6.1 Recommendations Those working in the field of cultural regeneration, cultural policy, in local government, the third sector or in cultural institutions might increase the leverage achieved through their arts and cultural intervention by taking early steps to consider the following: Whether an arts or cultural intervention is focussed on tackling material poverty or the effects of poverty and what is possible within the operational confines of the proposed intervention • is the intervention focussed on tackling material poverty directly or, is it intended to ameliorate the effects associated with poverty? • what is realistically achievable within the operational confines of the proposed intervention? Which indicators can be used to evidence efficacy from the outset of the arts or cultural intervention and produce transparency about what arts and cultural interventions can and cannot achieve • what indicators will be used to measure ‘success’? • can clear links between the intervention mechanism (arts or cultural) outputs and outcomes be established? • can a baseline be established so that ‘distance travelled’ can be charted? The appropriateness of longitudinal data collection methods to collecting evidence of success in arts or cultural interventions to tackle material poverty • can a baseline be established upon which to assess change over time? • can a systematic approach to gathering and analysing data be implemented at the outset? • what existing data collection methods are in place and which new ones are required to fill data gaps? The utility of small, focussed, community-based activity in comparison with larger scale, macro-level interventions • how can an emphasis on community building, confidence building through skills acquisition and mentoring be foregrounded when designing and implementing arts or cultural interventions? • how can participants be involved in the design phase of interventions, identifying the salient issues to be addressed and the approach to be taken? The need for long term strategic commitment to co-production and the involvement of community members in cultural production if it is to be successful • how can participants become involved in the cultural production /co-production? • is access to mechanisms of cultural production (section 4.1) feasible? • can access to mechanisms of cultural production (section 4.1) be enabled or enhanced?
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