pixelate 2006-10 evaluation report final

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An Independent Assessment of the Lets Go Global Creative Digital Media Programme November 2010 By Helen Corkery

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An independent evaluation of the creative community media project Pixelate. Written by consultant Helen Corkery. http://letsgoglobal.tv

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Page 1: Pixelate 2006-10 Evaluation Report Final

An Independent Assessment of the Lets Go Global Creative Digital Media

Programme

November 2010By Helen Corkery

Page 2: Pixelate 2006-10 Evaluation Report Final
Page 3: Pixelate 2006-10 Evaluation Report Final

CONTENTS

1 About Pixelate

2 Evaluating Pixelate

2.1 Evaluation framework 2.2 Methods used

3 Key findings

3.1 Facts and figures 3.2 Project participants 3.3 Participant experience 3.4 Participant progression 3.5 Skills development and creativity 3.6 Transferable skills, confidence and pride 3.7 Organisational development 3.8 Local Authority benefits

4 Achieving the objectives

4.1 Increasing production of digital media content 4.2 Meeting the funding criteria 4.3 Rolling out the Lets Go Global Model 4.3.1 Improving performance 4.4 Combating Social Exclusion 4.4.1 Health and older people 4.4.2 Increasing participation 4.4.3 Children and young people 4.5 Developing more active and proud communities 4.5.1 Improving public realm 4.5.2 Vibrant communities

5 Conclusions

Page 4: Pixelate 2006-10 Evaluation Report Final

Pixelate was the innovation of Lets Go Global, a creative media organisation in the heart of Old Trafford, Manchester. The project was developed in response to a lack of creative community ICT projects being delivered across Greater Manchester and subsequent need to build the capacity of local communities, art-ists and organisations to deliver high quality interactive content.

Through Pixelate, Lets Go Global aimed to roll out a model of producing digital content with local peo-ple and artists for live broadcast over the web. It has involved a broad range of digital arts activities aimed at combating social exclusion and increasing participation in the arts, enabling people and com-munities with no or limited access to the Information Society to create and direct their own work. The project has drawn upon digital arts activities, artists and other practitioners to improve individual employ-ability and the visibility of the communities involved, helping to reduce the digital divide through the innovative application of new technologies.

The project has been delivered in two phases over a four year period between 2006 and 2010. Working with Arts Officers, artists, community organisations and a broad range of other service providers across the sub-region, Lets Go Global have delivered a broad range of activities across all ten districts in Great-er Manchester.

The project has been supported by the Greater Manchester Strategic Arts Fund and through this, Arts Council England North West (ACENW) and the Association of Greater Manchester Authorities (AGMA). It was one of the first county-wide projects delivered through the fund and aimed to achieve a step change in collaborative and partnership working across the ten Local Authorities involved.

The project’s main aim was to increase the creation of new media content across the communities of Greater Manchester. To achieve this, a number of clear objectives were set out as follows.

To increase the production of high quality digital content through creative media project work across Greater Manchester. To roll out the Lets Go Global model of producing digital content with local people and artists for live broadcast/archive over the web. To combat social exclusion and increase participation in the arts and creative technology, enabling groups who do not normally have access to creative media facilities to create and direct their own work. To enable local people to have an active and creative role in their own community leading to the development of more vibrant and proud communities within Greater Manchester. To liaise and advise the districts on establishing local authority and/or community online media channels.

To improve individual employability (particularly in the creative sector) and visibility of the groups and communities involved, helping to reduce the digital divide. To develop partnerships with organisations within the districts in order to support their continued growth of creative media and ICT work.

To liaise and advise AGMA districts on establishing local authority /community T.V Channels.

To create a project/worker/producer post (full time) to deliver and lead on developing and stimulating live Internet TV streaming projects within the AGMA districts.

To create a part-time technical support post to stimulate and support the creation of pilot project work within the AGMA districts.

1 About Pixelate

1

Page 5: Pixelate 2006-10 Evaluation Report Final

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2 Evaluating Pixelate

This report supplements a separate short video evaluation and focuses on identifying whether the Pixelate project has met its objectives. It sets out the framework and methodology used to evaluate the project’s achievements and draws on these to demonstrate what has been achieved through the project and the lasting legacies it has generated as a result.

2.1 Evaluation frameworkA framework was set up to assess the project achievements as set out below. The framework recognises that the project will have achieved a broad range of outputs, outcomes, impacts and legacies amongst the individuals, community organisations, support workers, Local Authorities and stakeholders involved. It is also very likely that the project will have achieved a number of out-puts and outcomes for Lets Go Global, in terms of its own skills, development, expertise and learning as a result of managing the project.

Inputs Process Outputs Outcomes Impacts Legacies

Project participantsCommunity groups Artists/ support workersLocal AuthoritiesFunders/ other stakeholders Organisers

2.2 Methods usedTo gain a clear understanding of what has been achieved through the project in terms of its im-pacts on each group a number of research methods were used.

» An evaluation video was developed by the Lets Go Global team, in which a range of project participants, community organisations, support workers, artists and Arts Officers were asked what they felt about the projects they were involved in and how they had benefited from being in-volved. The video is available at www.pixelate.org.uk and www.letsgoglobal.tv.

» An interactive website survey was set up and issued to everyone involved in the project. The survey used routing technology so that respondents would not be asked questions that were not relevant to them. We also incorporated photographs and interactive elements to make it interesting for participants to complete.

» We held a number of telephone depth interviews with a number of participants, support work-ers, arts officers, community organisations and other stakeholders to get a richer picture of how they felt the projects had gone and in which ways they had benefitted from being involved. These interviews also gave us an opportunity to ask what other or unexpected outcomes had been achieved as a result of the project.

» Finally, all the facts and figures collected over the course of the project were analysed together with feedback sheets completed by participants at the end of each project. The information from these was compared with a range of other databases and profiling frameworks to gain a clear un-derstanding of the types of people taking part, where they came from and whether they were from areas of low participation or deprivation.

Across the research methods we received survey responses from 10 representatives of local authori-ties and 56 responses from participants, allowing us to have a good degree of confidence in the results. In addition we interviewed 15 participants, 2 arts officers, 2 support workers, 2 artists, a member of the Pixelate Steering Group and 3 representatives from the community groups involved.

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Lessons Learnt? involved a group of young peo-ple from the Johnsons Fold Estate in Bolton, an area of social housing where a key priority was to increase skill levels. The project aimed to equip the young people with the skills needed to make their own short films and was delivered in partnership with The Box and Bolton Council Arts & Events Team.

The young participants were given training in script writing, storyboarding, film-making and editing films of their own design. Through a series of drama workshops and specialist camera training, the young people created a film exploring the dangers of social networking websites and a behind the scenes piece showing what the young people got up to on the project. As part of the project, Lets Go Glo-bal also delivered a series of training sessions with staff at the Box on editing software Sony Vegas and Sony V1 cameras.

BOLTON:

Partners:

Dates:

Participants: Ages: 16 - 19 years

Artists:

Budget: Levered Funding:

Lesson Learnt? Bolton Council Arts & Events Team, The Box.

16 September - 25 November 2009

8

Chris Evans (Video Artist), Danielle Henry (Drama Artist) & Ian Findlay (TV Producer)

£6,707.20

£3450 (In Kind) + £3500 (FYT)

OLDHAM:

Partners:

Dates:

Participants: Ages: 16 - 18 years

Artists:

Budget: Levered Funding:

A Twisted Fairy Tale Oldham Council Arts & Events Team

14 May - 13 July 2010

5

Richard Ramchurn (Video Artist) & Lucas Buigues (Sound Artist)

£2,935.42

£1,600 (In Kind)

The project involved young people aged 16-18 who had been working together for a number of years and have performed at many venues acrossGreater Manchester. Through the project they choreographed their owndance performance following a workshop delivered by Tom Roden. The young people learnt how to plan, manage and produce their own video piece from conception to performance. They developed a range of technical and creative skills, and delivered two live public performances.The Oldham Pixelate project with Young Oldham Dance Company concluded on July 13th, 2010 with a performance of their interactive dance/video piece, A Twisted Fairy Tale at Oldham Coliseum.

The performance featured projections of a human heart onto a 7ft balloon as well as projections onto square screens that the dancers interacted with.

Page 7: Pixelate 2006-10 Evaluation Report Final

Before assessing whether Pixelate has met its objectives, this section presents the key findings from the research and evaluation activity.3.1 Facts and FiguresOverall, the project has involved all of the ten local authorities in Greater Manchester in the de-livery of onine community-based projects, two exhibitions at the Waterside Arts Centre’s Lauriston Gallery and Gallery Bar in Sale, an exhibition at Manchester’s North City Library, a range of screen-ings and live broadcasts (including those at Peopleprint in Rochdale, Stockport Art Gallery and Bury Museum and Art Gallery) and across a range of websites and online networks.OutputsThere have been a broad range of workshops and training sessions and at least 70 creative digitalmedia exhibitions, screenings, animations, films, broadcasts and performances. In addition, severalvideos produced through the project have been and continue to be used to inspire others to take part in activities and for other educational purposes. These outputs are in addition to the commu-nity mapping activity, website development and audit activity undertaken by Lets Go Global in the first phase of project activity.

4

3 Key Findings

227

33

26

8

3

Participants & PartnersAcross the projects 140 participants have taken part, 18 artists have been employed and 10 community groups and other service providers have been involved. These included the Education Team working with a group of Traveller families on a private site in Wigan, Youth workers working with BME and refugee groups, Community support workers working with adults who have a background of sub-stance misuse problems. The artists included video artists, a sound technician, screen and creative writers, animators and social and multi-media specialists.

14010

73

18

Exhibitions / ScreeningsLive PerformancesAnimationsLive BroadcastsSocial Network AccountsOther FilmsDocumentary Films

Artists Participants Local Authorities Community Groups Other Service Providers / Organisations

Ou

tpu

ts

Funding & Levered FundingOverall the project has levered funding of well over £200,000 across the four years.

This funding is made up monetary support as well as in-kind contributions from the local authorities involved, the BBC, Salford’s Drug and Alcohol Action Team and Find Your Talent Fund. Lets Go Global andTrafford MBC also contributed significant lev-els of in-kind support and resources to the project over the four year period. Project Funding

Total levered fundingGMSAF Funding

£141,727£124,700

PHASE 1

£66,665

£114,000

PHASE 2

Page 8: Pixelate 2006-10 Evaluation Report Final

3.2 Project participants

There were a number of aims associated with the types and volumes of participants involved in the projects. These included the need to attract a diverse range of partici-pants from across the age groups and genders; to engage people who were at risk from being marginalised or who did not engage with creative digital media activities; and to attract participants from areas of deprivation or social isolation.

Participant origin

As shown in the map aside, participants came from across the nine Greater Man-chester districts in which projects took place.

There are concentrations in those areas where projects focussed on engaging people from particular estates (in Bolton, Tameside and Rochdale) and more dis-persed take up in the other areas.

Participant age and gender

Whilst some of the projects involved participants from certain age groups (for example Bolton and Stockport) others involved people from across a wide range of ages. In Bury for example, participants were between 22 and 88 years and in Wigan they were between 2 and 60 years old. There is clear evidence that these intergenerational projects added to the positive experiences of those taking part.

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Page 9: Pixelate 2006-10 Evaluation Report Final

Participant neighbourhoods

To find out more about the neighbourhoods from which participants came, we can overlay their postcodes on a map that shows the levels of deprivation in the area as shown.

The darker areas are those areas in Greater Manchester that are most deprived and the lighter areas, the least deprived. 64% of all participants were from the 25% most deprived areas and 88%, the significant majority, are from the 50% most deprived areas. These findings indicate that Pixelate has been very successful in attracting participants from de-prived areas, who are at risk from being marginalised.

“I found it re-

ally stimulating. There were a group of us and we were all of different ages, I was the eldest, I always am, but it didn’t matter, age didn’t matter, we all worked together as if we were one, we exchanged ideas and we talked... it was

wonderful” Participant from

Text Art Animation

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Text Art Animation involved a group of local resi-dents in developing six short animations inspired by the annual Bury Text Festival. The project aimed to engage the local community to serve as a fun, accessible and relevant introduction to the concept behind Text Art.

The participants benefited from a series of work-shop sessions through which they created a col-lection of animations exploring topics such as narrative, extinct words, fonts, word play and local history.

They were given training in creating relevant and meaningful digital art content, drawing, writing and animation skills by professional artists from these fields. The final animations were showcased at the Bury Met in June 2009.

BURY

Partners:

Dates:

Participants: Ages: 22 - 88 years

Artists:

Budget: Levered Funding:

Text Art Animation Bury Council Arts Team, Script. Com

16 May to 20 June 2009

10

Lisa Stansbie (Text Artist), Kav yasiddhi Mulvey (Screenwriter) & Andy Sykes

£1,030

£1,275 (In Kind)

ROCHDALE

Partners:

Dates:

Participants: Ages: 24 - 62 years

Artists:

Budget: Levered Funding:

Alter Ego/RIPS Investigates Link4life Cultural Trust, People print Community Media

1 October 2007 to 1 April 2008

8

Kim Wiltshire (Creative Writer) and Mat Johns (Video Artist)

£4,161.35 £ 14,315 (In Kind) + £93,000 (funding gained from support)

A project involving a group of local peo-ple of all ages in the creation of a series of fictional programmes which were broadcast online and presented to the public as real life.

The participants were given training in all aspects of digital film-making: drama, script development, produc-tion planning, camera and sound recording, scheduling and post produc-tion editing. They worked to a gruelling schedule of work to deliver the series of eleven films. The theme chosen was ‘Most Haunted’ and the par-ticipants invented their own online persona called R.I.P.S (Rochdale Investigative Paranormal Society).

The project was delivered in partnership with Peo-pleprint – a community media organisation and concluded in a broadcast at Peopleprint on the 1st April which was streamed live over the inter-net.

“The whole experience was excellent, enjoyable and I’ve learned so much in termsof camera work and on location”

Participant from Peopleprint

“It has inspired lateral thinking – new approach-es and I feel more in contact with what is hap-

pening in wider areas of creativity”. Participant from Script.Com

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Participant neighbourhoods

To further explore the neighbourhoods from which participants came and to understand moreabout their levels of involvement in arts and creative activities, we can use profiling techniques.Here we have used two different profiling systems to gain an understanding of the participants.

The chart above compares the types of people in the project participants’ neighbourhoods withthose for the whole adult population of Greater Manchester. It draws on Arts Council England’snational profiling framework and shows that the neighbourhoods of participants (represented bythe darker bars) are predominantly populated by people who do not engage in arts and creativeactivities. A few of the participants come from areas where fun fashion and friends and urbanarts eclectics live (people that do engage to some degree), but overall the predominant people inparticipant neighbourhoods are a quiet pint with the match: people who not tend to engage inarts and creative activities. These findings suggest that Pixelate has been successful in reaching com-

munities that would not otherwise participate in creative activities.

The pie chart uses a similar tech-nique to identify what types of socio-economic background the participants came from. It draws on CACI ACORN profiles and shows that the majority of participants (64%) are from Hard Pressed back-grounds: people who have very little wealth and time to spend on doing creative activities.

A further 12% of participants are from the Moderate Means group, suggesting that over three quarters of participants were from those groups most at risk of social and economic isolation. These findings support those found earlier that Pixelate has engaged people who are at risk of isolation and who do not tend to engage in creative activities.

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3.3 Participant experience

A key aim for the project was to develop skills and generate an interest in digital media produc-tion amongst the project participants. To achieve this, there was a need to ensure that the partici-pants had positive experiences. Their experience of the projects also provides an indicator of the quality of project management and organisation of activities.

It is clear from the feedback from par-ticipants that they all found the sessions useful and the professionals very support-ive. There has also been extremely positive feedback on the equipment used in the project venues. In fact, overall three quar-ters of participants indicated that they were satisfied with the project activities.

The feedback from participants on what they got out of the project has been similarly positive (chart below).

These findings are echoed in the feedback received from the participant interviews, where the ma-jority indicated that they had developed new skills in camera work, acting, sound recording, editing, writing and creative ideas generation.

“I learnt quite a lot of stuff, a tremendous amount...we had the

added bonus of a team that helped us considera-bly.. what they taught me at the time was amazing..

about cameras, digital audio, about the media

side of things.” Participant - Citizen

Journalism/On Hattersley

“I enjoyed the opportunity to go out and produce

and film a real event. Much more useful than a set up

exercise that you get in most training courses.”

Participant – Guerilla Journalism!

“I loved doing ‘No Angel’, I had never done a film before. I learnt about the boom and how to use it.

I would love to domore camera work and

also more in front of the camera. I learnt new skills and I wish to do more.”

Participant – NoAngel

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Beyond the technical skills developed by participants, there were a number of other outcomes from the projects. These include opening up access to progression routes, transferable skills development, in-creasing the confidence of participants and giving them pride in their own and each others work.

3.4 Participant progression

Across the projects there is clear evidence that the participants’ involvement has led to them progressing in their careers and in other ways. Several of the young people involved have secured places at University or College to study Media Studies since becom-ing involved. Many of the younger participants have changed their options in school to go on to take GCSEs or A levels in the area.

One participant has even decided to stay on at school to take GCSEs as a result of an interest in digital photography acquired through the project. It is also clear from the feedback that the art-ists and professionals involved in delivering the projects have pro-vided positive role models for many of the young people involved. For some, these professionals have been the only adults outside their immediate families, teachers and social workers who the young people have come into direct contact with.

For several of the older adults involved in the project, their partici-pation has also inspired them to go on to do further training or to continue with creative activities in more informal environments. There are examples of adults re-training as a result of their involve-ment: one participant, having been long term unemployed, has re-cently applied for a place on a higher access course and is intend-ing to go to University to pursue a career as a Cameraman. One of the older participants is also in the process of writing her mem-oirs so that her grandchildren and great grandchildren will be able to understand about what life was like for her in years to come. There are many clear examples of how Pixelate has changed their lives for the better and given them new directions through which to continue using and developing the skills they have acquired.

“I learnt how to use sound and cameras, how to edit films and edit sound” Participant – Les-sons Learnt?

“It’s absolutely fantastic… the support you get from people who have got that technical expertise and community membersinvolved … it’s the best experience ever” Partici-pant – Citizen Journal-ism/On Hattersley

“These are young people who would never come across the opportunity to do anything like this.. it’s given them a massiveboost.. the confidence, the transferable work skills, the social skills which we talk about all the time but are still as important.” Arts Officer

“…it’s made me think more about my career because its opened it out more to things to do.“ Participant – Dramatic Paws!

“I’ve just enrolled in col-lege through a higher access course and I want to go to university to do media studies to get myqualifications to be a cameraman… it’s some-thing I’ve always wanted to do but have never had the confidence before.”Participant - Citizen Journalism/On Hattersley

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3.5 Skills Development and Creativity

There is considerable evidence of technical skills and knowledge transfer to participants across theprojects. They have been involved in a broad range of skills transfer methods, including training ses-sions, skills development activities and practical workshops. They have been given direct experience of using technical equipment: includ-ing cameras, sound and recording equipment, as well as editing and animation systems. The participants have gained practical, hands-on ex-perience and they have been empowered to generate their own ideas and draw from their own and each others’ experiences.

In all the projects the creativity of participants has been recognised and encouraged, facilitated and drawn upon throughout the produc-tion processes. Participants were given opportunities to express them-selves creatively through digital means as well as verbally, through the written word and through physical means. In several projects, natural surroundings, the built environment and local issues were also drawn upon to generate ideas.

3.6 Transferrable Skills, Confidence and Pride There is a great deal of evidence that the participants learnt more than just technical creative media skills. Many were involved the in the planning of their projects, in communicating what they were doing to others, in interviewing members of the public and in drawing up schedules and keeping to them. These transferable and ‘work-ready’ skills have and will continue to be of benefit to them in many aspects of their lives outside creative work.

The participants have benefited in many other ways: for some it had been the first time they had worked with people of different age groups. One young person who initially thought this “iffy”, soon realised that as he got to know them it “was really fun and I really enjoyed it”. The project also gave the participants a real boost to their confidence. Whilst some had said they had already had a level of confidence beforehand, for others the impacts on their confidence had been quite remarkable. Indeed the confi-dence that some participants acquired was a key factor in their decision to take the plunge and apply for further training. There is considerable evidence that the participants were proud of their achievements. They were very keen to see their work screened and exhibited and relished the opportunity to share their activities with other members of their com-munity, friends and family. The project also gave some of the young participants a voice: in fact for many participants it gave them an opportunity to explore both the digital world and the bricks and mortar world around them, to better understand their environments, develop views and to share these with others. “Working with communities, in this case with older, mature community where they could experience that the barriers that are there to use digital technology are not

that high and they had a very enjoyable and successful experience.. that’s necessary to bring people closer to digital media and to enable them to use them in every-

day life, Pixelate has helped immensley to do that.” Arts Officer

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“…they learnt about technol-ogy.. how to use cameras, what to use in a photo, edit-ing and interviewing skills.. they had to explain who they were and what they were doing, approaching lots of different people.” Support Worker

Doing the

project enabled them to gain more skills, more confi-dence, ability to reflect on things. They learnt about technology, how to take photos, improve their photos. They discussed issues like community, employment, exploitation, globalisa-tion.. it allowed them to explore these issues and be confident in their views.”

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3.7 Organisational development In addition to the benefits to participants in the projects, Pixelate has had a very positive impact on many of the artists and organisations involved: particularly the community organisations and support services teams who benefited from the project in many different ways.

The project has been instrumental in the development of three of the community groups involved. They have gained skills, confidence, expertise, knowledge and experience in digital creative media tech-nologies and approaches. One organisation was in its early stages of development when the project started. In their own words

“Before we got involved in the Pixelate project we had only done a pilot project… the support we got from LGG(Lets Go Global] and also the training for us made us more confident in our-selves in what we were doing. It’s had a big effect on our skills, we feel we can go off and do stuff on our own now whereas we could never have done that before. I don’t know if we would be in the position we are today if Pixelate hadn’t come along.. in every area from our own confidence and skills to giving young people a real quality experience and then replicating that experience with our other projects, I don’t think that would have happened at all, we would have been a lot further behind in our development.” Beyond skills transfer, there are many other ways in which the organisations benefited from beinginvolved. In the words of another community organiser “I can’t praise the project enough it’s beenabsolutely fantastic for us. At the time we applied I wasn’t sure whether we should do it or not. At the time we had other priorities but we did do it and one of the first meetings, Sarah suggested we contact Tudor trust and through that we got 3 years core funding. Just that lit-tle bit of information had a significant effect on our organisation. Since then there have been so many times when we’ve had additional support from the LGG team – they really know what they are talking about and that’s been really good for us.”

“as well as learning technical skills, it also gave me the confidence to think yes, I can set up my own company, I can deal with people in more formal settings than I was used to. Next week I am involved in a discussion group for the English National Youth Arts Network Confer-ence… without Pixelate I wouldn’t have the confidence at all to even go to the conference, let alone do that.” Community Group Organiser

The artists involved have also benefited. They have worked with new and different groups ofparticipants as well as working alongside professionals from other specialisms and organisations.

“I hadn’t worked with a group of travellers before.. it was really interesting because I didn’t know anything about traveller culture.. I learnt so much about their culture, it was absolutely fascinating… they were quite different and quite diverse… as an artist it was a really different route for me to go down.” Artist

“It was the first project that I’d ever worked on with a drama teacher…having someone to take the reigns on that side was really helpful and I think the film has really benefitted because the guys felt really comfortable when they were acting.” Artist

It was also clear from the artists’ feedback that they were well supported by Lets Go Global during their projects. They were given the freedom to work creatively which helped them get the most from the people and activities they worked with.

“The brilliant things about Pixelate coming in as an artist was how well Sarah project man-aged the whole thing from a real kind of practical basis – it was fantastic having someone who knows everything that’s going on and at the same time steps back and lets you work freely as an artist, you felt really supported but not suffocated” Artist

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3.8 Local Authority Benefits

There have been a range of other outcomes and impacts for the local authorities involved. These include the increased capacity and independence of some of the community organisations involved and the legacies these capacities will generate over the longer term.For the support workers outside the arts development teams there were other unforeseen out-comes from the projects. For example, the documentary filmed in Wigan has proved to be a valuable tool to the authority. Not only did they feel “very proud of the finished product but we also used it at the Local Authority.. we used it as a teaching tool, demonstration tool to show council employees what life was really like to be a gipsy traveller. This is also an ideal tool to actually show young people that people of a different community are basically the same as them.. they don’t look any different and they don’t sound any different and they don’t behave any differently to them… its actually a very powerful teaching tool.”

There is clear evidence that the arts officers have also benefited from the projects, in their own development and learning. For those who were heavily involved in the project delivery this has included technical skills and knowledge acquired through work-ing with professional digital media artists. For those who were not as involved in the detail, there is evidence that they also benefited (albeit to a lesser ex-tent) in terms of their own confidence, their increased familiarisa-tion with the language and terminology used in digital creative media projects, in their general appreciation of the ben-efits of creative digital media projects and in having the increased capacity to oversee and develop digital media projects in future.

“It’s been very useful to me in terms of my knowledge of digital creative work.. whilst in my authority a single project was delivered, involvement in what others are doing has allowed me to look differently at how digital projects work.. Its helped me to understand what the possibilities are… before the project I would have had to rely on others.” Arts Officer

“The use of digital media has exploded... You Tube, Facebook, Twitter, things we would probably have used at home suddenly became part of our work and that’s why it was very timely… those who were involved in this project had a very gentle inroad into dig-ital creative media and content production” Arts Officer

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This project involved a group of Salford resi-dents in the creation of a series of short films which were broadcast online. The ideas, dialogue and content of the films came directly from the project participants themselves.

The participants created a three part drama that focused on the character Lucy and followed her and her family interacting and dealing with their day to day lives in Salford. The participants

learnt a broad range of digital film-making skills, from preproduc-tion planning, acting, location work, camera and sound recording through to post pro-duction editing.The project took place in partnership with STASH – a Salford based structured dayprogramme for adults with substance misuse problems – and with

support from Salford City Council Arts Team and Salford DAAT (Drug and Alcohol Action Team). It concluded in a screening of the films at the Salford Arts Theatre on 6th March 2008.

“I wouldn’t change anything, I thought every-thing was great!!” Participant from STASH

SALFORDPartners:

Partners

Dates:

Participants: Ages: 24 - 41 years

Artists:

Budget: Levered Funding:

Where Next? / No AngelSalford Arts Development Team,

STASH–Day Centre, Salford DAAT

3 September to 19 October 2007

7

Mat Johns (Video Artist) & Claire Bleasdale (Drama Artist)

£7,676.52

£3,240 (In Kind) + £4,375.50 (Additional Funding)

TAMESIDE

Partners

Dates:

Participants: Ages: 21 - 79 years

Artists:

Budget: Levered Funding:

Citizen Journalism/On Hattersley

Tameside Arts & Festival Team, Hattersley & Mottram Community Media

19 February - 10 April 2008

13

Richard Ramchurn (Video Artist) & Claire Bleasdale (Drama Artist)

£6,494.46

£1,920 (In Kind) + £22,672 (Levered Funding)

Citizen Journalism/ On Hattersley involved a group of local residents in the production of two broad-casts streamed live over the internet and featur-ing live interviews and pre-recorded news pieces. The two broadcasts received significant audiences and covered a range of salient issues within the local community. The project involved the whole commu-nity in identify-ing the topics to be covered via an online forum. The par-ticipants then decided which pieces of news to cover and the structure of the broadcasts. They were pro-vided with training in a wide range of areas, including camera work, soundrecording, editing and video streaming. The project was delivered in partnership with Hattersley & Mottram Community Media (HMCM) – a social enterprise, set up to create an outlet for local community news – and with support from Tameside Council’s Arts and Festival Team. “I found the Pixelate team great and our team were excellent to work with” Participant from HMCM

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The research findings demonstrate the key im-pacts of the project on the participants, or-ganisations, local authorities, artists and others involved. This section draws on these findings to assess the level to which the project has met its overall objectives.

4.1 Increasing production of digital media contentA key objective for the Pixelate project was to increase the production of high quality dig-ital media content through project work across Greater Manchester. The first steps in achieving this objective were tak-en when Lets Go Glo-bal secured the com-mitment of the Greater Manchester Strategic Arts Fund (GMSAF) and Arts Officers Network to deliver the first phase of the project. A number of powerful arguments helped this, including the need to undertake an audit of existing capacity in dig-ital media production across the sub-region; the ever increasing role that digital media plays in our lives; and the consequent risks that marginalised groups and communities might become even more isolated as digital media production takes off. A number of requirements to the funding were set, including the need for the project to meet the criteria for the fund and to secure third party funding and in-kind support.

4.2 Meeting the funding criteriaThe GMSAF requires that projects demonstrate a number of criteria for funding as follows: The project needs to be new or demon-strate development. It is clear from the feed-back from arts officers and community organi-sations that the Pixelate project has achieved this. Through training it has delivered new skills to the community organisations involved; it has developed new partnerships between Lets Go

Global and a range of community organisations, Arts Officers, support workers and the BBC; it has helped to develop artists and thereby their capacity to deliver new digital media projects in future; and, it has developed an interest in and enthusiasm for future digital media activi-ties amongst the participants and communities in which the activities took place. The project needs to be innovative. There is clear evidence that the project was perceived to be innovative by those involved, both in terms of its focus on digital media content creation

and in the model of partner-ship working employed.. At the time of its conception, many of the districts had no or lim-ited experience of undertaking digital media content creation projects and the project pro-vided them with a means of taking steps into the area with limited risk and supported by a group of specialists at Lets Go Global. The project needs to de-velop skills. The project has developed skills amongst par-ticipants of all ages and back-grounds; many have since been used in other projects and in furthering their careers. The project has also developed skills amongst the community groups involved, several of which had not used digital me-

dia to any great extent before, but who are now running these projects independently and without the need for specialist support. The project needs to involve at least 3 local authorities. With projects taking place across all nine of the authorities outside Trafford, in which the Pixelate exhibitions took place, the project has clearly met this need. There needs to be a programme of sharing good practice. The model of working em-ployed by Lets Go Global contributes significantly to the sharing of good practice. With special-ist artists and professionals (brought in through strong partnerships such as that with the BBC); through training courses and visits; and, through the ongoing support available to the community organisations and support workers, good prac-

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4 Achieving the Objectives

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tice has not only been shared but developed as a result of the project. This is most evident in the ongoing support and knowledge sharing between Lets Go Global, the arts officers and the commu-nity organisations, where Lets Go Global continues to act as an ongoing resource, providing technical advice as well as acting as a sounding board and information hub.The project needs to advocate for cultural services and stimulate growth in funding. The levels of levered funding, in kind support, new partnerships developed and the focus on disseminating the project outputs to wider au-diences (through exhibitions, launches and via the web) all demonstrate that Pixelate has achieved this aim. Over £200,000 has been secured in levered funding and there is clear evidence that the project has equipped the community organisations with the capabil-ity to source additional funding over the longer term. Further-more, the model of working used by Lets Go Global (provid-ing a specialist hub for creative digital media); the economies of scale secured through this; and, the potential to secure mixed funding through ongoing cross-sector partnership working are all likely to stimulate funding in years to come.The project needs to develop new partner-ships and share benefits across all ten dis-tricts: There is no doubt that Pixelate has devel-oped new partnerships: between Lets Go Global and the district Arts Officers, artists, community organisations and other local authority service pro-viders (including youth workers, educational teams and other community support teams). Overall more than 35 different organisations and artists have been involved in the delivery of activities. Many of these partnerships were new and several have been sustained and developed since project completion. Whilst the crossdistrict working has largely focussed on joint working between Lets Go Global and the individual local authorities, they provide a plat-form through which future cross-authority working and knowledge sharing can be developed through activities like the concurrent Digital Discoveries project. There need to be lasting legacies and strong artistic quality. The Pixelate project has

a achieved a number of lasting legacies: in the increased capacity of the community groups and arts officers involved; in the progression opportuni-ties provided to participants, several of whom have gone on to undertake further training and develop careers in digital creative media production; in the partnerships developed and maintained; and, in the increased capacity of Lets Go Global itself to deliv-er community based projects and training activities. Through the project, cross-authority working has been trialled and lessons have been learnt, pro-

viding valuable insights to inform future activities of this kind. And, whilst the process of delivering the project has itself provided sig-nificant benefits in terms of skills development, the outputs have not been compromised as a result. The end films, animations, photographs and documentaries have all been well received by broader audiences and the participants have been amazed by the quality of work that they have produced. There needs to be an exit strat-egy and robust monitoring and evaluation plan. The exit strategy for Pixelate demonstrates a clear commitment to the sustainabil-ity of work beyond the project lifetime. There is clear evidence

that Lets Go Global are continuing to support the organisations involved through training, support with fundraising, specialist advice and procurement. Through its partnerships (including those with the BBC Project North, Manchester Digital Development Agency and the Community Media Association) Lets Go Global is in a strong position to offer further opportunities for project organisations to access expertise, advice and funding to sustain their work. It is also working with the BBC to develop a more diverse workforce as part of its MediaCityUK move, providing local people with the opportunity to ac-cess opportunities in the creative sector. Monitor-ing and evaluation activities have been built into the project. At the end of each project participants, artists and organisers have completed monitoring forms and there have been a series of evaluation meetings with all those involved on completion of each activity. A detailed evaluation of the first phase of activity was published in 2008 and through the project steering group there has been opportunity to identify risks and issues and to mitigate against these throughout.

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4.3 Rolling out the Lets Go Global ModelA specific objective for the project was to roll out the model of working to other areas. In many ways the project has achieved this. The nine lo-cal authorities have benefited from the expertise, partnerships and project management capabilities of Lets Go Global. Whilst for some authorities they have been heavily involved in the delivery of projects, for others the community organisations in their areas have been trained and supported in delivering the projects. All the projects have in-volved artists, technicians and equipment managed and procured by Lets Go Global and they have benefited from the relationships developed by the team and effective project management.

It is clear that the model has been successful in delivering creative digital media projects across theauthorities and in leaving lasting legacies in terms of the skills acquired by the community organi-sations and others involved, now equipped to continue working independently. Whilst, the model was more limited in generating cross-authority working (other than that between LGG and the remaining authorities) the foundations have been set for such county wide work, including the new Digital Discoveries project aimed at increasing digital media capabilities across the entire network. These subsequent projects, the increased capacity and access to digital artists’ networks and ex-pertise demonstrate clear legacies to the Pixelate project and the Lets Go Global model.

4.3.1 Improving performanceAssociated with this objective is the priority area of improving performance There are many ele-ments of the project that have helped to do this: the skills acquired by participants; the knowledge, training, networks and partnerships developed amongst the community organisations and other service providers; and the overall model of work-ing, which has brought expertise across a range of specialisms and efficiencies to the running of community based digital media projects across Greater Manchester.

The increased investment in digital creative me-dia projects levered through the project and the increased capacity of local community groups to deliver such projects and attract funding should also ensure performance improvements in years to come.

4.4 Combating Social ExclusionPixelate has had a significant role in engaging participants from socially isolated and deprived areas. The projects have involved children and adults of all age groups, groups at risk of be-ing marginalised (including travellers, refugees and asylum seekers and adults with substance misuse problems) and many who had never had the op-portunity to undertake creative digital media work before. This objective is also linked to a number of other priority areas, including Health and Older People, Increasing Participation and Children and Young People.

4.4.1 Health and older peopleWhilst the findings highlight the range of people from different age groups involved, many older people were either directly involved in the projects or were exposed to the project outcomes, through friends and rela-tives taking part or by attending one of the launch events or exhibi-tions. Amongst the fifth of participants aged 60 years or more, there is clear evidence that they benefited greatly from the projects, in devel-oping their con-fidence and skills in using digital media, develop-ing content and learning new and different things. There is evidence that they shared experiences with younger adults, children and people from different backgrounds to their own. Finally, whilst the projects did not focus on too much physical activity, as the oldest participant, aged 88 years argued: “it’s certainly spurred me on to do creative work.. when you are old you know, people look after your body you know but they don’t look after your mind...your mind is just as anxious to be healthy and do these things.”

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Life in Wigan involved local marginalised groups and individuals from BME communities in theproduction of a selection of photographs, docu-mentary film and video pieces exploring themes of identity and local community.

The project was delivered in partnership with Rafiki, a Wigan based youth group for black and minority ethnic young people and The Travellers Education Team (TET) who support children from Traveller families to access education in the Wigan area. Participants were given training in digital photography and filmmaking and they learnt a broad range of other skills including interview-ing skills. They were encouraged to tell and share their own stories, to explore each other’s identi-ties and to view and record their surroundings in new and different ways. “I learnt about different identities. I enjoyed editing the pictures and adding text and changing the colours. It was ace” Young person from Rafiki.

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WIGAN

Partners

Dates:

Participants: Ages: 4 - 60 years

Artists:

Budget: Levered Funding:

Life In Wigan

Wigan Leisure & Culture Trust, Travellers Education Team, Rafiki

29 July to 20 September 2007

31

Johan Oldekop (Photographer), Kim Wiltshire (Creative Writer), Mark Haig (Documentary Film Maker) & Debbie Steer (Video Artist) £6,015.76

£2,640 (In Kind) + £2,177 (Funding)

MANCHESTER

Partners

Dates:

Participants: Ages: 28 - 34 years

Artists:

Budget: Levered Funding:

Guerilla Journalism! Manchester Council’s Cultural Strat egy Team, BBC Connect & Create Team

5 to 30 October 2009

9

Claire Wardle (Social Media), Natalie Hancock & Karin Thayer (Multi-media)

£180

£6,980 (In Kind)

Guerilla Journalism! Involved the creation of 7 short video pieces from the In The City music conference and a dedicated Facebook page. The project aimed to develop professional, work related skills for local people in response to the development of Mediac-ity.uk in Salford Quays. This project involved resi-dents from East Manchester, an area where there had been very little cultural activity or involvement in the Arts and Media. BBC trainers and staff sup-ported the participants to develop social media and multi-media reporting skills. The participants then put these into practice during the ‘In The City’ music conference where they filmed and recorded interviews and stories of interest. The content was then uploaded online.

“I enjoyed the opportunity to go out and pro-duce and film a real event. Much more useful than a set up exercise that you get in most training courses” Participant from East Manchester.

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4.4.2 Increasing ParticipationThe findings highlight the reach into areas of deprivation and low engagement in creative activi-ties. These and participant feed-back provide clear evidence that the project has increased partici-pation amongst these communi-ties. Indeed all those participants responding to the survey indicated that the project had significantly increased their interest to try new things and the majority also indi-cated that it had increased their interest in digital media.

4.4.3 Children and young peopleA number of projects specifically targeted children and young people. These included Lessons Learnt? In Bolton where a group of young people from a social housing area worked together to make a short film and behind the scenes documentary; Dramatic Paws! In Stockport where young people aged 13 to 17 years learnt about and developed a series of animations inspired by ‘Reg-gie’s Roller Palace’; and ‘A Twisted Fairy Tale’ in Oldham involving a small group of young peo-ple in an interactive dance video performance. Many of the other projects also involved children and young people who worked alongside adults to produce their work and gain skills, confidence and knowledge. For example the group of young BME, refugee and asylum seekers involved in the Wigan Rafiki project explored their identities, met and interviewed members of their communi-ties and developed a real sense of belonging as a result of the project.

Across the projects there is considerable evidence that young people have developed skills, both in digital media content pro-duction and more general ‘work-ready’ skills. They have increased their confidence and gained a remarkable sense of pride in their achievements.

They have without exception developed an increased interest in digital media production, with several having changed their GCSE subject options to drama, photography, media studies and art as a result.

There are several cases where the young people involved have gone on to apply for and secure higher education course places and even with the younger participants there is evidence that their involvement has given them more focus to their lives.

A further outcome of the project is the evidence that other community members have been exposed to and recognised the contributions, hard work and commitment given to the projects by the young people. They have attended workshops, kept gruel-ling schedules, taken responsibility for their colleagues and the technical equipment and they have devoted their own free time outside the formal sessions to en-sure the project outcomes. There is evidence also that their videos, pictures and stories have and continue to be used to inspire others to get involved in such projects.

“Our theme was identity.. at the time there were lots of issues around asylum, immigration, it gave the young people a vehi-cle to examine these issues and feel good about themselves and their identity.. it allowed them to conclude that they could have multiple identities .. it was great to explore these salient issues with a safe environment.. as they got into the project they were more able to express themselves and share it with others.“ Project Support Worker

“Now, my daughter, she’s taking a photography course and it’s inspired her.. to take her GCSEs in photography and to keep her on at school to learn.” Participant – Life in Wigan

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4.5 Developing more active and proud communitiesA key aim for Pixelate was to enable local peo-ple to have an active and creative role in their own community leading to the development of more vibrant and proud communities. This aim links to the priority areas Improving the Public Realm and Vibrant Communities

4.5.1 Improving public realmThe Project has given the participants an op-portunity to voice their views and have their say through digital media content production. It has given them the skills to continue to work with digital media content and it has certainly inspired them to continue this. It has without doubt, improved access to many groups that may not otherwise have the opportunity to explore their ideas through digital media and there is evidence that it has opened up their eyes to their com-munities and the world around them. “They saw different things about the environ-ment, their surroundings through the lens, one boy took pictures of things that made the site.. it was good that he actually noticed them.” Project Support Worker There are also clear examples of how a few of the projects have had a direct effect on improv-ing the public realm in the communities they took place. The broadcasts developed through the Tameside, Citizen Journalism project had a direct effect in reducing fly tipping in the area and in extending local bus services to access parts of the estate. These benefits, whilst unplanned, are clear examples of how the Project has improved the public realm, even in the short term.“We got a few things resolved through making the film like the fly tipping and local buses not going to certain areas of the estate where we live ..the buses do go up there now…highlightingthings in the community.” Participant- Citizen

4.5.2 Vibrant communitiesPixelate has impacted on vibrancy of the com-munities in a number of ways. For those who participated in projects, their increased confidence, sense of belonging, improved and new relation-ships, increased interest in working with others, improved understanding of their environments and their recognition that they have a voice will

have all contributed to the levels of involvement in their communities. It is clear also that many participants have not stopped there, inspired and proud of their achievements as a result of the project, many have continued to be active, furthering their own skills and knowledge and inspiring others to engage in activities.“I met a really good bunch of people that I probably wouldn’t have come into contact with.. it’s inspired me to carry on and do more.” Participant- Citizen Journalism/On Hat-tersley “The whole project was very good for the community because they have a pride in their families, their homes and it validates that whole pride in their community when some-one else comes in and makes a documentary on it.” Community Support Worker

Finally, beyond the participants it is also clear that the wider communities have benefitted from being involved. Several projects involved people from outside the participant groups: in the de-velopment of ideas for live broadcasts, through interviews and through the exhibitions and screenings which brought in much wider audienc-es of local people. These activities have not only exposed local people to the creative work that the young people and other participants created, but they have generated an interest and enthusi-asm amongst the broader communities in creative digital media activities.“Apart from we got out of it ourselves there was an exhibition in the local gallery .. lots of local people saw that and enjoyed it that might have inspired people as well” Participants – Text Art Animation

Page 24: Pixelate 2006-10 Evaluation Report Final

Dramatic Paws! Involved a group of young people from across the Stockport area in the delivery of a series of animations inspired by “Reggie’s Roller Palace” an installation of 110 ceramic dogs on roller skates by Olivia Brown.

The young people took part in a series of taster and follow up workshops covering all areas of ani-mation and moving image.

They learnt all about the film and animation making process, including stop motion, flipbooks,

zoetropes, rotoscoping, computer generated and tradition-al animation.

The project was delivered in partnership with Stock-port Art Gal-lery and the workshops were run by experienced animator Luke Marsh

who has worked for Cosgrove Hall, ITV, Channel 4 and CBBC.

The young people produced an amazing array of work and the final animations were screened at a launch at the Stockport Art Gallery in October 2010.

21

STOCKPORT:

Partners:Dates:

Participants: Ages: 13 - 17 years

Artists: Budget: Levered Funding:

Dramatic Paws! Stockport Art & Festivals Team

24 July to 16 October 2010

8

Luke Marsh (Animator)

£2,847.79

£2,325 (In-Kind)

TRAFFORD: Partners:Dates:

Visitors:

Budget:Levered Funding:

Pixelate Exhibitions Waterside Arts Centre

2 May to 7 June 2008 & 18 September to 16 October 2010

£7,047.03

2168

The Pixelate exhibitions aimed to demonstrate, within a wider public context, just what communi-ties can achieve when they are supported through an innovative and creative environment.

The first exhibition was held in the Gallery Bar at the Waterside Arts Centre and featured work from the projects to date - Rochdale, Salford, Tameside & Wigan. This included 4 video screens and a se-lection of photographs and portraits.

The second exhibition took place in the Lauriston Gallery and was a much larger event. The work created by the community groups from across the 4 years of the project was displayed on video screens around the gallery as well as; a highlights films shown in a cinema area, an interactive projec-tion, photographs from the Wigan project and a selection of images, short films, scripts and a col-ouring book created by the broad range of artists we had worked with across the projects.

Both of the exhibitions were successful in bring-ing together the participants groups, allowing for major celebration events and in allowing the wider public an additional access point to the work that had been created.

As part of the 2010 exhibi-tion a series of animation workshops with young people were also deliv-ered as well as a smaller version of the exhibition displayed at the North City Library in Manchester.

£44,923 (In-Kind)

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The primary aim of the Pixelate project was to build the capacity of local communities, artists and organisations to deliver high quality inter-active content. The project spanned a four year period and has delivered a range of different digital arts activities across the ten districts of Greater Manchester.

Lets Go Global has worked closely with the Arts Officers in each district, local artists, com-munity based organisations as well as a number of other local authority service providers to demonstrate the value of creative digital me-dia technologies in achieving a number of key objectives. The project has increased the pro-duction of high quality digital content through the nine projects. In doing so it has introduced a broad range of community groups and lo-cal people to digital media technologies, em-powered them to think creatively, to learn new skills (technical and transferable) and it has opened up progression routes for many.

Pixelate has equipped local community organisa-tions with the skills, knowledge and enthusiasm to continue to deliver digital media projects and it has equipped these organisations with the know-how and confidence to secure funding to sustain these activities over the longer term.

Whilst the Arts Officers have had varied involvement in the projects, the process of delivering the projects has benefited them.

Many have developed a much greater under-standing of the possibilities and opportunities for digital media content projects in their areas, for some being exposed to the language and technical side has increased their confidence to run, procure and oversee such projects over the longer term.

There have been many practical benefits also. Strong relationships between Lets Go Global and the Arts Officers have been developed, with many accruing the benefits of having a special-ist provider on hand to call upon for advice and support.

In building capacity across the districts through artists and community organisations as well as

5 Conclusion

through the partnership working displayed in many projects, the benefits to the districts will continue over the longer term.

The project has engaged participants from areas of multiple deprivation, young and old and from neigh-bourhoods where people do not typically engage in arts activities. The projects have improved their con-fidence, ability to work with others and developed their technical and creative thinking skills.

For many, their involvement has instigated major positive changes in their lives: several going on to study media studies, drama or photography to pursue careers in the area. Even those who have not gone on to undertake further formal learning have benefited in their increased confidence, sense of achievement and the transferable skills they have gained.

Finally, the project has met the funding criteria and has secured a number of lessons for future county-wide working. In doing so, it has made demonstra-ble contributions to key priority areas, helping to combat social exclusion and develop more active and proud communities as a result.

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KEY ACHIEVEMENTS

Pixelate has been an innovative and exciting creative digital media project that has delivered high quality digital media content to communities across the ten districts of Greater Manchester.

Nine separate projects and two exhibitions have been delivered to over 140 local people in Bolton, Bury, Manchester, Oldham, Rochdale, Salford, Stock-port, Tameside, Trafford and Wigan.

The project has engaged, empowered and developed the skills, confidence,knowledge and pride of these local people who have been at risk of isola-tion, marginalised or who live in deprived areas.

For many of the participants, Pixelate has been the starting point to careers in digital media. For others, they have continued to use and develop the skills and knowledge they have gained informally and in other areas.

The project has generated employment and professional development oppor-tunities for more than 18 local artists and it has supported the development and capacities of local community organisations.

It has delivered over 70 creative digital media exhibitions, screenings, anima-tions, films, broadcasts and performances, several of which continue to be used to engage and inspire others to get involved in digital content creation.

It has levered over £200,000 in investment for creative digital media activi-ties across the sub-region, strategic partnerships have been developed and it has left a broad array of lasting legacies.

There is clear evidence that the project has contributed to other priority areas: it has contributed to the health and wellbeing of older people; it has given a voice to children and young people; and, it has engaged people who would not otherwise get involved in arts and creative activities.

Pixelate has also contributed to more vibrant communities and there are clear examples of how it has improved the public realm in the areas where the activities took place.

The project has had a significant effect in developing the capacity for crea-tive digital media projects across Greater Manchester: it has equipped com-munity organisations with the skills and knowledge to deliver future projects independently and it has secured a significant hub of knowledge and exper-tise in Lets Go Global that will continue to benefit the sub-region over the long term.

23

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IncomeGreater Manchester Strategic Arts Fund £238,700Salford DAAT £4,375.50Wigan LCT £2,177Tameside Council £2,850Trafford Council In Kind Contribution £44,923Greater Manchester In Kind Contribution £37,745Total £330,770.50Additional Levered FundingPeopleprint Community Media £93,000HMCM Tameside £19,822Find Your Talent (Bolton Council) £3,500Total £116,322

ExpenditureItem Heading PLANNED ACTUAL VARIANCEArtistic ExpenditureFreelance Artist & Consultant Fees £18,425 £32,414.91 +£13,989.91Organisation & Professional DevelopmentRecruitment £4,246.54 £4,505.54 +£259Travel, Materials & Consumables £4,000 £6,068.09 +£2,068.09Vocational Training £2,000 £1,603 -£397Web Development & Maintenance £1,000 £260 -£740Total £11,246.54 £12,436.63 +£1,190.09

MarketingPrinting/Monitoring/Final Report Costs £3,500 £5,942.54 +£2,442.54Marketing Costs £1,000 £1,501.29 +£501.29Total £4,500 £7,443.83 +£2,943.83

OverheadsSalaries £172,219 £161,749.02 -£10,469.98Redundancy Costs £5,606 £0 -£5,606Office & Admin Support £4,000 £4,483.32 +£483.32Total £181,825 £166,232.34 -£15,592.66

Capital expenditureMaterials Purchased £4,300 £873.95 -£3,426.05Room Hire for Project Workshops £1,155 +£1,155Technical Equipment Hire/Purchase £16,403.46 £23,436.13 +£7,032.67Total £20,703.46 £25,465.08 +£4,761.62

Other expenditureCelebration/Exhibition event 2010 £2,000 £4,109.71 +£2,109.71Project Total £238,700.00 £248,102.50 +£9402.50Value of support in kindTrafford Council In Kind Contribution £44,923 £44,923Greater Manchester In Kind Contribution £37,745In-Kind Total £44,923 £82,668 +£37,745

Overall Total £283,623 £330,770.50 +£47,147.50

6 Finance

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26

USEFUL CONTACT DETAILS

Tony Trehy, Principal Art Officer, Bury CouncilTel: 0161 253 5869 Email: [email protected] Web: www.bury.gov.uk

Mindee Hutchinson, Arts Development Of-ficer, Bolton CouncilTel: 01204 334335 Email: [email protected] Web: www.bolton.gov.uk

Francesca Platt & Tracy Hindley, Thebox.TVTel: 07528037754 & 07766798070 Email: [email protected] & [email protected] Web:www.thevideobox.tv

Louise Sutton, Cultural Regeneration Manager, Manchester City CouncilTel: 0161 234 4208 Email: [email protected] Web: www.manchester.gov.uk

Rachel Wood, Arts Development Officer, Old-ham CouncilTel: 0161-770-3070 Email: [email protected] Web: www.oldham.gov.uk

Julian Jefferson, Arts & Heritage Manager, Link4Life Cultural trust Tel: 01706 924916 Email: [email protected] Web: www.link4life.org

Dawn Chadwick & Christine Talboys-Smith, Peopleprint Community Media Tel: 01706 630364 Email: [email protected] Web: www.peopleprint.org.uk

Nick Thompson, Strategic Management Team, Culture and Sport, Salford City CouncilTel: 0161 793 2287 Email [email protected] Web www.salford.gov.ukColin Wisely, Commissioning Manager, Sal-ford DAAT

Tel: 0161 909 6525 Email: [email protected] Web: www.daatis.org.ukDaniel Bennett, Programme Co-ordinator, STASH (now called Aspire)Tel: 0161 7459566 Email: [email protected]

Jo Ward, Arts and Cultural Events Manager, Stockport Metropolitan Borough CouncilTel: 0161 474 4453 Email: [email protected] Web: www.stockport.gov.uk

Leanne Feeley, Service Unit Manager - Arts & Events, Tameside CouncilTel: 0161 342 4144 Email: leanne.feeley@tameside,gov.uk Web: www.tameside.gov.ukMuriel Stretton, Hattersley & Mottram Com-munity MediaTel: 0161 368 5171 Email: [email protected] Web: www.hmcm.org.uk

Sarah Mcloughlin, New Media Outreach Co-ordinator, Lets Go Global, Trafford CouncilTel: 0161 9121306 Email: [email protected] Web: www.letsgoglobal.tv

Rosie Scott, Development Manager, Waterside Arts Centre, Trafford Council. Tel: 0161 912 1142 Email: [email protected] Web: www.watersideartscentre.co.uk

Chris Wyatt, Arts and Festivals Manager, Wigan Leisure and Culture TrustTel: 01942 828218 Email: [email protected] Web: www.wlct.org.ukAnne O’Shea, Team Co-ordinator, Travellers Education Team, Wigan CouncilTel: 01942 404 075 Email: a.o’[email protected] Web: www.wigan.gov.ukMehmood Ahmed, Rafiki/Motswako Project, Wigan CouncilTel: 01942 705398 Email: [email protected] Web: www.wigan.gov.uk

BURY

BOLTON

MANCHESTER

OLDHAM

ROCHDALE

SALFORD

STOCKPORT

TAMESIDE

TRAFFORD

WIGAN

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With thanks to our project supporters

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Lets Go Global, 3-5 Malvern Row, Old Trafford, Manchester, M15 4FDwww.letsgoglobal.tv I [email protected] I 0161 912 1306

Desig

n: Natalie Perso

glio

natalie@freelancem

edia.co

.uk