Source 2: Full Circle Arts Evaulation

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Source 2 Evaluation ‌of an holistic capacity building programme for disabled young people and artists, covering; arts professional development planning, mentoring, arts projects with young people, an intensive young disabled people’s development programme and Information and advocacy.

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Source Contents

Background

1

Source

8

Mentoring

9

Source Artists‌including Professional Development Planning

23

Source Young Artists ‌including pilot Hub 4

41

Source:it

79

Conference event never Dive Alone

87

Participatory Arts Projects

100

Partnerships

103

Some Statistics

106

slide from FCA’s Never Dive Alone event showing our journey

Background Full Circle Arts and The Source Programme In Early 2007 Full Circle Arts began a two year programme developing areas of our original Source initiative, an holistic approach to inclusion for disabled young people and disabled artists in our arts and cultural industries. Based firmly on listening to, working with and research into the needs and aspirations of disabled people interested in the arts, arts training or as practising disabled artists the programme is firmly entrenched in principles of inclusion.

It is about building bridges not silo’s Research, active listening and working closely with disabled young people and disabled artists gave us a clear focus - to work on building sustainable, long term support to inclusion within the ‘mainstream’ for disabled practitioners, young people and disabled arts students (whatever age). Built on practice, findings and research before we initiated Full Circle Arts

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the programme, we continued to gather, the voices of disabled people themselves throughout the programme, the development, outcomes and future plans are based on their feedback, needs, wants and observations of their barriers and practice. Hence we make no apologies for not focusing on building a platform for the production or showcasing of disability or Deaf arts, we do support artists wishing to develop their practice within this genre, but the overwhelming demand was for ongoing, mostly face to face sometimes one-to-one support for inclusion in development, training, peer practice and employment opportunities that many non-disabled people take for granted. (please see our research findings within the report).

The Source programme is also an attempt to address inequalities seen in wider research and Government statistics which show how excluded disabled people are. For example disabled people make up 18.6% or 1 in 5 of the UK population and 1.3 million are ready for and able to work but not in employment. Only half 50% of disabled people of working age are in work, compared to 80% of non-disabled people.

Disabled people’s education and training opportunities are such that 23% of disabled people have no qualifications compared to 9% of non-disabled people. (1*) In the funded arts sector only 2% of the workforce is a disabled person. Only 4% of disabled people serve on the Boards of arts organisations (2*) and outside ‘disability arts festivals’ there is still meagre representation of disabled artists work.

(1* Office for National Statistics Labour Force Survey, Jan - March 2009 2* Arts Council England Disability Equality Scheme Annual Report 2007/8)

“I am still on the outside looking in, we fought long and hard for an end to special eduction, but if you want to be involved in the arts there is little that is inclusive about any development opportunities, you are expected to be segregated into ‘special arts’ but I ‘d rather be on the inside, involved, taking part in what my non disabled arts friends are involved in”.

“Its not just about access, I can get in the door but I’m still not included” Disabled participants at FCA’s artists development day 2008

Full Circle Arts

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Jazz “Its tough to define, but I know it when I hear it.”

Miles Davis 1984

Inclusion like Jazz is difficult to describe but you feel it when its there

A truly Inclusive organisation knows:

Inclusion is about ALL of us

Our deepest connections have to do with our fears, uncertainties and powerlessness

Inclusion is about living full lives - about learning to live together.

Recognises we are all profoundly influenced by poverty, racism, homophobia, disabilism, and takes responsibility for this

Inclusion treasures diversity and builds community.

Inclusion is about our 'abilities’ or gifts and how to share them.

Has structures for making space and time to answer the question ‘What do you do when you don’t know what to do’

Inclusion is NOT just a 'disability' issue.

Inclusion is about creating & sharing tools, resources, capacities, so we can all live full lives

Recognises the wisdom for being human is widely distributed

Inclusion is a process not a product Full Circle Arts

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Challenging the way we work.

To be effective and to work to address disabled people’s expressed needs, wants and aspirations in the arts, Full Circle Arts had to challenge and examine our own practices.

Much work has been done around inclusion mostly by the Inclusive Education Movement and the Independent Living Movement. In the Arts there is little that could be said to work on the fundamental principles of inclusion. Most activity has taken place around either ‘access‘, one off, time limited, segregated disabled people’s arts projects, or disability and Deaf arts.

The struggle for full inclusion is an ongoing challenge. It is assumed that all members of society should be given the opportunity to express themselves through the medium of their choice, but the assumption is rarely practiced. It is evident that barriers to inclusion are erected within many cultural and educational institutions, motivated by fear and ignorance; fear of losing control and ignorance of the facts, which allow an acceptance of difference. This is exemplified as young disabled people are placed within institutions, segregated arts projects and discrete settings, unable to participate in the artistic educational and development provisions/opportunities of their choice. The choice could mean that they do not wish to participate in the arts or creative thinking, but at least they have been given the opportunity to take part in their own decision making process. It is important that individuals are able to express themselves more freely. In one sense this will assist in their development as human beings and it will stimulate ideas and in another, perhaps more significant, sense they will have fun realising their potentials.

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“ The problem is never imagining the dream. The problem is forgetting old habits and ideas - Everyone needs a formal forgetting strategy” - Tom Peters Inclusion

Back in 1998 Chris Gathercole (North West Training and Development Team) usefully itemised some of the characteristics that could be seen as the hallmark bureaucracy.

The bureaucrat will respond to the wishes of disabled people by: Keeping people ignorant about their rights “What people don’t know will not hurt them”.

Refusing to take risks for a service which they know is needed.

“It’s more than my job’s worth”.

Refusing to help people speak up about their needs.

“It’s better not to make waves”.

Being reluctant to refer people to genuinely independent advocates or support networks which are promoting change and choices.

“These troublemakers will make things harder for us.”

Refusing to involve people in planning for their own needs.

“Experts know more about these things than you do, so leave it to us”.

Blaming people for their lack of progress and getting individuals to take responsibility for the systems failure.

“We’re doing everything we can to help you, but you refuse to do what we say”.

Becoming personally and professionally offended when you try to make them accountable.

“You should be more grateful for what we are offering you”.

Demonstrating an extreme resistance to change as this is seen as a threat to the continued existence of the system.

“We have been operating in this way for years and you are the first person to complain about this.”

Protecting money and resources as if it were their own.

“We could not possibly afford to pay for what you are asking for.”

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Assuming that there is only one route which is fixed for all time and takes no account of individuals changing needs.

“We have given you this and we will review it in five years time, so don't ring us we will ring you” These universal features of bureaucracy can be disabling for many people who are looking for a change in attitude and practice towards their inclusion. They are also in marked contrast to the principal of “public service” (1*) which we would argue is based upon a recognition of individuality and diversity of needs amongst the people that seek to use our cultural services. ( 1* John Holden in Democratic Culture cites the role of those working in the publicly funded arts as that of Public Servant).

Young participant of the Remix project playing the piano

A dance workshop

Visual arts workshop with a young participant painting a papier maché structure

For example people working in the funded arts sector, in supporting the wishes of disabled people wanting to have their contributions received and their aspirations acknowledged will: Encourage people to be well informed about their rights “The more you know what you are entitled to the more we will be able to help you.”

Show a willingness to take risks, in order to provide a more effective service.

“Even if this means upsetting some of our procedures it will improve the service we are here to provide.”

Encourage people to speak up for themselves and to access independent advocates and support groups.

“These people may be able to help you get a better deal than what is on offer at the moment.”

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Involve people in planning for their needs.

“You are the expert on your own situation and your own needs.”

Avoid making judgements or placing blame on the individual.

“We do not see you as the problem but an essential part of the solution.”

Promote the individual's self confidence and encourage them to become better advocates for themselves and others.

“What you have learned about this particular situation is not only helpful to us but we can use it to the benefit of others using this service.”

Engage with people in an ongoing dialogue, recognising that needs change over time and that plans have to adapt to meet those changing needs.

“If you have any further questions or the situation changes please don't hesitate to contact us.”

Acknowledge weaknesses and inherent barriers within the system.

“I recognise the system has failed you in this and that the system is unjust and needs to change. How can we make a joint argument for such a change?"

Clearly, administration is necessary to a public service and to support progress towards inclusion. However, where accountability, accessibility, compassion and an overriding respect for the individual are seen as less important than a respect for rules and procedures, the bureaucracy must be directly challenged and reformed. We have to ensure that disabled people achieve the right to go to their local arts projects, cultural buildings and take part in every aspect of the arts with appropriate support if necessary. This philosophy of Inclusion can only be achieved in practice within the context of a public service ethos.

Whilst debate can be temporarily stifled, people's shared passions and convictions sooner or later declare themselves and do change the world and the way we live.

Sometimes these changes come through political/legal reform, armed conflict or revolution, but often the most enduring changes occur in small, personal but nonetheless dramatic ways.

Source is developed on principles of inclusion, but the work of a small (4FTE’s) arts organisation. We seek to ignite lots of small fires in the arts organisations around us, rather than building one huge bonfire. We believe in doing so we will be building bridges for inclusion rather than yet another bureaucratic hierarchy.

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Source Source is an holistic arts programme offering development, training, support and employment opportunities for disabled young people and artists.

This includes Mentoring A development of our Mentoring Scheme which had been running for 8 years Source Artists Including a Professional Development Planning service Source Young Artists An intensive development programme for disabled young people Source:it Source:it is the information and support hub providing personal contact for artists and arts companies Never Dive Alone A conference and Open Space event for building collaborative partnerships and exploring issues of inclusion.

Young peoples participatory projects Feeding into this we concurrently ran a number of participatory arts projects for young disabled people and workshops within schools, youth clubs and young disabled people’s groups.

Full Circle Arts

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Mentoring A Mentor is someone, who by using their skills, experience & knowledge will encourage someone to develop their full potential.

The value and importance of mentoring came up time and again throughout the interviews and survey. Artists looking back on important turning points often mentioned a mentor or significant individual. Looking forward towards a ‘professional development wish list’, in the open responses as well as the survey questions, mentoring (along with ‘networks’ and ‘local’) was most often identified as the single intervention that would make the most difference. Emphatically, mentoring was mentioned by almost every artist as an important source of support. In the words of just one, there is a call for “A seriously funded and in‐depth mentoring system organised by people who understand disability.”

Extract from “Here and Now” a report, which reviews the recent professional development experience of disabled and d/Deaf artists in the south west commissioned by Arts Council England, South West in June 2009. Written by Moya Harris and Annie Warburton. Available from www.artscouncil.org.uk Full Circle Arts

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Source Mentoring is a unique service for Disabled People who have a keen interest in the Arts and who wish to pursue their interest further through education, training and employment. The service is also available to young disabled people, emerging or established artists, graduates or those mid career.

Mentors are purely people who have a lot of experience in the arts and would like to pass that experience on to someone else. Having a Mentor is a bit like having a human sounding board for a mentee – someone to chat with about their plans, ideas and their future. Mentors are not there to judge or tell a mentee what to do, but to support an individual in the direction they want to go.

A brief history During some work with Gerry Morriaty then at Manchester City College over 10 years ago, and working with some young disabled people we had discovered some depressing statistics. We looked at how many young Disabled People were on FE or HE Arts Courses and the drop out rates for students during the first year of their courses.

Non Disabled Students

Disabled Students

2%

20%

80%

98% No. Of students on arts courses

Drop Out rates during first year of course

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The origins behind our Mentoring scheme had been to simply try and redress the balance at least in the number of disabled students dropping out of their courses during their first year.

Our mentoring scheme began in a small way 10 years ago with a few mentees and a few disabled professional artists who underwent just half a days training. We worked with a small pilot group of people from Manchester City College, North West Arts Board (now Arts Council England North West) and 2 disabled artists.

After 2 years piloting the scheme, we knew that there was a clear demand for this service, but we had many lessons to learn and adjustments to make.

1) It was clear that working with just one FE college was restricting for development of the service and potential mentees were just ‘given’ to us on the college’s terms rather than coming from their own [mentees] needs.

2) We felt we were addressing gaps in services provided by the college rather than meeting the real needs or aspirations of disabled young people.

3) Our training for Mentors was not fit for purpose and the role of mentor needed a more robust and comprehensive training package 4) Our decision to only offer disabled mentors for disabled mentees whilst having the best of intentions in terms of providing role models and people with an understanding of disability issues was challenged by findings from the mentees themselves. For some a disabled mentor was important, however for others they felt that just having an excellent mentor, with an understanding of the arts discipline they were working towards was more important.

5) We began to see the ‘matching’ process as crucial in successful outcomes for the mentor/mentee relationship 6) The human resource time taken to manage the scheme was much, much greater than we anticipated

Full Circle Arts

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Moving to Source Mentoring Evaluation from our first 2 years brought some major changes to our mentoring scheme 1) We began a series of large scale annual participatory arts projects with young disabled people. These would act as a gateway to our mentoring scheme for those young people showing enthusiasm or skills and wishing to take their interest further.

2) We transformed the training process for our mentors, all new mentors would receive 30 hours training to OCN level 2 accreditation. All mentors would also receive 2 days Disability Equality Training 3) We recruited non-disabled as well as disabled volunteer mentors 4) We sought funding to cover the human resource costs of a Mentoring Coordinator for the scheme 5) We improved our matching service with more in depth pre mentoring meetings with potential mentees.

During this stage of our mentoring programme, we saw a shift in the ethos of our programme, we were beginning to design a programme around the needs of our disabled young people, and as word of mouth started to attract interest from our disabled artists we also opened up mentoring to some older and mid-career artists.

Our programme was becoming more inclusive and much more informed by its users.

Mentor training Our first tranche of training had 14 trainee mentors from around the North West 5 of whom where disabled or Deaf people 3 of these were self employed artists. Of the 9 non-disabled mentors 7 were employed by arts organisations in the region (such as the Education and Outreach worker at the Royal Exchange, a dance worker from Dance Initiative Greater Manchester, the Artistic Director of Contact theatre) 2 were self employed.

The training was designed and delivered in-house and although this was highly successful and tailored to our own needs, it soon became apparent that it was hugely expensive in terms of human resources. All 14 mentors achieved their OCN Full Circle Arts

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accreditation and feedback on course content and delivery was excellent. During part of this process all mentees are offered free enhance CRB checks, a valuable asset to our mentors, especially freelance artists who are now equipped to work with young people and vulnerable people on a freelance basis at no cost to themselves.

Engaging non-disabled mentors was a huge step for Full Circle Arts as a user led organisation, and something we knew would come under criticism from some disabled practioners and some other disabled led organisations. However the step was not taken lightly and was in direct response to feedback from our mentees and prospective mentees.

How important are the following qualities in a mentor for you? (tick all that apply) they should be a disabled person they should be successful in the art form I am working/studying in they should have good listening skills they should be non-judgemental they should support me by understanding the barriers I face they should know people and organisations that may be useful to me 0

3

6

9

12

It was critically important that our mentors were not just trained in mentoring, but that they also received Disability Equality training. This was just as true for disabled as well as non-disabled mentors. Out of 5 disabled mentors only 1 had received Disability Equality Training and only 2 understood the Social Model of Disability.

Realising the training was far too exhaustive on our own internal resources we looked for other training providers who could deliver an accredited course with us. The following year we delivered a course to 9 mentors in collaboration with Mancat. The course was successful, but was still costly for Full Circle Arts. During our funding applications for Source 2 Mancat gave ÂŁ18,000 worth of training in-kind over 2 years which secured the mentoring training for us.

Full Circle Arts

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The training was successful in terms of equipping mentors with skills and attracting new mentors - since arts organisations could see the benefits of releasing their employees to be trained as mentors and receive Disability Equality Training. (there were huge relationship building and collaborative relationships that could be formed from offering training to employees in terms of partnership working, and capacity building for the organisations skills base) and however we choose to develop the training, the value of these relationship will still need to be retained. Under our past systems of training we were still getting periods of imbalance on the number of mentors in our pool and the appropriate mentees to match them with. Apart from the obvious need for matching happening at the right time for the best outcome for all, frustration can happen on both sides of the relationship if this if not present.

Mentee Pre mentoring and matching meetings From the early days of a college sending us requests for mentors for students they judged as needing a mentor, to Full Circle Arts recruiting mentees through our young people’s participatory projects and work within schools and colleges, our mentee meetings became increasingly important in ensuring an appropriate match and ensuring a clear understanding of the mentees own needs and indeed whether mentoring was an appropraite support route at that time in their own development. We had concentrated on ensuring a high quality of mentor without doing sufficient work with prospective mentees. Some young mentees were not sure of what a mentor was for, or their own responsibilities as a mentee within the mentoring relationship. Our mentoring scheme has been running for years and and not all of our previously trained mentors are available to mentor with us any longer. We have now developed a service which is much more inclusive service, working with rather than for our mentees. We were able to do this partly by measuring intrinsic rather than purely instrumental values of the service.

Ongoing evaluation of the mentoring scheme through Source 2 encouraged the design of our Professional Development Planning service. The introduction of Professional Development services has benefited the Mentoring scheme is a variety of ways.

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Everyone who applies for an arts mentor receives 3 Professional Development Planning Sessions or for younger people we often call this a Pre-Mentoring service.

This helps FCA identify with the young person, practitioner or artist….

If a mentor is needed?

If so, when is the right time?

A clear understanding of what mentoring is and what it isn’t is developed with the mentee, which in terms informs their choices and options.

Self-determination valuing the concerns or issues that disabled people identify as their own starting points Raising people’s awareness of the range of choices open to them, providing opportunities for discussion of implications of options Contracting between Mentee and Mentor is more focused as goals, options and possible routes have been explored previously through the PDP. The mentor, no longer spends months trying to encourage an individual to highlight a goal.

Mentors are there to support the journey that has already been identified.

Mentee’s have taken responsibility for their learning from the beginning.

Mentee’s have identified their own goals, areas of work, action plans.

Mentees are central and leading the process.

There is a clear start and end point.

PDP has provided more focus and commitment to the overall mentoring process.

Some highlights of our mentoring service Mentoring at FCA has grown from strength to strength over the last ten years and is now a nationally recognised quality service. It leads the way for mentoring and inclusive practice in the arts, still today because of its on going development in reaction to the real needs of our users. The continuity and one-to-one contact and support that Full Circle Arts

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mentoring provides remains one the strengths of this service in positive outcomes for mentees, whether young people or established artists.

The service has twice be awarded Approved Provider Status by the Mentoring and Befriending foundation and our mentoring scheme and case studies have been used in MBF’s publicity and during their national conferences. Approved Provider Status is a quality benchmarking scheme, which gives an organisation a set process to take their scheme through to ensure they meet a number of criteria mainly around support for both Mentees and Mentors. This quality assurance works perfectly well within the arts sector and is one we would encourage any scheme to look to, since a bit like Investors in People it takes you through the process of examining different areas of your scheme to ensure quality can be delivered for everyone involved.

Our mentee’s are matched with a trained or experienced Mentor, an arts professional usually working in the field the mentee would like to progress in.

Mentor’s meet with a mentee on average once a month to discuss professional development, encourage focus, provide information and the opportunity to meet with individuals and organisations who may be able to provide additional information and support.

Some Outcomes to date Ongoing research and consultation, with all current mentors and mentees, which informs the development of our service.

20 new mentors trained and accredited via Mancat joint accredited course with FCA Renewal of our accreditation of Approved Provider Service from the National Mentoring network (the only nationally recognised quality mark and FCA still the only arts organisation nationally to provide a mentoring service with this quality assurance).

36 artists/young people mentored during Source 25 of these young people 11 artists mid-career/career change to arts 28 new to the arts/disability and Full Circle Arts Full Circle Arts

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18 young people moved into post 16 full time arts education 2 artists doing MA’s 1 undertaking her Phd A full progress/outcomes diary kept for every mentee 8 peer mentoring (4 pairs) - Source young Artists All mentees receive either a full PDP or ‘mini PDP’ before being matched (age and experience dependant) 2 older or more experienced arts consultant mentees now progressed on to leadership development courses Cross referrals from MYAN and CPAL members (mentees onto arts projects/training, working as artists/workshop leaders and young disabled people being signposted to our service.

Mentoring/PDP coordinators salary now fully met from revenue funding (although this has meant cutting some project work, we felt the shift was necessary to match commitment to both mentoring and PDP to be a continuing core part of our work).

Some Figures for this year Since the introduction of PDP service we have seen figures/numbers slowly decrease in mentoring but contact hours increase. The outcomes for mentees have increased, their confidence, focus, action planning has increased (dramatically) This indicates our move to intrinsic rather than simple instrumental measurements of success informing our future decisions.

People accessing this service in this year Short term – one off support – less than 6 months Long Term – 6 months onwards Contact hours – average. Time spent on pre – mentoring service, agreement, mentor meetings, email, phone call etc..

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08 Short term Matches 2

Contact Hours

Short term Matches 1

Contact Hours

48

Long Term Matches 8

Contact Hours

Long Term Matches 9

Contact Hours 216

192

09

9

Recently applied, awaiting match or going through Pre-service Recently applied

Pre-service or PDP

Awaiting Match

4

2

2

8 of these people applied for mentoring after taking part in one of our Young peoples project.

Having studied our own capacity to continue mentoring in -house covered by employee time (but excluding training, meeting and access costs our maximum Capacity for mentoring in one year is:PDP or Pre-Mentoring Service – 15 Mentoring Matches – 15 Findings – 100% of those who have experienced PDP/Pre-mentoring service, short term and long term mentor matches have reached or moved significantly forwards towards their goals.

100% have valued the opportunity Full Circle Arts

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100% said it has encouraged focus 100% said it had helped with motivation 100% have moved on to education, training or further arts employment opportunities Other findings Increase confidence Increased networks Accessing main stream arts provisions Accessed training Accessed further art Projects Accessed employment opportunities Become Self employed Built Artist Profile In a measured way this translates to Mentoring Service contributed to an increase/improvement in the following Before Service

After service

20

Confidence

80 30

Focus

83 37

Motivation

87

19

Orginisation

79 26

Self Awareness

75

18

Self management

84

10

Action Planning

92 17

Self Evaluation 0

82 20

40

Full Circle Arts

60

80

100

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Mentors have feedback that the process has been made earlier and more focused through the introduction of the Professional development Planning sessions.

From the beginning the mentor is aware of the young person skills, strength, learning preference, goal and possible routes.

Lessons we have learned and how we plan to develop

We find it more inclusive and a way of developing sustainability to teach mentees in how to choose and use a mentor – this provides a better return on investment than just concentrating on training people in how to be good mentors We offer a mentor matching service – but we now encourage and support people to look for their own mentors first – this helps to ensure relevance Mentoring relationship are usually driven by the learner, who takes responsibility for scheduling meetings and developing the agenda. Learning to chose and use mentors effectively is a relatively advanced skill and is one that should be explicitly taught. We try to encourage people to check out a few potential mentors rather than just allocating them one In future we plan to train people who have already been approached to become mentors to avoid training a whole bunch of people who want to mentor, but for whom there is presently no demand. We shall plan for this by identifying around 4 suitable accredited mentoring courses within the region and securing funding for mentors to gain accreditation through these courses.

To offer Disability Equality Training to all mentees as well as to all mentors, this helps disabled people to externalise the disabling barriers they face. It also gives confidence by knowing and understanding their rights to full participation.

Whilst some discussion between the benefits of pre-mentoring PDP’s are seen below in the section on PDP, it helps to highlight those here

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Mentoring is intrinsic part of professional development follow up, and ongoing support.

Our future plans for our mentoring scheme development are as follows Identify accredited courses throughout the region to sign post new mentors to Hold follow up mentor briefs for those who have an interest after participating in our projects Provide a platform for ongoing peer mentoring Build a strong network for all mentors and mentees Provide social and networking opportunities Development learning logs, and development toolkits that can be accessed on our website.

The development of this service will rely on additional funding, and we are currently researching possible funds with LSC, the Adult Learning Fund and Aiming Higher.

Case studies from our young disabled mentees (Names have been changed) 1.

Sarah first came to the attention of Full Circle Arts through a social group run by Salford Youth Service. The group was for disabled people and appeared to have a large age range attending, from 11 years to over 30. Sarah and some friends were interested in developing a small drama presentation for a forthcoming conference. This was organised and delivered to a high degree of success and encouraged the young people to develop a further project. Sarah then attended the FCA annual arts project and was matched with a mentor immediately afterwards. It was only through this process that the obstacles facing Sarah’s development and interest in the arts became apparent and her Mentor was able to work with her to overcome some of these. Within three years, Sarah is running a youth arts organisation for young disabled people (which grew from the Salford initiative) and this summer was successful in gaining an acting contract Full Circle Arts

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that toured to the Edinburgh Festival and later around Cheshire. Sarah continues to be mentored and develop her arts interest and career.

2.

Katherine was isolated for many years, ‘requiring’ constant 24 hr supervision from a Personal Assistant. An intelligent young woman, who appeared to have few outlets for her creativity. Katherine applied to become involved in one of our arts projects and took part in every element of the project. On being matched with a Mentor, Katherine’s confidence grew. She applied for a job as a part-time Front of House attendant at one of Manchester’s Museums and secured the position and now works independently of her Personal Assistant.

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Source- Artists

That positive experiences are so ad hoc indicates a continued lack of understanding of disability at an organisational level among non disability‐focused arts organisations and support organisations and this is an issue that must be urgently addressed to achieve, in the words of one of our interviewees:

“Real listening, heart to heart, human being to human being.”

The survey asked respondents to select the areas of professional support most important to them One to one guidance or mentoring was the 1st choice of most artists

Extract from “Here and Now” a report, which reviews the recent professional development experience of disabled and d/Deaf artists in the south west commissioned by Arts Council England, South West in June 2009. Written by Moya Harris and Annie Warburton. Available from www.artscouncil.org.uk

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Source Artists - Professional Development Planning Service Description In December 2006, Full Circle Arts implemented a Professional Development service.

The service would act as an umbrella term to all arts projects/activity/services that focused on progression in the arts, ie - the mentoring scheme, Artist Development and Networking events, signposting to FCA Information and advocacy services and external arts development, training, employment opportunities. It would pick up and support new talent coming through our young peoples projects and would of course offer a core service which would be the Professional Development Planning service for disabled artists, emerging practitioners, and young people who have a keen interest in pursuing arts education, training and a career in the arts.

PDP sessions are in-depth, supportive and one to one, dedicated and focused to Professional Development Planning it can operate as a sounding board, allowing disabled people to direct their own thoughts and needs giving them the opportunity to focus on their existing experiences, knowledge, and networks. After receipt of application, individuals are offered 3 sessions of an hour an a half each. Once an individual is part of the PDP service they may also access follow up sessions/drop ins and benefit from Information sessions with our Information and advocacy worker.

Core PDP sessions draw heavily on the principles and models of coaching practice, we explore where someone is at, where they would like to get to and how they might get there. We do not tell or steer the direction. Through in-depth discussion we encourage an individual to explore

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Goal Reality Options Will or Way Forward.

The service aims to provide a platform that supports artist professional development.

Encourages individuals to set goals, assess reality, explore options and design a way forward and take action. Success of the service is not about an individual reaching their GOAL, but, action, moving towards ones goal, the steps that are taken towards reaching that goal and individual learning throughout the process.

Facts/finding/feedback Development of the service and staff development.

A formal service has been in operation since Jan 07. We have continued to develop toolkits and approaches to sessions.

FCA – have received training to help develop this service. PDP Coordinator, Vicki McCorkell has studied and achieved 20pts towards a post graduate certificate in Coaching and three members at FCA have received Guidance training from University of London.

PDP – Coordinator received information from qualified coaches, The Careers Guidance service, Lancaster University, London University and was matched with her own mentor for 12 months through Business in the Arts mentoring scheme. Stephanie Sturges a executive coach mentored Vicki McCorkell, Vicki benefited greatly from her experience, Stephanie shared advice and guidance about the PDP package we were designing and signposted Vicki to training in a coaching certificate which would help develop an understanding of coaching principles, models and communication used during coaching as well as offer a platform for coaching practice. Stephanie remains in Full Circle Arts

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contact with Vicki, sharing information about literature and independent learning exercises.

Vicki completed her training through PINNA, the certificate was accredited by Lancaster University. PINNA offer ongoing training and peer support for coaches or those working closely with Coaching techniques. Through independent study, mentoring and training we have been able to create A PDP package and a variety of tools kits that can be used during PDP. Figures We aimed for 7 individuals to access 3 full sessions of PDP service in year one, 7 new plus the possibility of the existing 7 who might access follow up and drop in support in year two and so one.

This of course might mean at some point we would hit a waiting list or full capacity.

Figures as follows Ending April 08

10

Accessed PDP session 1,2 + 3

1

Accessed PDP session 1 + 2 only

1

Accessed PDP session 1 only

3

Service not offered

8

Waiting list/awaiting application

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Ending April 09 6

Accessed PDP session 1,2 + 3

1

Accessed PDP session 1 + 2 only

2

Accessed PDP session 1 only

1

Service not offered

0

Waiting list

April 09 to date 7

Accessed PDP session 1,2 + 3

0

Accessed PDP session 1 + 2 only

0

Accessed PDP session 1 only

1

Service not offered

2

Waiting list

April 09 -

People accessing follow up sessions

3

April 08-09

People accessing follow up sessions

5

Total of service users to date- Full PDP or Pre/mentoring- 28

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PDP Service contributed to an increase/improvement in the following

before PDP

after PDP

Confidence Focus Motivation Organisation Self Awareness Networks Employment Training Opportunity Knowledge Skill Funding opportunities Access to external agencies/organisations Move towards Goal 0

22.5

Full Circle Arts

45.0

67.5

90.0

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PDP Case Study Lisa Simpson applied for the Professional Development Planning service in 2009.

She was signposted to our service by an Employment Project Officer working with disabled people at Knowsley Health and Wellbeing.

Lisa’s application indicted she identified herself as a new emerging practitioner who had formal arts training in Surface Pattern Design BA hons Foundation Art and Design Btec National Diploma Peforming Arts She highlighted on her application that she was returning to an arts career after an absence.

Lisa’s personal statement highlighted she would like to pursue a career as a disabled choreographer, assisting/teaching other disabled and non disabled people how to choreograph using a device called the Simpson Board ( a device that was designed around Lisa ) An inexpensive tool that enabled disabled people with non verbal or limited communication to choreograph. She strongly believed there could be potential in other disabled people becoming choreographers who have not had the opportunity or tools to realise it.

Lisa wanted to access the professional development service to explore her goal further and move towards achieving her goal by exploring, opportunities, networks, options and create a structured plan to move forward.

Lisa indicated she had not participated in the arts for some time and felt she needed a plan to return to the industry.

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Pre- service session Lisa met with PDP coordinator to discuss what she would like to get from the service and gain an insight into how PDP operates.

Lisa then made application Session 1.

In session one Lisa was encouraged to build a map of where she was right now, we explored CV Training Current Networks Past Networks Current Opportunities Past Opportunities Experiences Barriers Values Influences Skill

Lisa sat at table at the Never Dive Alone Event taking part in a Solution Circle

We had a discussion about these areas as we built a self assessment map.

I asked Lisa to Focus on the 4 headings that particularly resonated for her. And we explored those headings in Further detail.

Skill Past Opportunities and current opportunities Networks Experience

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We had a further in-depth conversation around these 4 headings, building a clearer picture of the resources Lisa had and identifying gaps.

Lisa, rated each of these headings out of 10. 1 being very Low and 10 being very high.

Again, further exploration around the figure Lisa had placed herself under each heading. These areas would be key priority areas when goal setting and moving forward.

At the end of session one – Lisa had built a clear picture of where she was right now, exploring all her resources and identified 4 areas she would like to explore further during PDP. Session two Lisa returned to session two, we began by reflecting on any activity that had occurred since last time. Lisa said she had made contact with several people. New and old networks who she had not tapped into for a while.

She said she had been considering her goals and returned to session with notes and ideas for session 2.

She had also spent a great deal of time researching.

We recapped on session one, we would always reflect back to where we began throughout sessions.

In session two we began discussing Lisa’s goal, the reality ( session one supports this exploration of the reality) Options and begin to design a way forward.

Lisa highlighted her Goal, through discussion her goal became more specific

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Twelve months – To have facilitated two workshops in choreography for disabled and non disabled people with an interest in dance and choreography using the simpson boardWe placed the goal at number ten and asked Lisa to consider where she was in relation to that Goal. Lisa placed herself at a 2. Conversation reflected back on existing skills, networks, experience, contact etc.. that made Lisa a 2.

I asked Lisa to consider the gap in between the 2 and 10 and this encouraged a conversation about the reality, all the areas of work, activity etc.. that could fill the gap.

Several areas of work were highlighted and recorded.

In-depth discussion around these areas of work took place, here Options, possibilities began to surface and would design a way forward in session 3.

Lisa was asked to pick a few areas that she felt she could begin working on immediately, she chose – future research of local schools, attending a training day for disabled dancers to build networks, research in particular performance and dance organisations, and follow up on those suggested to her during PDP. Session 3 A way forward –Lisa began reflecting on action since last time, she had made several contacts with dance artists, researched and made contact with two schools who she felt might be interested in dance workshops for disabled and non verbal young people.

She had attended an event for dance practitioners and made new contacts, contacted NWDAF, PANDA, DIGM. Lisa felt already she had moved towards her goal, and now placed herself at a number 4.

She felt her confidence had increased, along with her networks, Opportunities and was beginning to gain experience by working closely with a dance facilitator. She also said Full Circle Arts

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she wanted to bring her goal forward and try and achieve it by Feb 2010. This informed the action plan we created during session 3.

We returned to all the areas of work and took a step by step approach to move up the scale towards Lisa’s Goal, if she was a number 4 what would make her a number 5?

This outlined priorities and resulted in the creation of a six month action plan which Lisa took away with her.

Lisa felt confident to work through this action plan and did not feel a mentor was needed at this time, but expressed an interest in mentoring at some point in the future.

Lisa commented the service had improved her focus, she felt almost overnight she was back in the industry she wanted to be in, she had felt supported listened to and valued the experience.

Lisa was offered follow up sessions at her request and returned in September to feedback on where she was now. She had made a variety of contacts, was speaking to a potential co-facilitator and a teacher who could support her to plan workshops, she had identified a possible mentor for the future, had downloaded funding applications, was creating an artists profile for FCA website, and had become a member of PANDA. She felt she was a 6 on the scale of 1 to 10 and believes her goal will be achieved by Late February.

Summary We have 100% positive feedback from those who have committed to 3 sessions of Professional development Planning Service.

Those who have not accessed all three session’s have provided positive feedback form the sessions they experienced and have either moved on or expected Information and Full Circle Arts

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advice from this service. Therefore we have do our best to be clear about what the service is and is not and have sign-posted people to information and advice, and external services.

Service has always had a constant demand and in our third year of running the PDP we are aware of our capacity. Maximum number of people accessing PDP’s in one year is 15. Young People accessing Pre-mentoring services fall under our PDP heading. They have all gone on to future opportunities, activities, projects, education or training in the arts.

Statistic tell us, many disabled artists are still out of work, we ensure people who access PDP received our newsletter and are signposted to any opportunities that may be of interest to them. We encourage artists to profile themselves on our website and explore other arts organisations. We have employed artists who have undergone PDP to work on our arts projects.

Artists are still finding it difficult to access training and other professional development opportunities, although there are cases where people have gone on to further training, PDP and employment. These figures remain lower than we would like.

Artists are experiencing difficulty securing funding for their professional development and to fund projects.

Again we try to signpost and provide toolkits that can support funding bids.

The overall cost of PDP is one of time, an average of 12 hours is spent on one individual during the entire process, the core funding for this service is for the PDP and mentoring coordinator.

To develop this service further and in a way that is responding to the requests and needs of the artist we would be looking to raise funding for the additional cost of

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Development of PDP toolkits that can be used during one to one meetings and accessed on our website.

Meeting cost Access requirements Development events and surgeries Staff training and development We are keen to develop this hugely successful service especially in the current economic situation.

We are currently working on yet more strong partnerships with mainstream arts organisations and professional development organisations that could lead to disabled artist accessing further opportunities and gaining employment.

Robot model made during our young disabled people’s animation workshop

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Source Artists Artist Development & Networking day 2 Fayre Exchange Fayre Exchange took place on April 01/08 at the Bridgewater Hall Manchester. It was the second Artist Development and Networking hosted by FCA. Responding to requests from artists that highlighted the need and desire for networking and discussion around professional practice The event allowed FCA the opportunity to have a two way dialogue with artists about their challenges, their needs and ways in which me might develop our services to support their requirements.

Fayre Exchange was committed to individual professional development of disabled artists at any stage of their career. Providing a platform for individuals to share information around their experiences, training, funding and professional development needs.

Solution focused and action orientated, we aimed for fayre exchange to encourage effective networking, a sharing of ideas and information, focus on individual professional development and for everyone to go away with something that would contribute to their own professional development. ‘ a new contact, a training provider, information from the market place etc…’

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Findings/facts/feedback Bookings - 72 Attended by 59.

Attendees Disabled artist at various stages of their career Young emerging practitioners on PDP scheme Arts Professionals with an interest in inclusion FCA staff Arts Organisations and support organisations for the professional development of artists Organisations included PANDA BBC Access to Work/Job Centre Plus North West Playwrights Arts Council England CIDS CAN Activity and Speakers – Vicki McCorkell on Full Circle Arts and PDP service Philip Patston - Diversity Works Trust - New Zealand On The Sofa with – Vivienne Stone/Michelle Oakes/Abu Jafar Exchange time – 2 allocated time slots for exchange of information, ideas, concerns, networks.

Q+A Round table discussions – a chance for reflective discussion around individuals Professional Development, challenges faced, ideas, options, a way forward.

Networking and Min Market – An allocated time for networking and the chance to visit organisations stalls.

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Throughout the day we encouraged attendees to write on the exchange boards their comments, ideas, suggestions, PDP needs.

During exchange time we encouraged people to look at the board and answer peoples questions, queries and share info etc…

Posts were made on the following areas.

Questions and Information on Funding Sources Questions and Information about arts organisations Questions and information about Arts mentoring schemes or mentors in other parts of the country We ended the day by asking everyone in the room to share one thing the day had highlighted and one action they would leave with that could contribute to their professional development.

Feedback ranged from Clearing ones desk, Making contact with a particular organisation to set up a meeting to going home and creating an action plan for the next twelve months.

Everybody contributed to this feedback.

The day highlighted a need for networking days that have an emphasis on professional development, and smaller more focused group sessions that are art specific.

Further feedback “Thank you for inviting me to the Full Circle Arts event on 1st April a brilliant day”.

I was able to meet with a number of people who attended the event. Many of the people I spoke to I referred to the Disability Employment Adviser (DEA) at their local Jobcentre Office and that perhaps it would be helpful for a Disability Employment Adviser to attend future events. With this in mind I have spoken to a DEA based in Manchester her name is Verena O'Connor and passed on your contact details to her.

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I am, of course, happy to be involved with Full Circle Arts in the future.

Edie Mansfield Access to Work Adviser’

‘thank you for all your hard work and inviting us to this wonderful event. As a deafblind person I was inspired by the artists In a different way, their faces, emotions, movement, even the sound of their voices, the high and lows. Its just fascinating for my work. I really liked the large written words of the speaker on the screen, It was amazing and a fantastic idea. I f I look at a BSL too long then the creative mode start setting in and then I start drawing. But It was so wonderful. I met a Spanish artist who showed me the art of clapping In flamenco, In that short time I learned so much.

I gathered a wealth of Information on your website including access to work. A few lines of the speaker prompted me to get in touch with a few proffessional people so I am really on my way. I am joining a dance company too.

So you lovely people thank you again and long may you reign!‘ - Adios Lorraine’

‘I didn't really get a chance to say thanks to you for the day. I really enjoyed the experience and found the whole thing especially Philip Patston particularly inspiring.

And boy do I need inspiring at the moment. The only down side was the BBC thing. It was a good chat with Gary I think he was called but he had to admit he had nothing to offer and not all that much to suggest. Apart from wait around till the end of 2010!

Congratulations on all your hard work I feel it paid off in droves. Oh and the food was good too! And I heard so well because of the loop so that was good too.It just gave me some extra oomph. I went for a practical for a job interview today. I am not terribly hopeful but it was good to have gone anyway. Andrew It was a real pleasure for all three of us to work for FCA again, you're one of the very very few organisations who seem to know exactly how to support BSL interpreters (and therefore Deaf clients). Thanks very much indeed. And next time we have and emergency, we'll be calling you, Vicky. Thanks very much to Ray too for the Lorraine Priestner DVD. Full Circle Arts

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had a great day and made a few contacts to boot. cheers ed ‘Overall I thought the day went really well, the content was very interesting.

I think it’s wonderful for artists to get together and share/support and consider their own Professional Development. The stalls worked very well and I will be following up contact with a few of them. And it was free!’ Many many thanks Sue Outcome Full Circle Arts understand the need for events that focus on individual professional development and the opportunity for artists to network, share and learn form one another.

All feedback we have received and the ongoing communication with the artists we work with support this.

After hosting two days of this kind, we would like to look at organising another in the next two years, however we have received enough feedback that indicates smaller more focused groups would be greatly appreciated.

We would like to develop our PDP events by organising or supporting artists to organise smaller groups in - critiquing sessions, skill sharing, action learning sets, development workshops that are art form specific. This is dependant on securing funding.

We would look again to run a large scale event after one year of more focused activity.

Again this is dependant on funding.

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HUB4 ‘Mentoring in the Arts’ ( pilot Source Young Artist) Description At the time FCA were designing a more intensive development project for young people ( SYA ) we were approached by HUB4, a 2007/08 national training initiative for young people interested in the arts. Hub4 introduced us to a national program they were delivering and asked Full Circle Arts if we would be interested in being one of their partner organisations in Manchester to design and deliver a project for young people that had a focus on progression in the arts.

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Hub4 was a partnership project between three agencies that work with young people.

Artswork BBC Blast The Prices Trust Their national art program was directly supported by Arts Council England, Connexions and several arts organisations up and down the country.

Hub4 aimed to work with young people between the ages of 16 and 25 who were not in education, employment or training to develop their knowledge in the arts.

The project operated in Norwich, Southampton, Newcastle and Manchester. Full Circle Arts designed and delivered ‘Mentoring in the Arts’ Project for the Manchester Hub4.

Hub4 contributed to the overall cost of this project and FCA contributed money that was in place for SYA. Hub4 ‘Mentoring in the arts’ became a pilot for the now structured development project of Source Young Artists that Full Circle Arts offer.

Mentoring in the arts would be a 12 week project, we aimed to Introduce the Bronze arts award to young people Support Young People through the process of Bronze Art Award Support those who wanted to complete and submit the award to achieve it.

Focus on young peoples arts interest.

Introduce Mentoring to young people Encourage an understanding of Mentoring Encourage peer mentoring throughout the project Encourage young people to discuss the arts and research art opportunities available in Manchester.

Increase young peoples knowledge of art opportunities available in Manchester Visit an arts venue they had not been to before Full Circle Arts

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Work on the creation of a piece of informative art about Manchester’s arts sceneFacts/ findings/feedback Project designed in December 2007 Project delivered between February 2008 and completed in June 2008 Consisted of 12 creative learning workshops + 2 arts event visits + one to one arts advice/support for arts award.

Participants – 6 young disabled people not in education, employment or training Full Circle Arts became a register centre to deliver Bronze and Silver Arts Awards through project work.

2 members of staff at Full Circle Arts received Arts Advisor trainer 1 disabled artist received Arts Advisor training Participants completed program – 5 Participants offered Bronze Art Award - 6 Participants who undertook Bronze Art Award 3 Participants who submitted Bronze Art Award 2 Participants achieving Bronze Art Award 2 Project Coordinator – Vicki McCorkell FCA Managed by – HUB4 Arts award/mentoring and project facilitator – Vicki McCorkell Arts Facilitator – Michelle Oakes – Visual Artist and PHD student Michelle Oakes was a disabled artist who was also accessing the PDP service Hub4 Mentoring in the arts Questions

Yes

No

Were you offered the chance to achieve a Bronze Art Award Did you received information, advice and guidance around the Bronze Art Award Did you work towards achieving your Bronze Art Award

6

0

6

0

3

3

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Did you submit your Bronze Art Award

2

1

Did you complete the 12 week project

5

1

Have you learnt about mentoring

6

0

Did you take part in peer mentoring throughout the project Were you given the opportunity to reflect and discuss your interests and skills in the arts Did you research Arts opportunities in Manchester

6

0

6

0

5

1

Have you leant about other arts opportunities

5

1

Have you learnt new skills

5

1

Do you feel more confident

5

1

Has this project encouraged you to consider future arts related goals Would you consider taking up arts training, education, or development programs Did you complete an individual piece of art

5

1

5

1

6

0

Did you complete the final group piece of art

5

1

Did you enjoy this project

6

0

Would you be interested in achieving a silver arts award

3

1 2 Maybe

Quotes from Hub 4 – Mentoring in the arts’ participants Full Circle Arts

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“ Before this project, I had no idea about all the dance schools and organisations in Manchester” “ I feel more confident” “ I understand what mentoring is” “ I am now looking to study dance, or dance therapy at college” “ I don’t want it to end” “ to get to where you want to get to in the arts, you’ve got to work your butt off and take on every challenge as it comes” “ Working together is easier to come up with solutions than working it out by yourself ” “ Mentoring is about guiding someone to get to where they want to be” “ I listen more to other people” Full Circle Arts

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“ I’m not just a pretty face, I can help other people” “ there is more art in Manchester than I thought, our canvas lets people know about all the arts stuff ” “ I’ve liked being very creative because I never had the chance to do it at home” “ I started getting more confident’ “ how relaxing painting on canvas can be” “ from looking back to the beginning of the project, I can’t believe where we’ve come to” “ I now know where the Cornerhouse is” “ I didn’t know Central Library had a theatre before this project” “ I walked past the Urbis for the first time” “ I’ve learnt loads……..mentoring, art venues and companies in Manchester…..and how to paint onto canvas!”

Outcomes Working on the HUB4 project allowed us to pilot a development scheme for young people. In June 08 we would be in a position to implement a 12 month intensive development project for disabled people age 18 to 30. See Source Young Artists.

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3 of the participants on HUB4 ( SYA PILOT 1) would later apply for SYA 2 and subsequently go on to receive a tailor made intensive development program and an opportunity to gain silver arts award.

Hub4 managed and contributed financially to the scheme, giving FCA the flexibility to design and deliver a project that would fit into their remit, overall aims and objectives as well as complying to work we had set out to deliver.

It gave us the opportunity to experience delivery and assessment of arts award, the support involved and recognised how it may be attached to future projects. A positive relationship was forged between Full Circle Arts and Artswork/Hub4, and we have contributed to their evaluation on the national training initiative.

A large piece of art was created, in the style of a graffiti map of Manchester that lists the various art organisations the young people researched. It acts as an informative piece of art aswell as reinforces the idea of mentoring and progression in the arts. This piece of work was exhibited at the Zion Arts Centre during a Presentation on arts opportunities and approaches have been made to other arts organisation in the hope they will exhibit the piece.

For further info please refer to the comic and dvd that were produced by the young people to reflect their journey during this project.

Film at www.full-circle-arts.co.uk/ourwork.asp?id=83 Comic at www.full-circle-arts.co.uk/ourwork.asp?id=80 or available on Issuu.com

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Source Young Artists Description SYA is an intensive development service for young disabled people age 18 to 30, who have a keen interest and commitment in pursuing arts training, education and a career in the arts. In June 08 FCA, offered up to six places on the scheme. This would be the second year of a development service for 18 to 30 year olds and the first structured Source Young Artist Scheme.

Over twelve months the service would offer‌ PDP Ongoing review and reflection Regular group meetings Accredited and non accredited Training Development workshops Silver Arts Award Silver Arts Advisor and support Information about arts organisations/opportunities A project opportunity, where the SYA’s would design, manage and deliver their own arts project to other young people.

Mentoring Signposting and support to gain work experience opportunities Signposting and support to gain new and develop existing networks Exit reviews and ongoing PDP

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Activity chart Activity

Young person offered 5 Yes

Young Person Accessed 5 Yes

Pre service PDP

5 Yes

5 Yes

4-6 weekly Hub meetings

5 Yes

5 Yes

Accredited Training

5 Yes

5 Yes

Non accredited Training

5 Yes

5 Yes

Development Workshops

5 Yes

5 Yes

Intro to Silver Arts Award

5 Yes

5 Yes

Arts award advisor and support

5 Yes

5 Yes

Information

5 Yes

5 Yes

Opportunity to Design, manage and deliver an arts project

5 Yes

5 Yes

Intro session to the SYA

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Activity

Young person offered

Young Person Accessed

Mentoring

4 Yes

3 Yes

Work experience internal

5 Yes

5 Yes

Work experience external

3 Yes

3 Yes

Signposting to networks

5 Yes

5 Yes

Ongoing review and support

5 Yes

5 Yes

6 month review

5 Yes

5 Yes

Critique of work

5 Yes

5 Yes

Feedback

5 Yes

5 Yes

Follow up support groups

5 Yes

5 Yes

Exit PDP interview

5 Yes

expected Nov 2009

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Activity continued

Intro to SYA – June 08 Before the year of development activity began, FCA offered an information session inviting disabled 18 to 30 year olds together to provide information about what SYA would offer and what would be expected from applicants.

It was important for us to be clear about the level of work, training and commitment that would be expected as this would be an intensive year and would best suit those who had demonstrated commitment to past projects or mentoring and those who demonstrated self management around their own learning.

The information session provided us with the opportunity to speak with the group before they decided to apply, and answer any questions they may have.

We then invited those interested to apply to the service.

Pre PDP Service July 08 Late June FCA received 5 applications to the service and offered each young person a place on the scheme.

One to one PDP sessions were offered to each of the participants to identify a clear starting point. These sessions focused on the resources the young people already had, what they wanted to gain themselves and what they wanted to gain form the service as a group member.

During Pre-service PDP session, skills, experiences, barriers to learning and Training needs were identified along with networking and work experience preferences.

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This information benefited us when planning the year of activity, training and we were in a position to begin developing activity immediately.

Overall Goal To complete the 12 month development project and all activity offered.

Complete arts award and gain accreditation, after Project ends.

To develop my interest and skills in my own art form further.

We used scales from one to ten to determine how far away people were from reaching their goal Goal – average figure 1 We explored ideas for Network development, training, skill development and work experience that would encourage a progression towards reaching this goal.

People identified possible networks, training, work experience and skill development goals they would like to explore.

Again we used a scale from one to ten Networks – average figure 3 Training – average figure 2 Work experience – average figure 3 We listed current skills and discussed skills individual felt they would like to develop for the overall project and their individual arts progression Common skill development needs that were highlighted

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Communication, organisations, confidence, report writing and record keeping, facilitator skills, time keeping, critique.

Through discussion of skill development and training needs we were able to identify the training we would then provide during the year.

Common training needs Creative facilitation, project management, risk assessment, working with challenging behaviour, communication, critique, first aid, Marketing, promotion of self and work.

Skills, experience, networks, knowledge of each individual was shared in our first group meeting, and encouraged conversation around group members interests, it built confidence around the resources they already had as a group, and encouraged a forward thinking approach about who might be best to cover particular areas of work if they came up and who could share their skills in particular areas.

4 to 6 weekly hub meetings and Support groups.

From August 08 – To October 09 13 meetings 8 meetings - 100% attendance 5 meetings – 5 out of 6 attended Meetings covered Ongoing review and discussion Informal development workshops Arts award Support Unaccredited training Project discussion and Planning

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After six months, Kathryn and Vicki – SYA coordinators did not attend meetings and it was the SYA’s responsibility to plan, set agendas, book venue, record minutes.

Accredited Training January – Creative Facilitation February – Introduction to Youth Arts February – Working with Children and Young People March – Marketing Silver Arts Award – ongoing All training was offered to Full Circle Arts free of charge by Hub4/Artwork.

3 SYA’s achieved accreditation for all 4 courses 2 SYA’S received accreditation for 3 courses And one SYA received accreditation for 2 course All 5 SYA’s will be submitting their Silver Arts Award for accreditation in November 09 Non Accredited Training Risk Assessment - In House Communication - In House Project Management – In House How to Critique your work and the work of others – Tanya Rabee Afternoon discussion on Critique and promotion with a panel of 5 professional disabled artists 100% attendance at all sessions Development Workshops

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Practice workshops were arranged for the group to plan and deliver an hour workshop to their peers. Feedback reports were written for each member on areas for improvement and strengths.

A session on profiling yourself as an artists was delivered, each member then had to create their own profile page for the SYA part of the website Intro to Silver Arts Award A session was held introducing the silver arts award.

Arts Award Advice and Support This SYA saw everyone committing to the silver arts award, they all chose to take it the award and have committed to one to one arts advice meetings between Feb 09 and October 09.

All SYA’s are on track with their portfolios and we have set a deadline for November 1st to receive portfolios back, assess and arrange moderation.

We predict moderation will take place before December 2009.

Information Throughout the twelve months SYA’S received FCA newsletter, information about projects and arts activities in Manchester.

Opportunity to design, manage and deliver an arts project for other young people.

6 months into SYA and the project planning began.

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All SYA – played a role in the project management All SYA – Designed an 1 to 2 hour workshop that they would facilitate.

All SYA worked together as a team to come up with a group idea that would tie all their arts interests and experience together.

SYA – would share responsibility for Marketing, venue hire, budget, shopping for equipment, sign off sheets, publicity, project info file, risk assessment, evaluation, communication.

On August 12th and 14th, the SYA,s completed their task, put all their training and development into practice and achieved their goal by managing and taking a lead role in facilitating, AIM – Arts In Motion A project for young people in years 8 and 9 to come together and explore Photography – Facilitated by Damien Creative Writing – Facilitated by Paul Drama – Facilitated by Janet and Peter Dance – Facilitated by Helen The SYA’s described their arts project as an arts relay, the images that were captured during Photography would be handed over and inform the creative writing workshop where characters would begin to form, the writing that came out of Paul’s session would influence Character development in Peter and Janet session and the characters and stories that came form the previous three would inform Helen’s dance and a final performance that included all elements would complete the day.

All SYA’s committed to the delivery of this project, unfortunately on the second day, one of the SYA’s became unwell and the others had to cover her absence. They dealt with this challenge extremely well.

See further feedback on the project from the SYA’s themselves later in this document.

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Mentoring We said SYA’s would be matched during the year or after the year came to an end to secure follow up ongoing development and support.

As we matched 3 people during the year we saw it important for mentoring to support their individual development, Mentees found they had a great deal of meetings, one to one arts advice ongoing review and PDP, whilst they valued the mentoring process and did feel it was needed, they provided feedback that it would be more helpful after the process had come to an end. The other indication for this was that individuals were more focused on the development of the group project than their own individual arts related goals.

One more SYA was matched but unfortunately his Mentor could not commit.

One SYA was not provided with a mentor but received ongoing support from PDP and mentoring coordinator.

Our aim is for all 5 SYA’s to receive mentoring as a follow up service after the arts award comes to an end.

Work experience internal Internal work experience opportunities were created within Full Circle Arts.

These included 5 SYA’s running one hour workshops 2 SYA’s co facilitating on taster workshops for Remix 1 SYA taking part in a presentation in a school about FCA, project work and mentoring.

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Work Experience External.

3 people have gained work external work experience.

2 places have been offer through PANDA’s creative break scheme 1 SYA’s co facilitated with So Many Words theatre company on our Remix Summer project.

Again, we may have been ambitious to expect the SYA to gain work experience placement during the year and we hope to follow this up as an action point when we come to final PDP sessions in November Signposting to Networks and external organisations We continue to believe in people accessing mainstream arts opportunities, throughout the year we signposted and recommended SYA’s researched and explored external networks and opportunities.

We saw an increase in this in the last month as the project had come to an end and SYA’s had the time to follow up contact with schools, arts organisations etc…

Networks that have already been established PANDA DIY theatre company Individual Artists Zion Arts Centre Ongoing review and support Communication did not always seems a two way process throughout the year, SYA’s sometime did not respond to ongoing correspondence but always communicated when they needed something or wanted advice or support.

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Emails were sent every week to SYA’s.

Telephone contact on average once a week Meetings one to one – average every 6 weeks Group meeting – average once a month 6 month review After six months all SYA were invited to a mid PDP session, where we returned to where they had started from, reflected on the journey, achievements, thing’s learnt and forward planning.

6 months reviews have been recorded for all SYA participants Example of a 6 month review Full Circle Arts SYA – 6 month review December 2008 Name: Damien Hayward Art interest: Photography

July 08 – When we began 1

2

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Goal 10

December 08 – 6 months on 1

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Goal 10

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Full Circle Arts Agreed the following areas would be offered or supported during SYA July 08 to August 09

December 08 - After 6 months ‘I have accessed’

Initial service briefing meeting Pre service session (PDP) Ongoing support/review Mentoring SYA Meetings Training opportunities Networking Opportunities Work Experience opportunities Silver Arts Award Final Project opportunity Evaluation

Initial service briefing meeting Pre service session ( PDP) Ongoing support/review 5 SYA Meetings – Skill/network/experience/ ideas share Training during SYA meetings.

Workshop on ‘ an artists profile’ ‘How to Critique your work and the work of others’ ‘Project Management’ Networking opportunities During SYA meetings (peers and individual artists) Opportunities signposted via email/ newsletter

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Ways Forward for FCA – Profile to be posted on FCA Website and newsletter requesting a mentor, look for match in Feb 09. Plan for next 6 months of SYA meetings, Accredited training to be offered in January 09 to March 09. Further training dates to be arranged, Meet with Arts advisor to begin work on Silver Arts Award Jan/ Feb and onwards. Workshop delivery experience during SYA hub session January 09, Continue to signpost Networking opps, ongoing support and review to continue over the next 6 months, Project to be delivered June/July 09, Ongoing evaluation + plan for end of project report Work Experience – SYA AND Individual PDP PLAN: Goal Specific: To research and gain at least 2 work experience opportunities outside FCA. July 08 – When we began 1

2

3

5

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6

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Goal 10

December 2008 – 6 months on 1

2

3

4.5

5

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Goal 10

July 08: Work experience preferences – What I wanted

December 08: Actions

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Photography Experience in facilitating arts/photography workshops Shadowing photography workshops, photographers, digital media.

Continued work experience with Spearfish (admin role) good opportunity for networking and links to further opportunities.

Created Artist Profile and sent out to various photography studios requesting work experience/shadowing opportunities.

- Will design and deliver a one hour workshop within the SYA scheme January 09.

- Will continue dedicating time to research and networking to encourage work experience opportunities.

- Contact organisation with updated Artist Profile and CV

Networks – SYA AND Individual PDP PLAN: Goal Specific: Increase Arts Networks July 08 – When we began 1

2

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Goal 10

5

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Goal 10

December 2008 – 6 months on 1

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July 08: Networks I’d like to December 08: Actions explore – What I wanted

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Artists Online photography Networks Research Arts and Photography organisations

Have researched a variety of arts organisations and opportunities at…

Further research and contact

BBC Contact Theatre (signed up Digital Media for newsletter) Universities Red Eye (further research Media Trust on internet) Photography studios Warehouse Project SMG, (sent letter and artist Profile) Hive Individual Artists (email contact)

Training – SYA AND Individual PDP PLAN: Goal Specific: Access training appropriate to SYA project and individual SYA PDP Plan July 08 – When we began

1

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December 2008 – Six months on 1

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July 08: Training requirements What I wanted Mentor Training Workshop Management/ design Workshop facilitation Promotion/Marketing English ( written skills/ recording information) Communication Presentation Photoshop

December 08: Actions

December 08: Way forward

Accessed training in…..

Research independent training opportunities that could “How to Critique your work encourage development in and the work of others” non Photography/media accredited Access all training provided “Building an Artist Profile” by FCA and HUB4 artswork non accredited workshop in the next 6 months session ‘Project Management’ non accredited

Quick Questions Have you enjoyed the SYA experience so far? Yes What have you enjoyed the most? SYA meetings, learning different things that will help with the final project, It’s been friendly and supportive, The session on Critique.

What hasn’t been so good or what could be improved? Nothing really, I can’t think of anything.

How relevant do you think the sessions have been to the overall project aims and objectives? (consider all areas of work: initial briefing, pre-service session (PDP) sharing of experience/networks/skills etc../profiling, critique, project management, social) Always Relevant

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If not always relevant, can you explain why a particular session was not a benefit to you or SYA scheme?

Has the SYA project inspired you so far? Yes Do you feel this development opportunity has supported you to learn more? Yes, I’ve learnt a lot Do you feel this development opportunity has suited your learning style and preferences? Yes Do you feel more responsible for your own professional development? Yes Can you provide any examples of this? I’m researching all the time, I feel more confident in talking to people about my goals and my work, I feel more organised and I keep a diary and I’m slowly getting better at recording information.

Have you learnt new skills or developed existing ones? Yes Please feel free to reflect on your skill development in the box provided Skills Organisation Self Awareness Planning and Preparation My own photography skills have improved because I’ve learnt about critique, using the dark room and my camera more often.

Communication has improved, I feel more confident with contact organisations and individuals on the telephone and via email.

I feel more confident when talking about my work Recording information Time management

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Has your knowledge of the arts increased since SYA ? Yes Can you provide examples? I know more about photography equipment, arts organisations and artists.

During your pre-service session (PDP) You described barriers to your learning and things that can sometimes hold you back, have barriers presented themselves during SYA? Not really Have you felt supported? Yes Where are you now – On my way and confident about the next six months, my confidence has increased, I feel more focused, more skilled, developing networks by constantly researching and raising my awareness of new organisations. I have had training in Critique and Project Management. I have built an artist profile and updated my CV. I have made contact about work experience opportunities and hope to gain work experience in the next 6 months. I’ starting to see University as a reality and something I might consider in a few years time.

What are you most looking forward to – At the moment I’m most looking forward to the next session where I can gain the experience of facilitating an hour workshop to the group. It will definitely be a good experience

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Next Steps: Plan for my one hour workshop.

Get Profile on the website and on FCA newsletter Get matched with a Mentor Research training opportunities that will support my own area of artist development (possible photoshop/web design) Attend up and coming training sessions Develop my skills further Take down more notes during sessions and record more learning in my log book.

Begin to look at Silver arts award after SYA workshop.

Look at my action points under training/networking and work experience

Peer Critique and Feedback As well as being offered a one day workshop on How to Critique your work and the work of others, we encouraged ongoing critique throughout the process of SYA. As the year progressed we saw an increase in confidence around peer critique and constructive feedback of one another.

The group often contacted one another to ask for advice about the ways in which they were approaching work.

After the workshop practice sessions, we help a group critique and feedback session, where participants commented on the delivery of the workshops, highlighting things that worked well and possible areas for improvement.

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The PDP coordinator also offered a report on each members of the group practice workshop.

Ongoing feedback was offered throughout the year, on all aspects of SYA work.

Follow up support groups After the project came to an end, we were keen to offer ongoing support and the opportunity for the group to meet to, reflect on the project their learning, begin the evaluation process and the continuation of the arts award.

Two meetings took place in September one for arts award and another for reflection of the 2 day project they ran.

example of project questionnaire:Notes from workshop reflection meeting 22nd September.

Prior to the project how did you feel?

Stress, Anxiety, worry, felt prepared on the morning but felt as a group we could have organised our project planning better to have achieved certain goals on time.

Overall feelings about the project – Went well, received mainly positive feedback from participants (which we have put in our project evaluation) the 2 day project plans helped with unforeseen circumstances as we were aware what needed to be delivered, when and how, we could have all designed and shared an individual workshop plan that noted specific aims for each workshop, communication hadn’t been great through the months but we came together over the project days better than previously, it would have been useful to have planned for a time for group relaxation or energy and confidence building warm up before we went live so to speak. Could have managed stress better, a note about the entire process that would have helped organisation and planning is to better design agendas set specific goals throughout the months.

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strong sense of teamwork, trust, loyalty, friendship, achievement, we delivered what we set out to, punctual/commitment, good set up because of the plans that had been created we knew what, where and when….

Overall aims and objective of the project were achieved,

Challenges we faced as a group Respect of participants to facilitators and others in the group Dealing with negative behavior, and having the confidence and being assertive enough to deal with it.

Time management – pre project planning and communication Breaking of rules that were set Illness on the day Communication with one another about what their workshop would involve and what role you expected others to play.

Group control of young people, especially throughout the building at break times.

Things that could have helped/Improvements. Or attempts made to overcome challenges.

Improved planning, and ongoing communication and constant checking.

Using the tool that were given to us throughout – ( action plans, time lines ) notes on training, and ongoing reflection of how I am using what I have learnt and how I am demonstrating that.

Being clear about roles and responsibilities and what support you wanted from others.

More mock workshops practices.

Less interruption.

Preparation for working with an inclusive group and the challenges that might present.

Assertiveness and confidence to control negative behavior.

Clear and solid boundaries (if it’s a rule and you believe in the rule, don’t even get into negotiation, when the rule has already been stated ) Create a code of conduct of policy of behavior, and action to take when rules have been broken.

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Providing one to one support where and when required Time to state ground rules at the beginning Time to talk as a team when challenges arouse to agree a solution Appoint a lead in behavior control Utilize training more, when situation arouse, make constant reflection on what we had learnt through training and demonstrate it through actions during workshops.

Main things learnt through the project Self awareness, awareness of others and a better insight into the creative facilitation and project management.

The importance of Team work Communication Knowledge of other art forms and activities involved Finding solutions How to spot challenges before they escalate.

Planning workshops, setting aims and objectives Engaging participant An improved awareness of how far away we are from becoming an arts professional.

Evidence of training being put into practice by the group during the delivery and planning stages.

Child protection – Information confidentiality, image consent forms, we had CRB checks, Parental Consent, Project Management – Brainstorming ( planning ) Setting agendas Sign off sheets Budgeting Communication Full Circle Arts

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Solution Circle Solution focused communication Questioning Listening Use of non verbal communication Observation Reflective communication How to Critique you work and the work of others Ongoing reflection of what we were doing and how it could be improved, stretched Risk assessment- and implementation of health and safety

Flip chart pages showing Solution Circle

Completed a risk assessment Used prevention of risk during set up Signage Awareness of space and others.

Equipment checks and safety instructions Marketing – Posters Letters & Mail outs Visiting venues First Aid Creative FacilitationEngaging Participants Learning styles Planning activity Timing

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Arts award meetings will continue to take place throughout October before the deadline for submission.

An arts event will be attended on October 27th as part of the Arts Award and to celebrate the end of the SYA scheme.

Exit and Final PDP meeting After Arts Awards are submitted, all SYA’s will be offered a one to one PDP session in November/December 2009 this will mark the end of the SYA scheme.

These session will contribute to a final indepth evaluation of the entire process.

It will provide the opportunity for SYA’s to reflect on the entire process, looking at where they began, areas they wanted to develop, achievements and consider a way forward for their professional Development.

Total Time for SYAOne month prep and Pre- service 12 months development activity + delivery of project 3-4 months continuation of arts award, final PDP and evaluation.

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The Source Young Artists in a meeting sat around table and looking at flip chart

The Source Young Artists Own Words My name is Janet Charlesworth. My art form is drama. Before taking part in the Source: Young Artists project, I had done some workshop facilitation, but not much. I was studying performing arts at college and wanted to take part in the SYA project as I saw it as a challenge and I wanted to gain more experience.

When I met with the other young people, we discussed ideas of what we wanted to do as part of the project. It was eventually decided that the final product would consist of 5 individual workshops of photography, creative writing, drama and dance. These would be run over 2 days, and would be run for up to 30 young people between the ages of 11 and 14 years.

In order to run the project, we had to have project management training for the project to be successful. We also had training courses in child protection, risk assessment and creative facilitation along with other courses, which gave us the ability to effectively run workshops.

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I am Paul Robert McDowell and before doing the SYA project I was mainly writing poetry and other writings (such as a script and a fantasy story).

My interests before (and after) the SYA project are reading, writing, (console) gaming, performing live poetry, wanting to run a workshop and to publish a book of poetry, one of my scripts or the fantasy story.

To facilitate my own workshop I needed training and the training I needed was part of the SYA project and I had no prior knowledge of how to plan a project/workshop either. So doing the SYA project enabled me to learn the skills I didn’t have and increase my knowledge of how to plan a project/workshop.

I attended meetings (Hubs) where we learned the basics and did exercises to prepare ourselves for the training and later meetings where we would plan the project.

Over the course of the training sessions I received training in working with youths in the arts, project planning & management, budget management and child (and data) protection.

I learned key information in each session such as:

How to control young people in an awkward situation (e.g. inappropriate attitudes and advances) The parts that make up a project

Mistakes (or problems) that could happen when planning a project (e.g. a divide of ideas which causes conflict and therefore teamwork skills) We did a problem solving circle (Solution Circle) to look at our group communication.

How a budget should be managed (and how an invoice should be done)

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Risks of not having consent forms and what not to do when working with minors (e.g. giving out personal contact details they could contact you on outside of a project)

The training was necessary and I know it will help me plan and develop other projects/ workshops if I chose to do so.

During the training sessions we were set tasks and I learned some good ways of improving rapport with a group and although I could not think of how to include them into my workshop for this project in the future their skills could be useful.

As well as training and project planning meetings we also did practice workshops so we could try out our individual workshop plans and improve any parts that needed improving or altering.

I think the practice workshops helped to fine tune the plans, help people spot flaws in their ideas or tasks and also helped increase confidence, presentation and facilitation.

During my practice workshop it became apparent that at times I was unclear giving instructions and had a tendency to turn my back to the group to write down an instruction or idea I had mentioned to them and I didn‘t give much support during tasks.

Those were things I focused on improving and I practiced during project planning meetings by scribing notes, by time we delivered the workshops (end project) I did not have any of those problems.

I learned that I can let nerves and stress get the better of me, I could work best by including some physical tasks when doing a workshop and that I am capable of planning, promoting and delivering a project.

I am Helen Bridge before the SYA project my main interests were dancing, helping others, art and crafts going to dance events theatre productions and I wanted to improve my confidence and communication skills. I also wanted to know about working Full Circle Arts

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with children and vulnerable adults. I felt that the SYA project would help me explore all possibilities open to me.

I knew the project was going to involve an intense training scheme and I would not have much time when I wasn’t thinking about the training and what training would be next. The first training session was Basic project management facilitated by Kathryn Braithwaite this is where I got my first taste for the six thinking hats method and brainstorming and project mapping. This was going to be an extremely important workshop as we learned about sign-off sheets, aims, objectives etc there were some fantastic words given to us that would help during the entire workshop process:

We then did some training that introduced us to youth work and went into child safety I did some first aid, we did some communication training which we need to improve on still. But the Solution Circle really helped us. One of the most important training sessions we did was risk assessment/management.

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All of the training was useful there were some that I felt were more useful than others but the first aid risk assessment and child safety and of course project management were the most important in my opinion and were used a lot during all our workshop process. I would tried to show how I was enjoying everything and how passionate I was about taking part in such a fantastic project.

We didn’t really do a lot of practice workshops but the one we did helped me greatly. I thought that I would be better at project delivery than I was and was absolutely devastated at the time, but the feedback I received from my peers was very constructive. It was here where I realised that we had done some training on how to critique your own work and how to critique others work as well. I realised that I was very harsh when critiquing my own work, but was extremely constructive when critiquing others work. I had to learn how to be more constructive with myself. Using the feedback I got from my peers and project facilitators I knew where I needed to improve and I needed to work on these areas to deliver my part of the main project.

I learned a lot about myself during the entire project I learned that I was quite a selfish person and I kept thinking that my ideas would make the workshop days a success I was willing to listen to others ideas, but when it came to utilising others ideas I didn’t see how we could use them and really didn’t want to try. However as time went on I realised this was going to have to be a group effort to make the whole thing a success., At the beginning working with others was a problem I just wanted to have debates about the whole process finding problems where there weren’t any. Communication between us was a huge problem. We didn’t keep each other updated as regularly as we should and in the end everything became a panic and stressful. Challenges were faced at many stages but the main challenge was communication or lack of it between us. This in turn caused stress anxiety and argument. We should have been more organised and all these challenges would have been much easier to cope with.

I valued the whole opportunity greatly it was a fantastic experience and I would like to do something like this again in the future as part of my personal and professional Full Circle Arts

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development. Doing this project has made me realise that there are many more opportunities available to me in the path I would like to follow. The next stage in my plan is to look into Jabadao and see if I can get some work experience on one of their schemes. This in turn would help me feel more confident in pursuing my main goal of being a dance movement therapist.

My name is Peter Pamphlet I joined the Source Young Artists because I want to lead my own drama and become a drama workshop leader and I had the chance to do just that on the 12th and 14th of August 2009. Because I made a 2 day project with the other SYA’s We called the project AIM which stands for arts in motion Manchester and in the future I would like to do more drama in workshops and projects, which I have started with So Many Word Theatre Company. I am writing the notes and ideas for Jamie Patterson because I need to write every thing down to do with drama and to be more assertive with myself while it is fresh in my head.

My name is Damien Hayward I feel proud to be part of the SYA project for the last 18 months. It has been a test of my mental, physical and emotional limits. There have been times of anger, frustration and tears. However, I have come out at the end feeling more confident in myself and my own artwork. I am trying new things, my passion for my own artwork has rocketed and I am more willing to meet new people.

The training and the whole experience of being on this project has given me such a boost, and I am now looking to do another type of project again.

I would like to add the fact that yes, there were some communication and workload problems with some members of the group from time to time. It doesn’t hinder me from working with any aspect of working with any of the people again. I now know what to look for and stop any problems dead, so that I don’t allow them to roll on again.

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Source:it spreading to where our users are

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Source:it Source:it is the information and support hub providing personal contact for artists and arts companies. Source:it also incorporates our web site which was completely redesigned and is now updated daily with an extensive employment and training opportunities section, a ‘what’s on’ guide, a database of accessible venues, news and information, funding opportunities, and a variety of other relevant information for disabled artists and arts companies interested in inclusion, access or working with disabled artists.

Through this funding we have provided 3 completely new sections to the website: development toolkits for artists (toolkits) a guide to local arts groups and participatory arts in the North West (workshops) new artists portfolio and database section (artists) And a new newsletter - Source:it

Background A consultant was employed to interview artists on what they would find useful content on the web site, and how we should position the web-site and how they positioned themselves and their work.

Disabled artists and emerging practitioners were asked how they would like to see our website positioned.

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Would you like to see a website which was Disability Arts branded Yes 5% No 89% Not sure 6% Would you like to see a website which positioned itself as an arts development and information site.

Yes 89% No 5% Not Sure 6% We asked artists where they positioned themselves or their work Do you regard your artistic practice to be informed by your impairment or experience of disability Yes 12% Not sure 6% Sometimes 5% No 77% Do you choose to identify yourself or your work with the Disability Arts Movement Yes 9% No 82% No answer given 9% A range of opinions were given in seeking comments on why or why not people would choose to identify with disability arts “Disability isn’t my focus, being an artist is my focus. Unfortunately ‘disability’ seems to be the place I seem stuck as far as the arts world is concerned”.

“Yes, its part of who I am, I’m proud of who I am and the disability arts movement celebrates this” Full Circle Arts

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“I’ve been to a few disability arts events, but it seems to a bit of a clique circuit with the same old faces both on stage and in the audience”.

“Compared with other arts events I have performed at the audiences are always small and usually other disabled people, I want my work to be seen and critiqued alongside my non disabled contemporaries, I’m interested in developing my art-form not disability thinking so I don’t really like to associate with the disability arts scene now, its too easy to be pigeon holed”.

“No, I may be disabled but I’m lots of other things too, I choose to be me an artist with a wide range of influences, wherever that takes me”

When we asked what sort of information or sections artists would be interested in, these were the results. (35 respondents) Would you like to see a section on

YES

A jobs section

34

Training opportunities section

28

Accessible Venues guide

18

What’s on

26

Career advice/toolkits

32

Artists database/showcase

29

Arts Workshops guide

16

Information on FCA’s work

27

News or a newsletter

32

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In the focus group we asked how likely artists would be to showcase their work via a Full Circle Arts website The overwhelming opinion was that they would be very interested providing there was some sort of quality assurance and there would be a clear distinction between professional artists and emerging artists. Artists would be eager to showcase their work or advertise their services if the site wasn’t seen as just a disability arts site and potential employers would see them in the context of other professional artists.

Artists section The artists section of our website and Source:it our newsletter have been crucial to the success of Source artists To establish the new artists database and portfolio / showcase section we employed a freelance worker who: Mapped professional disabled artists currently practising Marketed the opportunity to disabled artists Co-ordinated and serviced a selection panel, including equal opportunities policy and practice for entry on the web site We now have 37artists on the web site within a searchable database each artist has their own page outlining their experience, a CV and additional web pages to promote and showcase their work.They also have a link to their own web site. Promoting a different artist each month on the website homepage as well as in the newsletter has proved to be very beneficial for the artists, giving them the opportunity to showcase their work to a wider audience. The website now has over 6,100 unique visitors each month and Source:it our fortnightly newsletter, has a circulation of over 620.

In addition we have provided one to one advice and development signposting to artists who were/are not yet ready for the professional database / portfolio / showcase.

All regional training opportunities are now emailed directly to artists on the site as well as receiving our newsletter. They have the opportunity to identify their own training Full Circle Arts

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needs with tools developed by FCA. This is then supplemented with one to one Professional Development Planning.

Source:artists provides a high quality resource for the professional development, employment and marketing of professional disabled artists and their work.

Artist’s featured on the site have been contacted to produce commissions, lead workshops and to take part in projects all over the UK. Signposting artists to training or relevant opportunities and keeping them up to date with what’s available for them to utilise is invaluable for the artists. (see outcomes below) Toolkits A consultant was employed to research and write downloadable artist development toolkits The following toolkits can now be downloaded directly from the website Benefits and barriers Writing your CV Developing your presentation Skills Presentation Techniques Why should I have a contract What should be in my contract Funding do’s and don’ts Designing a fundable project Funding bid structure Personal selling points Funding source list These are placed alongside a page of useful contacts, a page outlining our Professional Development Planning services and the strangely very popular creative procrastination page.

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Workshops We employed a freelance worker to research, map and collate a comprehensive list of all accessible local arts groups and participatory arts in the North West. These have been added to our new database, which is has been active on-line since January 2007.

Currently we have 40 accessible arts workshops in the North West available on-line from local dance or music groups to photography or new media workshops and hack days.

Our Newsletter During this programme our newsletter has gone from a circulation of around 180 to now over 600 individuals and organisations. “Oh I always look out for your newsletter, its so easy to read and very useful, I can just cut and paste all the relevant stuff to my colleagues and other organisations in the borough� Debbie Cowley - Arts & Cultural Manager Trafford MBC. Outcomes to date we have developed and maintained a dynamic online resource of professional artists and practitioners we have designed and put on-line a new web site which is accessible and user friendly to both arts employers and artists wishing to join we have a facility for each artist to have their own web page within the site to showcase their work we have developed partnerships with external agencies to gain accurate professional advice for artists (see below) we have developed a library of resources and information that is available (with quiet study and work space for any visiting artist or young person who wishes to use it). had 2 large scale and 3 small scale training opportunities for artists 11 artists have/or have had mentors 79 external arts work opportunities (minimum 6 days work) gained for our artists directly from our services.

3 artists have had solo exhibitions in Manchester and London Full Circle Arts

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we have held 2 artists days (Manchester Museum and Bridgewater Hall) with guest speakers including international representation.

23 artists have attended [mainstream] professional development courses as a direct link of partnerships formed between FCA and external organisations The new sections to our website saw an initial jump of 50% in unique visitors to the website, with an annual growth rate now of 20% In addition to the services above in the last 12 months we have increased our web presence, we now have our work on a host of social media sites and channels to open up a conversation with our users and audiences.

We have a blog on Wordpress which allowed young artists to post up their work, comments and reflections live as it was done during Remix our disabled young people’s summer project. As well as a live audience to their showcase, over 500 people a day visited the site to watch their animations, look at their photographs or listen to their feedback. http://fullcircleartsblog.wordpress.com We have been on Twitter since late March 09 with now over 600 followers. We also use twitter for feedback by setting up hashtags for feedback at our events.

We connect with our users through Facebook (1,361 friends) Our films can be seen on our You Tube channel Photographs on our Flickr pages Our reports and published material is available on our Issuu on-line ‘bookshelf ’ We share our interesting sites and information with our users via delicous We have Ning and a Crowdvine group networking sites set up for groups and conferences (see Never Dive Alone).

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Our conference, dissemination, collaboration & partnership day

Never Dive Alone Full Circle Arts

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Background All the work, described in this evaluation is built on inclusion which is dependent on collaboration. Never Dive Alone was about inclusion and collaboration All our work is guided by the following principles: Inclusion is non-negotiable and “ALL MEANS ALL” – we don’t do “Tips for Inclusion” events. We are not interested in passing on techniques without also making explicit the values that need to underpin them. Anything else is just unsafe and risks becoming another thing we ‘do to’ young and disabled people Building Relationships lies at the heart of developing inclusive practice, all of our events, training, conferences or programmes are about encouraging connection especially in difficult situations – those where imaginative responses are needed Inclusion is more than one person’s work – strong and effective teams, or colaborations with a shared vision are key to delivering new ways of working and they know that “Together We’re Better” We want people who attend our events to leave with some immediate changes to their practice in mind. Not just ‘good intentions’. It’s the little things (and enough of them) we do differently tomorrow that will make a difference.

We want people to leave with their eye on the ‘Long View’ – with a stronger sense of what they would love to see happening in their work in 10 or 20 years time

Pictures of presenters, palantypists, BSL intrepreters and the presentations at Never Dive Alone Full Circle Arts

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Never Dive Alone Aims & Objectives Aims To move the arts agenda from access to inclusion To profile FCA’s work in Mentoring, PDP and Source Young Artists To form new partnerships for collaborative working To open debate around new thinking on collaboration, openness, personalisation and participation in relation to inclusion Objectives To move the arts agenda from access to inclusion Participants have a concept of what inclusion means Participants have explored methods to achieve inclusive practice Participants understand the limitations of ‘access’ for extending their organisations reach and engagement Participants leave the day with some immediate changes to their practice in mind (however small) To profile FCA’s work in Mentoring, PDP and Source Young Artists Participants have a clear understanding of FCA’s work in mentoring, PDP and Source Young Artists Participants have used some of the tools/methodologies FCA uses for inclusive work with young people, Mentoring, and PDP Participants have seen examples of FCA’s work To Form new partnerships for collaborative working A minimum of two ‘Mainstream’ organisations will have begun to work in partnership and be discussing /planning collaborative projects/work by August 2009 Participants will have an understanding of how FCA can work with them to help achieve their goals for inclusive practice Participants will have an understanding of how FCA can work with them to help extend their reach and engagement with disabled people Full Circle Arts

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To open debate around new thinking on collaboration, openness, personalisation and participation in relation to inclusion Participants understand that inclusive practice has collaboration at its heart Participants are aware of the opportunities and benefits of using inclusive practice in participative work Participants will have explored how the guiding principles of inclusion can become synonymous with personalisation Participants have discussed what collaborative practice and open source ways of working mean for the arts and art organisations Participants are using our CrowdVine site, e-mail, or our social media pages to contribute to, and continue, the debate

Our Goblin Market - a stall exchanging sweets for feedback

Full Circle Arts

Source2 Evaluation 90

Never Dive alone was the title of our event, which took place on 11 June 2009 at Bridgewater Hall.

The event was designed intentionally as a coming together of present and future working partners, artists and disabled people, interested in a dialogue or conversations around inclusion in the arts.

There were opportunities for delegates to reflect on their learning, and space for them to consider the implications of four short presentations.

Delegates experienced firsthand some of the tools and approaches coming to the fore as mechanisms for transformative conversations. We drew on different techniques used and tested with inclusive education, such as all participants taking part in Solution Circles. Drawing, making notes and sharing ideas on the table cloths. Because the issues were paradoxically complex yet simple, the afternoon was in the shape of an Open Space event where participants set the agenda and actively decided where they could be most useful and most nourished.

For too long inclusion, diversity, reach and engagement have been seen as a ‘bolt on‘ to artistic practice and the main work of arts organisations. Perhaps the new landscape could help us appreciate them as core values, without which we cannot deliver quality or equality.

Full Circle Arts

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We looked at the value of collaboration, openness, participation and personalisation for inclusion.

The event gave us the opportunity to roll our sleeves up and actively engage with these issues. Working with tried and tested structures, we explored with others how we all might move forward.

The morning looked at; experience of inclusion from an organisational and an individual perspective, Full Circle Arts’ perpetual beta model of striving for inclusive participation, some of our successes and failures and some of our fears and dreams. As well as examining inclusion Vicki McCorkell presenting Full Circle Arts Dream, and ways in which we need to collaborate done via an organisational PDP to be effective, our Mentoring and PDP coordinator gave a presentation in the form of a PDP of Full Circle Arts, which allowed delegates to see our dreams, aspirations and work towards inclusion where they could connect and collaborate with us.

Before the event Full Circle Arts set up a Crowdvine site so that participants and those who were unable to come on the day could network with each other learn more about inclusion and Open Space events and post up comments, questions or start disscussions. There were 23 members of the network and 56 participants on the day.

A full transcript of the presentations is available to read from http://www.full-circle-arts.co.uk/ourwork Below is a small section from Michele Taylors speech around inclusion as it gives a good sense of what we are trying to achieve in looking at organisational shift for inclusion.

Full Circle Arts

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“One of my perspectives is that you can take a functional approach to inclusion. That it can be a state, something that you kind of aim to do. I think that can go on a kind of spectrum. At one level you can simply remove the guard dog and the keep out sign to allow Michele Taylor with microphone starting the Open Space event people in. It's not proactive but it's perhaps a first step on the journey. You could go a bit further and you can put up a welcome sign. You can a go a bit further still and you could actually invite me. You can consult me about what it is I might want to come to at all. You might employ me. That would be nice. And then you might show my work. Yes, all of those things are ingredients to inclusion I think. From my perspective all of those things will contribute to my feeling included. However, there is a problem. Because generally if you take that kind of functional approach, what you require is to know what labels I am wearing. Are you inviting me today as a disabled person? Are you inviting me as a woman? Are you inviting me today as a mother? Are you inviting me today as a gay woman? What label is it that you require me to wear today so that you can know you are including me? Do you see what I mean? It’s like the emphasis on still on how I'm different from everybody else you want in there.

Where am I? You see I think there was time when I was on the outside looking in with my nose pressed against the glass. It would be really nice to be in there. I would really like to know what goes on. Most of the time to be fair I do not think I am on the outside looking in any more. I think I'm on the inside looking on. This comes back to something that Chris was talking about. But I do not think I'm on the outside looking in most of the time, I think I'm on the inside looking on. I'm still not really included.

Because I want to be in the very thick of it. I do not think I can be in the very thick of it if you do not shift your perspective, and I mean you globally because I'm ambitious. I'm Full Circle Arts

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not targeting any particular organisation. If you do not shift your perspective from looking at my labels to looking at your organisations. I was thinking about the inclusive organisation. I came up with words - it seems to be a bit of a theme that we're thinking about, odds words. Assumptions. Expectations. Parameters. Boxes. Protection.

Flourishing. Reflection. Connection. Personalisation. Stares. Choice. Expression. Just some of the words that came into my mind when I think about an inclusive organisation because obviously when I think about an inclusive organisation I'm contrasting it with an organisation I do not experience as inclusive. But for me inclusion is not a state. It is not a goal. It is not a target. It may not even be something that can easily be evidenced. It is a process. I think that an organisation, a team, a department, a project, an event that is seeking to be inclusive needs to recognise where it is on that journey and engage with the journey. I think it needs passion. I think that the most fundamental ingredient is passion and commitment. If you have got passion and you have got commitment and some sense of where you might be on that journey then, yes, maybe some of those steps I talked about before, inviting me, consulting me, employing me, showing my work those are important. As long as they are in the context of passion and recognising that inclusion is a journey.�

Some of the participants at the opening circle of the Open Space event in the Afternoon Full Circle Arts

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Drawing on the tablecloths, we have 10 huge paper tablecloths full of ideas, thoughts and doodles that people shared on the day

Participants sharing a joke during the opening circle of the Open Space session Full Circle Arts

Source2 Evaluation 95

2 of the e-mails we received the following day “I just wanted to get in touch to say how impressed I was with the event yesterday. It's not often that such a wonderful opportunity comes along and I think you really pulled off something special. It was partly to do with the glorious Bridgewater venue, gorgeous food and professional air of the day. And also your style of presentation, use of technology and choice of group exercises were really interesting, new to me and very refreshing.

But more so it was because you are a group of people who obviously believe in the power of your practice. I mentioned at the end that the opportunity to share is a wonderful stimulus for me. While the day brought up lots of unanswered questions, I left the building with a strange sense of clarity, ambition and inspiration. So I just wanted to thank you all for giving a platform to some really important themes, facilitating a space where I could network and learn from others, and for raising the bar for inclusion and disability arts.

I and the members of So Many Words are very grateful for the valid work your company continues to produce”.

Jamie Patterson - Artistic Director, So Many Words Theatre Company “I wanted to say that, all in all, I found the morning inspirational! (And this from someone who’s been to far too many conferences and therefore is often too cynical for his own good).

It was fantastic to hear you spell out how important the web is (and will be) in terms of access to an organisation – totally in tune with the direction I’m keen we take, but provided plenty of food for thought. Watch this space!”

Jonathan Harper - Marketing Director The Lowry

Full Circle Arts

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Feedback from the Goblin Market

1, write down three words that describe the day generated interest curiosity inquisitiveness • encouraging interesting thought-provoking • together we do better • idea development consultation space/reflection • shared experience inspirational informative • stimulating warm inspiring • informative learning new • sharing new professional • interesting thought-provoking challenging • involving engaging fun interesting • excellent nice/lunch • There are no hard to reach audiences, just hard to reach arts organisations • Interaction ideas informal • Inspiring interesting enlightening fun 8 open creative free • networking thought provoking knowledge • Inspirational spiritual great • inclusive supportive friendly • inspirational interactive informative •informative challenging provocative • genius networky cool • inspiring invigorating interesting • inspiring creative friendly • milk seabass moe • people fun sweets • friendly • interesting informative FUN! • Its all great • The sweeties were good • some exciting sessions • a great chance to network • lovely people lovely day and lovely food

Full Circle Arts

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2, have you met any useful people that you will keep in contact with Yes new friends with same goals Yes Yes with artists and organizations working in the sector Yes clarity of ideas to new connections e-mail addresses, food for thought, met old friends again new connections, artists possible work together on future projects, organizations possible collaborations Yes I have met new people from different regions and got some great ideas Yes, new contacts Yes thanks and new info Start of a collaboration already, yeah Definitely, interesting people excited about inclusion 3, is there anything we could have done better Bridgewater Hall disabled parking is crap Warmer please More coffee Coffee on tap A delegate list A tech session 4, is there anything from the day you will take away and use Use solution circle X 3 Try an adaptation of solution circle exercise Twitter and think about collaborative approach Feedback to colleagues and discuss our accessibility further Visit the Never Dive Alone Website and learn more about PDP Grab Chris and get her to help with my career development and have a chin wag about what FCA do since I really care about what they do There are no hard to reach audiences, just hard to reach arts organisations Follow up contacts Write my own action plan Apply for ACE funding Full Circle Arts

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Learnt about the massive benefits and some limitations of new media Hopefully will now get an exhibition in Oldham Going to do a PDP X4 Follow up some ideas for collaboration X 3 Follow up work around inclusion X 2 Some feedback from Twitter ContactMcr Had a great time at Never Dive Alone #neverda yesterday. Thank you! @chrissyhammond @full_circle_art iamhelenharrop really inspiring and fun day in MCR at #neverda .. looking forward to catching up with folks again @shifthappens sc_r #neverda - wrapping up a great day here at the conference - really enjoyed the open space event, thanks to @full_circle_art people! kate_butler had an extremely inspiring, informative and entertaining day at 'never dive alone'. http://bit.ly/Li2p7 #neverda MarisaDraper Great day at #neverda event. Great presentations, discussions and old school sweets. You can't beat space dust. :) You can read our full Twitter stream on the event at http://www.full-circle-arts.co.uk/ourwork

Full Circle Arts

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Model of a rabbit made for animation workshops

Full Circle Art’s ran the following participatory arts projects during Source 2 - which act as gateways to Source 2 provision Full Cirque - Circus Skills 13 young Deaf and disabled participants 12 sessions 3 disabled artists 2 non-disabled artists 1 young disabled person work shadowing 1 young disabled person taken on as volunteer at skylight Circus Look 07 - photography 10 young disabled participants 2 disabled artists 2 non disabled artists 26 sessions I exhibition (Manchester City Art Gallery) Est - audience 600

Full Circle Arts

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Quip (part 1 and 2) project working with disabled Gay, Lesbian, Bi and Transgender people in Manchester’s Gay Village.

23 disabled LGBT participants 4 disabled artists 2 non-disabled LGBT artists 1 disabled apprentice 22 sessions Passing Down - Creative writing 11 disabled participants 2 disabled artists 12 sessions 1 event (MOSI) 24 audience Oakwood High School - Dance, visual arts and drama 37 young disabled participants 3 disabled artists 3 young disabled people work shadowing 18 sessions Round The Piano 6 young disabled participants 1 artist 12 sessions 1 performance Audience 52 Remix Outreach - various artforms venues around Greater Manchester Skylight, Jigsaw, Oldham Link, Newbridge learning Centre, Earz 4 Kidz, Bolton Octagon, Rumworth School 70 young disabled participants 2 disabled artists 1 young disabled artist work shadowing Full Circle Arts

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21 sessions Remix - drama, dance, music, Frii Spray Animation,Visual Arts Music - Zion Centre Manchester 67 young disabled participants 11 disabled artists 2 non disabled artists 2 young disabled artists work shadowing 46 sessions 1 event 47 audience 500 on-line audience (FCA blog site) 166 You Tube views - animation Full evaluations of all these projects, films, documents and audio are available from Full Circle Arts

Young participant with her Frii Spray creation. Frii Spray is a digital Grafitti technique

Full Circle Arts

Source2 Evaluation 102

The following working partnerships have been formed with support from this funding English National Youth Arts Network Manchester Youth Arts Network Cultural Leadership Programme The Cornerhouse - Livewire Creative Industries Development Services Performing Arts Network Development Agency North West Playwrights Community Arts North West Lime The Lowry – community programmes BBC Extend Media Trust Manchester City Art Gallery Artswork – Hub 4 Contact Theatre Chinese Arts Centre BADDAC, Bury Jigsaw Partnerships Bury Met Express, Bury Proud & Loud Arts, Salford Oakwood Youth Arts, Salford So Many Words, Salford Contact Theatre.

Zion Arts Centre Connexions – all ten boroughs Tameside Young People ‘s Group Manchester Metropolitan University Faculty of Arts Salford University Faculty of Arts Northern Actors Centre Citadel Disability Arts Full Circle Arts

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Octagon Youth Theatre GMCDP Youth Drama Group Dukes Youth Arts Centre National Mentoring Network We have given presentations on Source and held workshops with: Creative Cities – Manchester University English National Youth Arts Network – Liverpool Maritime Museum Cultural Leadership Partnership – London Manchester Youth Arts Network – Manchester City Art Gallery European Conference on Mentoring – Birmingham NEC Music Leader Project – Manchester Open day @ Manchester Metropolitan University Creative Partnerships Exciting Minds Event - Manchester Decibel - Manchester Town Hall Collaborative projects underway with The Cornerhouse MMU Newbridge School Panda

Full Circle Arts

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Our work and evaluations can be seen at Evaluations of projects past and present www.full-circle-arts.co.uk http://issuu.com/full_circle_arts We have a flickr account where visitors can see photos of our events: http://www.flickr.com/photos/fullcirclearts We also have a youtube account which show films made by and with young people: http://www.youtube.com/FULLCIRCLEARTS

Part of the visual arts exhibition as part of our disabled young people’s Remix project

Full Circle Arts

Source2 Evaluation 105

During the project We worked with 73

9

595

107

Disabled artists Non-disabled artists Young disabled people (participants) Disabled and Deaf people (participants)

We had 546

12

2

Participatory sessions Performance or exhibition days New commissions

We had 723

144,000

31,200

Live audience On-line audience distribution of newsletters

We received funding from Arts Council England Association of Greater Manchester Authorities Manchester City Council Artswork Cultural Leadership Partnership Mancat (now Manchester College) Red Eye

Drawings of participants by disabled participant at Remix Full Circle Arts

Source2 Evaluation 106