups • Belltable, Limerick, Wednesday 13th April - Session 1 & 2 World Café • Dance Limerick, Limerick, Friday 22nd April Participants and Submissions Over 60 people attended these consultation forums and we also received written submissions in response to the initial framework document. Limerick City and County Council wishes to thank all those who participated and provided submissions, as listed below.

Peter Barley, (Limerick Pipe Organ Festival/Musical Director, St. Mary’s Cathedral), Mary Blackmore, (PAUL Partnership), Fiona Booth, (voice and dance artist), Caleb Brennan, (Stanzas), Lucia Brunetti, (The Gaff/ PLAN), Dave Burns, (The Royal Project), Maeve Butler, (Dance Limerick), Fiona Byrne, (Hunt Museum), Bernadine Carroll, (Arts manager and artist), Tom Cassidy, (Planning and Environmental Services, Limerick City and County Council), Jazmin Chiodi, (Limerick Arts and Culture Exchange, L.A.C.E.), Anthony Coleman, (Local Enterprise Office), Bernadette Collins, (Executive Planner, Limerick 2030, Limerick City and County Council), Pauline Collins, John Daly (Limerick Jazz Festival), Eoin Devereux, (Faculty of Arts, Humanities and Social Sciences, University of Limerick), Louise Donlon, (The Lime Tree Theatre), Maria Donoghue, (Social Development, Limerick City and County Council), Marketa Dowling, (Belltable Arts Centre), Ursula Dundon, (Moyross Residents Forum), Charlotte Eglington, (Irish Chamber Orchestra), Michael Finneran, (Limerick Arts and Culture Exchange, L.A.C.E.), Mike Fitzpatrick, (Limerick 2020), Sheila Fitzpatrick O’Donnell, (Poet), John Greenwood, (Limerick Arts and Culture Exchange (Limerick Arts and Culture Exchange, L.A.C.E.), Marie Hackett, (Limerick Literary Festival), Seamus Hanrahan, (Social Development, Limerick City and County Council), Mary Hartney, (Integrated Dance), Jacqui Hayes, (Museums and Archives, Limerick City and County Council), Eithne Hehir, (Ballyhoura Ceramics), Michele Horrigan,

SHANE SERRANO

(Askeaton Contemporary), Eileen Humphreys, (Social Strategy Development, Limerick City and County Council), Boris Hunka, (Music Generation Limerick), Cllr. Marian Hurley, (Limerick City and County Council), Matt Kelly, (Matt Kelly Productions), Bernadette Kiely, (Limerick Pipe Organ Festival), John King, (Irish Art), John Liddy, (Poet), Gerry Lombard, (Gerry Lombard Design), Sean Lynch (Askeaton Contemporary), Eleanor McSherry, (Limerick Arts and Culture Exchange, L.A.C.E.), Úna McCarthy, (Limerick City Gallery of Art), Bertha McCullagh, (Cuisle Poetry Festival), Hidden Pathways

World Cafe live graphic facilitation

Sinead McDonnell, (Environment Awareness Officer, Limerick City and County Council), Diarmuid McIntyre,

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Limerick Cultural Strategy

Limerick Cultural Strategy

(Grey Heron Media), Paul McLaughlin, (University of Limerick), Liam Meade, Peter Moles, (Filmaker), Robery Moloney, (Composer/sound designer/lighting designer), Patricia Moriarty, (Arts Office, University of Limerick), Brendan Mulcahy, John Murphy, (Limerick Arts and Culture Exchange, L.A.C.E.), Frank Murray, Hugh Murray, (Hugh Murray Architects), Sarah Newell, (Social Development, Limerick City and County Council), cáit ni cheallacháin, (Conservation Architect), Dr. Niamh NicGhabhann, (Irish World Academy of Music and Dance, UL), Liam O’Brien, (Bottom Dog Theatre Company), Mike O’Brien, (Artist), Joseph O’Connor, (Rathkeale Historical Society), Eadáoin O’Neill, (Limerick Arts and Culture Exchange, L.A.C.E.), Tom O’Neill, (Heritage Officer, Limerick City and County Council), William O’Neill, (Museums and Archives, Limerick City and County Council), Michelle O’Riordan, Paul Patton, (Limerick and Clare Education and Training Board), Matthew Potter, (Museums and Archives, Limerick City and County Council), Deirdre Power (Visual Artist), Sarah Quinlan, Fiona Quinn, (Arts Facilitator, County Limerick Youth Theatre), Caoimhe Reidy, (Friars’ Gate Theatre and Arts), Ger Reidy, (The Limerick Chorus), Suzanne Rowley, (West Limerick Resources), Joanne Ryan, (Limerick Arts and Culture Exchange, L.A.C.E.), Theatre Strand), Lise-Ann Sheahan, (Limerick Smarter Travel, Limerick City and County Council), Amanda Slattery, (Ballyhoura Development), Angie Smalis, (Limerick Youth Theatre), Monica Spencer, (Professional Limerick Artists Network (PLAN), Ciarda Tobin, (Limerick Arts and Culture Exchange, L.A.C.E.), Theatre Strand, Jessica Tobin, (Limerick Printmakers), Adrian Wells, (Revelations), Deirdre Wilson, (Limerick Youth Theatre), Nicky Woulfe, (Woulfe Event Management) Limerick Cultural Strategy: A Framework 2016-2030 Commissioned and co-ordinated by Limerick Arts Office Sheila Deegan, Deputy Director, Limerick 2020 Bid Team, Dr. Pippa Little, Assistant Arts Officer, Aoife PotterCogan, Assistant Arts Officer, Festivals and Events, Susan Ryan, Lizanne Jackman Editorial Panel Gráinne Millar, GM INNOVATIONS, in partnership with Limerick Arts and Culture Exchange (L.A.C.E.) and Professional Limerick Artists Network (PLAN) Steering Group; Jazmin Chiodi, Marketa Dowling, Michael Finneran, John Greenwood, Boris Hunka, John Murphy, Ciarda Tobin and Limerick Arts Office.

The Framework for Phase 1 Bid Book European Capital of Culture 2020 and working document draft of this strategy written by BOP Consulting.

Public Consultation Facilitation Public Consultation facilitated by Grainne Millar of GM Innovations and Limerick Arts Office. facilitation.

FUSION SHOOTERS

Facilitation team for World Café: Marie Taylor, Ursula Callaghan, Sharon Slater. Fintan Taite, Live graphic

Royal De Luxe Granny, Limerick National City of Culture 2014

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In association with

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SHARED SPACE: TOWARDS A CULTURAL STRATEGY FOR GALWAY DISCUSSION DRAFT _____________________________________________________________________

A shared space on changing sand forces no violent supremacy, rather encourages a mutual sympathy for the life that feeds from the recurring tide.

Michael D Higgins Poet and President of Ireland (Galway resident)

___________________________________________________________ Culture is at the heart of life in Galway: it is pivotal to all aspects of our development as a city and county. Our ambition is to design, drive and deliver a strategy that transforms Galway into a working model of cultural sustainability, community participation, best practice and world class cultural and creative experiences.

PART 1. THE ROLE OF CULTURE IN GALWAY _____________________________________________________________________ INTRODUCTION: The vision for this strategy is to build a model of cultural excellence for Galway; a model of excellence in cultural curation, artistic innovation and provision, community participation, social inclusion, economic sustainability and environmental responsibility. This model will lead to an improved quality of life and the lasting legacy of pride of place. The interests of Galway’s people are at the heart of this vision.

What do we mean when we say that we want to transform Galway into a working model of cultural sustainability and best practice?

Galway will transform itself in the next ten years - building on the long-term relationships that embrace community and diversity - finding room for all aspects of cultural identity and expression.

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We will collaborate with people locally, nationally and internationally to take what is best about Galway and make it better. We will create partnerships that help us to fill the gaps in our infrastructure, our service provision, our collaborative practices, our online digital presence. We will excite and inspire our community and build consensus and understanding through cooperation, dialogue and participation in the arts and culture. We will harness the inspiration and creative flow that exists in Galway and deliver it to new audiences and participants.

Studies1 show that access to and participation in the arts and culture is good for everyone’s health; we know that being outside and engaged in physical activity produces healthier populations; we know that participation in decision making processes instills greater connectivity. We want to bring these opportunities to as many people as possible and in so doing create a model for Galway that everyone can be proud of.

In summary this strategy seeks:  To highlight the benefits (including heath and well-being) of culture for the citizens of Galway  To guarantee that these citizens, permanent and temporary, young and old, have access to the resources they need to freely pursue their cultural interests and identity (whether sport, heritage, arts, history, crafts, food) at all stages of their lives.  To contribute to a carefully constructed economic environment that fosters employment opportunities for the cultural and creative sectors.  To foster cultural and creative innovation in all its forms through an understanding of the cultural needs and priorities in Galway.  To consider technology and its contributions to the local economy, to plurality and to citizenship-building.  To recommend coherent and practical delivery mechanisms to drive the cultural implementation plan including infrastructural development.  To protect and enhance Galway’s distinctive cultural heritage including its unique Irish language culture.

This strategy sets out a ten-year vision for Galway 2016 - 2025. The vision will be delivered with a broad range of partners and collaborators in three, three-year cycles, with built-in additional review and evaluation pauses.

The goal of this strategy is to highlight the contribution of culture to the sustainable development of Galway. In this pursuit, everybody matters.

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O' Neill Mark (2010) Cultural attendance and public mental health – from research to practice. Journal of Public Mental Health 9 (4) 22 - 29 Bygren LO, Johansson S-E, Konlaan BB, Grjibovski AM, Wilkinson AM & Sjöström M (2009a) Attending cultural events and cancer mortality: a Swedish cohort study. Arts & Health 1 (1) 64–73.

Hyyppä MT, Mäki J, Impivaara O & Aromaa A (2006) Leisure participation predicts survival: a population-based study in Finland. Health Promotion International 21 (1) 5–12.

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CONTEXT This is the first cultural strategy devised for Galway. It has come about as a result of a long held recognition by the two local authorities, Galway City and County, of - the pivotal role culture played in the past and plays in its present and its future; - an understanding of the connection between culture and local sustainable development and - research into the potential growth of the cultural and wider creative industry sectors2.

This strategy is evolving as Galway bids for European Capital of Culture 20203. The bid represents an opportunity to reflect on the uniqueness of Galway culture - its richness, vitality and diversity - and its place and role in a shared European culture.

The bid also presents an unprecedented opportunity to re- imagine and create a world-class showcase of cultural excellence.

The definition of culture being used in this document is inclusive of the following: landscape; the natural and built environment; material culture; cultural heritage; documentary and archival heritage; architecture; design; cultural infrastructure; language; history; folklore; all artistic expression; sport; craft; food; traditions; traditional skills, memory; beliefs and values. It is a broad definition and as such, the detailed actions relating to specific areas of cultural expression within this plan, will be represented in the actions.

This strategy is a strategy for Galway that is to be shared with the whole city and county. It will support emerging and established creatives and cultural players and offer opportunities for growth, employment, improved population health, increased participation and engagement, increased fun and enjoyment, increased knowledge and learning and an increased sense of ownership and involvement in the life of the city and county.

Strategic Context: While this is the first over-arching cultural strategy, there have been, and are, specific sectoral plans and strategies that address artforms, artists, arts organisations, architecture, creative communities, cultural heritage, the built and natural environment, bio-diversity, sports, leisure activities, recreational spaces and services and the role of the city and county in the engagement of citizens, residents and visitors with their specific actions. The Cultural Sustainability Strategy is part of a broad strategic approach that is putting culture at the very centre of our framework for local development. The strategy reflects the policies set out in the City and 2

Galway City and County: High Level Overviews and Sectoral Review Summaries, 2015,Whitaker Institute, NUI Galway 3 Each year since 1985 the European Union designates one or more cities as a European Capital of Culture.

Chosen cities and their regions are expected to present an innovative year-long cultural programme that highlights the richness and diversity of cultures in Europe but also to create a lasting legacy for the designation.

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County Development Plans, Corporate Plans and Economic Sustainability Strategies, and will contribute to Local Economic and Community Plans; the Historic Assets Strategy and the emerging Tourism Sustainability Strategy and Branding Policy.4 The foundation for the Economic Sustainability Strategy is the Galway City and County Economic Baseline Study, commissioned by both Galway City Council and Galway Council and carried out by The Whitaker Institute in NUI Galway.

The Report was a crucial instrument in identifying a number of sectoral strategies and action plans to be developed . Each one of these individual sectoral strategies, of which this Cultural Sustainability Strategy is one, are now being finalised in a coordinated and integrated process, with a focus on priority actions, aimed at effectively and efficiently delivering desired outcomes.

So as to realise the vision described in its Corporate plans of continuing to make Galway an attractive, vibrant and proud city and county in which to live work and visit, the City and County Councils and their partners will focus on strategies and actions in three inter-related categories: PEOPLE – workforce, quality of life and social issues PLACE – physical environment (infrastructure, amenities, buildings and planning) PROCESS – ease of doing businesses (city processes, programmes and procedures) Use of the term “sustainability strategy” instead of “ development strategy” reflects firstly that sustainability focuses on long-term conditions and outcomes.

The approach identifies and coordinates near and long-term strategies and actions that can help ensure success over time. The application of a comprehensive “sustainability lens” also acknowledges that efforts to ensure and enhance economic vitality must be approached and implemented in conjunction with the environmental, social and cultural qualities that are the foundation of Galway's long term health and quality of life.

European Context: Also informing this strategy is Culture 21 – Agenda 21 for Culture, which has led out internationally on principles of sustainable cultural development at a local level.

Galway has become a member of the Pilot Cities Europe 2015 – 2017 Programme, participating in the Culture in Sustainable Cities – Learning with Culture 21 Actions in Europe5 initiative. The programme aims to address gaps in effective evaluation, peerlearning and the dissemination of existing intelligence by providing opportunities for participation in a learning process, on the basis of the principles and actions included in Culture 21 Actions and on the experience and expertise of Culture Action Europe.

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See Appendix x for a full list of current City and County Council Plans and Strategies.

5 The “Culture 21 Actions” toolkit providing guidance for cities aiming to evaluate, design and implement cultural policies contributing to sustainable development was adopted at the first United Cities and Local Governments’ Culture Summit, held in Bilbao on 18-20 March 2015 under the title “Culture and Sustainable Cities”.

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The methodology for this strategy has research, mapping and consultation as its baseline, reflecting at all times the priorities and key policy areas agreed by those consulted.6 ABOUT GALWAY. Galway has a population of 250,653 (Central Statistics Office 2011 Census); Galway County’s population is 175,124 while the City has a population of 75,529.

The County County Galway possesses a strong community identity and has a rich and diverse cultural heritage. This identity is expressed in many ways: in the language that people speak, the arts and crafts they practice, the festivals they celebrate, the games they play, the jobs and occupations that provide their livelihood, the buildings they create and the location in which they live. The County’s sense of place and the many strands of its cultural inheritance have been substantially maintained despite the social changes of recent times and an increasingly multi-ethnic society County Galway is richly endowed with a variety of landscape types ranging from the quartzite mountain ranges and blanket bogs of Conamara to the fertile patchwork of farmland in east Galway and the bare karst pavements of the Oileáin Árann and South Galway. Human interaction with the natural heritage has produced a great variety of characteristic landscapes and landscape features. The natural diversity of the landscapes of the County coupled with built and cultural heritage features such as the archaeological monuments, stonewalls, hedgerows, woodlands, field patterns, settlements and buildings has given the County its distinctive character. The increasing development pressure of recent years has caused changes in the national landscape which are unprecedented in scale and nature, and has led to the Government setting out guidelines for landscape appraisal. This assessment of the landscape is to ensure that “the environment and heritage generally are maintained in a sustainable manner, while at the same time enabling a proactive approach to development”.

The architectural heritage of Galway is a unique and special resource. Our architectural heritage consists not only of great artistic achievements of the past, but also the everyday works of craftsmanship of the past. Structures and places have over time acquired character and special interest through their continued existence and familiarity. In a changing world they provide an anchor. All of their parts have been tested by our climate, and those that have survived the ravages of time and of constant use, have acquired value.

The presence of the National University of Ireland Galway, Galway Mayo Institute of Technology, the Marine Institute and Teagasc Research Centre in the West of Ireland are widely recognised as significant academic assets to the region and these institutions are acknowledged as instrumental catalysts for economic activity in County Galway. Strategic partnerships between these higher educational and research institutions and wider industry whereby knowledge and resources are shared can assist in addressing social challenges and drive economic growth.

3 See Appendix 1

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The City Galway City has a young population with almost sixty percent aged between 15 – 44 - thirty per cent in the 15 – 24 category. There are over 40,000 pupils and students in primary, secondary, further and third-level colleges across Galway including 26,000 students who attend the two third level institutions, the National University of Galway (NUIG) and Galway and Mayo Institute of Technology (GMIT).

The city has a high level of education with over forty per cent achieving 3rd level qualifications (5% higher than the highest in the UK – Bristol). The further development of the city as a gateway is linked to continuing investment and innovation in education through its third level institutions and the effective linkages these institutions have with enterprise and research and development.

Galway is a multi-cultural city with 19.4 per cent of its population recorded as nonIrish in the 2011 census (CSO) compared to the national average of 12 per cent.

Galway is best known as a creative city, recognised nationally and internationally as the cultural capital of the west by its outstanding annual calendar of world-class festivals, arts and cultural events and through the commitment of its artistic and cultural organisations and communities. The physical backdrop of the historic medieval city and the natural beauty that is integral to it make it an even more memorable place.

From the 1970s on, a significant part of the cultural infrastructure of the city took on a singular but necessary pop-up ethos. Funding was scarce and artists, makers, producers, actors began converting spaces – warehouses, garages, car-parks, fields – into ad hoc cultural spaces, gardens, galleries, theatres and performance venues. It was a form of guerilla art fare – a festival or flexible response to the accommodation of creativity. When money became available and following extensive consultation, two new theatres were built in the 1990s. In the early 2000s a new museum was designed on an iconic city centre site at the Spanish Arch to replace the older, more modest version. In 2010, a new Art House Cinema was designed and begun. A number of new pieces of cultural infrastructure have been identified through a wide focus group and consultation framework.

City and County The support and development of community and cultural infrastructure is of central importance to Galway for several reasons: it contributes to economic and social progress; it helps to integrate communities and establish community and cultural networks; it enhances the quality of life and well being of its citizens – permanent and temporary - and it attracts significant inward investment.

The tourism industry benefits enormously from a thriving community, arts, heritage and culture sector, particularly from the annual programme of internationally recognised festivals that makes such a positive contribution to the local economy.

This is reflected in the emerging City and County Tourism Sustainability Strategies.

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Fáilte Ireland’s Wild Atlantic Way initiative presents Galway with great opportunities for the further development of the tourism cultural offer. Two sites in the county are designated as signature discovery sites – one in Derrigimlagh near Clifden, and the other at Killary Harbour (South). Galway City will be a key orientaton point along the route.

THE UNIQUE ROLE OF THE GAELTACHT. The Galway Gaeltacht had a total population of 48,907 in 2011, and has a higher proportion of Irish speaking inhabitants (75.2%) than all other Gaeltacht areas in the country combined (69.5%).

Galway is unique in Ireland in having a city that has almost half its area with Gaeltacht status. Over the past ten years there has been a growth in the amount of Irish speakers living and working in the city and county due mainly to the growth of the communications industry as lead by TG4 (the national Irish language television station) , the development of the Irish Department of NUIG, Áras na Gaeilge and gaelscoilenna (Irish language schools). The Irish language and linguistic heritage is an intrinsic part of the cultural experience and life of the Galway for many years with cultural and social institutions such as Gaillimh le Gaeilge, Taibhdhearc na Gaillimhe, Áras na Gael, playing a lead role in the cultural promotion of the language. Agencies such as Údaras na Gaeltachta, Pobail, Ealaín na Gaeltachta, Muinteras amongst others, provide much of the important infrastructure - culturally and economically for the language to thrive.

It is recognised that this living heritage makes a very important contribution to the uniqueness and identity of Galway and enriches it as a place to live and visit.

Government policy in relation to Irish is to increase on an incremental basis the use and knowledge of Irish as a community language 7.

GALWAY | STRENGTHS. Galway is perched on the edge of the Atlantic, surrounded by beauty – the unique Karst limestone landscape of the Burren to the south, the iconic Connemara landscape - coast, bogland and mountain - to the north and the celebrated Galway Bay, guarded by the prehistoric stone forts and the holy wells and oratories of the Aran islands, to the west and Inis Bofin further north. To the east lies arable land and a network of lakes and rivers, great houses, castles and large estates, thatched houses, vernacular buildings and a rich ecclesiastical heritage.

Throughout its history, from the earliest tool makers of the Mesolithic period through its hey day as the west coast’s most important medieval and post-medieval centre of trade and ambition, and on to its current status of cultural capital of the west coast - its fortunes have ebbed and flowed. For nearly ten millennia Galway was primarily accessed through the super highway that is the Atlantic – a route that 7

20-Year Strategy For the Irish Language 2010 – 2030 (2010) Dublin, http://www.ahg.gov.ie/20YearStrategyfortheIrishlanguage2010-2030

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could carry people, goods and vessels anywhere in the world – and through the Corrib and Shannon rivers and Lough Derg and the lakelands. The city and county developed a unique cultural pattern of life, a response to the confluence of place, natural beauty, language, necessity, invention and available resources, establishing a rich oral and written tradition, an innate aesthetic that translated into a wide variety of archaeological monuments, vernacular buildings such as the thatched cottage, richly patterned and coloured textiles and costumes, traditional crafts and vernacular buildings. Up from this grew a singular cultural identity that inspired hundreds of artists, writers, poets, historians, folklorists, traditional musicians, singers, dancers, designers, cooks and chefs, street performers, creators of spectacles, makers, producers, innovators, directors, big time dreamers and ready and willing participants and audiences. From the mid nineteenth century, when tourism and touring became a past-time of the wealthy and adventurous – a visit to the west of Ireland was a must-do inclusion in the itinerary. This is reflected in the valuable artworks, heritage sites and monuments, Irish language culture, iconic poetry and plays, songs and concertos, short stories, long novels, food production and vernacular buildings that we are known for throughout the world.

Over a period of a thousand years Galway continually adapted to its given circumstances – economically, socially and culturally. Most recently, an economic and cultural lull in the 1970s resulted in an unexpected creative explosion that has sustained, grown and developed into a series of internationally known arts and cultural organisations and festivals – such as Galway International Arts Festival, Druid Theatre, The Galway Film Fleadh (the only film festival in Ireland that nominates to the Oscars Short Film category), Cúirt International Festival of Literature, Baboró International Arts Festival for Children, Clifden Arts Week, Cruinniú na mBád and Macnas – all of whom have helped to make Galway an internationally recognised cultural destination. The Galway Races, Connacht Rugby and the Ballinasloe Horse Fair are three more international cultural brands that have marked Galway out on the world map. The recent designation of Galway City Of Film

by UNESCO and Galway’s membership of the UNESCO Creative Cities Network has added greatly also to the cultural cachet of the city.

The main strengths of the city and county can be summarised as follows: Cultural Players:  Galway has a significant community of emerging artists, particularly in the visual art sector, with over 300 documented artists8 living and working in the city and county.  Galway has a very high sports profile nationally and internationally leading out with Connaught Rugby, The Galway Races and the GAA County football, hurling and camogie teams. The Galway Sports Partnership9, which is an

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With membership of Visual Artists Ireland. 100 members of Galway Print Studios; 25 members of Artspace Studios; 25 members of Engage Studios and 200 members of Gallery 126 artist run gallery. Source ADAPT proposal 2012 (unpublished).

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This new body represents a merger of Galway City Sports Partnership and County Galway Sports Partnership.

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initiative of the Irish Sports Council, co-ordinates and promotes the development of sport at local level.  Growth in cultural entrepreneurship and start-ups in food and gastronomy can be seen through the Food Festival, the Growing Galway Food initiative, Farmers Markets, two Michilin Star restaurants, Food from the Edge platform and the European Region of Gastronomy Bid and other food promoting agencies working in the Food sector in Galway.  Galway City and County Age Friendly Alliance is playing a key role in promoting cultural engagement of a diverse older population and offers a key way of linking up with national initiatives such as Age & Opportunity’s Bealtaine Festival, which celebrates creativity as people age.  The Coderdojo phenomonen, the Youth Academy in NUIG and youth led organisations such as Foróige, Comhairle na nÓg, Áit Éile and young designers/makers/gaming/ICT innovators are a growing constituency in Galway and creating new models of engagement  Druid Theatre, GIAF, Macnas and Baboró are all developing an educational and cultural legacy through their contribution to undergraduate and postgraduate learning programmes and residencies in NUIG10 Cultural Economy:  Galway is a world class cultural destination capable of hosting major international events such as the Volvo Ocean Race, the Tall Ships Festival and the Galway International Arts Festival.  Galway has a well developed tourism infrastructure significantly enhanced by the recently implemented Fáilte Ireland Wild Atlantic Way initiative  Galway has an audio-visual, television and film sector that is worth over €72 million to the local economy. There are over 600 people employed in the sector many of whom are based in the cluster of audio visual companies in Connemara. Employment in this sector is growing by 24.5% annually.  Galway has a UNESCO City of Film designation – one of five in the world – which is a recognition of both the film heritage and the training, education and content delivery services provided by the sector in Galway.11  Incubation units, start-ups and innovation co-operatives are emerging in Galway featuring ICT, digital technologies, media and gaming companies and are being informed by agencies such as the Insight institute in NUIG and Portershed. There is evidence of cross-sectoral collaboration and connections with this new generation.  The Creative Industries in the west generate €534 million and account for 3.4% of employment in Galway.  The Made in Galway initiative was established to develop a brand to showcase locally produced Galway based goods and services. It represents 10

Druid has the Druid Academy Programme; GIAF have their Selected Programme and Baboró advises on the Children and Creativity undergraduate degree. Macnas does a 12 week module on BA in Drama, Theatre & Performance Studies.

11 The designation of Galway as a permanent Unesco City of Film is recognition of the value of Irish filmmakers – directors, writers, producers, the Galway Film Centre, the Galway Film Fleadh, Bord Scannán na hÉireann/the Irish Film Board and TG4 – to the cultural fabric of Galway,

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the work of over 200 businesses and provides a web-based directory and support structure for a wide range of craft and food producers in Galway city and county  There are 162 design and craft businesses in Galway with the greatest concentration in textile making, wood-working and jewellery.  The towns and villages of the county are a network of places of local importance, distinctiveness and pride Environment:  Galway is recognised internationally as a place people want to live in, work in and visit and engenders a huge sense of pride of place amongst its inhabitants, both urban and rural.  Galway is known for its three world famous landscapes – Galway Bay and the Aran Islands, Connemara and the Burren.  Galway has the largest population of Gaeltacht areas in the State, all of which represent a rich and unique source of culture – language, music, literature, artworks, crafts, skills, traditions, dance, oral history. The Irish language is a considerable asset and is worth in the region of €136m to the County’s economy, with €59m accruing to the city . An Taibhdhearc is the National Irish Language Theatre and plays an important role in the commissioning and presentation of existing and new work in the Irish language.  Galway has the largest population of inhabited islands in the country and these hold unique communities with strong traditions and heritage as well as outstanding areas of beauty.  Galway has a high number of forest parks in the city and county providing green spaces and environmental education to local and visiting populations.

Connemara National Park provides a variety of facilities for over 170,000 visitors annually.

Cultural Management:  Galway has a massive cultural profile and reputation led chiefly by the internationally recognised flagship organisations mentioned earlier  Galway City and County Library service provides a valued, varied and accessible annual programme of cultural events, catering for every sector of the local and visiting population in each of its centres. The city libraries alone had over 300,000 visitors in 2014.  Galway is part of the UNESCO Creative Cities Network  Galway is a member of the Culture21 Pilot Cities Programme and a candidate for the European Capital of Culture 2020.  Galway has over eighty-three festivals in its annual festival programme. These events include: beach racing at Omey Island; Criunniu na mBad in Kinvara; the Lady Gregory Autumn Gathering; the Galway Food Festival; Oyster Festivals; Clifden Community Arts Week; Inis Bofin Arts Festival; Connemara Sea Week and Bog Week; Féile na gCloch on Inis Oírr; Loughrea and Athenry Medieval Festivals and Sugar beat in Tuam.

Cultural Heritage:  Galway is rich in cultural heritage both in the built and natural environment.

The City has retained its medieval fabric and scale and presents a walkable city with a coherent core. The county offers a huge diversity of landscapes,

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sites and monuments (the Western Forts in County Galway have been nominated by State party for inclusion as part of group of western Stone Forts to World Heritage Site tentative list) and biodiversity  Galway City Museum has one of the highest visitor numbers in the country for non-fee paying attractions outside the capital with over 160,000 visitors annually  Galway has a thriving indigenous boat building industry that showcases boats for sea, river and lake Education:  In Galway city alone there are 40,000 pupils and students engaged in Education with 26,000 students enrolled in third level education. The population of 20-24 year olds is twice the national average.  The National University of Ireland Galway, Galway-Mayo Institute of Technology, Galway Technical Institute amongst others offer a wide range of undergraduate, post-graduate and short-term courses for those interested in pursuing a career in the creative sectors.  NUIG has developed a three year Creative Momentum programme that aims to support the creative industry sector in Europe’s northern edge.  A new Creative Enterprise course for aspiring creative entrepreneurs has been developed by Galway Mayo Institute of Technology, to provide them with the knowledge, skills and opportunity to develop and test their ideas for a new creative product or service12.  Galway is a centre for marine research and development for both marine and fresh water with institutions such as the Martin Ryan Institute in NUIG and the Marine Institute leading the way in the field.

WHERE ARE WE NOW? | CHALLENGES & OPPORTUNITIES. Known as a type of Shangri-la within the corporate sector that engages with Galway, it is a difficult place to leave. However, it must re-imagine itself if it is to continue to evolve, maintain and secure sustainability under the shadow of fundamental changes in the economic, social and environmental frameworks; it must respond to a rapidly changing world, a rapidly changing cultural framework driven by new technologies; a rapidly changing community which is strengthened by its youth population, but made more fragile as a result.

The implementation of a sustainable cultural strategy needs investment – in terms of funding and manpower and existing resources. One of the areas requiring significant monetary investment during the lifetime of this ten-year strategy is cultural infrastructure – both physical infrastructure – buildings - and collaborative infrastructure – and physical and virtual cultural hubs. In terms of buildings, a 12

The title of the course is Creative Enterprise and provides a range of new venture skills including project management, marketing and digital media skills required for a modern creative business. A major feature of the programme is development of a full business plan for a creative enterprise. The participants will also work collaboratively in the ‘Creative Hub’ based at the Centre for Creative Arts and Media (CCAM).

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number of key cultural deficits are identified below. These proposed additions to the cultural stock of Galway are all needed and will certainly enhance the cultural offer of the city and county. However, before any of them proceed they will require feasibility studies, cost-benefit analysis, planning permissions and extensive consultation. Some of the proposals are further on than others in terms of their conceptual development and rationale. This programme of work will require a prioritisation filter in terms of available funding, a ‘shovel ready’ status, permissions, operational considerations and costs, consultation and consensus - and this will apply to all development proposals – whether they are large-scale civic spaces, innovation hubs or small-scale community centres.

Consideration must also be given to the creation and management of realistic and effective support for shared practices, collaborations and networking opportunities within the arts, community arts, sport, amenity, heritage, built and natural environment and creative industry communities. In some instances this will include buildings – production space/workshops/gallery space/rehearsal space/shop front/meeting rooms/outdoor space/facilities – and in others, virtual space/digital platforms/on-line community space/improved websites/improved social media platforms/online markets. All of this infrastructure comes at a cost – and this must be clearly defined and detailed before commitments are given.

The west of Ireland has been deeply marked by emigration from the eighteenth century to the present decade continually losing a high percentage of its young people to the growing Irish Diaspora and to careers and lives in other countries across the planet. Conversely, in the last two decades it has also been enriched by a wave of immigration into the area.

This strategy takes full cognisance of this and proposes a series of objectives that has a role to play in the reversal of emigration and that has, at all times, the best interests of the entire population, but particularly, the young people, as a watermark.

In the last thirty years, Galway has become home to the largest number of individuals employed in the creative sector within the Western Region of Ireland – employment is at a rate of one in every 33 jobs. Collectively the creative industry sector accounts for 31 per cent of total direct employment as well as 21 per cent of turnover.

Future growth prospects for the western region’s creative sector is potentially strong.

If a high growth scenario was implemented including support for networking, formal networks for specific sub-sectors and the implementation of an export promotion strategy, by 2020 the sector could generate a forecasted €650m in direct sales and directly employ close to 30,000 people13.

The Challenges and Opportunities the city and county face in cultural terms revolve around the following areas: Cultural Players:  A recognition of the contribution historians, archivists, archaeologists, architects, designers, artists, writers, performance artists, dancers, directors, 13

Galway City and County: High Level Overviews and Sectoral Review Summaries, 2015,Whitaker Institute, NUI Galway

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makers, growers, cultural managers, producers make to Galway life and to provide supports for them to live, work and develop sustainable careers here  Working with the above cultural players - facilitate and encourage greater individual and collective participation in Galway’s cultural life  Establish learning and knowledge transfer networks and community fora to explore ideas, collaborations and networks as well as learning and development.  Create and manage realistic and effective support for shared practices, collaborations and networking opportunities within the arts, culture, heritage and creative industry communities  Collaborate with the cultural sector to develop training/CPD/mentoring programmes and opportunities that will have capacity building for the future as a goal Cultural Infrastructure:  Increased physical arts and culture infrastructure, specifically:  high quality gallery/exhibition space;  new civic and community library space including cultural facilities;  flexible performance space;  concert/acoustic music space;  new dedicated Archives repository;  dedicated creative community led spaces and area residency programmes  artist/cultural heritage/language-led collaborative spaces/hubs/residencies (across all art-forms - including film/media)  increased profile on cultural heritage and extended museum quarter  dedicated cultural space(s) for children and young people  Establish a creative hub model underpinned by a co-operative approach that encourages participation, co-curation and sharing of resources  Increase cultural services and supports for children and young people  Greater use of the Historic Assets Register (and the Re-use of Architectural Buildings) for the re-use of historic buildings in towns and villages for cultural purposes  Under initiatives such as the ECOC led Small Towns/Big Ideas platform – look into the revitalisation of the community centre model with democratic curatorial/programming policies  Use good planning tools and innovative approaches to introduce more creative uses of Public Realm spaces  Look at developing and implementing a properly managed Vacant Spaces Scheme (in conjunction with Historic Assets Register; Local Authority lists, NAMA etc) Cultural Economy:  An improved cohesive digital platform and online presence for the citya and county’s cultural offer and services and improved online communities/communication for participants and users  The need for increased international partnerships which will carry Galway abroad and increase learning, cultural and economic opportunities at home

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An understanding of the positive impact of increased legibility, visibility and coherent packaging (branding) of Galway’s cultural assets on all approaches to and in the city and county and online14  Identification and support for the formation of Creative hubs in both rural and urban communities – that encourage co-operation and shared practices a- across all areas of cultural expression from allotments to visual arts galleries.  Introduce cross-sectoral approaches to tourism for those involved in producing, marketing, packaging and creating a better visitor experience (e.g. looking at defined areas – villages, towns, quarters - in terms of the heritage, arts, architecture, recreational and hospitality offer)  Realistic and effective support for creative industry start-ups and co-operatives (hubs) (see City and County Economic Strategies and LECP’s)  Managing change in the urban and rural areas of the city and county so as to maintain the special character and culture Community:  The identification of effective and innovative cultural services that support greater population mental and physical health  Better understanding of the needs of children, young people and youth culture and increasing supports and services to support them  Provision, participation and engagement with the aging population through working with organisations such as Galway City and County Age Friendly Alliance15 to provide support for cultural initiatives  New opportunities for intergenerational engagement in cultural activities  Better understanding of intercultural issues  Increased participation levels in all aspects of the city and county’s cultural life  Evaluation of current consultation practises by local authorities and future potential role of initiatives such as Speak Outs and Meet Ups developed as part of the ECOC bid process  Greater support for online communities across the full range of cultural expression and a tie-in with digital frameworks and branding platforms Cultural Management:  The management of all aspects of culture in the city including the commitment to the Pilot Cities programme of work  Building on the Unesco City of Film designation investigate realistic measures that will support employment and development of both the city and county’s existing film/media/tv infrastructure  Support Galway’s bid for the European Capital of Culture 2020; the bid for EU Youth Capital 2019 and Galway’s bid for the 2018 Region Of Gastronomy16 designation  The provision of effective cultural platforms for discussions on issues such as funding, access, development, markets, collaboration, climate change effect issues amongst others 14

With reference to the emerging Tourism and Branding Strategies Galway City and County Age Friendly Alliance, Strategy 2014 – 2019, http://agefriendlyireland.ie/wpcontent/uploads/2014/07/AF-Strategy-Report-Proof.pdf 16 This award aims to contribute to a better quality of life in European regions by highlighting distinctive food cultures, educating for better health and sustainability and stimulating gastronomic innovation 15

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Increased learning - cultural, social and economic – from increased European and international partnerships A clearer understanding of the importance of the Irish language as part of the identity of the city and county Environment: Provide cultivated and maintained green spaces and green programmes (such as the ECOC proposed project of re-wilding the city) that support the need for greater connectivity and understanding between children and nature, people with disabilities and nature, older people and the general population and nature Create intergenerational green spaces where older people can connect with children and young people Greater safe use of the sea and the rivers and lakes for outdoor pursuits Increased legibility and visibility (signage and branding) promoting the culture of Galway both on approaches to, throughout the county, in the city and online Improved access for disabled to all sites of cultural interest The development of a Cultural Impact Assessment tool

PART 2: THE VISION FOR CULTURE

Vision Statement: Culture is at the heart of life in Galway. Culture is pivotal to all aspects of our development as a city and region. Our ambition is to drive and deliver a strategy that transforms Galway into a working model of cultural sustainability, community participation, best practice and world class cultural and creative experiences.

PRIORITIES. The vision for this strategy is guided by the principles governing the Galway City and County Development Plans, Corporate Plans and those guiding the Local Economic and Community Plans, and is built on a number of priorities that have become evident during the initial consultation, mapping and research phase. Each of the areas outlined below have been highlighted through focus group activity, through participation in the wide-reaching ECOC bid consultation process, through individual consultations and have been corroborated by current national and international thinking. Each priority will be reflected in the strategic aims and built into the objectives and actions agreed for each of these.   

Children & Youth - understanding needs and making provision Health & wellbeing – finding ways to improve people’s physical/mental health Hubs and collectives –providing a framework for an improved infrastructure

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Participation – providing more/new opportunities for real engagement Social inclusion & access – mitigating barriers to access Excellence – looking at training and best practice models to raise standards Digital Platforms – providing leadership in online communication Our Environment – finding new ways to address climate change

PART 3: STRATEGIC AREAS

STRATEGIC AREAS 1. Citizenship & Cultural Rights Galway City Council and Galway County Council’s local strategies and plans should help citizens to exercise their rights to determine freely their identity, develop and exercise their creative abilities, recognise and accept foreign cultural expressions, and to take part in collective decision-making in all facets of community life. These local plans should recognise citizens as the main actors in local cultural life.

2. Cultural Heritage.

Galway’s natural, built and creative environments shape who we are and where we come from. Our landscapes, habitats, ecosystems, monuments, material culture, language, traditions, beliefs, folklore, music and dance all line up to make up our individual and collective identities. We will work in partnership with communities, organisations, agencies and individuals to safeguard all of these enriching and inspiring aspects of our lives and our shared histories.

3. Culture - Environment and Place.

This strategy will address Galway’s cultural infrastructural deficit. It will facilitate the establishment and strengthening of emerging and established creative hubs and networks. It will support public realm works that improve the look and feel of the city and county and that favour the health and wellbeing of the population. It will seek to develop a sustainable model to reuse existing redundant infrastructure and buildings .

The strategy, in recognition of the connection between culture and environmental sustainability (e.g. concerns about climate change, resilience, risk-prevention, the sustainable use of resources, and awareness raising about the richness and fragility of ecosystems) will research and develop Strategic Cultural Impact assessment tools for all civic developments. These assessments will reflect the concerns, knowledge, traditions and practices of people and communities and will contribute to project sustainability.

4. Culture - Education & Excellence.

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Learning is key to successful development. This strategy will look at blended learning models17 for Galway that support training at both the individual and community level; contribute to learning opportunities for all age groups and provide access to models of best practice and continuing professional development. It will support learning in a wider European /international context and strengthen and support partnerships to make this possible.

It will also help to develop education & outreach programmes attached to cultural hubs and networks.

5. Culture and Economy.

Ireland is evolving into a creative knowledge economy. Galway has met this challenge, in particular with regard to the strong growth in exports attributed to the medical devices sector and the ICT services in recent years. Galway also attracts inward foreign investment and has a strong entrepreneurial culture, track record of innovativeness and capacity for business networking. This cultural strategy, which is fostered in the City and County’s Economic Sustainability Strategies in tandem with the City and County Development Plans, will support creative economy sector incubation, knowledge transfer, design and production.

6. Culture - Health and Wellbeing.

A great number of studies18 have shown the benefits of cultural activity to population health – this activity includes sport, walking, reading, participating, attending, producing, making. The benefits to both the mind and the body come from the mental and physical exercise involved in these pursuits. In relation to sport in Galway, it plays a huge role in the cultural lives of its citizens offering a wide variety of team and individual sports and activities to people in all corners of the county and city, on land and on water. This strategy will ensure that more of the local population – both visiting and resident – will be offered opportunities to engage in cultural activity in a meaningful and measurable way.

7. Culture: Information & Knowledge.

Increasing opportunities to access information and participate in knowledge generation is a cultural process that is a part of the basic conditions of sustainable development. This strategy will identify improved ways to access and use ICT for cultural communication, presentation and production with reference to copyright, copyleft and open source and European and international co-operation networks.

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Learning models that combine the best of online materials with international, national and local experts in hub/community/group workshops 18 O' Neill Mark (2010) Cultural attendance and public mental health – from research to practice. Journal of Public Mental Health 9 (4) 22 - 29 Bygren LO, Johansson S-E, Konlaan BB, Grjibovski AM, Wilkinson AM & Sjöström M (2009a) Attending cultural events and cancer mortality: a Swedish cohort study. Arts & Health 1 (1) 64–73.

Hyyppä MT, Mäki J, Impivaara O & Aromaa A (2006) Leisure participation predicts survival: a population-based study in Finland. Health Promotion International 21 (1) 5–12.

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PART 4: STRATEGIC AIMS & OBJECTIVES

STRATEGIC AIMS 1. Citizenship & Cultural Rights Development of a framework for cultural citizenship - as expressed in the development and management of this cultural strategy 2. Cultural Heritage Work in partnership with communities, organisations, agencies and individuals to safeguard and enhance our cultural heritage.

3. Environment & Place To ensure an integrated approach to cultural development – including environmental, social and economic factors – with sustainability at its core 4. Education &Excellence Encourage and support training initiatives, access to models of best practice and European learning partnerships for the artistic/creative communities.

5.Economy Support measures for artists, creative economy sector incubation, knowledge transfer, design and production 6. Health & Wellbeing Based on current research - ensure that more of the local population – both visiting and resident - are offered opportunities to engage in health improving art & cultural activity 7. Information & Knowledge Improve ways to access and use ICT for cultural communication, presentation and production with reference to copyright, copyleft, open source and European and international co-operation networks SAMPLE OBJECTIVES AND ACTIONS: Strategic Aim 1 Citizenship & Cultural Rights Development of a framework for cultural citizenship

Objectives A. Facilitate greater access to and engagement with a cultural framework through targeted participation and inclusion measures

Strategic Aim 2 Cultural Heritage Work in partnership with communities, organisations, agencies and individuals to safeguard and enhance our cultural heritage.

B. Improve engagement with the public through more open and effective consultation processes

Objectives A. Using an improved management framework protect, preserve, maintain and where appropriate, enhance and develop, our natural and built environments, our material culture and our cultural heritage.

C. Through the relevant agencies, focus on children and young people to improve provision and access to more child/youth/older people friendly cultural sites (play, socialising and learning - indoor and outdoor) and programmes/activities

B. Strengthen the development of the Irish language in Galway through innovative approaches that highlight its role and relevance in the cultural DNA of the west

C. Develop projects and programmes of work with other cultural heritage sites along the European western Atlantic seaboard

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Strategic Aim 3 3 CULTURE – EDUCATION AND EXCELLENCE. Encourage and support training initiatives, access to models of best practice, the development of creative entrepreneurship toolkits and European learning partnerships for the artistic/creative community

Objectives A. Identify and support European mobility projects, international residencies, access to areas of artistic excellence and curatorial exchange programmes for artists and cultural workers

Strategic Aim 4 ENVIRONMENT AND PLACE. To ensure an integrated approach to cultural development – including environmental, social and economic factors – with sustainability at its core.

Objectives A. Develop a cultural infrastructure Framework plan that addresses the need for new cultural venues and creative hubs that includes the public realm

Strategic Aim 5 CULTURE – ECONOMY Supporting measures for the creative economy, incubations and start-ups, knowledge transfer, design and production.

Objectives A. Develop creative/innovative spaces and hubs for individuals, companies and start-up businesses involved in the creative economy sector using a multi-disciplinary approach.

Strategic Aims 6 CULTURE – HEALTH AND WELLBEING

B. Work with artists, cultural players and educational institutions to build participative informal learning platforms around new skills, entrepreneurship and creativity with hard-to-reach communities

C. Create a local platform, using models of best practice and international standards of excellence that will bring together all the key players in the field of culture, education and life-long learning

B. Increase shared services across heritage and arts provision – particularly in areas such as recording, conservation, storage, archiving - for collection based institutions such as the Museum, Library and Archives Services

B. Investigate sharing/pairing of artists/creatives with industry/multi-national campuses to promote the benefits of collaborative practice.

A. Provide support to cultural institutions and agencies to carry

C. Establish programmes that explicitly recognise the connections between culture and environmental sustainability (climate change, the sustainable use of resources, fragility of ecosystems, good cultural planning to include a Cultural Impact Assessment process)

C. . Support the digital/online presence of craft workers, designers, artists and all those working in the creative industry sector.

Objectives B. Develop, with the creative sector, capacity building

C. Develop, on a pilot basis, one directed

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Ensure that more of the local population – both visiting and resident - are offered opportunities to engage in health improving cultural activity

Strategic Aim 7 CULTURE – INFORMATION AND KNOWLEDGE Improve ways to access and use ICT for cultural communication, presentation and production with reference to copyright, copyleft open source and European and international co-operation networks.

out programmes with communities with high levels of poverty and exclusion (proven link between cultural activity and improved health)

Objectives A . Develop policies that guarantee access to free and plural information (copyright, copyleft and open source), as well as measures to guarantee that information is harnessed to promote citizens’ rights to participate in cultural life.

programmes for social services and other health workers that improves health and well-being among staff and service users

B. The relationship between grassroots cultural processes and social innovation is analysed regularly.

health and culture initiative, with the local and national HSE.

C. Develop policies and programmes that allow people active in the cultural sector to participate in international cooperation networks.

Capacity building: The Cultural Strategy addresses capacity building for the life of the strategy and beyond through the following measures:  Develop creative/innovative spaces and hubs for individuals, companies and start-up businesses involved in the creative economy sector using a multidisciplinary approach.  Address the deficit in cultural infrastructure through a ten-year building programme that implements a cultural infrastructure framework plan addressing the need for new cultural venues and creative hubs that includes the public realm  Increase shared services across heritage and arts provision – particularly in areas such as recording, conservation, storage, archiving - for collection based institutions such as the Museum and Library Services  Investigate sharing/pairing of artists/creatives with industry/multi-national campuses to promote the benefits of collaborative practice.  Support the digital/online presence of cultural heritage organisations, craft workers, designers, artists, producers and makers and all those working in the creative industry sector.

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Develop, with the cultural heritage and creative sectors, capacity building programmes for social services and other health workers that improves health and well-being among staff and service users Using an improved management framework - protect, preserve, maintain and where appropriate, enhance and develop, our natural and built environments, our material culture and our cultural heritage.

Identify and support European mobility projects, international residencies, access to areas of excellence and curatorial exchange programmes for cultural workers Work with artists, heritage organisations, cultural players and educational institutions to build participative informal learning platforms around new skills, entrepreneurship and creativity with hard-to-reach communities Create a local platform, using models of best practice and international standards of excellence that will bring together all the key players in the field of culture, education and life-long learning

PART 5 : GOVERNANCE & IMPLEMENTATION

GOVERNANCE The governance and implementation instruments designed for this ten-year strategy will reflect the multiplicity of responsibilities included in it – consultation/management /funding/partnerships/collaborations/ local, regional, national and international dimensions/ monitoring and evaluation. It will include key performance indicators for its successful and measurable delivery. It will be informed by participation in the Pilot Cities Programme19 and the governance structure may take the form of a Cultural Council – the details of which will emerge as part of the wider consultation process.

The roll-out of the strategy will include the development of a Charter of Cultural Rights for citizens and outline the role of a management agency for cultural development in Galway dealing with all aspects of arts, culture, heritage, the Irish language and expressions of creativity. It will include a toolkit for the development of a Cultural Impact Assessment process which will be used to assess the impact on the cultural life and rights of citizens of significant developments of any scale planned for Galway.

IMPLEMENTATION

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The programme aims to address gaps in effective evaluation, peer-learning and the dissemination of existing intelligence by providing opportunities for participation in a learning process, on the basis of the principles and actions included in Culture 21 Actions and on the experience and expertise of Culture Action Europe

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There will be a series of Implementation Plans (incorporating indicators and reviews) over the ten-year life of the Cultural Policy and Strategy: I 2016 – 2018 II 2019 – 2021 III 2022 – 2025

EVALUATION. The evaluation and performance framework for this cultural strategy is under development. It will reflect the Council’s performance management process and take into account the key performance indicators that will be built into every action/initiative and each cycle of the implementation plans.

FINANCIAL MODEL/FUNDING AND RESOURCE STRATEGY. A carefully constructed financial basis will underpin the strategy development and actions outlined in this document. Galway City and County Council’s will identify the funding partners and delivery partners/mechanisms that will assist with the realisation of the strategy and will include the following: -Local Authority annual budgets and targeted grant schemes.

-Central government funding through:  Department of Arts, Heritage & the Gaeltacht (including Arts and Heritage Council funding)  Galway City and County Council’s own funds (capital)  EU Structural Funds/Creative Europe  Fáilte Ireland through the Wild Atlantic Way  Galway’s Corporate Sector  Local Business networks  EU Programme Funding  Other National, regional and local stakeholders and partners  Philanthropy -National and local Grant schemes.

6 APPENDIX 1.

METHODOLOGY. Research & Mapping SWOT Analysis Consultation Focus Groups Draft internal strategy framework document with Strategic Aims & Objectives

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Review and re-draft Consultation Initial Actions Financial planning Implementation cycles (3 year) Delivery Mechanisms/Devolved Responsibility Action Plans