I am excited and feel important to be involved with art

+ power. Over the past year or so I have benefited so

much from being a member.

I have enjoyed dancing at Bath University - it was

wicked! I have also spoken to Malcolm, a professional

actor, and am taking part in an audition to become an

actor myself. I have worked at the Tobacco Factory and

learned a lot.

In the future I hope art + power can support and give

confidence to many other disabled people. If we have a

problem we have people to share it with. When we have

days of encouragement and mentoring it can help us to

be strong in society and believe in ourselves.

Days at the Arnolfini helped me to become

a poet and a writer and we had much

fun at a showcase at the Grant Bradley

Gallery.

I think art + power is amazing. my friends

have told me how they have been helped

to come out of themselves and given them

courage to feel the same as other people

who work and talk to them - the mural at

Boston Tea Party shows people how we

are able to contribute and be helped to be

part of society.

Daniel Bryan

Writer and Performer

29

In May 2008, 600 visitors to Spike Island Open received ‘explorer kits’

created by art + power to help everyone explore the arts. We are now

looking to develop these kits and develop them for arts venues - an

‘ordinary person’s guide to the arts’ - to provide the public with tools to

engage with the arts and encouraging public feedback to venues to help

them improve the experience for the general public.

Outreach

The Campaign for Creativity will be led by participants that want to share their passion for the arts. They will promote the event

through their art, website and newsletters and through a range of performance events with targeted audiences to encourage more

participants to get involved.

Venues

Everyone who participates in the Campaign for Creativity will be

encouraged to share ideas to improve access and participation

and to write short reviews of art events they visit. These reviews

are used to promote art to other potential participants.

Each participant will have a record card to record their progress.

We will use the results of these record cards to enable

participating venues to see how many people using the scheme

are attending their venues and to give qualitative feedback on

how access could be improved.

Participation in the scheme offers venues important

opportunities to demonstrate commitment to ending cultural

exclusion. In addition venues will receive qualitative and

quantitative feedback on the impact of their participation, the

opportunity to promote art work to hard-to-reach groups; support

to develop empowering arts practice and the opportunity to

promote new initiatives.

30

We will support audience development initiatives that take a

strategic and holistic approach to access. For example: Our

research (see below) indicates that transport creates a major

barrier to participants wishing to explore the arts.

People cannot take part in arts events if they cannot get to them!

With this in mind we have created a range of tools and support

packages to encourage safe and independent travel. These

include a short film ‘Sharing our Journeys’ showing how people

with learning difficulties experience the arts and suggesting

creative ways to overcome the barriers they face. Participants

also produced an interactive map of central Bristol. The latest

initiative - a personalised mapping template that uses digital

photography to support independent travel will be launched

shortly.

In 2001 art + power, Bristol City

Council and Arts Council England SW

commissioned Transport and Travel

Research (Ttr Ltd) to research into

access to the arts for people with

learning difficulties. This research led

directly to a wide-ranging initiative ‘art

+ ride’ that involved many of Bristol’s

arts venues working with art + power to

develop a range of access initiatives.

The project is a case study to Bristol’s

Public Art Strategy.31

Participation as artists4

I don’t want to be the same as other artists and

don’t want to paint the same things.

Peter Sutton, visual artist

Building creative communities

art + power supports, promotes and

celebrates celebrate empowering arts

practice wherever it takes place. Our

role is to provide the inspiration and

resources so that disabled and socially

excluded people can create extraordinary

art.

Emphasis is on quality not quantity. We

prefer to produce a few demonstration

projects that have a real impact on

cultural inclusion. Projects are created

in an open and inclusive way, providing

opportunities to participate throughout

the project and sharing the journey of

increasing cultural inclusion. Participants

use the art they create to drive an

outreach programme - In this way each

project can engage more people and

our arts activity can drive our five-step

journey towards creative community:

Entertain, Engage, Enthuse, Educate, Empower

33

Recent Creative Fusion sessions have explored the

various ways that cultural exclusion manifests itself by

creating a world in which art had been banned. This

enabled participants to produce a wide range of arts

activity including:

• A 17-minute ‘mockumentary’ film exploring the

imagined history of people who chose to defy a ban on

creativity. Condemned to Darkness

• An installation in an art gallery asking people to

register for art tax by declaring all artistic activity

• Sculptures made from ‘found’ materials

• Poetry hidden under beer mats in Arnolfini café.

• An installation exploring the milestones and barriers

to pursuing careers in the arts.

• A series of performance interventions in an gallery

that explore the way excluded people feel when they

enter arts galleries.

Funding has been secured from South West Screen to

complete the film and develop the themes further in

new film projects.

Creative Fusion

To encourage people to come together to create joint projects we have designed a participatory arts process called: ‘Creative

Fusion’. This provides a platform for experimental partnership working to bring together artists, actors, writers and musicians.

Through Creative Fusion participants explore common concerns and links in their artistic practice. Together they create inclusive,

multi-disciplinary art that demonstrates the importance of cultural participation in innovative and often challenging ways.

34

I write because it is a way of expressing myself. It is one of the few ways I

have a voice. It gives me power. I channel my characters through my own

thoughts and emotions, whether they are dark or optimistic. It is very visual as

I try to describe what is going on in my head.

Jeff Johns, writer and musician

Participation in art + power and the arts 5

35

Participation in art + power

In addition to being a vehicle for change art + power is also a tool that participants can

use to gain the freedom to participate in society. To help achieve this we have developed

a range of structures and tools to develop participation in governance, planning,

implementation and evaluation.

We aim to achieve the highest standards in governance and participation so that art +

power can itself become a model for the sort of society we wish to create.

art + power sees everything we do as an opportunity to develop participation.

Participation is encouraged at every level of the organisation from setting the vision and

mission through to the every day tasks that will put this plan into operation. We want

to develop a transparent model of practice and to provide training and support so that

everyone can gain the freedom to participate as fully as they wish in art + power and the

wider society.

We have developed a comprehensive action plan to enable us to reach the highest standards we can for participatory governance.

The plan involves the provision of information, training and support and a range of participation initiatives that enable everyone to

take part in policy setting, decision-making and day to day actions.

art + power has a transparent and accountable decision making and policy setting process. For example, all Governing Body

meeting (6 participants and 6 volunteers) are held in public. No new information is produced at the paper-free meetings -

information is provided by power point and pre-

meetings are held to ensure all Governing Body

Members are fully briefed and able to participate in the

decision making process. Team meetings and project

planning meetings are also held in the open and all

information shared (except confidential items).

The ‘freedom framework’ that underpins our CPD

programme gives equal emphasis to participative

freedoms as creative ones. Tasks in our action plan are

offered to participants as ‘opportunity cards’ that can

help them achieve their desired freedoms.36

Employability and social enterprise

As each achievement that participants make increases their

employability we plan to develop our professional development service

(PASS) so that it can become a recognised route into employment for

disabled and socially excluded people.

PASS is a three-stage programme. Participants can decide whether to

engage with PASS as aspiring, emerging or practising artists. Whilst

participation at any level helps people increase their employability, at

the practising artists level employability becomes the main focus of the

programme.

In Bristol we are developing a partnership with City of Bristol College to

enable participants on PASS to gain NVQs in employment. Participants

on PASS can move through engagement and employability training into

business enterprise as their careers develop. Currently 12 participants

in Bristol are studying NVQ a level 3 business enterprise course with

City of Bristol College. We will supplement this training with a parallel

governance training programme for all those wishing to increase their

participation through art + power.

In addition to taking part in individual meetings and tasks participants

can take on more focussed pieces of work through work experience and

volunteering placements. Volunteers play a crucial role at art + power in

breaking down dependency and supporting participants to develop their

own independent practice.

Participants will be able to increase their employability through

participation in art + power as a not-for-profit collective. We will explore

collective approaches through the development of social enterprises

that can, over time, become independent of art + power. We want to

explore how art + power can support participants to explore income

generating ideas and act as an incubator for new collective enterprises.37

The arts industry

Barriers to employment for disabled people are likely to become much

higher in the current recession. Yet, the arts industry has the potential to

lead the way in employing disabled and socially excluded people. This

is not just because artists use lots of different ways to support their art

but because of unique role of the arts in social change. People discover

their own power through the arts. Each person’s creativity is their unique

contribution to society. Our challenge is to bring together a strategic

partnership that can help provide the structures and tools to release the

arts in every individual.

We propose to bring together a broad team of agencies and experts to

map out and signpost existing services in a co-ordinated way and to

develop strategies to tackle the many barriers to employment faced by

disabled and socially excluded people.

Some of the issues to be addressed include:

• Going self-employed managing finances and effective service

brokerage support for people using individual benefits payments

• How to earn income and tackle the benefits trap

• The potential for apprenticeships, internships, intermediate labour

markets and artists agencies.

• Partnership initiatives to increase the diversity of the workforce in

the arts industry. For example, we will develop our thriving volunteering

programme, in partnership with other arts organisations, as a key step on

the way to employability for disabled and socially excluded people. John Vowles joined art + power as a participant.

He has since progressed through a work

experience programme - with support from

Mencap Pathways and South Gloucestershire

Council and is now employed as art + power’s

Membership Officer. John supports members to

take an active role in art + power.

38

In 2008 The Boston Tea Party invited

a group of art + power participants

to create a mural on a large wall in

their Park Street branch. They held

fundraising events to fund the project.

One of the participants is currently

doing a work experience placement in

the cafe who continue to support our

fund raising efforts.

39

Marketing Plan

For me, art is about communication and I want people to engage with my art.

Frances Neville, textile artist and writer

40

The aim of our marketing plan is to

make it easy for everyone to contribute

towards building a more equal, inclusive

and creative community. We aim to

provide the inspiration and resources to

enable the full participation of the whole

community particularly disabled people

and people facing social exclusion.

Participation and marketing

The marketing plan will be driven by participants. They will act

as the creative hub to the Campaign for Creativity collecting and

distributing art work, stories news, information and resources all

with a single aim - to increase participation in the arts.

Involving participants in the marketing of the Campaign for

Creativity is essential to the project’s success.

There are three reasons for this:

1. It is through marketing and promotions that we will break

down social and cultural exclusion and ensure all our activities

take place in the public sphere.

2. By practically involving participants in the programme we can

build participation in practice not just as an end to aim for but as

a means of achieving our aim.

3. Creating a public project driven by the talent and commitment

of disabled and socially excluded people is essential to gaining

the willing participation of the public and to changing public

perceptions of the arts and who they are for.

Whilst all participants (and partners) will be encouraged to

submit material for publication we will establish a core team

who want to develop a more strategic role. To assist this

we will run a training programme (in parallel to the NVQ in

business enterprise) so that we can develop a participatory

marketing strategy. In addition we will develop opportunities

for participants to take lead roles in all public activities

including outreach performances and training and consultancy

opportunities as they develop.

The marketing will develop in an organic manner at first

depending on the commitments and interests of participants and

those who join the campaign.

We will begin the process by developing a ‘Campaign’ newsletter

and website. As participants develop the strategic skills we will

create a promotions campaign to encourage participation in the

arts.

41

PromotionsOur marketing will promote an inclusive view of the arts and of

art + power. We don’t want people to think of art + power as a

place or specific group of people. Rather we want to promote

art + power as an idea that belongs to us all, a vision that we

can all work together to bring about - hence the ‘Campaign for

Creativity’.

The ‘Campaign for Creativity’ will centre on an ongoing

promotion campaign in which everyone involved works together

to share ideas and celebrate empowering arts wherever they

take place.

At the heart of the project will be a regular Campaign for

Creativity Newsletter promoting Bristol as a centre of cultural

inclusion. Every aspect of this plan will be reflected in the

newsletter and related communications. It will include at least

the following:

• Campaign News and news on PASS and how people can get

involved

• Tips to encourage people to attend venues, reviews by the

people going to arts in the own words.

• Examples of arts created in by participants and their stories.

• Opportunities to develop practice including information on

voluntary arts activities, a notice board for rehearsal and studio

spaces, and information about events, arts groups, book clubs

etc.

• News on exhibition opportunities and competitions

• Opportunities for partners to get involved, volunteering,

practical assistance, how you can help increase participation in

the arts, how to hold your own event, where to get help etc..

• Opportunities for partners and business to advertising and

promote their commitments to cultural inclusion and news about

initiatives

In addition to distributing the work through newsletters and

websites we will seek opportunities to promote art work and the

campaign in public sites such as billboards and poster sites and

on public transport.

42

MARKETING TARGETS stage 1

April 2009 - 2010

stage 2

2010 - 2012

stage 3

2012 - 2014

STAGE DEVELOPMENT CITY WIDE NATIONAL

1. Campaign for

Creativity

800 Partners including: 160

volunteers

400 supporters

160 fundraisers

80 project partners

2,400 Partners

480 volunteers

1,200 supporters

480 fundraisers

240 project partners

2,400 Partners

4,800 volunteers

12,000 supporters

4,800 fundraisers

2,400 project partners

2. PASS -

Personal

Arts Support

Scheme

200 participants

3,000 achievements

1,500 freedoms

600 participants

9,000 achievements

4,500 freedoms

6,000 participants

72,000 achievements

40,000 freedoms

3. Participation as

Audiences

500 venue visits

100 venue recommendations

1,500 venue visits

300 venue recommendations

15,000 venue visits

3,000 venue

recommendations

4. Participation as

Artists

Entertain: 5,000

Engage: 1,000

Enthuse: 500

Educate: 100

Empower: 10

Entertain: 25,000

Engage: 5,000

Enthuse: 1,000

Educate: 200

Empower: 30

Entertain: 250,000

Engage: 50,000

Enthuse: 7,500

Educate: 500

Empower: 100

5. Participation in

art + power and

the arts industry

Empower: 10 Empower: 30 Empower: 100

43

Financial Planart + power has an annual turnover of around £170,000 the

majority of which we raise ourselves. Our only regular source

of statutory funding is a three-year service level agreement with

Bristol City Council (BCC), as a key arts provider as part of the

City’s portfolio of leading organisations, which expires on March

31st 2012. This funding was agreed after an open application

process. art + power achieved the highest score of all applicants

to this process – demonstrating that art + power offers more to

the corporate priorities of the only major city in the region than

any other arts organisation.

Our funding strategy has three main aims:

1.To create a strong business ethic across the organisation.

2.To diversify funding streams and develop the potential for

income generation.

3.To develop partnerships to create potential for sustainability

and roll-out of model to other areas.

Our new model of empowering arts practice has been designed

to achieve these aims despite the economic recession.

My work makes me feel confident. I want

people to look at my paintings and then talk

about them.

Jonathan Barr Lindsay, visual artist and writer

44

The above diagram show our new model of empowering arts brings together participants and partners in a shared commitment to

cultural participation.

45

art + power Offers sup-

port, advice and opportunites

for people to develop their

practice and contribute to

the art community. Through

workshops, mentoring and

projects, artists are able to

pursue their own interests

and improve their skills at

their own pace.

artists Progress through a

three stage process in which

they turn an interest in art into

a career. By participating in

activites and acomplishing

set goals, artists earn credits

which give them access to

more activites, information

and opportunities.

sponsors Interested in

ending cultural exclusion

and supporting the empow-

erment of art, funders are

able to invest in specific

activites or in a general pot.

Model of Empowering Artsframework arts policy tool kit

Participants Partners

programme meeting

demand funding

policy / impact

yesyes

activity

evaluation / outcomes

yes

nono

no no

art + power

A transparent planning process ensures that demand, impact

and quality in place before investment takes place.

• Demand is demonstrated by participants’ desire for freedoms

• Funding and support directed towards specific activities that

have the most impact through freedom framework and impact

analysis

• Quality ensured through iterative feedback process, strong

monitoring and commitment to learning and evaluation.

By using the ‘freedom framework’ and careful monitoring we

are able to give priority to low-cost high impact solutions to

funding that ensures participants remain in control of projects

by minimising the need for lengthy and complex funding

applications and their consequent delays. Identifying innovative

and creative ways to move projects forward also has the

following benefits for our funding strategy:

1. It provides individuals with practical and affordable

opportunities to effect change and share their talents and

passions despite the recession.

2. It encourages sharing of resources amongst groups,

individuals and service providers ensuring value for money.

3. Companies that may find it difficult to make a financial

contribution in difficult economic times will have opportunities to

contribute time and practical support through staff development

programmes or surplus stock. In addition different departments

could sign up as team and set incentives to see which team

could have the most impact on cultural exclusion. This is likely

to be particularly attractive to businesses wishing to meet their

Corporate Social Responsibility targets and to identify their

46

Our five-year plan to end cultural exclusion sets out to

demonstrate the potential of the arts to improve social welfare

across a variety of sectors. One of the aims of our task groups

will be to open up the potential for a broad section of policy

makers to contribute towards cultural inclusion will mean

that statutory funds are likely to remain the major source of

our funding in the short to medium term. However, we also

recognise the vulnerability of these funding streams to political

and economic changes and therefore we will also work hard to

develop a broad portfolio of funding sources.

company as innovative and creative in times of recession. By

supporting our plans for social enterprise and employability

they can contribute directly to entrepreneurial activity amongst

disabled and socially excluded people.

The systems assist funders by providing clear evidence that

meet many of their key concerns - the model demonstrates

that there is a clear need and demand for their investment,

they can be assured that investment is well managed and will

have maximum impact and art + power strength in monitoring,

evaluation and learning helps to assure funders that they will

be investing in quality. In addition those funders with specific

aims will be able to purchase inputs from a range of options

according to their preferences. Like everyone who participates

in the programme they will be able to receive a clear measure of

the impact of their investment and monitor the progress of their

investment.

The process has been designed to ensure that disabled people

in receipt of individualised benefit payments will be able to

purchase clear outcomes. (Bristol City Council’s Commissioning

Officer for services to people with learning difficulties has

indicated that the system is in line with their commissioning

criteria.)

Also, The inclusive and participatory nature of the campaign

will help us to recruit more volunteers and experts with a strong

sense of social responsibility. In particular this will provide:

• The support of a development team of experts across a range

of fields to develop a cross-sector approach to funding of

empowering arts activity opening up diverse funding streams.

• The engagement of a development sub-group to art + power’s

Governing body to drive the organisation forward.

47

Resources and Networks

art + power are members of the following organisations and networks:

Voscur (Bristol’s Council for Voluntary Service), Arts & Business, ACEVO

(Association of Chief Executives of Voluntary Organisations), NCVO

(National Council for Voluntary Organisations), Alita (Action Learning

In The Arts, a year long action research project) SW, Theatre Bristol,

disability arts benchmarking group (national project benchmarking key

targets of leading disability arts organisations), Institute of Fundraisers,

Members of staff sit on the following steering Groups and management

committees, Bournemouth Arts Institute, Theatre Bristol, Visual arts

strategy (Bristol), Poetry Can, University of West of England development

group for MA in arts and community practice.

Organisations we are currently working with include (apologies for

omissions): Arts & Business, Arts Matrix, Audiences South West, Back to

Back theatre, Bristol City Council, Bristol One Stop Shop (employment

support); City of Bristol College, Dance Aware, Freeways Trust, Gallery

37 plus, The Hub, Kaleido, Mencap, Poetry Can, Reach Inclusive Arts,

River Street drop in centre, Social Enterprise works, University of West

of England, Young Bristol, Arnolfini, Tobacco Factory, RWA, Arts Matrix,

DAISI, Devon Guild of Craftsmen, Theatre Alibi, Exeter Northcott,

Watershed, Theatre Bristol, Bournemouth Arts and culture, Dance Aware,

Poetry Can, Erlestoke Prison, Leyhill Open Prison, Mencap, ARA, Mental

Health Matters, Bristol and District People First.

Monitoring and EvaluationThis new model of empowering arts activity has monitoring and evaluation at its heart. Openness, transparency,

accountability, learning and participation are the watchwords of the campaign.

The ‘Campaign for Creativity’ relies on creating opportunities for participation

at every level including evaluation. This is one of the aspects of this project that sets it apart as it is not a top-down

monitoring of the effect we have had on people but a bottom-up evaluation of participants by participants. The model

depends on the enthusiasm of participants to lead the evaluation process. Participants identify what it is they are

trying to achieve and use self and peer assessment to report on how effective each project has been.

As far as is practical, decisions are made in an open and accountable manner. Most meetings are held in public with

notes made available afterwards. We plan to create a ‘dashboard’ style website that enables everyone to see how

successful we have been and to monitor the impact of their investment.

All projects are regularly reviewed and evaluated so that we can continue to develop our understanding of how best to

release the empowering potential of art.

The action plans that are being developed to put this strategy into place are themselves opportunities for participation.

Each week we hold a ‘coffee morning’ to discuss as a team of staff and participants our targets for the week ahead

and to decide collectively what is the most effective way of achieving our goals.

Action

Plansart + Power is a realisation

thorough creativity of

individuals ability not

disability’.

Janna Edwards,

15 Days in Clay

1THE CAMPAIGN FOR

CREATIVITY

stage 1

April 2009 - 2010

stage 2

2010 - 2012

stage 3

2012 - 2014

1.1 PARTNERSHIPS Establish city-wide partners to

stage 2 and discuss project at

national level.

Explore national partners Training and consultancy role

1.2 DEVELOPMENT 1.2.1 Establish task groups

to develop key aspects of

campaign:

Employabilty

Social Enterprise

Finance and Development

1.2.2 Develop infrastructure:

Project hub, resources, ICT,

website, project and marketing

tools and information.

1.2.1 Task group actions,

develop national task groups

1.2.2 Support development

of infrastructure in regions for

national project.

1.2.1 Establishing regional

programmes

1.2.2 Sustainability / exit plan.

1.3 DELIVERY Develop pilot partnership

projects with arts venues in

the city to increase access to

the arts.

1.3.1 City wide delivery

1.3.2 National pilot

National project delivery

1.4 EVALUATION Testing models, participant

and partner feedback

Bristol task group reports /

event

National Conference,

Exit/Sustainability strategy

1.5 DISSEMINATION Prepare stage 1 project launch National launch event Final event

Action plan 1: The Campaign for Creativity.

51

2PASS stage 1

April 2009 - 2010

stage 2

2010 - 2012

stage 3

2012 - 2014

2.1 TRAINING 2.1.1 Developing outreach

programme

2.1.2 Develop and deliver

induction training in

independent arts practice

2.1.1 Supporting local groups

and national outreach

2.1.2 (Identify partner to)

deliver training to promote

independent arts practice

2.1.1 Deliver training /

consultancy to regional

groups.

2.1.2 Identify training gaps

and deliver as last resort.

2.2 PRACTICE Develop, test and pilot ‘Take

Part in Arts Game’

Sharing opportunities to

develop practice

PASS adopted in Bristol

Sharing and co-ordination

of opportunities to develop

practice

PASS adopted by at least 3

regions

Establish regional networks

to share and co-ordinate

opportunities for participation

2.3 DELIVERY AGM and showcase Festival of cultural inclusion Local events for dissemination

Action Plan 2: PASS

52

3AUDIENCES stage 1

April 2009 - 2010

stage 2

2010 - 2012

stage 3

2012 - 2014

3.1 RESOURCES 3.1 Newsletter & Website

development

3.2 Explorer packs

3.1 Website established,

newsletter in place

3.2 Explorer packs, arts

guides

3.1 Regional sites and

newsletters

3.2 National adoption of tools

3.2 OUTREACH Local outreach Bristol events National outreach events

3.3 VENUES Pilot projects Local social enterprise started.

Five main partners in place.

Programme roll out.

Three additional national

partner venues

Action Plan 3: Participation as audiences.

53

4ARTISTS stage 1

April 2009 - 2010

stage 2

2010 - 2012

stage 3

2012 - 2014

4.1 BUILDING CREATIVE

COMMUNITIES

3.1.1 Creative development of

newsletter and website for arts

dissemination

3.1.2 Developing

performances in public sphere

for outreach and audience

development:

Spike Open

In-Between time festival;

Bristol Poetry Festival

AGM and showcase

Project launch

3.1.1 Dissemination through

website, newsletter

3.1.2 Public performance

outreach events

3.1.3 Bristol Festival of

Cultural Inclusion

(led by Kaleido, Disability Arts

Development Agency for SW

England)

3.1.1 Regional dissemination

and national website hub.

3.1.2 Public performance

outreach in regions

3.1.3 Final project event

4.2 CREATIVE FUSION Viral marketing and new

film projects building on

‘Condemned to Darkness’ film.

City Wide participatory,

inclusive and empowering arts

project

Series of linked regional

projects

Action Plan 4: Participation as Artists

54

5ARTS INDUSTRY stage 1

April 2009 - 2010

stage 2

2010 - 2012

stage 3

2012 - 2014

5.1 EMPLOYABILITY Establish task group Bristol wide initiatives

National task groups

Regional initiatives

5.2 PASS EMPLOYABILITY

PROGRAMS

5.2.1 Partnership with City of

Bristol College

5.2.2 Training:

Participation training

established

5.2.3 Practice: Achievement of

participation freedoms through

involvement in Campaign For

Creativity

5.2.1 City wide enrolment

5.2.2 Expand training

programme

5.2.4 Increased participation

in city activities

5.2.1 PASS adopted

nationally

5.2.2 Participation consultancy

5.2.5 National

5.3 ART + POWER 5.3.1 Governance

development programme

5.3.2 Volunteering and work

experience opportunities

Strong, participative

governance programme in

place

Support, training and

consultancy for participatory

programmes in the regions

5.4 SOCIAL ENTERPRISE 5.4.1 Product and service

development research.

5.4.2 Products/services tested

Increased earned income and

emplyability

Independent social enterprise

established.

Regional models

Sustainable funding for hub.

5.5 ARTS INDUSTRY Pilot project to coordinate arts

volunteering

City wide volunteering and

work experience programme

National employment in the

arts programme.

Action P

lan 5

: art

+ p

ow

er a

nd t

he A

rts

Industr

y

55

6MARKETING stage 1

April 2009 - 2010

stage 2

2010 - 2012

stage 3

2012 - 2014

6.1 PARTICIPATION 6.1 Training and team

development

6.1 Develop training role 6.1 Roll-out training role and

promote arts participation in

the UK

6.2 PROMOTION 6.2.1 Newsletter and website

6.2.2 Plan public promotions

campaign

6.2.1 City wide newsletter

6.2.2 City wide promotion

campaign: Capital of cultural

inclusion

6.2.1 Regional newsletters

and national hub

6.2.2 National promotions :

Creative Britain.

Action Plan 6: Marketing

56

7FUNDRAISING stage 1

April 2009 - 2010

stage 2

2010 - 2012

stage 3

2012 - 2014

7.1 STATUTORY Task groups established,

cross sector support, new

income streams e.g. City of

Bristol College partnership

Sustainable level of funding in

Bristol

Maintain sustainable level of

funding in Bristol.

Support to other regions.

7.2 TRUSTS Develop partnerships with

trusts

Develop stage 3 partners Exit and sustainability strategy

7.3 CORPORATES Establish corporate schemes Corporate established,

develop sponsorship

Increased sponsorship

7.4 INDIVIDUALS Develop supporters scheme

and fund raising team

Supporters scheme and fund

raising events established

Sustainable level of income

generated

7.5 EARNED Product and service

development research

Increased earned income (art

+ power) and employability

Earned income streams fully

established

Action Plan 7: Fundraising

57

‘What does art + power mean to me?

I had interpreted for Faye at university and, when she got a job with art + power, she

asked me to come and work with her there. I’m ashamed to say that I was afraid when

I first started. I had no background in working with people with learning difficulties and

other issues. Would I be able to understand the voices? The content? Would people

understand my role? I needn’t have worried. The fantastic thing about art + power

is that there’s a focus on the person not the label. Instead of ‘the learning difficulty’

or ‘the addiction’, there’s simply Jack and Darren and Sarah. There’s a focus on what

people can do and what they want to achieve rather than on what can’t be done.

art + power is like a tardis; far bigger in reality than is apparent from the outside. This

small organisation, with a staff of only 5, is really a living breathing organism which

reaches out and touches the lives of numerous people. The starting point is art but it’s

about far more than that. It’s about self-esteem, confidence, growth; opportunity and

encouraging people to think for themselves............

Having been told in secondary school that I had the drawing ability of a 6 year old I

decided at that point that art was not for me. Encountering a variety of artists in art

+ power has re-awakened creativity in me. They have taught me how important it is

for each one of us to express something of who we are creatively and shown me that,

without that freedom, a little bit of us dies. I’m now writing short stories and poetry

again for the first time since leaving school.

I am suspicious of books which claim to be ‘life changing.’ art + power makes no

such claim but changes lives anyway. The radical thing about art + power is that it’s

not about classes or numbers or keeping hold of people or squashing anyone into a

mould. It’s genuinely about embracing someone, accepting them for who they are,

imparting something to each individual for as long as they want all the while inviting

them to soar free. The lovely thing is that so many people have gained so much they

want to stick around and give something back anyway’.

Sarah Macguire

58

Article 27 of the Universal Declaration

of Human Rights:

‘Everyone has the right to freely

participate in the the cultural life of the

community, to enjoy the arts and to

scientific advancement and its benefits.’