Listening and Learning

Authors: Julia Heslop, Paul Richter, Emma Coffield, Rebecca Huggan, Kitty McKay, Frances Stacey, Alison Stenning Design: Niall Greaves Pages Printed by: Overlay Press Screen Printing: Niall Greaves Photo permissions from The NewBridge Project, Matt Denham, Victoria Doyle Map of NewBridge’s approach to programming in Shieldfield insert created by Benji Spence – developed via a series of workshops with the NewBridge team to reflect on

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Acknowledgements Summary How is this report organised?

1.0 Introduction 1.1 The project 1.2 Why track social impact?

2.0 The NewBridge Project in Shieldfield 2.1 NewBridge’s Communities Programming 3.0 What did we learn?

3.1 Listening: What did we do?

3.2 What we learned: Four key themes 3.2.1 A space of care NewBridge as a welcoming “home” NewBridge as a space of connection NewBridge as “filling the gaps” 3.2.2 A space of inclusion NewBridge as supporting new friendships NewBridge as a space for sharing experiences NewBridge as a space for intergenerational activities NewBridge as safer, braver space 3.2.3 A space for developing personal and collective agency NewBridge as enabling access for all Art at NewBridge as expansive and inclusive NewBridge as enabling collective agency NewBridge as enabling the building of skills, confidence and local enterprise 3.2.4 A space that is a key part of the Shieldfield ecology 3.2.5 Summary: A fragile infrastructure of care 4.0 Future Learning 4.1 Broadening engagement 4.2 Sustaining activity and capacity 4.3 Acknowledging and responding to gentrification and ‘community artwashing’ concerns 5.0 Conclusion: Looking to the future References Photo Credits

Acknowledgements We would like to thank the wider team who contributed to this project, including: Elaine Robertson, Andrew Wilson, Illana Mitchell, Lib Hodes and Edyta Czarnecka and the many individuals who gave their time to speak to us and provide valuable insights that have helped us conduct this research. We also thank Newcastle University Business School for funding this project.

Summary This social impact report seeks to understand and evaluate the hyper-local social impact of The NewBridge Project (hereafter referred to as ‘NewBridge’) – an artist-led space based in Shieldfield, Newcastle upon Tyne, that supports artists, curators, and communities. The report does so on the basis of the thoughts and reflections of a wide range of voices, including Shieldfield-based organisations and residents, NewBridge-based artists, local authority officers and councillors, and NewBridge staff. The report was researched and written by a team of cross-disciplinary researchers from Newcastle University and staff from NewBridge. The project aimed to identify how NewBridge is addressing local challenges, the impact of its programmes, and what could be done better.

The report articulates the role NewBridge plays in addressing a series of challenges faced in the local area, including but not limited to the need for youth provision, the lack of community spaces, addressing social isolation, connecting people with creative activities and developing the skills and confidence of local people.

We found that: NewBridge delivers value across a range of dimensions – artistic, social, economic, and cultural.

NewBridge often delivers this value hyper locally – in direct relationship with the immediate neighbourhood where it is situated.

NewBridge is a space of care and inclusion.

NewBridge is a space for developing personal and collective agency.

NewBridge is part of a strong network of local mutually supporting spaces, who often share resources and collaborate. Impact generated by NewBridge is thus often forged in connection with this network.

The impact achieved so far has been done within a structure that is precarious - NewBridge has a short-term lease on its building and is subject to the ongoing uncertainty shared by many grassroots arts organisations in terms of access to funding and resources.

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We believe that understanding, articulating, and evidencing the range of impacts associated with NewBridge is vital – both to critically understand what is working (and what can be built upon) and as a means by which to communicate value to external stakeholders and funders. It is important to note that not all of NewBridge’s work relates to engagement with the immediate community. As an arts organisation, NewBridge was set up primarily to provide affordable studio space for artists and to provide artist development and support. While some of the artists who work at, and with, NewBridge do so in collaboration with the Shieldfield community, this is not the case for everyone. It is also important to mention that NewBridge is currently undertaking another evaluation project that seek to measure the impact and achievements of their studios, artist development programmes and related activities.

We hope those findings will complement this study.

How is this report organised?

In Section 1 we introduce the project (1.1) and discuss why social impact is worth tracking (1.2). We discuss how we define social impact for the purpose of the report and the challenges and opportunities that tracking this offers (1.2). In Section 2 we contextualise NewBridge’s move to Shieldfield, charting the high level of change that marks the neighbourhood’s recent history.

We then introduce NewBridge’s communities programming and discuss the ethos of NewBridge’s approach to art and working in Shieldfield (2.1). In Section 3 we delve into the data after briefly discussing our methodology (3.1). We separate the data into four themes which are discussed in turn: NewBridge as a space of care (3.2.1), as a space of inclusion (3.2.2), as a space for developing personal and collective agency (3.2.3) and as a space that is a key part of the Shieldfield ecology (3.2.4). In the section summary we reflect on the fragility of what has been achieved (3.2.5). In Section 4 we highlight areas for NewBridge’s future learning, including the need to broaden engagement (4.1), to sustain activity and build capacity (4.2) and to continue to acknowledge and respond to gentrification and ‘community artwashing’ concerns (4.3). Section 5 concludes the report, highlighting the successes of NewBridge’s activities and emphasising the need to sustain this meaningful work.

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1.0 Introduction 1.1 The project

NewBridge is an artist-led community based in Shieldfield, Newcastle upon Tyne. It currently houses 120 artists and multiple project and production spaces across four floors. NewBridge’s public spaces include a gallery, bookshop, library, and event spaces. NewBridge is currently three years into a five-year lease from Newcastle City Council.

This report is the first time that NewBridge has evaluated its social impact. Research took place over four months and sought to evaluate the impact of NewBridge’s activity over the last three years, since moving to Shieldfield. The findings in this report clearly demonstrate the positive impact NewBridge has on the everyday lives of residents in Shieldfield, as well as its artist community. In many cases, NewBridge does not do these things alone, and is part of a broader set of local organisations which operate together as an interdependent ecosystem. Since moving to Shieldfield, NewBridge has greatly benefited from the knowledge and relationships that pre-existing organisations have built up over years of working closely with residents, as well as collaborating with new organisations and initiatives that have established in the neighbourhood in the past three years. As such, the social impact described in this report is the product of NewBridge’s efforts in conjunction with those of a range of local individuals and organisations, including but not limited to:

Dwellbeing Shieldfield (hereafter referred to as ‘Dwellbeing’) (a community co-operative)

Shieldfield Art Works (hereafter referred to as ‘SAW’) (an arts organisation) The Forum Café (a community café)

Caring Hands (a charity supporting older and disabled people)

Big River Bakery (a social enterprise and bakery)

Star and Shadow Cinema (a volunteer run cinema and event space)

Slugtown (an art gallery) Shieldfield Castle Nursery (a council run nursery)

Schools including Hotspur Primary School Whilst this report is an opportunity for NewBridge to share its successes, alongside partners and collaborators, it also offers a chance to critically evaluate and learn.

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1.2 Why track social impact?

Over recent decades, the UK Government has championed a range of economic impacts (Wearring et al., 2021), with a focus on the market value of the arts and opportunities for job creation (Campbell et al., 2017). As a result, the arts sector has often felt compelled to provide economic arguments for continued funding, especially in times of economic uncertainty. As a result, a range of ‘other’ impacts (e.g. artistic, social, or cultural impacts) have become less visible.

Social impact can be a slippery concept. For us, ‘impact’ differs from ‘outputs’ (which are the direct products resulting from activities, for example the number of participants involved in an activity). Impact is about tracking the ‘outcomes’ of activities. Outcomes can be felt at individual or community/societal levels and can be short or long term. We have found the definition below to be a helpful way to define social impact: “social impact is the change that individuals or organisations bring about through their activities. It is therefore concerned with causation, exploring the links and relationships between activities and outcomes. Social impact can be intentional or unintentional, as well as both positive or negative. Social impact is not a state, but a process by which people and communities respond to engagement, participation or support.” (O’Prey et al. 2022, p.16) Not withstanding definitional complexities, arts organisations are beginning to monitor the social impact of their work and this report aims to contribute both to this debate and to the growing body of evidence on the relationship between the arts and social impact.

“The importance... of creativity in developing a viable and sustainable city, ...education, or social wellbeing, or community relations, or decent places to live, is relatively uncharted and unmapped.” (Local Authority Officer) There are certainly challenges associated with monitoring social impact. Social impact research is often criticised for lacking robustness (Cowling, 2004; Reeves, 2002), as potential impacts are often more deeply embedded and therefore more difficult to track and understand. During the course of our research, we have questioned how social impact

can be monitored meaningfully and how causation can be attributed to particular activities.

Social impact] is “sometimes in the ether a little bit, it’s not that you can record them like with a chart or click the numbers.”

(Sue, NewBridge-based artist) “We didn’t write [objectives] down formally or anything… We definitely had objectives, I guess they were probably different for both of us, but the most important ones were the same – so to combat isolation in Shieldfield.” (Elaine, NewBridge’s Community Producer, on setting up the Memory Café in collaboration with The Forum Café) In the case of NewBridge, multiple programmes and initiatives have grown organically in collaboration with partner organisations and residents. These programmes and initiatives often have an experimental approach (they are not linear projects with distinct stages and clear cut objectives). Moreover, we are interested in the social impact of these programmes and initiatives on those involved, as well as the impact on the Shieldfield locale more broadly.

As mentioned above, this research project took place over four months. Longer-term projects are, perhaps, the most effective way to concretely evidence the impact that activities/organisations have on people’s lives. However, they can be costly and complicated and small-scale organisations often lack the capacity to carry out detailed social impact reporting, especially in the context of longstanding funding cuts to the cultural sector.

In the case of NewBridge, a lack of resources has meant that the organisation hasn’t previously had capacity to fully devise, plan and deliver evaluation initiatives of this nature. That is not to say that for NewBridge, social impact is an ‘add on’; rather, this study shows that it is integral to its work.

We also note that social impact reporting often overtly focuses on positive experiences. In this report, we want to present a more rounded representation of what people said to us about the various types of impact that NewBridge was having on their lives. The report is not intended to be an uncritical celebration, where ‘blind spots’ and challenges are conveniently ignored. Rather, it is a learning exercise that we hope will build NewBridge’s capacity to better understand and articulate the impacts of its work – now and into the future.

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2.0 The NewBridge Project in Shieldfield NewBridge moved to Shieldfield from Newcastle city centre in 2021 and took residence in the Shieldfield Centre - a building owned by Newcastle City Council. Built in the 1970s to house the Council’s Social Services department, the building gradually fell out of use as services moved or shrank.

Currently, the building houses NewBridge as well as a GP surgery and a Council operated nursery.

Over the years, Shieldfield has seen enormous changes, from slum clearances in the 1960s to a recent spate of purpose-built student accommodation constructed around the periphery of the estate (Heslop et al., 2021) - often in opposition to the wants and needs of the local community.

These transformations have had wide ranging social consequences. Shieldfield is now home to nearly 5,000 people, and is an ethnically diverse area, hosting housing for many migrants from around the world (Dwellbeing Shieldfield, 2022, p.11). “historically in Shieldfield, people have found it difficult to trust people because they haven’t been treated perhaps the way they should…

And decisions have been made, like, we’re going to clear this area, this slum clearance. […] Send families to one place, older people in another place. People left, then might come back, but a lot of people didn’t.”

(Jill, Forum café) “It was not very good. There were a lot of complaints about noise... Then, after that, even more buildings came up. […] we were completely surrounded. A lot of people didn’t like that, it was just too much.”

(Val, resident) “It’s very hard to keep a community together when new tenants arrive at the end of September and leave at the end of May every year, and that churn is constant.” (Gareth, Councillor, Ouseburn Ward) This changing landscape has also impacted social facilities, with two pubs and Shieldfield’s social club closing or being demolished for student accommodation (Dwellbeing Shieldfield, 2022, p.10), while the population of 15-24 year olds has more than doubled in the last ten years (ibid: 11). Shieldfield has additionally felt the effects of austerity policies and public sector cuts in the last

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15 years, which have impacted many residents already struggling financially, as well as services that were once facilitated by a now hard-pressed local authority, such as residents’ groups and community officers (Heslop et al., 2023). According to the most recent Census data, “26.7% of children [in Shieldfield] liv[e] in households where income deprivation indicates child poverty and 34.3% of older people liv[e] in poverty” (Dwellbeing Shieldfield, 2022, p.11). Cuts have also impacted the arts, as the Musicians’ Union (2024) has reported, grant-in-aid and lottery money to the arts fell in real terms by £178 million between 2010 and 2023, while Arts Council England’s (ACE) budget was trimmed by around 30 per cent over the same period. The impacts of austerity on Newcastle’s arts and cultural spheres have been widely documented (see Harris, 2020), with the loss of many spaces central to the provision of social infrastructure, including libraries, leisure centres, youth centres, community centres as well as residents’ groups - places that afford social connection in often informal ways (Latham and Layton, 2019). “in terms of that infrastructure that you would get in an area, all of that has pretty much gone” (Gareth Kane, Councillor, Ouseburn Ward) “Shieldfield has a strong history of passionate, proactive, community organising through its social clubs, pubs, community cafés, launderettes, churches and other self organising groups as well” (Hannah, Dwellbeing).

In this landscape, many local organisations, including NewBridge, have come to operate as alternative, albeit precarious, forms of social infrastructure – and are now critical to community wellbeing. As pointed out above, there is a strong tradition of grassroots social infrastructure in Shieldfield, and it is in this vein that NewBridge, alongside its partners, seeks to contribute to (re) nurturing the social fabric of the neighbourhood.

Our research confirmed that a number of deeply embedded organisations in Shieldfield are playing a significant role in re-building this. Organisations, such as those listed on in Section 1.1, offer important formal and informal spaces for residents to connect, learn and grow, although many of the organisations themselves exist in a state of precarity.

(See the feature film 100 People: A Portrait of CoExistence (2023) by Andrew Wilson, for a vivid representation of Shieldfield’s past and present.)

Transitioning into this environment has not always been straightforward, and the move has not come without its tensions. Initially, some residents were unsure what NewBridge would add to the neighbourhood, whilst others were concerned that NewBridge might upset the pre-existing balance of community-oriented organisations.

“I’m thinking ‘What’s it doing here? […]

Are you going to get the local community interested in this place or is it just going to be purely artists and exhibitions?’”

(Colin, resident) “I was like, ‘Oh, no. This could go wrong.’ [...] ‘cause I care about these two things. I care about the existing ecosystem that was going on in Shieldfield. I care about NewBridge [...] Do these things go well together?”

(Andrew, NewBridge-based artist) Ahead of moving to Shieldfield, NewBridge staff shared these uncertainties, and therefore aimed to be mindful of, and sensitive to the work that was already taking place, and the potential impacts (positive and negative) that their presence might have in the area. This is demonstrated in their approach to planning and resourcing the building move and shaping future activities, which included creating capacity within the team to build crossgenerational relationships before, during and after the initial move, and through forming strong and mutually beneficial partnerships with organisations such as Dwellbeing and Forum Café. While we address these concerns in more detail below, it is clear that NewBridge should continue to proactively reflect on its presence and impact.

“I think part of moving here was very much there was a consciousness of not just landing as an arts organisation... and maybe not making friends with anyone… And actually we kind of did it in such a way that was about wanting to be part of something that already was happening, and wanting to kind of just add to that in a positive way.”

(Hannah, NewBridge staff member)

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2.1 NewBridge’s Communities Programming NewBridge aims to be a genuine community resource; responsive to the locality, building community solidarity through socially conscious programming, whilst at the same time being experimental and pushing boundaries artistically. It seeks to operate as a welcoming space where artists, residents and local communities can come together to work, learn, socialise and support each other. NewBridge’s programme is developed in dialogue with studio members, artists, its partner organisations and the local community. It hosts regular activities aimed at people of all ages and backgrounds. This includes a programme of activity produced with, and for, residents as well as exhibitions and events in the gallery space, and artist development programmes. NewBridge’s Community Producer plays a key role in building and nurturing relationships with local organisations and residents, so that the spaces and programme can be developed in response to local need. NewBridge also benefits from its partnerships with local organisations to build networks, form collaborations, share skills, and resources.

Some of this programming may not look like ‘art’ in the traditional sense. NewBridge, as an organisation, understands art and creativity in an expansive way - as a set of social skills or a practice. Events such as community meals, coffee mornings and youth focused activities perform multiple functions - breaking down perceived barriers between art and daily life, and/or forming the groundwork for residents to get engaged in processes of looking at, and making, art.

“I think the activities that go on as well, the meals and coffee mornings, make it easier for people coming in. They can come in thinking they’re just going for coffee, they’re not going for the art, but then when they get here, see what’s going on, and maybe understand, yes, it’s for them as well.”

(Val, resident)

In this sense, there are multiple ‘versions’ of NewBridge for those who engage with it in different ways – and therefore multiple forms of impact. For some, NewBridge is a warm space, for others an arts space or a space of learning and personal development. NewBridge responds to its shifting context, whether this be the effects of COVID, the cost-of-living crisis or national or international events. We have found this diversity and flexibility to be a strength.

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NewBridge’s communities programming involves a range of formal and informal events, including:

Memory Café - An ongoing project run in collaboration with The Forum Café for Shieldfield residents who are living with dementia and the people who support them. Through arts activities the Café encourages engagement, creativity and self-expression, helping to build confidence. NewBridge has delivered 36 events to date for 15+ regular participants.

Socials - Regular opportunities for people to come together to socialise informally. Currently, NewBridge hosts a weekly coffee morning on a Monday, and a regular Saturday Social that was originally part of Newcastle City Council’s Winter Wellbeing Hub scheme. Socials provide a warm and welcoming space, where people can have refreshments and play games and are attended by 8-25 people weekly.

Shieldfield Community Organisations meetings -

NewBridge’s Community Producer and other team members attend bi-monthly meetings for organisations in Shieldfield. These meetings are a chance to share updates and develop collaborative projects – for example, the publication Who’s in Shieldfield? – a special newsletter for and about Shieldfield published in 2023.

Community Workshops – NewBridge’s four workshop spaces

(printmaking, ceramics, darkroom and woodwork) run a programme of free workshops for community groups and the public.

Shieldfield Youth Programme - An ongoing programme

of activity developed in partnership with Dwellbeing and in collaboration with young people living in Shieldfield that creates space for young people to come together, build new friendships, develop their skills and talents, and explore new ways of thinking and doing things together. The Youth Programme currently engages 90+ young people (in an area with no previous youth provision) through weekly sessional activity. The group further delivers holiday activities and ambitious youth-led projects.

TopSoil - A weekly queer gardening project which started in 2023.

TopSoil has worked with over 60 LGBTQIA+ people and practitioners, growing and learning together while creating a community resource.

Community Chefs Residencies - 6-month residencies

working with a different local cook or chef that embed professional and creative development through a coproduced project or event, alongside a series of community meals, recipe sharing sessions and workshops.

School projects - NewBridge’s Community’s Producer has

developed relationships with local schools, and recently worked with ‘Art Ambassadors’ at Cragside Primary and Hotspur Primary to put on a series of pop-up exhibitions. NewBridge also hosted 10 visits with school groups, with a total of 80 children taking part and 461 people visiting the exhibitions.

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3.0 What did we learn?

3.1 Listening: What did

3.2 What we learned: Four key themes

For the project, we undertook 31 interviews with local residents, organisations and NewBridge staff and studio holders, as well as interviews with other local stakeholders (e.g. local councillors, Newcastle City Council arts and culture officers) and 8 mini interviews with young people who attend the Youth Programme. Interviews with residents were carried out by research team members with whom residents were already familiar. Questions for residents included what people did with NewBridge and how it contributed to their lives, as well as what they felt was missing/needed in NewBridge’s programme.

Responses were audio recorded and transcribed.

We began this report by asking the question: What are the hyperlocal impacts of The NewBridge Project and how can they be articulated and evidenced? Through analysing our data, we have organised our answers to that question through four key themes that characterise NewBridge’s hyperlocal impacts: NewBridge as a space of care, as a space of inclusion, as a space for developing personal and collective agency, and a space that has come to represent a key part of the organisational ecology in Shieldfield that collectively generates significant value with and for the community. These themes are developed in this section. According to ACE’s 2020-2030 strategy document, “Culture and the experiences it offers can have a deep and lasting effect on places and the people who live in them…[it] helps improve lives, regenerate neighbourhoods, support local economies…and bring people together” (2021, p.37).

This report suggests NewBridge and its partner organisations are doing this, and more. At the same time, what is being developed is fragile; it has taken considerable time and effort to build and is easily lost, given the ongoing precarity of NewBridge and other grassroots arts organisations.

That is the theme of the final part of this section.

we do?

We further undertook two workshops with 11 young people, facilitated by the youth team. During these workshops, young people were asked to create ‘body maps’ (a life-sized outline of a body with prompts by body parts, for example ‘What does NewBridge make you think of?’, ‘How does NewBridge make you feel?’) to understand how young people felt about NewBridge and its activities.

These sources of data were complemented by feedback forms and evaluations from previous NewBridge events and workshops, vox pops from young people, existing reports, articles and films relating to Shieldfield, and a review into social impact reporting and the social value of the arts in localities, which included academic literature, social impact case studies from other arts and cultural organisations and cultural policy. Ethical approval was obtained from Newcastle University and informed consent was given by participants/their carers.

The above activities generated a huge amount of valuable data. Even in a report of this size, there isn’t space to include all those who contributed to the project – but we are deeply grateful to everyone whose time and expertise has shaped this report.

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3.2.1 A space of care “[Social infrastructure relates to] the crucial organisations, places and spaces that enable communities to create social connections – to form and sustain relationships that help them to thrive.”

(Barratt, 2023)

“it’s another great physical space for community gatherings and get togethers and NewBridge has really taken that on and opened up the building in different ways for those kind of things.

Because that was something that people did feel was being lost with social clubs and things being closed. That’s something that’s changed”

A clear finding from the research was the importance of NewBridge as a vital piece of social infrastructure in Shieldfield. Sites of social infrastructure are where people can meet others from their neighbourhood informally and regularly, such as libraries, community centres, cafés, parks and community gardens. Whilst they often help combat a myriad of social issues, sites of social infrastructure are not merely about providing specific services, instead there is a focus on care and sociality. Because they don’t necessarily operate as formal spaces for particular purposes, they are able to be highly inclusive. These are spaces to build community, combat social isolation and nurture civic life. In many cases, these are also sites of care. In this sense, NewBridge, and its partner organisations in Shieldfield, can be understood to be part of the growing emergence of “alternative infrastructures that place care at the centre of everyday life” (Traill et al., 2024: 191).

(Hannah, Dwellbeing)

NewBridge as a welcoming “home” Informal social spaces were once in abundance in Shieldfield, as highlighted above. Today, NewBridge, alongside other local organisations, has sought to create opportunities for social connection through regular social activities such as coffee mornings, which have no agenda other than to meet others and connect. At a time when open, inclusive and free public spaces are becoming rarer, spaces for everyone and anyone, no matter age or background, are particularly important.

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Our findings suggest that creating a welcoming, inclusive space has helped people to build friendships and bring people together who may not typically share space, such as artists who may rent a studio space at NewBridge, local residents and young people. For example, NewBridge coffee mornings routinely attract a range of people from different social and cultural backgrounds and income groups.

“When you come in, you’re not struggl[ing]... There’s somebody on the reception and they have a little chat, and they can show you to the lift. Somebody can show you upstairs or they can ring up for somebody to come down for you”.

(Jill, Forum Café)

“[It’s] a welcoming place and it’s non-offensive in all ways... […] just a nice building to be in, and yeah, it’s a comfortable accepting place.” (Beth, NewBridge-based artist)

“I feel really comfortable and I feel actually very safe here.” (Annabel, NewBridge-based artist)

“everyone said hi when we were new.”

“NewBridge makes me feel included.” “before [NewBridgeI] didn’t have many friends.”

(Young person mini-interviews)

Young people also remarked on the value of creating a comfortable, welcoming space, and feeling like they were part of a ‘family’.

“I feel like there’s people around me keeping me safe, I feel like I’ve got teamwork, like we’re all just one big family united together.”

(Lena, Youth Programme member)

Strikingly, many individuals remarked that NewBridge was like ‘home’.

“It almost feels like a second home, really... it’s a place of work, but it’s also a kind of place you can feel relaxed in” (Stephen, NewBridge-based artist).

“This is my second home. I love coming here, it lifts my spirits immediately.”

(Feedback form, regular visitor)

“The Youth Programme is a place to come home. It boosts my confidence, is a place to meet new people and be happy.”

(Anonymous, Youth Programme member) One way of representing NewBridge as a welcoming place of care comes from a Shieldfield resident (and former Youth Programme member) who told artist Andrew Wilson, in the course of making the film 100 People (2023), that he likened NewBridge to the significance of a tree in Sudanese villages:

“It’s a place where they did a lot of events, like weddings, celebration events, like Eid, it’s a space.. in the centre [of the neighbourhood], so they can all see where it is, what’s going on… so, it doesn’t like have a name but it’s like ‘Oh we’re going under that big tree.” (Minute 21 of outtakes) 17

The ability of NewBridge to combat social isolation was also a key concern for interviewees.

” I think the main change I’ve found is a lot of people have got to know each other through various things and I think that’s important whereas before, I used to go and shut the flat door and that was it.” (Sue, resident)

“You’ve helped me feel free and light weight because before working with you I was at home and quite lonely and you’ve just really made me do things for myself and not just worry about my kids.” (feedback form, resident)

A key factor here is that activity is regular and sustained – as opposed to one off events or workshops – and that it takes place “on your doorstep”, in the neighbourhood instead of having to go into the city centre or elsewhere.

“Something that you can count on, that you can do every single Wednesday … you’re not stuck at home or bored or anything.”

(Jude, Youth Programme member)

“it’s harder for people if they have to make an effort to go somewhere to be involved.”

(Val, resident)

How NewBridge staff facilitate its public facing spaces was another key factor, so that people not only felt connected, but were enabled to join in and make a difference. This, in turn, allows NewBridge to act responsively, developing their communitycentred work gradually.

“we can be more responsive and we can be more flexible. We can change. There’s no rigidity there. […] The young people there, through our structures, are setting the agenda for what it looks like and what it needs to be.”

(Hannah, Dwellbeing, on running the Shieldfield

Youth Programme in collaboration with NewBridge)

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For NewBridge, activities are responsive to what people need and want, which is different from the service work of public bodies. Being able to grow organically and develop their community-centred work in Shieldfield gradually has been important.

This sense that local voices and priorities should shape NewBridge’s programming came through strongly in interviews, echoing the time NewBridge’s Community Producer spent getting to know the community and its needs prior to beginning any formal activity (for example by meeting residents in their homes or in community spaces where they would feel most at ease, rather than at NewBridge). Connecting with residents and others offsite; meeting people where they live or work (often described as ‘outreach’) is an important, ongoing component of how NewBridge engage locally. This often goes beyond mere information giving, but has involved arts activity taking place outside of the gallery space and within private spaces (for example building a smoke bath in a local resident’s garden as part of the project Kandake: Sudanese Sisters).

NewBridge as “filling the gaps”?

In providing important social infrastructure, there was a sense that NewBridge and its partners were ‘filling the gaps’ left by the ‘rolling back’ of public services, once provided, or funded, by local authorities, such as youth provision.

The issue was seen as complex by many research participants, with some hesitant to label the work they did in this way, on account of the bottom-up approach where activities met the interests identified by residents. For others, NewBridge operated as a public service provider.

Getting the right balance between tending to the needs of the local community whilst at the same time not overpromising about what the organisation can deliver is inevitably an ongoing challenge for NewBridge.

“But you didn’t just open your doors, you came out and you connected and I think you got to know the community, in their spaces where they were comfortable.

Then through that time and what do people want to do, is it a youth club, or is it an art club, or is it a lunch group, or is it whatever, growing stuff together, the community have grown together, haven’t they.” (Arts Development Officer, Newcastle City Council)

‘I … just really like building relationships with lots of different people. I really enjoy seeing people’s confidence build...Being able to be really iterative and reactionary to stuff that’s happening around here I think it’s meant our programmes develop to be a lot more exciting and interesting and a lot more fun.’

(Elaine, NewBridge staff member)

“it’s not really within arts organisations remit to be feeding and housing kids after school, but the fact that NewBridge does that within a framework that doesn’t have to be strictly arts focused I think is really amazing.” (Max, Slugtown) “you want to help, you want to step in, and you want to do good things. And sort of like by default almost you become a public service provider... So yes, I do think that NewBridge does provide things that should be provided in other avenues or supported in other avenues, and I feel like it’s really frustrating that the rug is being pulled out of communities.”

(Sue, NewBridge-based artist)

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3.2.2 A space of inclusion NewBridge provides the opportunity for people to foster connections across social, cultural and generational boundaries which can help to reduce feelings of isolation and disconnection. In its programming and facilitation of its public facing spaces it seeks to be a safe and inclusive space.

NewBridge as supporting new friendships Shieldfield is a highly multi-cultural neighbourhood. There is a high volume of council housing, and many people with settled status or ‘leave to remain’ live there (Dwellbeing Shieldfield, 2022: 11). This makes for a place with a vibrant cultural mix but can also bring tensions.

ect with these people becau “Oh, how do I conn s (Kaltouma, artist and resident)

eIc

de rs t

, sp

eak English?”

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Many of the residents we spoke to, and particularly those from other countries, talked of their initial sense of isolation on moving to the area. These feelings ranged from not knowing the language or feeling confused about a new culture or ‘way of life’, to new systems of doing things (for example how to catch a bus or access benefits).

A lack of spoken English was a particular barrier, felt to prevent the forging of friendships or connections with people outside of their own nationality. Social activities at NewBridge have enabled many people to practice speaking English and to learn about each other’s cultures and traditions, enhance communication and develop storytelling skills about places of origin.

an’t

Case Study 1:

Kandake: Sudanese Sisters was an exhibition and three-day programme of events led by local resident Kaltouma Hassaballah celebrating Sudanese culture. It was attended by 263 people, with Sudanese people travelling across the UK to attend, alongside local residents. Kaltouma worked with her family and artist Michael James McCormak to design and build a Sudanese Smoke Bath in her back garden. The Smoke Bath – that now offers a social space for Sudanese Women in Newcastle to gather – was central to conversations, themes and workshops hosted at NewBridge.

Kaltouma also led a mixed oil workshop, a henna session, a tasting event to celebrate Sudanese coffee and cuisine and a ‘Lady Party’ – a women-only space to celebrate and have fun together.

“You know what I feel? It is very, very nice. It is like you live in your country. The best... because I take off my scarf. Just ladies. I can dance, I can laughing high.

Laughing, it’s a gift to me. Very, very, very nice. My heart’s very nice… People came. Lots of ladies. I meet another ladies talking to her and dancing with her...

And thank you so, so much about this, because in my country, they can’t meet with a man and dance with him and laugh with him. It is not allowed.”

(Anonymous, artist and resident)

“We must fight against the loneliness and isolation experienced by women who now call Shieldfield their home. We must celebrate our unique cultures, share experiences and empower the next generation to be proud.”

(Kaltouma, artist and resident)

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NewBridge as a space for sharing experiences Programmes such as Kandake: Sudanese Sisters, as well as Ghadamès Pearl of the Sahara, whereby a resident showcased the food, fashion and culture of their hometown of Ghadamès in Libya, and NewBridge’s community meals in celebration of Eid and Ethiopian Gena, seek to forge learning between people from different cultures and create spaces where people can mix, share experiences, memories and ways of life. This has been especially important for residents that have experienced trauma and war and often have a real yearning for home, but feel culturally disconnected to their new environment.

Providing a space for residents to share their cultures themselves, as opposed to merely being invited to a celebration, was vital. This kind of programming affords residents the opportunity to express appreciation of others’ cultures, as well as to take pride in their own heritage and the sharing of this – a kind of cultural storytelling that aims to transcend ‘difference’.

“when I came here, ten years I haven’t seen any my family. I have been here twelve years now. I feel really sad in the past, really. But when I enjoy with my kids in NewBridge, something coming, a new nice. I have work, my brain is open.” (Anonymous, artist and resident) “we’re from Ethiopia, so we were celebrating...

Gena... it’s [our] Christmas. I was so happy, because I never get a chance to celebrate our Christmas with other communities. So, it was a good opportunity to show for others how Ethiopian Gena is... it’s a good opportunity to know cultures from different countries.”

(Tigist, resident)

“the community meals... it’s opened up opportunities, it’s opened up friendships.”

(Mike, NewBridge Associate Member)

“All the meetings that I see, the gatherings, food is involved, people doing food from their cultures, everybody seems happy. Everybody is engaging... that’s something that is really special and that doesn’t happen very often.”

(Arts Development Officer, Newcastle City Council) Events centred around food have helped to bridge cultural differences and share traditions.

Through NewBridge’s Community Chefs Residency programme, local chefs develop their catering and creative practices. This is a chance for chefs to share their food cultures more broadly, and acts as a bridging activity – breaking down barriers of perceived difference.

“people see people with a different language as being different, but we’re all very much the same. We all eat potatoes. [Laughter]. No, we all have some kind of bread... We don’t know what each other calls them, but we’ve all got a lettuce and we’ve all got something like a cucumber, and we’ve all got carroty kind of thing... we all have some kind of tea, whatever kind it is, and possibly some kind of coffee, and then water. We all like nice cold water.

Everybody likes cold water, and it’s all of that, isn’t it? And I just see people being the same.

We’re the same.” (Jill, Forum Café)

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Similarly, the Youth Programme plays a vital role in adults being able to socialise and meet people from different cultures - a chance to get to ‘know’ neighbours.

NewBridge as a space for intergenerational activities A large proportion of Shieldfield residents are elderly (NewBridge is located next to a residential tower block that accommodates over 55s). Helping to combat social isolation, especially amongst older residents, is a key component of NewBridge’s Communities Programme.

The opportunity to meet new people was especially important for residents in high rises, with no ready access to outside space and for whom it is more difficult to connect to street life activity.

“Before the youth programme, because we didn’t have the place to share our life, share our experience or share... experience or skills. Then even our neighbours, we didn’t know each other and then scared about everything because you coming from different countries... I know [at] the school, they do it, but you can’t stay in the school all the time, but the NewBridge have the time for the kids.

So that’s why you’re comfy chatting with a parent as well.” (Kaltouma, artist and resident) “you come here and you see new faces and you can have some great conversations with all ages, and I love that.” (Val, resident) “Because a lot of [residents] live alone... they’re dependent on having a nice space to come and feel welcome... Sometimes I will say to somebody, ‘What have you got going on after?’ And they’ll say, ‘Not much.’ Some people might have something on, but it’s got them out the house, dressed.”

(Jackie, NewBridge staff member)

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Case Study 2:

The Memory Café (a space run by Forum Café and NewBridge) aims to provide a dementia friendly space for people to have a chat, a cup of tea and try something new. It supports sociality, creativity and self-expression, helping to build confidence - especially amongst those that may find verbal communication challenging. Whilst there are activities on hand, as offered by workshop leaders (who are at times local residents) there is no obligation for participants to participate, and a variety of people attend regularly.

“you stay and you can watch and have as many hot drinks as you want and just be part of the conversation and enjoy the atmosphere” (Jill, Forum café)

“people with different additional needs and struggles, just social things. And then younger people... who have learning difficulties... so they also come as well... but yeah, they get on well as a group, different ages and stuff... Everyone’s quite cheeky and comfortable and funny. It’s nice.”

(Elaine, NewBridge staff member) The Memory Café operates as a safe and welcoming space, but also as one with the capacity to offer joyful experiences.

“Now, Maz came with his Fix-It Café... and there was a man [...] and his daughter [...] and [she] said, “I don’t know how long my dad will be here because his concentration’s only so much [...] But then Maz came in and he said, “I think you’d like this job [...] and he gave him a clock, a little kind of grandmother clock, and he said, “I would like you to take it apart for me”. Well, straight away [...] he was like, “this has to be in there, with a screw that size, screw in there and that nut in there and this one in there”, and he was like this – stayed the whole two hours.”

(Jill, Forum Café)

More generally, many interviewees highlighted how much they enjoyed intergenerational mixing at NewBridge, and the opportunity to chat to people at different life stages.

“I’ve made some lovely friends in NewBridge regardless of age... I never feel, even in my 60s, out of place… it’s so lovely… Chatting to the other type of parents, carers, all age groups all cultures.”

(Carol, resident) Spaces where people of all generations feel comfortable, from the very young to the very old, are rare, and reflect NewBridge’s commitment to diverse and inclusive programming.

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NewBridge as safer, braver space As an organisation, NewBridge aims to respond to the needs and requirements of its various communities. Enacting new physical and social spaces for groups and individuals who may not feel comfortable in other social settings, who feel marginalised or are historically marginalised from art spaces, who experience prejudice, or who wish to find ‘likeminded’ people, clearly represents a vital piece of social infrastructure.

One example is TopSoil - a queer gardening project that meets weekly at NewBridge, born out of the Grassroots Garden Party hosted by NewBridge in 2022 with many local organisations, community groups and projects doing good for people and planet.

Topsoil is a dedicated safe space for LGBTQIA+ people to socialise, develop emotional wellbeing and get to know each other; and to build knowledge and action around gardening and green spaces.

Participants are diverse: TopSoil works with disabled people, those with caring responsibilities, those who identify as Global Majority, sex workers, those seeking asylum and displaced people, 80 per cent of the group identify as gender non-conforming or transgender, 100 per cent identify as queer. In an evaluation completed by TopSoil, members described it as “a ridiculously safe space” where “everyone is so accepting”. Having a space to meet “new people who have similar lived experiences” in a safe setting, and away from social spaces that centre around consuming alcohol, was also important, enabling “a shared community space as queer people which is both literally and metaphorically about growth and connection [and] a rare space to meet outside of drinking culture”.

Another example is a focus on women-only activity, especially important for Shieldfield’s Muslim community, who can feel less able to access social spaces if there are men and alcohol present (such as the ‘Lady Party’ described in Case Study 1).

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Further to this, most recently, NewBridge has focused on providing a safe and inclusive space for carers to meet through the exhibition and series of events and socials MOTHEROTHER, curated by artist Sue Loughlin. MOTHEROTHER explores the relationship that artist mothers have with themselves, their children, society, politics and the artworld.

Key to this provision is the nursery, located in the same building as NewBridge.

“So when a parent comes along who would like to have a tiny bit of breathing space, they can access the nursery for the period of the MOTHEROTHER project and they get that for free. And that wouldn’t have been possible in another area, in another place because that facility didn’t exist... I don’t think the project really would’ve existed if it wasn’t based here in Shieldfield.” (Sue, NewBridge- based artist)

“MOTHEROTHER has been a fantastic opportunity to meet and connect with other artists with caring responsibilities.

I’ve found the community social events particularly useful as they’ve provided both creative inspiration and an introduction to The NewBridge Project and Shieldfield community.” (Feedback form, visitor) The vast majority of people we spoke to noted feelings of care and inclusion. However, NewBridge also recognises that there are still many residents who they haven’t reached yet, and some noted that more might be done to enable residents to access NewBridge. “there must be lots of local people who can still feel fairly excluded. Is NewBridge, or any of the things that go on, for them?” (Mike, NewBridge Associate member) Connecting with new residents, especially those who are socially isolated, is an ongoing challenge.

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3.2.3 A space for developing personal and collective agency The third aspect highlighted in the data was how NewBridge builds capability within the community, identifying and supporting the development of interests, skills and confidence in the long-term.

NewBridge as enabling access for all NewBridge has an inclusive approach to the arts, where everyone can participate - not just those that would formally identify themselves as artists.

This provision, and the opportunity for creative expression, supports people to make sense of the world and helps to expand their sense of self.

“NewBridge has allowed me to be creative.”

(Mike, NewBridge Associate member) “I wasn’t really an arty person at first, but honestly I like art now.” (Drew, resident) “it does give people the opportunity to have a go at things without being judged… it is a sort of safe space where you can try things.”

(Helen, resident) NewBridge plays an important role in helping adults develop the confidence to try something new, even if they initially felt art ‘wasn’t for them’ as enabled by the range of facilities on site. Beyond one-off workshops or events, sustained support for individuals to develop their creative skills has taken place as part of the Chef’s Residencies programme discussed above. Furthermore, some coffee morning attendees have now become Collective Studio members. This is an artist development programme, which supports recent graduates and early career artists through the provision of affordable studio space and a programme of training and events.

Similarly, the Youth Programme run by NewBridge and Dwellbeing has inspired young people to build their confidence. “when I was in school, I’d usually tell myself I wasn’t really good at art…but NewBridge helped me to build my confidence, to think I’m good at stuff.” (Lena, young person) “inspiring the next generation of young people, to want to do art, or want to be artists, or want to be within the creative realm,…I feel like...NewBridge is doing that within the Youth Programme in a way that if it was taken out, I feel like those young people would then not even consider that as something they want to do.” (Lydia, SAW) NewBridge’s Community Producer recollected the story of one young person that neatly demonstrates the potential of the Youth Programme to develop young peoples’ creative capacity.

“And for pathways in the Youth Programme, there’s [one young person] who was one of the founding members of it... She volunteers now for Youth Programme, she had a painting in Kaltouma’s exhibition, and is interested in volunteering more… And she has been doing like stand-up comedy stuff since she started Youth Programme…and [she] performed at the Tyne Theatre in front of like 300 people.” (Elaine, NewBridge staff member) This access to arts provision is all the more important at a time when the presence of arts education in schools is often lacking, and extracurricular sessions are both geographically unevenly dispersed and/or are often expensive.

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Art at NewBridge as expansive and inclusive Key to this approach is an expansive understanding of what art can and should be. Thus, at NewBridge, creativity might emerge through a meal, a chat, planting seeds, a game, as well as through more conventional forms of arts activity.

“I think that’s what art’s about and it’s not just painting. People think, oh, it’s painting and drawing and it isn’t. It is all different things, and it’s to do with being together and eating and talking and sharing things.”

(Jill, Forum café).

This inclusive attitude – and the associated opportunities that creative activity offers in its ability to build social connections, skills and confidence – has overcome both an initial scepticism about NewBridge moving to Shieldfield, and the value of arts organisations more generally.

“I was [...] worried that with a deprived inner city area with multiple problems, whether art was the answer, but I have been very pleasantly surprised by the success of all three groups [NewBridge, SAW, Dwellbeing] in how they’ve genuinely engaged with the population and brought people out of their shells.” (Gareth, Councillor, Ouseburn Ward) “I know people have opinions that art groups and art galleries are for certain groups of people, [...] I know that some people can be a bit hoity-toity in art groups and look down. Here, there’s none of that.

Everybody is on the same level, everybody mixes, and everybody just gets on with it and that’s what I like about this one, that’s because it is involved in the community.” (Val, resident)

A key factor here is NewBridge’s position within the neighbourhood of Shieldfield (as opposed to the city centre) and how this physical proximity enables access.

Clearly, the kinds of access mentioned above do not emerge from location alone, but rather are deeply embedded within NewBridge’s ethos, where residents are invited to participate and to help shape the programme.

“I think art can be seen as something which is detached from the rest of communities.

Its own little thing over there. It’s the big white cube. It’s the kind of impenetrable organisation. [...] I think the great thing about putting an art organisation in the middle of a community is that it provides that opportunity for people to come across the doorway and go, ‘Oh, actually this is really nice and the people are dead friendly’, and ‘Oh, I can get a cuppa’, and ‘Oh, wow!’. And like look at things that might intrigue them in different ways and realise that perhaps some of those barriers that they’ve had in their mind can be erased by actual interactions with the humans that are in those organisations.” (Sue, NewBridge-based artist)

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A good example of this type of collective agency can be found in the Youth Programme, which is shaped by its members in response to their needs and interests. Having the agency to make programme decisions is vital for the young people involved, helping them to re-establish a sense of ownership and stewardship over their neighbourhood, and encouraging them to find, and use, their voices.

uraged en c o

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NewBridge as enabling collective agency

(Body maps)

“[NewBridge] helps me become more talkative.”

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Case Study 3:

In December 2023 NewBridge launched three raps written and recorded by the Youth Programme with NewBridge-based musician and rapper Kema Kay, as part of the Shieldfield Youth Voice project which explored the relationship between music and social action (see more information and a video of the performance here). The project group met regularly to reflect on their experiences, learn song writing, rhythm, musicality, production, and how to share their stories in a fun and relatable way. The sessions also became a space to address the issues that held meaning for the young people involved. The raps were later performed with Kema at a Talent Show at the Star and Shadow Cinema.

“My confidence has gotten bigger” “It doesn’t matter what people think, just put yourself there in the spotlight.”

(Shieldfield Youth Voice evaluation)

Kema’s background, similar to that of the young people in the Youth Programme, and the opportunity to see a difficult task through to completion, were noted as being particularly important factors.

“he can relate to it. It’s not just like he’s came from nowhere and doesn’t have a clue about anything.”

(Shieldfield Youth Voice evaluation)

“it’s shown them that they can achieve something and have an idea in their head and actually put it into this world and finish it and see the result of it, which can then teach them to go off to do other things and be like, ‘Oh remember I done this really difficult thing and I created this, now I face this task, I can probably complete that.’”

(Kema, NewBridge-based artist, musician and Shieldfield Youth Voice project leader) There was also a clear sense that the young people involved felt valued through their participation, becoming more confident in speaking out and developing a sense that they have the power to impact what happens in their local community.

“Now they know who we are and that Shieldfield’s important.”

“We want to feel like what we do is important, that it’s not just for NewBridge and Dwellbeing but the whole community.”

“Never give up and you’ll fulfil your dreams.”

(Shieldfield Youth Voice evaluation)

“We don’t get much but we have got a lot to give!”

(Lyrics from ‘Lots To Give’ written as part of Shieldfield Youth Voice) 37

NewBridge as enabling the building of skills, confidence and local enterprise The increased confidence mentioned by many interviewees, often contributed to personal development in some form – be that interpersonal skills, life skills, creative skills or an expanded sense of purpose and self-worth. These new skills were then often shared with others, extending the impact of the learning.

“I quite often go away feeling that I’ve learned something.

I do like feeling… maybe that is excitement, finding out something unexpected, which I quite often do.”

(Helen, resident) Often, this learning – and the confidence that comes with it – is built over time, through a person-centred approach that enables a genuine understanding of an individual’s talents, interests and aspirations, gained through extended engagement and friendship.

“We get him to volunteer for things [...] because he’s so friendly and good to be around... and that then led to us being like, ‘Oh, do you like radio? We should do a radio show’... and [he] absolutely smashes the radio night. He used to be too nervous to talk on it. He would just come, be like, ‘Oh, I’m just watching’, and then he’d be like, ‘I’m producing. I’m helping’. And now he’s got his own segments and everything.

And he’s like, really, really funny, like really funny on it. So it’s great to see.” (Elaine, NewBridge staff member) In this sense, NewBridge helps to build agency within the community, through a commitment to residents in the long term. One resident spoke of learning skills including how to create an invoice, advertising and using social media, undertaking a food hygiene course, testing recipes and experiencing cooking for large groups of people, that helped her establish and develop a cookery business. Some residents have recently taken on paid roles as coffee morning and social facilitators.

“I like to work in the coffee morning because I meet every people who live here in Shieldfield, adult people [...] I love this talking, chatter, friends together and neighbours... I love this work. [...] I’m really happy.” (Anonymous, artist and resident) Through the opportunities provided by NewBridge, residents clearly build meaningful friendships, while also finding a renewed sense of purpose – in some cases even developing new local enterprises.

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3.2.4 A space that is a key part of the Shieldfield ecology It is important to re-iterate that NewBridge is part of a strong network of mutually-supporting spaces, who often share resources and collaborate.

Any impact generated by NewBridge is thus often forged in connection with, this network. For example, the Youth Programme is an ongoing collaboration with Dwellbeing, while the Memory Café is a collaboration with the Forum Café. The sharing of expertise, capacity and responsibility in this way has resulted in more people engaging in more creative activities, and increasingly popular and valued programmes.

“What I love about NewBridge, and I think Shieldfield at the moment, is the fact that everybody communicates and connects and networks together, and... it looks like you all know what you’re doing. And you’ve all got different niches, but you all complement each other as well, [...] and I think the community really benefits [...] because it’s not competing against one another. It’s all supporting and I think that’s where the strength is.”

(Arts Development Officer, Newcastle City Council) “it’s also symbiotic. That we would probably struggle to put on something like the Shieldfield Cup without those organisations being around ‘cause they give us tables and chairs and there’s a pool of people who come out to do things like food and stuff like that.”

(Richard, volunteer, Star and Shadow Cinema)

Alongside the formal partnerships already spoken about, there are a range of collaborations and informal support across activity in Shieldfield.

An example of this is NewBridge’s support and involvement in the Shieldfield Community Cup, a 5-a-side football tournament initiated by Andrew Wilson and Richard Turland together with a local resident.

“everybody is scrambling about for pots of money or funding and working in silos - sometimes moving into areas where there is already a service or provision in the community rather than working with what is already established. That is unsustainable and weakens what already exists. Community doesn’t happen if you do that. Organisations and business cannot thrive as people are fighting to establish themselves against each other - rather than with each other. To make something lasting you need true collaboration where everyone involved benefits and is part of. This makes a community more sustainable and lasting. But that takes a long time to build that up, trust, communication, contacts and listening to what people need - and that is residents, businesses and charitable or funded organisations.” (Gail, Big River Bakery)

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There is a clear strength in collaborating and coordinating activities across the neighbourhood.

Similarly, some programme funding is shared between multiple organisations, supporting local partnership working. However, collaboration and trust take a long time to develop. It is vital that all organisations are mindful of the differing needs, goals and capacities of each other. This is especially important to note at a time of stretched funding for charitable and community-based organisations, where tensions can emerge.

“Funding. Sometimes we are all going for the same pots… I don’t think it’s been an issue yet, but that could be an issue... We are now competitors in that. Competitors is a horrible word but it’s true, because it’s so hard to get funding in the arts.” (Lydia, SAW)

Similarly, there were concerns that NewBridge should avoid “stepping on the toes” of other organisations in Shieldfield, and they have been mindful from the start about the need for continued dialogue and sensitivity – particularly around issues such as similar provision and differing operational practices and missions.

“if arts organisations are going to be physically located in residential communities, then great, as long as they’re willing to respect what’s happening there already and what else might be emerging while they’re there and not claiming that for themselves, and to wherever possible advocate for that community [...] And so where possible try and create conditions where existing community assets can also flourish alongside and work together [...] so that they’re having their say in what matters in terms of the arts and culture in their neighbourhood.”

(Hannah, Dwellbeing) “we all have a similar ethos and values, but potentially the way that we do things and our overall mission and vision is slightly different.

So, when you’re collaborating together, you don’t want to lose your individual vision and mission but sometimes on a specific project, there’s give and take.” (Lydia, SAW)

A commitment to sensitivity has animated both NewBridge’s move to Shieldfield, and the way the organisation conducts itself.

This sensitivity has enabled NewBridge to successfully collaborate and support partnerships, despite all the challenges mentioned above, and thus to provide a range of resident-centred activities.

“I think we’ve been trying to be careful with [how we are seen by neighbouring organisations] because we are aware [of] not wanting to be treading on people’s toes… and it feels like we’re not – I hope anyway – we’re like really trying not to be some sort of like, you know, black hole [...] sucking up all the resources… I feel like the way that we’re trying to do things, we’re not trying to do that [...] it’s not about shouting about NewBridge, whenever we talk about NewBridge, we’re talking about Shieldfield, we’re talking about the other organisations that are here, that were already here, and that we’re becoming part of.” (Hannah, NewBridge staff member)

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3.2.5 Summary: A fragile infrastructure of care This report set out to explore the social impact of NewBridge. As mentioned above, investigating and evidencing social impact is far from straightforward – particularly over the considerable range of programmes, activities and partnerships run by or in collaboration with NewBridge, and where the impact of a single activity or session may be different for all of those involved, and may change over time. As a result, the social impacts detailed above are in no sense the ‘final word’. Rather, they are an indication of the value and meaning that NewBridge has brought to people’s lives in Shieldfield, and the changes that have resulted.

From finding a home away from home, to changed understandings of confidence, to the learning of new skills – NewBridge has had a clear social impact on and within Shieldfield, contributing enormously to the wellbeing and creativity of residents.

Yet what has been achieved so far is also potentially fragile. NewBridge is currently three years into a five-year lease – and so may be asked to relocate in the near future. In our interviews, we asked: ‘What would Shieldfield be like without NewBridge?

“It’s just become such a staple within the city really. I can’t think of anything else that is doing anything even remotely similar really.” (Max, Slugtown)

“It would be a tragedy really. And for the kids as well [...] the whole community benefits regardless of what age. It’s really needed in this community. It has to stay.

We’d be absolutely lost without it, we need it.”

(Carol, resident) “it would be really detrimental to the area if it had to close or move [...] there is a real need for it in the area.”

(Sue, resident) “I think taking that away, it will leave a massive hole…I don’t think any good can come from taking away this building. No good can come from it.” (Kema, Musician and Shieldfield Youth Voice workshop leader) “I think that NewBridge has really tried hard and done very well at having a relationship with this area and the people in it. And I think a lot of people probably see it as a lifeline sometimes, and it’s helped a lot of people just progress in life.”

(Beth, NewBridge-based artist)

“I think what’s admirable about what The NewBridge Project have done, is they’ve just got stuck in, and the benefits to the people they have worked with have been immeasurable. I agree with you that when you take it away, or when it disappears it will be distressing, or people will notice the gap.”

(Local Authority Officer)

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“I think there’d be loads that we’d miss because we’re so involved now. [...] It would just go flat, I can’t imagine what we would do... It’s such a big part of Shieldfield now.”

(Val, resident)

“It’s like dark, really, if NewBridge closed. [...] I think you need to stay. [...] Because Shieldfield it’s small, there is little bit shops. You don’t have lots of places for activity.” (Anonymous, artist and resident)

“In the context of the local community, then they would lose their brilliant youth group, their sense of community. You’ve got coffee mornings. It’s all very actively used by the local community, so you’d lose a social network, support group, people to talk to...

Yeah, you would lose everything.” (Stephen, NewBridge based artist)

“It would probably get knocked down... It would be a building site for a long time. You’re probably talking about several years of just a massive blot on the landscape, as opposed to something that’s actually helping create some sense of community.” (Richard, volunteer, Star and Shadow Cinema)

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4.0 . Future Learning A number of future objectives emerged through our interviews and research activities. Some of these incorporate points of learning for NewBridge and others are recommendations to extend the impact of the work, or to improve on what is already happening.

4.1 .Broadening engagement NewBridge clearly works hard to overcome barriers to participation, but this work is ongoing – particularly with residents that don’t currently engage.

‘I would say it hasn’t fully integrated within the community.’

(Colin, volunteer and resident) “it’s often the same people who are interested in doing things and that’s great and we want to be involved, but how do you get new voices in there?”

(Lydia, SAW) “Children [are] given the opportunity to use their talents, but it shouldn’t just be children... maybe that should be the next thing of, ‘You’ve enjoyed this, bring your parent... Get your dad out of the house to have a go at something.’”

(Helen, resident) The feeling that art isn’t ‘for’ some people clearly persists but as mentioned above, there are avenues to explore and develop (e.g. with parents and carers through the Youth Programme). In addition, better signage and publicity was suggested, while some studio members highlighted a sense of distance from certain types of event.

“I’m sure there’s a lot going on that I don’t know about [...]

I think a lot of people don’t really know about it, even people living in Shieldfield don’t really know about it [...] Shout louder about the fact you’re here.” (Helen, resident) “sometimes I just don’t want to come to the social things here ‘cause they’re a bit overwhelming ‘cause they’re kind of like family orientated.” (Beth, NewBridge-based artist) The continued importance of programming that was relevant was also highlighted. “it’s got to be things that actually are relevant, and that’s difficult, [...] they’ve got to be things that mean something to people, that give them some sense of power, some sense of control [...] to negotiate what you really want.” (Mike, NewBridge Associate member) This sense of agency is, as mentioned above, already a key feature of programming, and NewBridge is committed to continually listening to and learning from residents, to ensure that this knowledge is embedded across all areas of the organisation, including operations and governance.

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4.2 . Sustaining activity and capacity There was a clear value to sustained activity over the long-term, at times enabled via collaborations with partnership organisations. Yet equally important here is the resourcing of those activities, where it takes time and effort to maintain open communication and build trusting relationships.

“I think they produce so much good quality and engaging work, but I can see that they’re very tired.”

(Lydia, SAW) NewBridge is clearly committed to embedded, resident-focused work, but this can take a toll on staff – potentially leading to capacity issues or burnout. Similarly, while shared funding can be advantageous, it can also create local precariousness - particularly if organisations are reliant on the same funder. “the collaboration we’re doing with NewBridge and Dwellbeing, is so embedded, I think if they were to [leave], that would have a detrimental impact both on Dwellbeing and SAW in terms of finance.” (Lydia, SAW) NewBridge, Dwellbeing and SAW have identified the need to diversify and expand funding streams, and look for longer-term, core funding to support their collective and individual activities. As part of this they have started to devise a shared, long-term vision for their partnership work in Shieldfield, which explores how they might build on what they are already doing and extend the impact. This has included a day long ‘visioning’ workshop which asked: What change will we see in 20 years’ time if local communities have the resources? What would it mean to have sustained, collaborative cultural provision in the area?

What would that look like for the organisations and people living and working here?

“I guess maybe the thing is that we have a really good thing going on here, and it could go [...] like if we could be given the chance to be like, “Oh, wow! What about 20 years time? What does Shieldfield look like in 50 years time, 100 years time?” [...] What if someone that’s on the Youth Programme now is Director of NewBridge in the future? [...] that’s the potential that we have here [...] it feels like we’ve got proper roots that are beyond the building [...] it’s so exciting to think about the potential of it” (Hannah Kirkham, NewBridge staff member)

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4.3 Acknowledging and responding to gentrification and ‘community artwashing’ concerns Whilst the arts can positively contribute to the transformation of areas and neighbourhoods, it has also been used as a tool to distract attention from underlying power relationships where processes of urban change result in social and spatial displacement. Far from addressing structural inequalities, community-based and participatory projects can actively aggravate these inequalities through activating processes of gentrification which cause displacement – a process sometimes termed ‘community artwashing’ (Pritchard, 2020).

NewBridge’s move to Shieldfield did prompt some initial concerns around this point.

“The nervousness is [that NewBridge] does wonders for outside developers” (Lindsay, NewBridge-based artist) The worry here was that in moving to Shieldfield, NewBridge would create a precarious situation for local residents. However, all of those we spoke to went on to clarify that they didn’t feel this had been the case. “because of the approach that NewBridge has taken so far and trying as much as they can with the resources to be porous and generous with those things and to listen and respond… I feel less nervous about those things because it’s happening alongside a load of other community organising... advocating for Shieldfield residents and what they need and want.” (Hannah, Dwellbeing) Whilst NewBridge and its partners cannot control land and housing markets, clearly the organisation’s approach to listening to residents’ needs and developing an approach centring on care, hospitality and inclusivity is a real strength when it comes to advocating for the neighbourhood in the long-term. It is an approach that chimes with Miranda and Lane-McKinley’s (2017) text on the relationship between artwashing and socially engaged art practice, which highlights the need for full solidarity with the community, actively dissolving the distinction between art and everyday life to make it accessible and meaningful for all.

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5.0 Conclusion: Looking to the future

As this report has evidenced, NewBridge has contributed to a vast array of social impact over the three years it has been located in Shieldfield – positively changing people’s lives and experiences. Yet to further enhance and build upon these social impacts, this activity needs to be sustained over time (O’Prey et al., 2022). The most effective projects are those that manage to sustain activity over a period of many years – even decades. As noted above, many interviewees were understandably concerned about the precariousness of NewBridge, and what might happen when the lease ends.

“It could very rapidly fall apart.”

(Mike, NewBridge Associate member) “If I never came here, I’d be depressed. If NewBridge was leaving, I’d never be having a smile on my face.”

(Joud, Youth Programme member) “if I didn’t have NewBridge, I’d just be at home all day, dull, sad.” (Lena, Youth Programme member) Part of the motivation for this report was to understand the value in arts organisations operating in neighbourhoods and to articulate the wide varieties of impact that they can offer when they are truly responsive to the needs of the local community, especially over the long term. In this sense, many interviewees commented on the future potential of NewBridge.

“But I think if whatever’s happening there, that really complex, integrated ecology of what’s happening now, if you could give that 20 odd years to let that really embed itself and blossom, that is an alternative way of how communities, our neighbourhoods, how society could look like, as an example to the rest of the city, to the rest of the region…” (Andrew, NewBridge-based artist) If NewBridge and its partners are enabled to sustain its activities in Shieldfield there is potential for further and deeper impacts over the long term. It is only through continued engagement with people and place, including involving residents in processes of programming and running activities, supporting access to creativity and building local skills, confidences and capacities, that further individual and collective impacts will be enabled to support Shieldfield’s future.

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References Arts Council England (2021) Let’s Create: Strategy 2020-2030, Manchester: Arts Council England.

Miranda, M. and Lane-McKinley, K. (2017) ‘Artwashing, or, between social practice and social reproduction’, A Blade of Grass, 1.

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O’Prey, L., Parkinson, A., Knight, E. and Usher, S. (2022) Social Impact Framework Review, Aberaeron: Wavehill.

Campbell, P., Cox, T. and O’Brien, D. (2017) ‘The social life of measurement: How methods have shaped the idea of culture in urban regeneration’, Journal of Cultural Economy, 10(1), 49-62.

Pritchard, S. (2020) ‘The artwashing of gentrification and social cleansing’, in P. Adey, J.C. Bowstead, K. Brickell, V. Desai, M. Dolton, A. Pinkerton and A. Siddiqi (eds.) The Handbook of Displacement, London: Palgrave Macmillan, 179-198.

Cowling, J. (ed.) (2004) Art’s Sake?: Society and the Arts in the 21st Century, London: Institute for Public Policy Research.

Reeves, M. (2002) Measuring the economic and social impact of the arts: a review, London: Arts Council England.

Dwellbeing Shieldfield (2022) Shieldfield: A Strategic Plan, Newcastle upon Tyne: Dwellbeing Shieldfield.

Stewart, A. (2024) ‘The Damage Caused by a Decade of Arts Funding Cuts’, Musicians Union, 12 February. Available at: https://musiciansunion. org.uk/news/the-damage-caused-by-a-decadeof-arts-funding-cuts (Accessed 16.08.24).

Harris, J. (2020) ‘Austerity is grinding on – it has cut too deep to ‘level up’’, The Guardian, 10 February.

Available at https://www.theguardian.com/ commentisfree/2020/feb/10/austerity-level-upnewcastle-budget-cuts (Accessed 22.08.24).

Heslop, J., Chambers, J., Maloney, J., Spurgeon, G., Swainston, H. and Woodall, H. (2023) ‘Re-contextualising purpose-built student accommodation in secondary cities: The role of planning policy, consultation and economic need during austerity’, Urban Studies, 60(5), 923-940.

Heslop, J., Marsden, H. and Merritt Smith, A. (2021) ‘Social Art and Participatory Action Research in Contested Urban Space’, AM Journal of Art and Media Studies, 26, 115-128.

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Traill, H., Anderson, S., Shaw, D., Cumbers, A. and McMaster, R. (2024) ‘Caring at the edges: Infrastructures of care and repair in urban deprivation’, EPD: Society and Space, 42(2), 190–210.

Turnbull, N. (2022) ‘Permacrisis: What it means and why it’s word of the year for 2022’, The Conversation, 11 November. Available at: https:// theconversation.com/permacrisis-whatit-means-and-why-itsword-of-the-yearfor-2022-194306 (Accessed: 31 July 2024).

Wearring, A., Dalton, B. and Bertram, R. (2021) ‘Pivoting post-pandemic: Not-for-profit arts and culture organisations and a new focus on social impact’ Cosmopolitan Civil Societies: An Interdisciplinary Journal, 13(2), 44-59.

100 People: A Portrait of Co-Existence (2023) (feature film) Dir: Andrew Wilson. UK, 93mins

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Photo Credits Page 12-13: Topsoil, June 2023. Image Credit: Izzy Finch Page 15: Memory Cafe, November 2022. Image Credit: Victoria Doyle Page 20-21: Kandake: Sudanese Sisters, April 2024. Image Credit: Matt Denham Page 22: Kandake: Sudanese Sisters, April 2024. Image Credit: Matt Denham Page 23: Eid al-Fitr Celebration, April 2023. Image Credit: Matt Denham Page 25: Eid al-Fitr Celebration, April 2024. Image Credit: Victoria Doyle Page 26: Memory Cafe, November 2022. Image Credit Victoria Doyle Page 28: Topsoil, May 2023. Image Credit: Izzy Finch Page 29: Mother Other Preview, June 2024. Image Credit: Matt Denham Page 30-31: Home Rearing, Lady Kitt, Finn and Ada, April 2023. Image Credit: Matt Denham Page 33: The Collective Studio, February 2024. Image Credit: Yuliia Syrenkova Page 55: Body maps workshop with Shieldfield Youth Programme, June 2024.

Image Credit: Dwellbeing Shieldfield & The NewBridge Project Page 36: Youth Programme, Stars of Shieldfield, December 2023. Image Credit: Matt Denham Page 39: The Collective Studio, February 2023. Image Credit: Yuliia Syrenkova Page 43: Eid al-Fitr Celebration, April 2024. Image Credit: Matt Denham Page 50: Shieldfield. Image credit: Julia Heslop

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