factorymag_7_final_june_2014
TRANSCRIPT
This issue’s cover star is the city’s 2014 garden design entry for the RHS Chelsea Flower Show.
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BEST MOOCSFACTORYMAG PICKS OUT THE BEST FREE ONLINE SUMMER SCHOOL COURSES
FACTORY EVENTSADVANCE NEWS OF THE MAJOR AUTUMN EVENTS AND OPPORTUNITIES AT FACTORY
AT THE MITCHAN INTERVIEW WITH THE NEW CEO OF THE MITCHELL ARTS CENTRE IN STOKE-ON-TRENT
COVER STAR POSITIVELY
STOKE-ON-TRENT
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CREDITS AND INFO
PUBLISHER:Factory
Creative Industries Project.Stoke-on-Trent City Council
Floor 3, Civic Centre, Glebe Street, Stoke-on-Trent
ST4 1HH
01782 231586
stoke.gov.uk/factory
LAYOUTS:David Haden
PHOTOS, IF NOT CREDITED:David Haden
ARTICLES, IF NOT CREDITED:David Haden
All copyrights are retained by their respective originators.
Where opinion or ideas are expressed, it is that of the authors,
and does not necessarily reflect that of the publishers.
This is a quarterly publication with ten issues. The content deadline
for the eighth issue is:
Monday 1 Sept 2014
SIGN UP FOR THE FACTORY ALERT! Get a link to the new issue, as soon as it is published. Simply join the Factory emailing-list . . .
JUNE - AUG 2014ISSUE 7
WELCOME to the seventh issue of a regular
quarterly publication for those working or
training in the creative industries in Stoke-on-
Trent and North Staffordshire. The publication
has been commissioned by Stoke-on-Trent
City Council to support this sector and promote
the business investment programmes funded
by the European Regional Development Fund,
Make It Your Business, and Factory.
If you would like to submit any articles for
consideration in our next edition please get in
touch before Monday 1 Sept 2014.
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8
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EVENTS LISTINGS
FACTORY: FACTORY FLOOR REPORT
FACTORY: FUTURE EVENTS PROGRAMME
FUNDING: “SHOW ME THE MONEY!”
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14
20
INTERVIEW: ZOE PAPIERNIK
GARDEN DESIGN: POSITIVELY STOKE-ON-TRENT
SPOTLIGHT: 40 YEARS OF THE FILM THEATRE
24
28
SPOTLIGHT: ART & DESIGN GRADUATES
MOOCS: CREATIVE SUMMER SCHOOL, FOR FREE!
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PARTNERS
UPFRONTWelcome to the seventh (summer)
edition of FactoryMag, an online topical magazine that has been specifically produced for the benefit of the region’s creative industries. The publication focuses on the continued development and delivery of the Factory business support initiative and provides a diverse range of opportunities and innovations specific to business growth.
Finally the summer is here! It brings with it a season of creative flair, imagination, amateur dramatics and the hopes and dreams of a nation. Yes, I do mean the World Cup! But this summer also hosts the final of the Youth Enterprise Start-up competition. In which budding entrepreneurs from across the region will pitch their business ideas to a Dragons’ Den style panel, with a chance to receive a share of £30,000 and an array of specialist support. So get your fingernails ready and take your position on the edge of your seat in Stoke-on-Trent on 16 July, as I’m sure both competitions will have you hanging on right through to the final minute.
For those of you actively avoiding this summer’s football showdowns, FactoryMag has been researching some of the best free MOOCs (Massive Open Online Courses) available. So why not go to the coolest summer school at some of the leading universities, online and for
free? For full details flip your way to page 28 and check out what’s available.
If you’re looking for an alternative to the screens of your TV and PC , then why not consider Stoke’s very own independent film venue, the Stoke Film Theatre. This September they are celebrating 40 years of exceptional film screenings. They offer an eclectic programme to suit all film tastes and have a brand new digital projection and Dolby Surround sound infrastructure to compete with some of the biggest multiplexes. So if you are a fan of film, do check out their future screenings at www.stokefilmtheatre.org.uk
Finally, for all of those who prefer a more theatrical performance as their viewing entertainment, FactoryMag has an exclusive interview with Zoe Papiernik. Zoe is the newly appointed Chief Executive of the Mitchell Arts Centre. Read all about Zoe’s previous experience and why she wanted to lead one of the most exciting venues in the City Centre.
I hope you enjoy this edition of the FactoryMag, and all of the summer’s festivities, and I look forward to seeing you at a Factory event soon.
Marc Wootton.Factory Project Manager, Culture, Tourism and Events,Stoke-on-Trent City Council.
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25 JUNE 2014
Cyber SecurityThis ERDF funded evening workshop at Staffordshire University will explain how to protect your business against cyber crime and to detect it via forensics. The intended audience is firms “supplying goods and services to other businesses”.
PRICE: £ FreeMORE INFORMATION: www. goo.gl/gU27Ra
26 JUNE 2014
Hello @ Social Enterprise StaffordshireThis free afternoon networking event at Staffordshire University is for recent and established social enterprises and their supporters in Staffordshire, especially those who want contacts in the world of charities and other social enterprises.
PRICE: £ FreeMORE INFORMATION: www.goo.gl/wQk056
10 JULY 2014
Factory: Taking On An ApprenticeNoel Dunne, Director of Creative Alliance, will be talking about what creative apprentices can do for your creative business, and the wage subsidy schemes available via the UK government.
PRICE: £ FreeMORE INFORMATION: www.goo.gl/V2nMwz
16 JULY 2014
‘The Start-up’ FinalsAn evening event for newly established business less than 12 months old. See six finalists in ‘The Start-Up’ competition compete live for a share of £30,000. Hear inspirational talks from other entrepreneurs.
PRICE: £ FreeMORE INFORMATION: www.goo.gl/CORtuO
26 JULY 2014
Crunch & DustThis event may especially interest recent creative graduates who intend to stay in the city. It will be “an opportunity for connectors to get together and nurture a network. At a presently secret location in Stoke town, an event called Crunch & Dust aims to bring artists, musicians, creative thinkers and local people together for a day and night of art, music, dancing and talking.”
PRICE: £ FreeMORE INFORMATION: www.goo.gl/tZDL2h
3 SEPTEMBER 2014
UKTI: Alternative Routes to MarketA UKTI Masterclass in choosing the correct route to your export market, using agents or distributors, and licences and collaborative arrangements. To be held at Acton Trussell.
PRICE: £ 240MORE INFORMATION: www.goo.gl/Oh363D
10 SEPTEMBER 2014
Factory: Brand DevelopmentLearn the essential and practical steps in brand development, at this free Factory workshop. 2-5pm. (This will also run again on 3 December 2014)
PRICE: £ FreeMORE INFORMATION: www.goo.gl/V2nMwz
10 SEPTEMBER 2014
Grow North StaffsThe annual enterprise and business growth conference organised by Stoke-on-Trent City Council. Invitations will be sent
out to local firms soon, so keep your diary free!
PRICE: £ EnquireMORE INFORMATION: [email protected]
15 SEPTEMBER 2014
Factory: How To Attract Press InterestLearn the essential and practical methods to attract the attention of local and national journalists, at this free Factory workshop. 2-5pm. (This will also run again on 8 December 2014)
PRICE: £ FreeMORE INFORMATION: www.goo.gl/V2nMwz
events creative networking
26 JULY 2014
CRUNCH & DUST“An opportunity for connectors to get together and nurture a network. At a presently secret location in Stoke town, an event called Crunch & Dust aims to bring artists, creative thinkers and local people together for a day and night of art, music, dancing and talking.”
MORE INFORMATION: www.goo.gl/tZDL2h LOCATION: “presently secret”, Stoke-on-Trent.
04EVENTS CALENDAR
18 SEPTEMBER 2014
Factory: CRM and NetworkingFind out how networking can be used to develop business and access new markets, helping you grow. Discover the fundamentals of Client Relationship Management (CRM), and how they can be applied to your business to increase productivity. 2-5pm. (This will also run again on 13 December 2014)
PRICE: £ FreeMORE INFORMATION: www.goo.gl/V2nMwz
24 SEPTEMBER 2014
Factory: Assembly 2014At this major one-day conference you will hear about the latest sector trends, developments in new markets, fresh opportunities, and how to grow your business. This year’s theme is ‘the business lifecycle’. Speakers from a variety of sectors will share their unique journeys through each stage of their business development. Full details will be released soon.
PRICE: £ FreeMORE INFORMATION: www.goo.gl/V2nMwz
25 SEPTEMBER 2014
BIC: Profit From InnovationThis is a one day workshop from Staffordshire BIC, on how to use innovation to find viable new markets and develop new products. The venue is in Longton.
PRICE: £ FreeMORE INFORMATION: www.thebic.co.uk/events/
26 SEPTEMBER 2014
Factory: New Product DevelopmentLearn the basics of researching and developing a new product to meet a market need. 2-5pm. (This workshop will also run again on 5 December 2014)
PRICE: £ FreeMORE INFORMATION: www.goo.gl/V2nMwz
29 SEPTEMBER 2014
Factory: Build Better WebsitesLearn what website visitors need, and how to give it to them in a well designed and up-to-date manner, at this free Factory workshop. 2-5pm. (This will also run again on 15 December 2014)
PRICE: £ FreeMORE INFORMATION: www.goo.gl/V2nMwz
1 OCTOBER 2014
BIC: New Product MarketingThis one day workshop from Staffordshire BIC will help you to learn the research methods and tactics needed for successful new product launches. Includes free workflow templates. The venue is in Stafford.
PRICE: £ FreeMORE INFORMATION: www.thebic.co.uk/events/
2 OCTOBER 2014
Factory: Your Intellectual Property (IP)Learn about intellectual property, and the practical steps to take to protect it via copyright and other means, at this free Factory workshop. 2-5pm.
PRICE: £ FreeMORE INFORMATION: www.goo.gl/V2nMwz
14 OCTOBER 2014
Blogging MasteredThis one day masterclass from Destination Staffordshire is aimed at those working in the tourism and visitor attraction business. Learn about content creation for blogs and podcasts, how to keep producting regular content, and how to turn your online visitors into customers. The venue is Beechenhill in the Peak District.
PRICE: £ FreeMORE INFORMATION: www.goo.gl/hPV2OF
15 OCTOBER 2014
Marketing To The 50+This one day event from Destination Staffordshire is aimed at those working in the tourism and visitor attraction business. Learn how to talk to the age 50+ market in the UK, and encourage them to book and visit with you. The venue is in Stoke-on-Trent.
PRICE: £ FreeMORE INFORMATION: www.goo.gl/VrjSPM
5 NOVEMBER 2014
BIC: What IP Do You Own?This workshop will give an overview of intellectual property and how it impacts on smaller businesses. The venue is in Longton, Stoke-on-Trent.
PRICE: £ FreeMORE INFORMATION: www.thebic.co.uk/events/
12 NOVEMBER 2014
Newsletters MasteredThis one day event from Destination Staffordshire is aimed
at those working in the tourism and visitor attraction business. Learn how to create an e-mail newsletter and use it to develop and grow your business. The venue is Keele University.
PRICE: £ FreeMORE INFORMATION: www.goo.gl/XIpx3N
24 NOVEMBER 2014
North West Women’s Enterprise DayBack for its fifth year in 2014, this event is a major one day conference with a practical programme and networking opportunities for women in business. The conference venue is Cranage Hall, near Crewe.
PRICE: £ 50 plus booking feeMORE INFORMATION: www.nwwe.org.uk
WANT TO SEE YOUR 2014 EVENT LISTING HERE?
Please email your event details to:
creative inspiration
16 JULY 2014
‘THE START-UP’, FINALS EVENINGHear inspirational talks from successful entrepreneurs, as finalists compete for £30,000 in prize money! Network with other start-ups.
PRICE: £ Free MORE INFORMATION: www.goo.gl/CORtuO LOCATION: King’s Hall, Stoke-on-Trent.
05EVENTS CALENDAR
24 SEPT: FACTORY ASSEMBLYStoke-on-Trent’s second creative industries conference. A free one-day event, not be missed. Sign up with Factory now, for details in due course!
10 SEPT: GrowNorthStaffs CONFERENCEThe annual enterprise and business growth conference organised by Stoke-on-Trent City Council. Invitations will be sent in due course, keep your diary free!
FACTORY
16 JULY: ‘The Start-Up’, FINALS EVENING See six finalists compete live for a share of £30,000 prize money plus other great prizes. Hear inspirational talks from successful entrepreneurs.
In the late summer and autumn of 2014 Factory and partners will deliver a range of events and trips, in support of the creative industries in Stoke-on-Trent and North Staffordshire.
LEARNING
Factory members can visit a series of leading tradeshows and cultural initiatives, this coming autumn. Be sure to register your interest soon, as places will fill up very fast.
Photographs, from top, across spread: Ramnath Bat; William McInnes; David Haden; Stoke-on-Trent City Council; Marcus Wemyss; Factory; Quinn Dombrowski.
stoke.gov.uk/factory
JOURNIES
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Photographs, from top, across spread: Ramnath Bat; William McInnes; David Haden; Stoke-on-Trent City Council; Marcus Wemyss; Factory; Quinn Dombrowski.
To keep up to date with all creative opportunities and
events, please subscribe to the Factory mailing list:
SUMMER CRAFT FAIRIn partnership with the Make It Your Business
programme, Factory invites designer makers from across Stoke-on-Trent and Staffordshire to showcase
their work at the first summer craft fair to be held in the City Centre. A series of marquees will be prominently positioned on Saturday 9 August 2014, enabling you
to sell work directly to potential customers. All stands will be offered free! www.goo.gl/tDMpmx
£1,500 GRANTGet up to £1,500 (match funded) to
spend on new business equipment. See the “Show Me The Money!”
section, at the end of this magazine, for full details.
Please note: this event is only for those who are running a newly established business less than 12 months old, or
those who are planning to start a new enterprise. This is also an opportunity
to engage with enterprise support services, and network with other new
business start-ups.
King’s Hall, Stoke-on-Trent
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Factory held its quarterly
Factory Floor creative industries
networking event at the Burslem
School of Art, Stoke-on-Trent,
on Thursday 8 May 2014. Marc
Wootton of Factory introduced
Helen Palmer, Director of
Palmer Squared, cultural and
tourism marketing specialists.
Helen is also the Joint Head of
Marketing & Development for
the British Ceramics Biennial in
Stoke-on-Trent, and has worked
with all three Ceramics Biennial
events in the city. Helen gave a
talk on: “What branding really
means, why it’s important and
how branding can make a real
difference to your business”.
Helen began by pointing out
that most people think of the
consistent logo and the ‘visual
brand’ when they think of
marketing. Helen gave a number
of such examples that she had
worked on. The rebranding of
the Stoke Your Fires film festival
sought to encapsulate the scale
and ambition of the event in the
visual communication for the
event. With a design agency
Helen had recently developed a
range of consistent Stoke Your
Fires marketing materials.
by the designers, and Helen had
to work with that, and to make
it work. It gets slightly adapted
for each festival, reflecting how
the brand is changing over the
years. But however flexible a
logo is, brands today are now
more than that just a logo.
Brands can also be people. As
an example Helen mentioned
her work with MrMasters, who
did fitting out work ahead of the
Biennial. He produces bespoke
work that always has an edge to
it. She discovered he also runs
whacky events, and she felt that
he is very much an example of
someone who “embodies his
brand”. Certainly the nature of
marketing is changing, with new
techniques being developed in
both business and politics to
devise messages that strongly
resonate with people. But
marketing is still a very human
Helen then turned to her major
work with the British Ceramics
Biennial (BCB) from 2008
onwards. She worked with a
design agency to help create
the identity of the Biennial.
The look had to be simple,
contemporary, and to stand out.
The strong magenta pink colour
for the Biennial was given to her
“Judiciously show the build-up process of each event to your potential customers,
via social media...”
FACTORY FLOOR08
activity. So it’s important to realise
that you are your brand, and that
people who work with you are
your brand representatives. It’s
also important to realise that
marketing increasingly needs to
be a 360-degree activity. Every
‘touch point’ you have with
clients and customers has to be
consistent. A 360-degree brand
can also help you keep in touch
with potential and past clients,
who may one day buy from you
again. Helen felt that a good
example of ‘touch points’ was
to judiciously show the build-up
process of each event to your
potential customers, via social
media, to slowly raise their levels
of excitement and interest in you.
Helen talked of the tone of voice
needed when conversing with
your audience on social media.
It is vital to use a consistent cliché
free manner when talking with
your customers through social
media. To get the tone right, ask
yourself: what are your brand
values? Quality, accessibility,
speed, uniqueness, insight?
How can you embed these in the
tone of voice you use with social
media? Cow&Co was given as
an example of a “really nice”
tone of voice, via social media
and their newsletter. They also
hook their messages into timely
events, such as Easter, Father’s
Day, and suchlike. That’s a
technique which perhaps gets
overused, but it can be valuable
for those who are starting
out. Manchester City Football
Club get their voice right, and
as a consequence are seen as
very grassroots, as being “in
the city” rather than hovering
somewhere above it or outside
it. Learning what you’ve got that
people value is also important:
Manchester City give away
signed player shirts in exchange
for “the best picture” on social
media.
In the questions Helen was
asked for tips. “Never publish
your rates” was one. “Don’t
chase the money” was another.
You may not even need a logo,
if you can just consistently
demonstrate what you do.
Such as the BCB being able
to demonstrate measurably
changed opinions about the city.
Scott Grindey, from the
Competitive Intelligence Team
at Stoke-on-Trent City Council,
followed Helen Palmer’s talk.
Scott explained the full range
of market research and other
free business research services
available to all local businesses,
the full details of which can
be found in an article in the
previous issue of FactoryMag.
FACTORY FLOOR FACTORY EVENT REPORT 8 MAY 2014
Above: Helen Palmer, Director of Palmer Squared.Above left: Helen talking to Scott Grindey, ahead of the event. Pictures: Gillian Cale.
BY DAVID HADEN
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POSITIVELY STOKE-ON-TRENT
The city of Stoke-on-Trent entered a bold and energetic garden design in the 2014 RHS Chelsea Flower Show.
The city of Stoke-on-Trent’s innovative garden design won a prestigious Silver-Gilt Flora award in May 2014, at the world-renowned Chelsea Flower Show. The Royal Horticultural Society award was given to the “Positively Stoke-on-Trent” garden designed by a Stoke-on-Trent City Council team of horticultural workers.
The creative garden design was delivered in detail and built on site by Bartholomew Landscaping, aided by various staff from Stoke-on-Trent City Council. Also on site to assist were young apprentices from the city, and from Rodbaston agricultural college in Staffordshire. Despite heavy rain during the 18 day construction phase, the team strived ahead with the job and finished on time.
POSITIVELY STOKE-ON-TRENT
Picture: Bartholemew Landscaping, of London
The Stoke-on-Trent garden was led for the city council by Annita Gibson, Team Manager for Landscape Development, and attracted support from a range of industries and services in the city. The team also worked closely with other leading firms from Staffordshire and around the UK. The stainless steel arches feature, and the roof support for the pavilion’s solar panels, were supplied by PCT Engineering Ltd of Stoke-on-Trent. The PCT steel arches also served to support a remarkable Perspex water cascade feature, which offered the illusion of an arc of water magically curving through the air. The fountain technology was supplied by Fountains & Features Ltd of Oldham, and the flow of water was powered by photovoltaic panels on the pavilion roof. Thick clear Perspex sheets from Perspex Distribution Ltd and Talbot Designs of London were also used to glaze the central pavilion. Talbot created innovative bespoke tooling in order to mold the Perspex sheets into a complex parabolic cone shape, so as to match the clean, curved lines of the garden. Behind the pavilion was a background screen of trees, large Birch and Taxus saplings grown at the specialist Van den Berk Nurseries in the Netherlands.
Westmorland Green paving — 500 million year old stone quarried in the Lake District — supplied through Burlington Stone, was used in the path to the pavilion. The stone also served as heat-absorbing backs for the seating. Local schools’ visions for the future of the city were engraved directly into the paving stones. The curves on the pavilion, path and arches were echoed among the informal foliage by the garden’s ceramic globes, which were hand painted and finished by Moorcroft Pottery of Stoke-on-Trent.
The completed garden offered an ensemble of naturally energetic lines, solar power water flows, and high tech materials. These reflected the current technological revolution in new materials and shape design, the successful exploration of which is now vital to the future of the city’s ceramics industry.
Planting colours offered a graduation among the flowers from white informal roses through to natural pinks and rich wine colours with more formality. The abundance of
meadow grassland habitat in Stoke-on-Trent was evoked by the lush planting of dark pink-red peonies and washes of tall native grasses and clovers surrounding the pool and its steel arches. Three varieties of white English roses bred by the veteran Staffordshire rose breeder David Austin added final flourishes, with their heads rising above the swathes of lower planting. Taken together the garden’s plantings gave a glimpse of how all cities will one day look in summer, as they take up ideas of sustainable and edible planting, green walls and roofs, urban woodlands and meadows, new parks, and ecosystem restoration along greenways and waterways.
Teenager Lewis Millington, of Brown Lees in Stoke-on-Trent, was among the group who worked to create the garden. Lewis recently completing level two of his apprenticeship. “It’s a good learning curve to see how the gardens are put together,” the 17-year-old said; “It will increase my knowledge of new plants along with picking up more skills in horticulture.”
Fellow council worker Carlo Marchionne, aged 54, who is currently studying a level two in horticulture, said: “I’ve got plenty of experience planting bedding and things like that, but you don’t get many chances to build something like this — and at Chelsea as well.”
Barry Burrows, the lead Chelsea site worker from Bartholomew Landscaping, said: “It has been a delight working for the people of Stoke-on-Trent on this garden – I feel so proud to be representing a city with so much energy and drive.”
Local children played their part in the delivery of the garden. Molly Bishop and Cory Stone, both age 13, travelled from Thistley Hough Academy school in the city to act as ambassadors from the city. Classes of pupils from Thistley Hough Academy also visited Moorcroft Pottery of Stoke-on-Trent, to see the garden’s ceramic globes being made.
Roses and selected other flowers will be replanted in the Queens Park in Longton, Stoke-on-Trent, during summer 2014.
The RHS Chelsea Flower Show ran from 20 to 24 May 2014. www.goo.gl/nE2lZI
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Top picture: Karen Roe. Other pictures; Bartholemew Landscaping.
“the garden’s ceramic globes
were hand painted and finished by
Moorcroft Pottery of Stoke-on-Trent.“
Above: Moorcroft globe on the site. Below: Moorcroft globe being created in Stoke-on-Trent. Left, centre: workers celebrating on completing the building of the garden. Left, bottom: water cascading across Perspex.
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ZOE PAPIERNIK
David Haden talks arts marketing with the new CEO at the Mitchell Arts Centre. ‘The Mitch’ is located in the City Centre of Stoke-on-Trent.
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David Haden: Zoe, congratulations on recently becoming the new Chief Executive of the Mitchell Arts Centre in Stoke-on-Trent City Centre, moving from your former role as Head of Marketing at The Lowry gallery in Salford. But you grew up in the city, I understand?
Zoe Papiernik: Oh yes, I consider myself a local girl, with my roots firmly cemented in the area. As a child I spent nearly every Saturday in the Potteries Museum, usually getting lost in the costume and natural history collections! But by the time I was heading off to University, it was the pull of the stories behind the museum’s objects and artwork which really interested me. That was what led to my study of Art History, and then Museum Studies.
DH: And then you took a strong interest in audience development, reaching new audiences via marketing and other means?
Zoe: Yes, I started my career at a time where there was considerable investment in access to the arts, and a focus on how the arts should offer something to everyone. So that fuelled my interest in audience development work, and wanting to ensure that everyone has the opportunity to experience high quality arts. I still believe that the arts can have a very positive influence in a person’s life, but as I’ve got older I realise that not every engagement has to be life changing. It’s just as important to have an enjoyable experience, or to see something that makes you think or talk about a subject in a new way. It can be momentary or long-term.
DH: Before Salford you were Head of Audience Development at Wolverhampton Arts & Heritage, covering four arts venues in the city for seven years. Do you see similarities between Stoke and Wolverhampton?
Zoe: Wolverhampton is like a second home to me. I found an honesty and openness in the people there, that reminded me so much of Stoke-on-Trent. As post-industrial conurbations both places have a shared history. The impact of
ZOE PAPIERNIK
The Mitchell Arts Centre offers an air conditioned 304-seater theatre auditorium; meeting rooms; a dance studio; and a new licensed Cafe Bar. It opened in 1957 and quickly became the main venue for amateur dramatic societies and the home for theatrical youth groups. The entire building was fully refurbished a few years ago, with funding from UK Government, the Coalfields Trust, and the National Lottery. The Mitchell welcomes enquiries from volunteers, youth groups, business sponsors, and conference organisers.
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Zoe: There certainly isn’t a magic formula and wouldn’t things be boring if there were! One of the exciting things about working with people is we’re all slightly unpredictable. Of course there’s the ‘common sense’ things, the usual practicalities that we need to bear in mind when programming or delivering a project. Working at The Lowry meant I had access to huge amounts of audience data, and through this you do start to see patterns emerging. But any arts professional must remember that there are always nuances, and audiences are often contradictory in how they think they behave and how they actually do behave. In terms of proven strategies, those are pretty simple: read between the lines (data, research, consultation); don’t be afraid to ask (the public, peers); and stick to your goals — it’s easy to get caught up in other people’s agendas.
DH: At Wolverhampton you had the major collection of Pop Art paintings and prints in the main gallery, including famous Andy
Victorian philanthropy meant that cultural provision in both cities was and continues to be excellent. However engagement in the arts in both Stoke-on-Trent and The Black Country are currently within the bottom twenty places in England. This statistic should be surprising, given the richness of the cultural offers. So that lack indicates that something isn’t working as well as it should be.
DH: Or perhaps it’s partly that these regions retain a certain strength in terms of autonomous culture and tastes. I was once at an Arts Council event in Birmingham where a TV executive caused a bit of a stir by revealing that TV companies had good metrics showing strong regional variations in taste, at least in terms of TV viewing. That was circa 2005, and judging by the audience grumbling I think it upset a ‘one size fits all’ assumption about how public arts work.
Zoe: One size certainly doesn’t fit all. As consumers we’ve got used to choice, and having access to something which meets our individual needs. So as arts professionals we need to start to look for themes, for similarities, anything, which connects people. From my experience, these days the influence of popular culture and the media does increasingly shape a lot of the general public’s artistic tastes. Wolverhampton’s two most successful exhibitions, in terms of visitor numbers, were: Thunderbirds Are Go! The Worlds of Gerry Anderson, back in 1992 — that was back in the days of the famous Blue Peter model and Matchbox Thunderbirds toys; and the 2012 From The Tiger who Came to Tea to Mog & Pink Rabbit; A Judith Kerr Retrospective. Both those exhibitions had very differing artistic values, compared to say a cutting-edge contemporary art show. But measuring quality is a very difficult thing to do, it’s subjective to the audience.
DH: What would you say are the top three concrete strategies that you’ve found ‘really do work’, in terms of encouraging people in a working class city to freshly engage with an arts venue or arts experience? Or is there no formula, is it always that the appeal needs to be tailored to a variety of factors?
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Warhol works. At the Lowry you had the hugely popular ‘matchstick men’ paintings of Lowry. Can The Mitchell have something similarly useful, for audience engagement?
Zoe: Having great collections like those is always going to help to draw attention and interest. But that art got created, and that creation process can happen anywhere, then a few decades down the line it’s bringing in coachloads of tourists. Sometimes it even gets rediscovered: look at how the Staffordshire Hoard continues to spark such excitement internationally. For The Mitchell Arts Centre — or ‘The Mitch’ as we like to call it — understanding the heritage of the building is a valuable asset. In my short time here I have seen firsthand how it emotionally connects to people, I’ve seen people have been moved to tears when visiting for the first time in 30 years, and I’ve listened to how it made a lasting impression on their life. Although we’re looking to the future, this heritage is also important.
DH: Historic emotional connections as ‘collection’. I like that idea.
Zoe: One of the projects we’re currently fundraising for is to tell the story of ‘The Mitch’ and our relationship to R. J. Mitchell and of course to his famous Spitfire airplane design from the Second World War. And working with the Potteries Museum we’re aiming to play our part in retelling an important piece of modern history that has its foundations in the city.
DH: What have been your most interesting projects to date? Or interventions, or ‘challenges that became opportunities’?
Zoe: One of the most interesting projects I worked on was to increase the number of C2DE (working class) audience members engaging with museums. We worked on this across the West Midlands, with an integrated strategy that covered all aspects of our museums. It was a huge success, with all partners exceeded our targets for increasing C2DE visitors. But unusually there were
“ensuring that you meet your existing audience’s needs is as important as meeting those of the new” — Zoe Papiernik
The roof of the Cafe Bar at The Mitchell Arts Centre is based on R. J. Mitchell’s design for the Spitfire wing.
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exactly the same number of people visiting the venues overall. Which puzzled us. What had in fact happened was that we had simply replaced our regular audiences with our new ones! By putting all of our energies into new audiences, we forgot to communicate with our existing ones! The biggest shock was the decline in cups of tea being sold in our museum cafes. It sounds simple, but ensuring that you meet your existing audience’s needs is as important as meeting those of the new, a lesson that always stays with me.
DH: Is it possible to measure the long-term outcomes from such engagements and encounters? I know it’s difficult to get funding to follow impact through in the long-term, once a project finishes. But sometimes people come back to you and say: “you changed my life”.
Zoe: I was really fortunate to see some great examples of this. We had a young man who started to hang out at some of our events, and we encouraged him to come along to our youth artforum. He had come to the UK seeking asylum and had dreams of going to University to study a B.A. degree in Graphic Design. Over the course of two years he built his confidence through engaging in our youth artforum. Following this we offered him some paid work as a junior graphic designer, and in 2012 he successfully got a place at the prestigious Central Saint Martins in London, which he was finally able to take up.
DH: Is “femininity a marketing strategy” for culture, in terms of smoothing away the rough industrial legacy of a city? I’ve heard that said, of places such as the rough port city of Rotterdam, and Belfast. I suppose the risk there is that some unimaginative people could take that to mean: “the cultural offer must be family friendly, business as usual”.
Zoe: It comes down to a couple of things, ensuring that the cultural ecology of a city is balanced and knowing who your audiences are. For the cultural ecologies of a place to work, it means having a varied offer that connects to different people. I agree there has been a big movement toward meeting the demands of families, they are powerful consumer group and have a lot of influence.
DH: And the UK’s ‘new baby boom’, now becoming the ‘new under-5s boom’, is understandably a strong factor in that.
Zoe: However, ensuring that there are options for all sorts of people, their interests and their levels of engagement, is vital. ‘The Mitch’ is a family and youth charity, so it’s part of our remit to promote family friendliness. But youth theatre performances are not for everyone, and for some I think it’s been seen as a quick fix.
DH: So there may be scope to do more. Talking of ‘more’, just a few yards up the hill from the Mitchell is the AirSpace contemporary art gallery, which has a strong focus on intellectually challenging work from young Fine Art graduates. Are there synergies between the Mitchell and AirSpace, that might be explored? Is creativity a way that the very different types of young people at these two venues can ‘speak the same language’?
Zoe: Arts language is a huge barrier. I remember being asked, during my interview at The Lowry: how I would find the transition between visual and performing arts. I said it all came down to language and knowing how to learn it and how to use it. The UK arts research shows that — apart from a small number of very culturally engaged people — there isn’t very much cross over between visual and performing arts audiences. They have different motivations for engaging with the arts, and with this comes a difference in language. AirSpace does do a really great job of meeting the demands of a contemporary art literate audience, and that’s an important part of the cultural ecology of the city — as the percentage of graduates here increases. But there are always opportunities to connect, at the moment we’re supporting an artist residency with AirSpace, which is looking at the old ABC Cinema site, which is sandwiched between the two venues and currently unused scrubland. Ideally you introduce contemporary arts to a performing arts audience in a way that means it’s on the audience’s terms, in a venue they trust and that they already have a dialogue with. The rest is just words.
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DH: How do you see the Mitchell engaging with the autonomous media and cultural activities in the city? I mean those that are not generally public or publically funded. Which are grassroots and ‘just happen’ in strong communities, albeit with lots of untracked volunteer hours put into them.
Zoe: It’s important for ideas and projects to manifest and develop outside of an area’s governance structure. But often those grassroots projects and groups then emerge over time to influence local policy, as audiences demand changes and need new types of arts and cultural provision. However I don’t think professional organisations should shy away from carefully collaborating with grassroots organisations, because we often have useful access to different resources and experiences. Ultimately it becomes a trade.
DH: What do you see as the role of business in outreach and accessibility work, in a working city of this type? Can firms do more than offer a £1,000 cheque to boost the marketing budget? If so, what works in that regard?
Zoe: The best examples I’ve seen are where businesses can offer their specialist knowledge. This is often far more valuable than money, although that does help too! We had a great partnership with local firm of solicitors, Manby Bowdler. We pulled together a programme of lunchtime talks for their staff, which helped them to manage stress levels. In turn we had access to advice and money to help us build our daytime trade. Local companies are a critical part of any outreach strategy, by giving us direct access to their staff and customers, it allows you to build a relationship on their terms.
DH: Stoke-on-Trent is surrounded by affluent places: Buxton and Leek; Keele and parts of Newcastle-under-Lyme; South Cheshire; Shrewsbury; and Stone, Trentham and Barlaston. But sometimes the people there don’t view our city in a very positive light. How can we get them in, to enjoy the City Centre’s culture and arts?
Zoe: Well, changing made-up minds isn’t just going to be achieved with a marketing exercise. Communication is key, of course. But it has to
extend beyond this, to change perceptions, which are often embedded throughout a lifetime. It’s not just about perceptions from outside the city either, as local people aren’t ones to gloss over their views. With a consistent approach, we can all start to make small differences. But places like ‘The Mitch’ can help in practical ways. For instance, by bringing in talented performers and quality touring companies we help to reinforce the message that companies from the rest of the UK are happy to come here, they know we give them great audiences.
DH: Yes, and that’s not always the case elsewhere. Theatre people have long said that some of the best audiences you can have are to be found in Stoke-on-Trent and Wolverhampton. Where would you like to see the ‘cultural offer’ of the city centre in ten years’ time, and what role do you hope that the Mitchell might play in taking us there?
Zoe: Stoke has already achieved a really great cultural provision, with much of that coming from the artists and the grassroots. But in 10 years it would be nice to think that we have an engaged local audience and we’re not trailing along in the bottom 20 in England. One of my goals at ‘The Mitch’ is to attract smaller touring companies, some of whom have traditionally bypassed the city, leapfrogging over us to Derby or Buxton. But for this to be sustainable we will need to build local people’s appetite for small-scale theatre. Going to see something intimate — where you can see a performer’s finest expressions and feel up close to the action — is one of the major attractions there. That’s especially true when you see theatre companies and performers in the early stages of their careers, which can be something quite special. By focusing on work with children and young people at the Mitchell we hope to provide lifelong engagement with the arts, and an appreciation of culture that we hope our audiences will pass onto their children.
DH: Zoe, thank you.
The Mitchell Arts Centre is online at:www.mitchellartscentre.co.uk
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40 OF THE STOKE FILM THEATRE
The Stoke Film Theatre is celebrating its 40th birthday in September. The Film Theatre was established in September 1974, a time of great vitality in world cinema, and it has continued to thrive. The Film Theatre is located at the edge of the Staffordshire University campus in the city of Stoke-on-Trent, where it serves as the public ‘art house’ cinema for both the campus and the city. It is committed to showing a wide range of films to the public, without the need for any membership or university affiliation. Anyone is welcome, not just students and their lecturers.
The Theatre’s regular schedule is split into three parts: the Main Programme, Screen Monday and Screen Wednesday.
The Main Programme comprises new films. These can be independent and foreign language, or films which have seen a wide release. Tickets cost £6, or £5 for a concessions ticket.
Screen Monday showings are free and vary in content. The latest Monday season was in tribute to the late Philip Seymour Hoffman (Charlie Wilson’s War and others).
Screen Wednesday, which is also free, offers an outlet for the Staffordshire Film Archive which was founded by Ray Johnson MBE and is situated in
How well does this contemporary cinema serve film fans today?
Jack Hawkins, a student at Staffordshire University,
investigates for FactoryMag.
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Film Archive shows carefully curated themed selections of vintage home movies and old newsreel and TV footage, all related to the history of Stoke-on-Trent or Staffordshire.
This range of programming regularly offers adults a wealth of opportunities to see the interesting, original and challenging cinema that is currently being produced. In the past couple of years the Film Theatre has had packed audiences for The Hunt, Captain Phillips, 12 Years a Slave, Nebraska, The Act of Killing, Rush and Blue Jasmine, to name only a few from the Main Programme.
These screenings could not run without the efforts of the volunteer team, many of whom are veterans of the art of cinema programme curation. A key volunteer is Grace Jordan, who has worked with her husband John Jordan at the Film Theatre in a voluntary capacity for 40 years. She said: “The Film Theatre evolved from The North Staffordshire Film Society in September 1974. It’s a non-profit charity organisation run largely by volunteers, the only paid members being manager Alexandra Scott and administrator Gill Yates. There are eight teams of volunteers, each with six people. They run the front-of-house, manage ticket sales and run the bar. We also have several volunteer projectionists. Our anniversary is in September, we plan to celebrate this with a collection of films that were shown way back in 1974.”
Peter Hames has been a governor of the Stoke Film Theatre since 1974 and was also the head programmer at the cinema for over 30 years. Peter, who now lives just south of the city in the town of Stone, was also involved in the creation of the B.A. (Hons.) Film Studies degree course at Staffordshire University. Peter said: “It’s the function of the Film Theatre to provide a considerably wider range of films than others do, both in terms of country of origin and in terms of subject matter. Commercial cinema is there to maximise profit and is therefore not going to experiment with unusual or foreign language cinema — and this is where places like our theatre come in”.
Peter said: “Originally the Film Theatre was set up in association with the British Film Institute (BFI), which advised on film availability
Peter Hames has been a Stoke Film Theatre governor since 1974, and a head programmer
for over thirty years.
and programme selection. We’ve also always had an advisory programming committee. The booking of films is done through the Independent Cinema Office, which negotiates directly with film distributors. Peter said: “There have been occasional problems with distributors, but generally relations have been okay.”
The Stoke Film Theatre is now part of the Europa Cinemas Group (ECG), which is a theatrical release network that focuses on handling European cinema. ECG is a vast organisation comprising 1,182 cinemas and 3,194 screens in 682 cities in 69 countries. Europa’s objective is to provide ‘operational and financial support’ to cinemas like the Stoke Film Theatre, art house cinemas that are committed to screening European films.
Peter specialises in Slavic cinema, having written a scholarly book titled Czech and Slovak Cinema: Theme and Tradition (Edinburgh University Press, 2010). He is also the Russian and Eastern European film programme advisor for the BFI London Film festival. When asked about his favourite films, Peter named the five films he selected for Sight and Sound magazine’s ‘best films of all time’ in 2010: The Man in the White Suit (UK), The Searchers (USA), A Tale of Tales (Russian animation), Celine and Julie Go Boating (France), Daisies (the old Czechoslovakia).
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But like so many film fans, he finds such a small number just isn’t enough: “I estimate that I would have to select at least 60 with a claim to being representative of ‘the best of cinema’”.
Student volunteers also help keep the cinema running, providing a valuable real world training opportunity for future arts venue workers. Volunteer Beth Walton is one such. Beth said: “I have been a volunteer at the Film Theatre for two years now, but I have been an audience member for about eight. I work in the box office selling tickets and occasionally on the bar which is what all the volunteers do, apart from the projectionists, who only project. But I also keep the Facebook page and Twitter feed up to date with what is going on, along with one other volunteer. I have also been able to program a couple of our Screen Monday seasons. Every Monday night we show a film for free, in seasons of four or five based around a theme, usually an actor or a director. Back in September 2013 we had Monday of the Dead which was really fun. I’ve met so many great people through volunteering at the Film Theatre and I count a couple of them as some of my best friends”.
In 1974 the Stoke Film Theatre was launched at a critical time in world cinema. The powerful films of the late 1960s and 70s — dubbed the ‘New Hollywood’ — introduced audiences to levels of realism in sex and violence that had seldom been seen before. British film fans were also exposed to new open attitudes to sexuality in films from Scandinavia, Japan, and Italy. As a consequence the UK saw many long-running and bitter battles over film censorship, battles that continued to rumble on until they were finally exhausted in the early 1990s. Today the main complaint is that contemporary cinema has become excessively commercialised, loud and empty — such as the Transformers series of blockbusters — while some of the harshest criticism is to be heard being levelled at the confectionery and drinks prices in multiplex cinemas. But the latter is not a problem at the Stoke Film Theatre, and they even sell alcohol at student friendly prices! Another refreshing change from the local multiplex is that no plot-spoiling trailers
are shown for other films, and no adverts are ever shown!
The Film Theatre can also ‘hold its own’ with the local multiplex in terms of technology. To conform to industry standards it has been fitted with 35mm digital projection and Dolby Digital audio technology at a cost of around £50,000.
So if you’re a fan of fine cinema on the big screen, perhaps someone who has become disillusioned with the annoyances and high prices of the local multiplex, then rest assured that the Stoke Film Theatre is a place filled with like-minded patrons who go to the cinema to actually watch a film! It remains a jewel in the cultural fabric of the city, and — as a long-running art house cinema — its continued existence instantly helps to establish our cultural credentials around the world.
Stoke Film Theatre:www.stokefilmtheatre.org.uk
Staffordshire Film Archive:www.filmarchive.org.uk
School of Film, Sound and Vision, Staffordshire Universitywww.goo.gl/MSsB0B
The Film Theatre is available as a 212-seat venue for small conferences and similar events, and benefits from being only a hundred yards from the city’s intercity train station. For conference related enquiries contact: [email protected]
SHOW
FactoryMag showcases some of the fresh talent on display at Show & Tell 2014, the Staffordshire University degree graduation shows in Art, Design and Media.
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SHOW 13 to 21 June 2014
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Left: Stackable wood/ceramic/rope containers, from Samantha Jayne Bryan (‘Sami Jayne’) who is graduating from B.A. 3D Design, Crafts. Sami is from Stoke-on-Trent, and told FactoryMag she intends to stay in the city. www.goo.gl/h09llf
Right: STEM office water cooler with plant terrariums, from George Sawyer who is graduating in B.A. Product Design. STEM is produced with environmentally friendly innovative materials including Zeoform. www.goo.gl/vPXwz1
Each June the graduation shows at Staffordshire University’s Stoke-on-Trent campus celebrate the work of over 300 students who have gained awards from the wide range of art, design and media production degree courses. These include a number of unique courses such as Stop Motion Animation and Puppet-making, which is the only such degree in the UK. Also unique in the UK is the Cartoon & Comics Arts degree, which produced its first cohort of graduates in 2014. The University can be congratulated for taking the UK lead on keeping these vibrant traditional art forms infused with trained fresh talent. The graduation shows also featured a wealth of digital talent in advertising, film, and screen media — which is best seen as video at: www.vimeo.com/98143115
This page, top left: Will Teal, B.A. Graphic Design: wrapper design and print for “Pure Filth” bathroom scrubs.Amy Jones, B.A. Textiles Surface: girls’ hoop skirt and coloured wire animals.Stop-motion character from the 2014 graduating class in B.A. Stop Motion Animation and Puppet-making.
The new B.A. (Hons.) Cartoon & Comics Arts degree produced its first graduates in June 2014. Some of their work is seen on this page, and the students are also pictured (right) in New York City, on a class trip to the USA for the New York comics convention in 2013.
From top left: Officers of Spades cover by Bryony “Nigel” Morey; Bedroom scene by Claire Smith;Typing panels by Alice Urbino.
SCHOOL’S OUT!FactoryMag selects from the massive open courses (MOOCs) this summer. Go to the coolest summer school at leading universities, online and for free!
PROVIDER: San Jacinto College.FOCUS: Learn “the tools of the trade” for effective English writing. COURSE LENGTH: 5 weeks. STARTS: end June 2014.WEB: www.goo.gl/EhlIL9
PROVIDER: Emory University.FOCUS: How we hear sound, and how that shapes how we record it.COURSE LENGTH: 6 weeks. STARTS: 21 July 2014.WEB: www.goo.gl/UFgMms
PROVIDER: UNC-Chapel Hill.FOCUS: Learn how information gets tagged and how to use tags.COURSE LENGTH: 8 weeks. STARTS: 14 July 2014.WEB: www.goo.gl/RsXgMP
PROVIDER: Ohio State University.FOCUS: Activities to help you learn the basics of persuasive writing.COURSE LENGTH: 10 weeks. STARTS: 15 September 2014.WEB: www.goo.gl/eMZ6NH
PROVIDER: Penn State University.FOCUS: Use creative ‘geodesign’ to connect information to people. COURSE LENGTH: 5 weeks. STARTS: August 2014.WEB: www.goo.gl/PpZGFb
Picture: rishi1592
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Crafting an effective writer
Introduction to digital sound design
Metadata: organising and discovering information
Writing II: rhetorical
composing
Geodesign: change your world
PROVIDER: University of Edinburgh.FOCUS: Theory of music for beginners, plus how to write music.COURSE LENGTH: 5 weeks. STARTS: July 2014.WEB: www.goo.gl/BhoA6h
Picture: Geoff MacIntoshFundamentals of music theory
Picture: rishi1592
Picture: Horia Varlan
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PROVIDER: LMU Munich.FOCUS: Examine competitive situations and find solutions.COURSE LENGTH: 7 weeks. STARTS: end June 2014.WEB: www.goo.gl/Lz0f9c
Pictu
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Advanced competitive strategy
MOOCs are a new form of education that is rapidly being taken up by the academic world. They provide free open online educational courses that anyone can sign up for and take. You don’t have to be at the provider’s university, you can take the course from anywhere as long as you have a fast Internet connection.
A MOOC is usually taught via video lectures, webinars, a reading list, online tests, and online Skype discussions.
They can range from a taster course of just a few weeks, to a full 10 week course with a certificate of completion.
Since May 2014 a few UK universities (Edge Hill, and Lancashire) are offering degree credits for completing a reputable certified MOOC.
Major free MOOC providers:
www.coursera.org (Stanford, Yale, Princeton, USA)www.edx.org (MIT, Harvard, USA)www.futurelearn.com (Open University, UK)www.openuped.eu (Various, EU and Israel)
SCHOOL’S OUT!
PROVIDER: University of Leeds.FOCUS: Commercial innovation from ideas to market realities.COURSE LENGTH: 3 weeks. STARTS: 15 September 2014.WEB: www.goo.gl/CO48jr
PROVIDER: The Open University.FOCUS: Create and deliver confident presentations and speeches.COURSE LENGTH: 6 weeks. STARTS: 21 July 2014.WEB: www.goo.gl/LloHh8
Pictu
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Innovation: the key to business success
How to give a great presentation
Starting a business: realise your vision
PROVIDER: University of Leeds.FOCUS: Explore the complexities of starting a new UK business.COURSE LENGTH: 2 weeks. STARTS: 30 June 2014.WEB: www.goo.gl/ey8cEs
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Picture: Department of Business, UK
FactoryMag selects from the massive open courses (MOOCs) this summer. Go to the coolest summer school at leading universities, online and for free!
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THEATRE BOOST COULD BE £120m
FACTORY: SMALL CAPITAL GRANTS
FUNDS FOR YOUR LOCAL ARTS EVENT
You could claim up to £1,500 of cash help with developing your business! The final round of Factory grant funding opens on 7 July, with a closing date of 8 Sept 2014. Factory’s Creative Industries SME Small Capital Grant Scheme is able to provide up to 50% match funding (with a cap of £1,500) as a grant to eligible local businesses in the creative industries sector. A capital grant means one that it is meant to enable the purchase of specialist tools, equipment or software, specifically meant to delivery your core business or to develop new products or markets. This grant scheme is only available to companies registered with the Factory service.
www.goo.gl/V2nMwz
The Arts Council funded programme Appetite is now working in partnership with Stoke-on-Trent City Council to run a £30,000 Community Festival and Event Fund. This is set to help local groups to deliver community focused festivals and arts events in Stoke-on-Trent. Round 2 of this fund is set to open in July 2014, with an application deadline of 22 September 2014. Successful applicants can receive a grant of up to £1,500. In exceptional circumstances, the panel may award extra funding for a high quality event with a wide impact on Stoke-on-Trent. For those outside the city, the county of Staffordshire offers grants via the Staffordshire Community Arts Fund. Applications for up to £800 are welcome, to run an arts activity or event in Staffordshire “which benefits the community, widens participation and promotes accessibility.“ The date of the next deadline for the Staffordshire fund is 20 December 2014.
Appetite: www.goo.gl/MrUyrS
Staffordshire: www.goo.gl/hd7Wne
money!”
The Chair of Arts Council England, Peter Bazalgette, has said that the government’s new tax breaks for UK theatre productions could be worth £120 million over the next few years. Bazalgette was speaking at the annual meeting of UK Theatre, the industry’s trade organisation. The new tax breaks are planned to be fully introduced sometime this autumn and are expected to benefit regional commercial theatre by £100 million and touring productions by £20 million. Regional touring theatres are expected to see a large benefit from the scheme, and such productions will be able to claim 25% tax reliefs on production costs. Theatrical dance and opera will also be eligible for the credits.
www.goo.gl/XGm2pX
“show me the
PICTURE: WIKIMEDIA
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£150,000 CREATIVE ENGLAND LOANS
£150m ‘POWER TO CHANGE’ FUND
£100m ENDOWMENT MATCH CHALLENGE
The new Endowment Match Challenge aims to raise £100 million in donations through individual and corporate philanthropy in the UK.
Donations received will be matched with £50 million of UK government investment. The aim is that these endowment funds will then continue to grow over the life of the programme, to ensure sustainable funding for communities in the years to come.
Endowment funds are funds which their trustees are legally required to sustainably invest and use only for the fund’s original stated purpose. This purpose might be supporting local creatives or providing training or research bursaries.
Setting up an endowment fund could also benefit a company, and the same UK government match funding arrangement is available to business donors.
Management of the funds will be by the Community Development Foundation, aided by the UK government’s Office for Civil Society. www.goo.gl/MsXsmq
PICTURE:ED MURRAY
Creative England is offering interest free business loans of up to £150,000 to support creative and digital businesses across the English regions. Businesses based in the West Midlands will be able to apply for a loan of between £60,000 and £150,000 which is then repaid over three years. The loan repayments in the first year are minimal, and then followed by 24 equal repayments over the final 2 years. The loan must be matched 50:50 with other finance, sourced by the business.
Ambitious and flexible new creative digital services appear to be most likely to succeed, and genuine regional job creation will likely be a deciding factor for all applications.
Creative England Business Loans are funded via the Regional Growth Fund and the UK Government’s Department for Business, Innovation and Skills. Applications will be assessed on a rolling basis, and there is no set application deadline to meet. www.goo.gl/aqJJGx
The Big Lottery Fund has announced that it will launch a new £150 million fund to support the development of sustainable community-led enterprises. The Fund will aim to support local communities to use creative enterprise-led approaches to improve their local neighbourhoods and town centres. These could range from small-scale enterprise right up to large-scale asset management and ownership, of the sort now enabled by the government’s Community Asset Transfer scheme. The new Fund could also include social enterprises with ambitious plans to use former commercial spaces to incubate social enterprises and cultural training activities. The ‘Power to Change’ fund will be delivered by an independent Trust and is set to be launched in the autumn of 2014. Over the next seven months from June existing community enterprises will be given special peer-learning help to prepare for making applications to the Fund.
www.goo.gl/WWEI9s
PICTURE: BIG LOTTERY FUND
PICTURE: OWEN BENSON
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EOPICTURE: J. D. MACK
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‘Oatcakes!’ is a new feature-length documentary film, made in the Potteries.
To be released on Oatcake Day,
8 August 2014.
Director: Robert Burns.Producer: Toby DeCann.
Production company: The 7th Town.Original artwork (above) by Sid Kirkham.
www.facebook.com/THE7THTOWN