IGNITE Impact Report 2011 by OLIVER TIPPER

“It’s events for young people organised by young people.” Ignite Participant, aged 18

An Impact Report Kelly Wilkinson, Youth Arts Consultant July 2011

CONTENTS

General Context

Facts and Figures

Aims of the Ignite Programme

Aims of the Consultancy

Methodology

Findings

Case Studies

Conclusions

Recommendations

Appendix A- Consultant Biography

Appendix B- Consultancy Questions

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GENERAL CONTEXT In 2006, the London Borough of Croydon created the Arts Ambassadors Scheme, which gave young people ticket incentives to attend touring theatre productions presented in the council owned and run Croydon Clocktower. The Ambassadors were inspired to create their own work and in 2007, following a small grant from the council’s Arts Programme, the group worked with Apples & Snakes a leading performance poetry organisation, to create a show called Ignite. From there Ignite grew into the youth led organisation it is today, with music, film and theatre strands each meeting weekly to produce a range of live events and recorded works. The group provides young people ages 14-19 with opportunities to produce their own work and access advice and training from industry professionals. Ignite enables young people to achieve their potential whilst developing new and exciting skills in an encouraging, supportive and professional environment.

IGNITE is a truly youth-led arts company, producing work made by young people for young people since 2007. Our model for participation puts young people at the heart of everything and allows each individual to follow their own unique creative path in a safe, supportive and professional environment.

Prior to the creation of Ignite, there were very few free creative opportunities for young people in the Croydon area. Ignite is also unique in being a youth led programme, not only in ambition but in actuality. In addition to benefitting the young people who lead the group and attend the weekly sessions, the live events have provided a much needed opportunity for young people in the area to engage in the performing arts in a safe environment.

FACTS AND FIGURES From Autumn 2010-Summer 2011, the combined strands of Ignite achieved the following: •

• • • • •

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n average of 60 young people attended over the course A of 45 weeks, which means there were approximately 2700 attendances throughout the year All strands of Ignite combined held 193 separate sessions 391 ticketed audience members attended 4 music events and 2 theatre shows 5 previous Ignite participants took up paid employment across all three strands of the Ignite programme This year, the Ignite website was developed and will shortly go live 5 short films have been scripted, filmed, edited and marketed by young people. These films will premiere online at Ignite TV in Autumn 2011 Ignite partnered with 8 organisations which included: Croydon Council, Youth Music, Jack Petchey Foundation, National Theatre New Connections, Blue Elephant Theatre, 4WD Foundation, Croydon College and Brit School

AIMS OF THE IGNITE PROGRAMME Ignite defines their aims as follows: • • •

T o give opportunities to young people aged 14-19 to develop their interest in the arts To provide professional support to young people looking to produce their own work To promote the work of young people to stakeholders and industry professionals, including leading UK arts organisations, local authorities as well as local and national press

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AIMS OF THE CONSULTANCY In seeking an external youth arts consultant for their project, Ignite show a commitment to the project and the participants taking part. Following discussions between the Consultant and the Arts Participation Officer at the London Borough of Croydon, the following aims have been applied to this document: • To be independent of the organisation and individuals involved in the project • To provide a knowledge of arts services for young people • To provide a knowledge of engaging young people from a variety of different backgrounds • To collect data from a range of key stakeholders Young People Parents Arts Participation Officer Project Leaders Partner organisations • To draw conclusions • To write an impact report which includes: Criteria for working with young people Methodology for evaluating projects matched to agreed outcomes Case studies for sharing with partners and stakeholders Evaluation of current work and future vision

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METHODOLOGY The Youth Arts Consultant needs to have sufficient knowledge, skills and understanding of the youth arts sector, the types of organisations involved, their business and areas of expertise to make the consultancy meaningful. As such Kelly Wilkinson was appointed to conduct the consultation process, and a full biography can be found in Appendix A. Consultations for this Impact Report and recommendations for the future of Ignite were conducted through one visit to each strand of the Ignite sessions, face-to-face interviews with Project Leaders, participants, the Arts Participation Officer and with the directors of future partner organisation Art is the Cure, as well as, via email with parents completing questionnaires. The visits and meetings were organised by the Consultant, the Arts Participation Officer and the Project Leaders. The first visit gave an opportunity for the Consultant to meet with the Arts Participation Officer to hear how the Ignite programme had begun and its development since 2006 and to gain an understanding as to what was hoped the consultancy would achieve. The Consultant then met with each Project Leader (Film, Music and Theatre strands) in order to better under their respective work, past projects and expectations for the future. Three young people from the film and three young people from the music strand met with the Consultant in separate interviews, and the Consultant was able to speak briefly with eight young people from the theatre strand prior to one of their sessions. These meetings allowed the evaluator to gain an insight into the success of the project through the eyes of the leaders and the participants. Following the interviews, the Consultant observed each strand in session and viewed/listened to artistic outputs (eg: recorded songs, short films). The final meeting was with the Creative and Managing Directors of local organisation, Art is the Cure, who will partner with Ignite from Autumn 2011 to provide additional space for the work (following the recent closure of the Croydon Clocktower due to budget cuts) and potential creative collaborations. The evaluation has followed a qualitative approach in the data collection methods employed. In addition to informal discussions, observations in and more formalised interviews, other data collection methods included accessing a variety of documentary evidence from Ignite. This evidence included: • Flyers from projects • Photographs from projects • Access to documentation of artistic outputs • A preview of the Ignite website Observations The observations were limited to one visit to each Ignite strand weekly workshop. Written notes were made during these observations. These notes were then reviewed and reflected on by the Consultant and used in developing the findings and recommendations.

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Interviews Young People The interviews with the participants were informal in tone and the Consultant explained the purpose of the discussions, putting the interviewees at ease by explaining that the questions were not a test of the project or of the participants themselves. The questions were flexible, but generally covered: • A general introduction to the young person including a sharing of information about their academic, work and life experience • How they accessed Ignite and their experience of accessing the programme for the first time • Their experience within Ignite and how they felt the project had helped them to improve their skills • If/in what ways the project had opened new pathways/ opportunities for them Project Leaders The interview with the Project Leaders was informal and discussional in tone. All interviewees were encouraged, in addition to the set questions, to speak freely about their experiences and to offer up anything else they felt might impact on the consultation or to help the Consultant to best understand the project. Permission was asked of interviewees to use a digital dictaphone to facilitate the handwritten notes. No individuals declined to be taped. Written notes were taken throughout, either contemporaneously to the interviews or immediately afterwards. The tapes and written notes were then analysed to support the findings and recommendations. The questions were flexible, but generally covered: • An outline of their educational and work background • An outline of their experience working with Ignite • A description of what they believe the intended aims and outcomes of Ignite to be and the ways in which the project does and does not achieve these aims • A description of the successes and weaknesses of Ignite • How they envisage the future of Ignite Parents The parents’ observations on the Ignite project and its impact upon their children were captured via written questionnaires submitted and returned by email. The questions covered: • An account of their child’s experiences with Ignite • What they have observed as the benefits/highlights and concerns/lowlights of their child’s participation with Ignite • What they believe to be the successes and weaknesses of Ignite and their recommendations for improvement • How they feel Ignite will impact upon their child’s future A full list of questions can be found in Appendix B.

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FINDINGS The findings below have been structured around the three key aims of Ignite (as outlined earlier in this report), with the Consultant’s suggestions for more specific supporting outcomes. The information below has been collated through the methodologies outlined previously. The thoughts and interpretation of this data is then expanded upon by the Consultant through examples within the case studies and in the conclusion and recommendation sections of this report. To give opportunities to young people aged 14-19 to develop their interest in the arts. •

To create a diverse, inclusive and accessible group

The participants interviewed by the Consultant were from a wide variety of backgrounds and this was also evident in the Ignite sessions observed and data provided by the project leaders. The diversity is: • Cultural • Ethnic “(Ignite) makes you more open as a person” • Socio-economic Participant, aged 17 • Educational The participants also agreed that the group is made up of a wide-range of young people, noting that Ignite provides an opportunity to engage with other young people outside of their everyday circle of friends. All those interviewed were eager to express how inclusive the group is, citing their first experiences of Ignite.

“All of them are really open to everyone’s ideas and to meeting new people...I just love it. It’s so welcoming” Participant, aged 16

One parent noted to the Consultant that her daughter’s diagnosis of ADHD has, in the past, made social situations and achievement in an academic environment difficult, but that the Ignite programme’s non-academic and open nature has “enabled her to flourish” as she is able to “speak freely and contribute to the group”. However project leaders expressed concern that they did not have the resources for effective working with young people with additional needs or those considered to be “at risk”. The diversity of Ignite adds value to the creativity of the group. As the young people feel empowered to express themselves freely and honestly, the diverse opinions and backgrounds of the participants have a direct and positive impact upon the work that the group creates.

“Ignite is an ambitious project because it is so youth led. It can be a bit chaotic but you have to stand back and let them go through that learning journey” Project Leader

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•

To allow the interests of the participants to lead the work of Ignite

All project leaders noted the importance of supporting the young people in their creations while also allowing the young people to make mistakes, reassess and improve for the next project. The project leaders defined their roles as that of those who “empower” young people to make their own decisions and to get involved in every aspect of creating an artistic product. When discussing with the participants Ignite’s mission to be a truly youth-led project, they were incredibly proud of their achievements individually and as a team of young people. One participant described the music strand as follows:

“It is a music project. It is about events management. But it’s more. It’s about the mindset behind it. It’s events for young people organised by young people” Participant, aged 18 The theatre participants in particular assuredly reflected upon the productions that they had created themselves from scratch. Further the theatre project leader noted that when the Ignite Theatre group have participated in wider youth theatre/schools festivals that Ignite’s policy of youth-led work has shone through, noting “They trust that they are in charge.” Where other groups may have been more tightly rehearsed, the Ignite participants were proud of the young people’s voice within their creations.

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It is evident that the youth-led mission of Ignite is achieved across all aspects of the programme and is the most successful element of the project in an incredibly successful programme. One parent noted that a highlight of her daughter’s experience with Ignite had been in having an in-depth involvement in the selection of a new project leader. The project leaders and the Arts Participation Officer apply this aim across all decisions made within the programme; however the Consultant sees advantages in formalising these decision processes. •

T o provide a welcoming and challenging atmosphere for creative expression and development

“After being around musicians, it gave me the confidence to come out and start singing” Participant, aged 16 Ignite is highly successful in allowing young people space and opportunity for creative development. Through the well attended music events, young musicians from the local area have been offered performance opportunities alongside more high profile, professional acts. Some of those young musicians have gone on to participate in Ignite’s weekly sessions. One such participant recalled his journey from performer to an Ignite Arts Ambassador:

“I really liked the buzz I got from (performing at the event). And after that, I just started writing loads of music. Three months later, I released a mixed tape. And I’m currently working towards an actual album which will go on iTunes” Participant, aged 17 A parent noted one of Ignite’s strengths as “Its creativity, allowing the participants to express themselves with guidance, where they would not normally be able to.” But Ignite’s remit is broader than performance. While all strands of Ignite aim to involve participants in every aspect of creative productions and events management, the music strand appears to most successfully engage participants across all elements of events management and music production, challenging the young people to take on roles they had not previously been interested in. One participant noted:

“Our tutors make sure we do things that interest us but that it’s varied and not always the same thing” Participant, aged 20 The Consultant recognises the need to allow participants to explore those elements which already interest them and which will keep them engaged in the project, however, in the Consultant’s opinion, the most significant progressions for Ignite participants have come when a young person has been challenged to take on a role within the group that is new to them and untested. One participant who came along to Ignite firmly committed to a career as a performer within the music industry noted:

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To provide professional support to young people looking to produce their own work. •

T o increase the young people’s employability through practical opportunities for skills and personal development

Throughout the year, Ignite provides a range of opportunities for young people to get involved in music events, theatre productions, filmmaking, music recording and distribution, and later this year, will launch Ignite TV, an online platform for young people to share their creations.

“You learn things straight away. You walk in and within weeks you are planning an event, and you feel like you’ve been doing it forever” Participant, aged 18 In addition to a range of technical, creative and production skills across the artistic disciplines of music, film and theatre, participants also cite a range of soft and hard skills which they have developed and improved upon through the Ignite programme. These include: • Communication • Time management • Flexibility • Teamwork • Quick thinking • Organisation • Budgeting • Negotiation Parents who were consulted also cited development within their children. One parent, when asked what changes she noticed within her son since attending Ignite, noted, “(He) has become confident in every aspect of his life.” Parents also noticed improved communication, organisational and problem solving skills, along with a stronger work ethic.

“When you come here, you realise you have to work towards the end product. You can’t just expect it all to happen” Participant, aged 18 This strong work ethic was witnessed by the Consultant during the observation of the weekly Ignite sessions. The vast majority of participants appeared to be self-starters. The Consultant recognises that she attended late in the term’s work and that this work ethic, in many cases, is likely to have developed during their time working with Ignite.

“I’ve seen people develop...It’s a big stepping stone” Participant, aged 20

”We strive for the young people to achieve creative independence” Project leader

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T o ensure the young people have access to industry knowledge through their project leaders, guest artists/partnerships and in signposting to career development and job opportunities

The participants feel confident in their skills but are unsure as to how to seek out work. When asked, the participants were divided in terms of their confidence in industry knowledge, many unsure of how to develop their careers. Others cited a few industry websites for jobseekers but when pressed were unable to articulate a plan of action for progressing their careers. A number of participants noted that the most valuable signposting and work opportunities came from within or as extensions of the Ignite programme and from the respective companies of its project leaders.

To promote the work of young people to stakeholders and industry professionals, including leading UK arts organisations, local authorities as well as local and national press. •

To attract local and high profile guest artists

Ignite has successfully engaged a number of professional music acts for their events, as well as, worked with arts organisations such as Frantic Assembly, Apples & Snakes and The Albany Theatre. Although the participants within the music strand spoke enthusiastically about the performance acts they have booked for events, in general there did not seem to have been a great deal of interaction with or learning from professional guest artists. It is important to note that each of the project leaders works professionally in their respective artistic disciplines and that this knowledge and experience is vital to the success of Ignite. Further to this, a parent noted that the primary strength of Ignite is in its recruitment of “young, enthusiastic and talented leaders...who can communicate on the right level with the young participants.” The Consultant believes that further collaborations between Ignite project leaders and guest artists can only strengthen the work of the programme.

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T o raise awareness of Ignite and the work of its participants through strategic partnerships and by placing the work on a larger platform

”We want to take Ignite from local to global” Participant, aged 17 All of those consulted including participants, project leaders and the Arts Participation Officer have ambitions for the profile of Ignite and its participants. There are also a number of future plans which seek to achieve this outcome including: • Launch of the Ignite website including Ignite TV • Participation in festivals across all strands • Income generating projects • Partnership with arts and youth movement organisation, Art is the Cure

“What we’re trying to do is encourage the ethos that young doesn’t mean a lack of quality” Project leader In the opinion of the Consultant, the most valuable of the above in achieving this outcome, are the launch of the Ignite TV and the Art is the Cure partnership. Those consulted expressed a firm desire and commitment to improving Ignite’s web presence and in devising new ways of using this presence to promote the participants’ work, generate income, recruit new participants and generally raise the profile of the programme. The Consultant was able to visit the Art is the Cure site and to consult with its directors. It is evident that the physical venue, ethos and model for Art is the Cure has the potential to make a positive and lasting impact on the future development of Ignite and its participants.

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CASE STUDIES Participant A is a 15 year old young woman who currently attends a Pupil Referral Unit on an irregular basis. At the time of the consultation, she had been attending Ignite for 9 months. The Consultant interviewed the participant and discussed her participation in the Ignite programme with the project leaders. Journey into Ignite She first heard about Ignite through friends who spent time in the local park. She described her initial thoughts about the project as “I’m not doing any work apart from school.” After being persuaded to attend, she says she thought, “I’ll create a little trouble, get kicked out and go cause that’s what I always do.” But after attending a number of sessions, she really enjoyed it and decided to continue to attend. Participant’s Impressions of Ignite The Consultant witnessed the Participant’s pride in the work that she has created with Ignite and in her ability to maintain, what is to her, a long-term commitment with the organisation. She described her feelings about Ignite and the alternative if she didn’t regularly attend the programme:

“I actually really love it now. It’s become a part of me. Instead of just jamming out, getting bladdered on a Thursday night, I come here” The Participant proudly showed the Consultant a short film which she had created with Ignite, relaying a story about one day of the shoot when another participant had failed to turn up. The Participant confidently took charge to solve the problem. She noted, “I feel important when I call myself an Arts Ambassador.” Project Leaders Observations

“We’ve been on a long journey with (Participant A) and tried to put as much support in place for her as possible” Project leader

It is evident from the project leaders’ comments and the Consultant’s observations within the session and in the Participant’s interactions with other young people during the interview portion of the consultancy, that there are a great deal of social, emotional and behavioural problems to overcome, which extend far beyond her interaction with Ignite. It is evident that the Participant is highly intelligent, verbally dexterous and talented, which was confirmed by the project leaders, one noting, “She has a spark of genius in terms of her directing.” The project leader went on to say that development of her key skills are often interrupted by her behaviour. Participant’s Future (With Ignite) At the time of the consultancy, the Participant had completed the summer project. However after numerous behavioural problems and disruptions to the work of other participants, she was asked to take the summer holidays as a “cooling off” period and a time to reflect upon her relationship with Ignite. The project leaders have expressed their hopes that the relationship will be able to continue and that they can find ways of better supporting young people with additional needs. 13. IGNITE IMPACT REPORT, JULY 2011

Consultant’s Conclusions The Participant has achieved a great deal with the support of the Ignite programme and in a very short space of time. She has much to gain through her participation; however, the project leaders have to weigh up the benefits for one person against the potential impacts upon the remainder of the group. As Ignite is situated within a local authority, it is in the Consultant’s opinion that additional support for a young person at risk should be sought from within the Croydon Integrated Youth Service and other relevant Council services. Although it is not within Ignite’s remit to solely be a resource for this target group, when a young person is actively seeking to be involved in the work, it is essential to ensure the project leaders are wholly supported in empowering an at risk young person to succeed. Participant B is a 20year old young man who is currently studying Theatre at the university level. At the time of the consultation, the Participant is too old to continue to participate in Ignite but still regularly visits sessions. He has taken part in Ignite since its inception in 2005. The Consultant obtained information about the Participant through interviews with the project leaders and a questionnaire completed by his mother. Journey into Ignite The Participant was one of the first members of the Ignite Music project, and at the time of first engaging with Ignite, he had an interest in pursuing a career as a performer in the music industry. When the theatre strand began, the Participant was encouraged by the Ignite staff to try out something different, and he decided to do so. Parent’s Impressions of Ignite The Participant’s mother, describes him as “painfully shy” when he first attended Ignite but that the programme showed him “a niche and confidence he never knew he had.” She also attributes his ability to better express himself and his professional successes in both music and acting to his work with Ignite. Project Leaders Observations The project leader noted that the Participant’s interests did lay with music when he first started attending the theatre strand, however, the discovery of talents and personal attributes he was previously unaware of, led him to a strong desire to pursue theatre at the university level. The project leader was instrumental in signposting the Participant to a range of plays and monologues which peaked his interest. Also, when the Participant approached the project leader to assist him in finding and rehearsing audition pieces for drama school/university auditions, the project leader went beyond her contractual Ignite duties to assist him in preparing the monologues. Participant’s Future (With Ignite) The Participant is no longer within the age range to participate with Ignite. He is currently studying drama at university. The Participant has also been able to work professionally within the creative industries. Consultant’s Conclusions From the Consultant’s research, it is evident that without Ignite’s support, the Participant would have been unlikely to have chosen a path within the theatre industry or been able to access higher academic studies. The Participant, by all accounts, seems to be highly motivated, has grown in confidence and is now on a path of progression for a positive future beyond Ignite.

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AIM/OUTCOME

ACHIEVED

PARTIALLY ACHIEVED

NOT ACHIEVED

Key Aim: To give opportunities to young people aged 14-19 to develop their interest in the arts. To create a diverse, inclusive and accessible group.

To allow the interests of the participants lead the work of Ignite.

To provide a welcoming and challenging atmosphere for creative expression and development.

Key Aim: To provide professional support to young people looking to produce their own work. To increase the young people’s employability through practical opportunities for skills and personal development. To ensure the young people have access to industry knowledge through their project leaders and in signposting to career development and job opportunities.

Key Aim: To promote the work of young people to stakeholders and industry professionals, including leading UK arts organisations, local authorities as well as local and national press. To attract local and high profile guest artists. To raise awareness of Ignite and the work of its participants through strategic partnerships and by placing the work on a larger platform.

x x

The findings of this Impact Report highlight that all strands of Ignite are successfully meeting, or working towards achieving all of its key aims and the subsequent outcomes. The Consultant concludes the following key points: •

T he young people speak passionately about the achievements of Ignite both as a team and their individual contributions. They are able to clearly articulate and demonstrate the skills which they have developed in the Ignite programme including technical and creative skills, as well as, those skills which will benefit them in gaining further academic qualifications, employment and progression into adulthood. The achievements of the group are incredibly impressive, especially where young people have been challenged to take on roles and responsibilities that they had not previously had a knowledge of or interest in.

•

I gnite is highly achieving on the key aim to be a youth-led organisation. The young people clearly feel trusted and empowered to create their own work, to express themselves freely and to recommend improvements to the Ignite programme. The structure of Ignite allows for this leadership to be both formal and informal, and the Consultant sees that this youth leadership could further excel through formalising some elements. This formalised youth leadership could also benefit Ignite’s aim to raise its profile locally, further afield and with funding bodies and partners. Further the project leaders clearly understand their roles in empowering the young people to take the lead and appreciate that this may mean allowing the young people to make mistakes. In doing so, the project leaders are instrumental in the exceptional amount of learning and personal development which takes places within Ignite.

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I gnite’s work with guest artists and partner organisations has been a successful element of the project. However the plans and ambitions for the future will likely dramatically improve the young people’s understanding of professional arts industries and their individual plans for career progression. More can be done to take advantage of these partnerships and artists’ expertise.

•

ll Ignite strands are incredibly diverse, and it is this diversity and the welcoming A atmosphere of the groups, which feeds and facilitates the creative processes. The sessions are run in an highly democratic manner allowing for each young person to contribute their ideas and try out a range of creative and project management roles. Once diversity within a group is achieved it does not follow that this will continue. Ignite will need to do more to ensure that the participants continue to come from a wide range of backgrounds and experiences.

•

T here is a natural system of mentorship which has formed as a chain from the project leader to the project assistants to more experienced participants to the less experienced participants. The young people spoke enthusiastically about their own learning and the learning that they can facilitate in others. This system has organically formed and all involved in Ignite may benefit in formalising this system of mentorship.

•

T he project leaders all work incredibly hard, are clearly passionate about the work of Ignite and have exceptional relationships with the young people. One of the strengths of Ignite is that those fulfilling these roles each have professional experience of working within the industry that they are empowering the participants to take part in. Further, by offering work opportunities as assistants and, in the case of music, as project leaders to Ignite participants, there is a clear incentive for young people to achieve within the programme. There is also added value in that previous participants have an understanding of the needs of the young people. It seems evident that the project leaders commit more than they are contracted to do and would benefit a great deal from additional support and resources particularly with young people with access needs or considered at risk.

•

y having a range of strands (eg: music, theatre and film) to Ignite, young people B have the opportunity to test out a diversity of roles. A number of young people have expressed that they feel that it can be difficult to cross over to a different strand of Ignite. They have also expressed and the Consultant is in firm agreement with this, the need for more collaborative projects between the strands.

•

verall the project delivers exceptional work. This is down to the policy and O implementation of creating a youth-led group, the skills and passion of the project leaders, and the diversity of the project participants. The Ignite programme is a much needed resource for young people in Croydon and should continue to receive council support and the support of funders and partners further afield.

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RECOMMENDATIONS •

T he Consultant worked from the Key Aims of Ignite, as articulated by the Arts Participation Officer, however it was essential in the creation of this report to articulate more specific outcomes of the Ignite project in order to best assess the achievements of the programme. The Consultant suggests that, using the outcomes listed in this report as a starting point, the Ignite staff work with the young people to agree to the project aims and outcomes, perhaps dividing these as high and medium priority for the future of Ignite. In doing so, the Arts Participation Officer can then better evaluate the achievements of the groups. The Consultant recommends that the questions used for research in this report be adapted to correspond with all aims/outcomes. Through discussion and written evaluation, the baseline knowledge of the participants and the end of project skills development can be monitored and quantified.

•

F urther to the immense success of the youth-led ethos of the group and to better integrate each strand of Ignite, the Consultant recommends the creation of a Young People’s Creative Direction Board, which includes young people representing all strands of Ignite. In the Consultant’s experience, these boards work best when: • young people commit to at least 6 months of serving on the board • the board meets at regular intervals • roles within the board reflect those of a relevant arts organisation (eg: Artistic Director, Producer, Marketing Associate, etc) • job descriptions for the roles are agreed by the young people and regularly updated by the young people • young people serving on the board are selected by their peers • the decisions of the board are supported and upheld by professional members of staff

Some responsibilities which could fall within the Creative Direction Board remit are: • policies on attendance and behaviour • deciding on particular projects, particularly large-scale projects that integrate all strands • promoting the work of Ignite • writing youth led funding applications (eg: Prince’s Trust, IdeasFund, Awards for All, etc) • selecting guest artists and strategic partnerships • arranging additional events outside of the weekly sessions •

T he Consultant recommends a formalised system of mentorship. The chain of mentorship would be as follows, with the understanding that the best mentoring relationships are ultimately reciprocal: Guest Artist

Project Leader

Project Assistant

Experienced Participant

Less Experienced Participant

Each person should be assigned someone to mentor, with the project leader and project assistant each mentoring a number of the more experienced participants, as well as, monitoring the participant to participant mentorship. Each mentor should agree to a set number of meetings with their mentee throughout the course of a project. Each person should set themselves long-term goals with supporting short-term steps towards achieving these goals. The mentor can then help their mentee to put systems in place for successful attainment.

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•

s noted in the findings of this report, Ignite has been successful in attracting a diversity of A participants. The Consultant recommends that clear systems for future recruitment are put in place to ensure that this diversity continues. The Consultant notes that the vast majority of participants accessed the group through friends. One project leader explained that when her particular strand was first set-up, young people were accessed through visits to local parks and estates. Further to this, the Consultant recommends the following strategies for recruitment: • Use of Council resources including youth support services, social workers and schools • Delivery of Ignite youth-led outreach workshops run at local schools and youth organisations • More strategic use of online and social networking sites

T he Consultant recommends that Ignite develop more regular and strategic partnerships with arts organisations. For example, the future relationship with Arts is the Cure will provide Ignite with an occasional space to work in, following the closure of the Croydon Clocktower, while also inspiring creative opportunities within the visual arts sector, suggesting a model for Ignite to become more self-sufficient and offering ideas for ways in which Ignite can further benefit its community. There is also a clear benefit to Art is the Cure in their aim to expand their work with young people and schools. The Consultant recommends that Ignite seek out theatre, music and film organisations which will collaborate, support, inspire and inform each future project. Some examples of partnerships with a range of involvement are suggested here: • Guest artists from partner organisations wholly collaborating with the project leader to deliver specific projects • Guest artists from partner organisations attending sessions at strategic points within the creative development and project management of Ignite events to offer advice • Partner organisations offering project leaders and Ignite participants, where appropriate, opportunities for mentorship, professional development and/or work experience within their respective organisation • Partner organisations offering use of their rehearsal, performance and/or studio spaces, as well as, attendance at theatre, music and film events

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ith such a strong youth-led element to the work, the Consultant has observed that, at W times, young people only pursue their particular interests and are not challenged to try new creative and project management roles. This is most evident in the theatre strand, where young people primarily take on acting and directing roles, but have not been heavily involved in , for example, producing, writing, technical, design and marketing jobs. The Consultant would like to encourage Ignite to push its participants to diversify their experiences and interests. This could be achieved through a policy whereby young people can take on two performing or creative jobs each year and the third must be in the producing/events management side of things. The Consultant suggests that in addition to the weekly Ignite sessions, that Ignite develop a series of platforms or question and answer evenings, where young people can meet, learn from and network with industry professionals working across all elements of the creative industries. These professionals could come from the local area and/or from partnership organisations. For example, Rich Simmons, Creative Director at Art is the Cure, would no doubt inspire the young people to create their own companies and creative work simply by telling them his story of setting up Art is the Cure.

•

s one of Ignite’s key strengths lies in the talent and dedication of its staff, the Consultant A recommends additional support and training for the project leaders. In terms of training, the Consultant suggests the following opportunities for development: • Strategies for working with young people with additional needs • Systems for better monitoring and evaluation of work with young people • Creative training opportunities relevant to each leaders particular disciplines, interests and skills gaps

The Consultant suggests that Ignite both accesses training resources within the Council, as well as, seeks out specific funding for staff CPD. Further, the Consultant recommends that a trained Youth Support Worker is employed to work across all strands of Ignite to better support the project leaders dealing with young people with additional needs. This would relieve some of the pressure placed onto the project leaders, as well as, provide a better quality experience for the affected young people. The Consultant recommends that the Arts Participation Officer seeks advice from the Integrated Youth Service in recruiting the support worker and that the cost of this is built into all future funding applications. •

T here are a range of shared skills and interests across the Ignite strands, and the Consultant has found that some young people feel there are barriers to working across the strands. The Consultant recommends that Ignite organises an annual project for integration of all strands. This could come in the form of a multi-disciplinary performing arts event or festival. It will seek to achieve the aim of having young people try out new roles within the industries, to open their eyes to the creative opportunities within other disciplines, to ensure movement by participants across the strands and to put each strand on equal footing.

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•

T he work of Ignite will inevitably lead to young people developing an interest in setting up their own arts organisations. The Consultant recommends that Ignite develops strategies for supporting emerging companies. Suggested schemes include: • Access to Council hot-desks and other resources • Mentoring from partner organisations and Ignite staff • Opportunities to create work with Ignite participants • Advice and support from Council staff on setting up a business, budgeting, accounting and fundraising F inally, as Ignite continues to solidify its ways of working and model for success, the Consultant recommends that it begins to work towards a long-term strategy for instituting Ignite as a model in other locations. Some suggestions for implementing this long-term strategy are: • Creating a toolkit for setting up and delivering Ignite model projects, including suggestions for best practice and examples of previous successful projects • If possible, establishing Ignite as an independent not-for-profit or charitable organisation • Training young people to deliver the Ignite model/ways of working • Developing partnerships outside of Croydon, London and the South East

Kelly Wilkinson July 2011

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APPENDIX A Kelly Wilkinson, Biography Kelly is a freelance theatre director, project manager, and consultant and is Artistic Director of IsoProductions. Kelly conceived and set-up Hampstead Theatre’s heat&light company (ages 18-25), a group for which she directed Hooked, a devised play in collaboration with Frantic Assembly, Punch by Matt Hartley, Mine by Jane Bodie, In His Image by Rosa Connor and Heat and Light by John Donnelly, amongst many others. She has written the published notes for the National Theatre’s production of Roy Williams’ Baby Girl and the TheatreQuest and Create-A-Quest books for the Prince of Wales Arts & Kids Foundation. She has managed projects for the LB of Camden’s Out of School Learning service in partnership with the Roundhouse, Hampstead Theatre, hi8us and other arts organisations working with disabled young people and those affected by mental illness; has directed work for the Lyric Hammersmith Theatre’s Start programme for at-risk young people; is Associate Artist for the National Youth Theatre; and has devised, managed and delivered projects for young people across London and the South East. She is currently project managing a disabled artist led large-scale outdoor performance for the Paralympics London 2012 torch relay. She has directed for the BBC Roots’ Stages of Sound, Arcola Theatre, Polka Theatre, Hampstead Theatre, Old Red Lion Theatre and various workshops and readings. She directed the critically acclaimed, Time Out Critics’ Choice production of Atiha Sen Gupta’s What Fatima Did... for Hampstead Theatre’s mainhouse. For IsoProductions she has directed the Time Out Critics’ Choice production of Ed Hime’s London Tongue/London Falls, Philip de Gouveia’s Isfahan Calling, an NT New Connections production of Burying Your Brother in the Pavement, and has most recently been developing the physical theatre piece Hooked (London/UK tour 2012). She was Assistant Director to David Grindley on What the Butler Saw at Hampstead Theatre and transferred this production to the Criterion Theatre, West End. She has assisted Indhu Rubasingham on Heartbreak House at Watford Palace and on Anna in the Tropics at Hampstead Theatre, where she was Education Associate for 5 years, developing young writers and directing the heat&light company, in new plays by Nick Grosso, Mike Bartlett, and more.

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APPENDIX B Consultancy Questions Young People Please introduce yourselves. • How old are you? • What do you do? • Are you still at school/college? • Are you employed or unemployed? • Do you consider yourself to work in the cultural and creative industries? How did you come to engage in the Ignite Project? • How did you find out about it? • What was your journey into the project? • What were your observations and thoughts when you first joined the group? Describe what you do on the project. • What is the effect this activity has on you? • What does it teach you? • How does it make you feel? In what ways do you feel the project helps you develop employability skills and gain professional work experience? In what ways does the project help you develop skills for adulthood? In what ways does the project help you develop professional skills? Does the diversity of the group encourage a sense of inclusion, interaction and community? What does the future of Ignite look like to you? What does your own future look like to you? If you could change anything about Ignite, what would you put in place? Project Leaders Introduce yourself. • What is your background? • How did you come to work with Ignite? Detail your history of working with Ignite. How would you describe the intended aims/outcomes for Ignite in your own words?

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Explain how Ignite does or does not achieve the intended aims. What has worked/has not worked with past projects? Detail any unexpected outcomes. Detail any particular successes and weaknesses of the project. How do you see the future of Ignite? Parents Can you please give a brief account of your child’s engagement with Ignite? Please include how your child heard about the project, how long s/he has attended and which strand you child attends. In what ways do you feel the Ignite programme benefits your child? Have you noticed any particular changes in your child since s/he began attending Ignite? Please explain. Please give an account of any particular highlights or lowlights of your child’s experience at Ignite. Please explain what you feel to be the strengths of the Ignite programme. Please explain what you feel to be the weaknesses of the Ignite programme. What changes/improvements would you suggest for the future of Ignite? What do you think your child’s future looks like and has this been impacted upon by his/her attendance at Ignite?

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With thanks to our funders in 2010 - 2011

All images appear with the consent

TE productions from 2010 -2011)

of participants (images feature IGNI