F U L L C I R C L E

A R T S

Source 2
Evaluation

…of an holistic capacity building programme for disabled young people

and artists, covering; arts professional development planning, mentoring,
arts projects with young people, an intensive young disabled people’s
development programme and Information and advocacy.
 F U L L C I R C L E
A R T S

Source

Contents

Background 1

Source 8

Mentoring 9

Source Artists…including Professional Development Planning 23

Source Young Artists …including pilot Hub 4 41

Source:it 79

Conference event never Dive Alone 87

Participatory Arts Projects 100

Partnerships 103

Some Statistics 106

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

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

It is about building bridges not silo’s

Research, active listening and working closely with disabled young people and disabled
artists gave us a clear focus - to work on building sustainable, long term support to
inclusion within the ‘mainstream’ for disabled practitioners, young people and disabled
arts students (whatever age). Built on practice, findings and research before we initiated
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the programme, we continued to gather, the voices of disabled people themselves
throughout the programme, the development, outcomes and future plans are based on
their feedback, needs, wants and observations of their barriers and practice. Hence
we make no apologies for not focusing on building a platform for the production or
showcasing of disability or Deaf arts, we do support artists wishing to develop their
practice within this genre, but the overwhelming demand was for ongoing, mostly face
to face sometimes one-to-one support for inclusion in development, training, peer
practice and employment opportunities that many non-disabled people take for
granted. (please see our research findings within the report).

The Source programme is also an attempt to address inequalities seen in wider

research and Government statistics which show how excluded disabled people are. For
example disabled people make up 18.6% or 1 in 5 of the UK population and 1.3
million are ready for and able to work but not in employment. Only half 50% of
disabled people of working age are in work, compared to 80% of non-disabled people.
Disabled people’s education and training opportunities are such that 23% of disabled
people have no qualifications compared to 9% of non-disabled people. (1*) In the
funded arts sector only 2% of the workforce is a disabled person. Only 4% of disabled
people serve on the Boards of arts organisations (2*) and outside ‘disability arts
festivals’ there is still meagre representation of disabled artists work.
(1* Office for National Statistics Labour Force Survey, Jan - March 2009 2* Arts Council England Disability
Equality Scheme Annual Report 2007/8)

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

“Its not just about access, I can get in the door but I’m still not included”

Disabled participants at FCA’s artists development day 2008

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Jazz

“Its tough to define, but I know it

when I hear it.”

Miles Davis 1984

Inclusion like Jazz is difficult to describe A truly Inclusive organisation knows:

but you feel it when its there
Inclusion is about ALL of us Our deepest connections have
Inclusion is about living full to do with our fears,
lives - about learning to live uncertainties and
together. powerlessness
Recognises we are all
Inclusion treasures diversity
profoundly influenced by
and builds community.
poverty, racism, homophobia,
Inclusion is about our 'abilities’ disabilism, and takes
or gifts and how to share responsibility for this
them.
Has structures for making
Inclusion is NOT just a space and time to answer the
'disability' issue. question ‘What do you do
Inclusion is about creating & when you don’t know what to
sharing tools, resources, do’
capacities, so we can all live full Recognises the wisdom for
lives being human is widely
Inclusion is a process not a distributed
product
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Challenging the way we work.
To be effective and to work to address disabled people’s expressed needs, wants and
aspirations in the arts, Full Circle Arts had to challenge and examine our own practices.
Much work has been done around inclusion mostly by the Inclusive Education
Movement and the Independent Living Movement. In the Arts there is little that could
be said to work on the fundamental principles of inclusion. Most activity has taken place
around either ‘access‘, one off, time limited, segregated disabled people’s arts projects,
or disability and Deaf arts.

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

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

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

The bureaucrat will respond to the wishes of disabled people by:

  Keeping people ignorant about their rights
  “What people don’t know will not hurt them”.
 Refusing to take risks for a service which they know is needed.
  “It’s more than my job’s worth”.
 Refusing to help people speak up about their needs.
  “It’s better not to make waves”.
 Being reluctant to refer people to genuinely independent advocates or
support networks which are promoting change and choices.
“These troublemakers will make things harder for us.”
Refusing to involve people in planning for their own needs.
 “Experts know more about these things than you do, so leave it to us”.
Blaming people for their lack of progress and getting individuals to take
responsibility for the systems failure.
 “We’re doing everything we can to help you, but you refuse to do what we
say”.
Becoming personally and professionally offended when you try to make
them accountable.
 “You should be more grateful for what we are offering you”.
Demonstrating an extreme resistance to change as this is seen as a threat
to the continued existence of the system.
“We have been operating in this way for years and you are the first person to
complain about this.”
Protecting money and resources as if it were their own.
 “We could not possibly afford to pay for what you are asking for.”
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 Assuming that there is only one route which is fixed for all time and takes
no account of individuals changing needs.
“We have given you this and we will review it in five years time, so don't ring
us we will ring you”

These universal features of bureaucracy can be disabling for many people who are
looking for a change in attitude and practice towards their inclusion.  They are also in
marked contrast to the principal of “public service” (1*) which we would argue is based
upon a recognition of individuality and diversity of needs amongst the people that seek
to use our cultural services.  ( 1* John Holden in Democratic Culture cites the role of those
working in the publicly funded arts as that of Public Servant).

Young participant of the Remix A dance workshop Visual arts workshop with a young
project playing the piano participant painting a papier
maché structure

For example people working in the funded arts sector, in supporting the wishes of
disabled people wanting to have their contributions received and their aspirations
acknowledged will:
Encourage people to be well informed about their rights
 “The more you know what you are entitled to the more we will be able to help
you.”
Show a willingness to take risks, in order to provide a more effective
service.
“Even if this means upsetting some of our procedures it will improve the
service we are here to provide.”
Encourage people to speak up for themselves and to access independent
advocates and support groups.
“These people may be able to help you get a better deal than what is on offer
at the moment.”

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 Involve people in planning for their needs.
“You are the expert on your own situation and your own needs.”
Avoid making judgements or placing blame on the individual.
“We do not see you as the problem but an essential part of the solution.”
Promote the individual's self confidence and encourage them to become
better advocates for themselves and others.
 “What you have learned about this particular situation is not only helpful to
us but we can use it to the benefit of others using this service.”
Engage with people in an ongoing dialogue, recognising that needs change
over time and that plans have to adapt to meet those changing needs.
“If you have any further questions or the situation changes please don't
hesitate to contact us.”
Acknowledge weaknesses and inherent barriers within the system.
“I recognise the system has failed you in this and that the system is unjust and
needs to change.  How can we make a joint argument for such a change?"

Clearly, administration is necessary to a public service and to support progress towards

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

Whilst debate can be temporarily stifled, people's shared passions and convictions
sooner or later declare themselves and do change the world and the way we live. 
Sometimes these changes come through political/legal reform, armed conflict or
revolution, but often the most enduring changes occur in small, personal but
nonetheless dramatic ways.

Source is developed on principles of inclusion, but the work of a small (4FTE’s) arts
organisation. We seek to ignite lots of small fires in the arts organisations around us,
rather than building one huge bonfire. We believe in doing so we will be building
bridges for inclusion rather than yet another bureaucratic hierarchy.
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 Source
Source is an holistic arts programme offering development, training, support and
employment opportunities for disabled young people and artists.
This includes

Mentoring
A development of our Mentoring Scheme which had been running for 8 years

Source Artists
Including a Professional Development Planning service

Source Young Artists

An intensive development programme for disabled young people

Source:it
Source:it is the information and support hub providing personal contact for artists and
arts companies

Never Dive Alone

A conference and Open Space event for building collaborative partnerships and
exploring issues of inclusion.

Young peoples participatory projects

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

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

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

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

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

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

A brief history

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

Non Disabled Students Disabled Students

2%
20%

98% 80%

No. Of students on arts courses Drop Out rates during first year of course

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

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

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

1) It was clear that working with just one FE college was restricting for development of
the service and potential mentees were just ‘given’ to us on the college’s terms
rather than coming from their own [mentees] needs.
2) We felt we were addressing gaps in services provided by the college rather than
meeting the real needs or aspirations of disabled young people.
3) Our training for Mentors was not fit for purpose and the role of mentor needed a
more robust and comprehensive training package
4) Our decision to only offer disabled mentors for disabled mentees whilst having the
best of intentions in terms of providing role models and people with an
understanding of disability issues was challenged by findings from the mentees
themselves. For some a disabled mentor was important, however for others they felt
that just having an excellent mentor, with an understanding of the arts discipline they
were working towards was more important.
5) We began to see the ‘matching’ process as crucial in successful outcomes for the
mentor/mentee relationship
6) The human resource time taken to manage the scheme was much, much greater
than we anticipated

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Moving to Source Mentoring
Evaluation from our first 2 years brought some major changes to our mentoring
scheme
1) We began a series of large scale annual participatory arts projects with young
disabled people. These would act as a gateway to our mentoring scheme for those
young people showing enthusiasm or skills and wishing to take their interest further.
2) We transformed the training process for our mentors, all new mentors would
receive 30 hours training to OCN level 2 accreditation. All mentors would also
receive 2 days Disability Equality Training
3) We recruited non-disabled as well as disabled volunteer mentors
4) We sought funding to cover the human resource costs of a Mentoring Coordinator
for the scheme
5) We improved our matching service with more in depth pre mentoring meetings
with potential mentees.

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

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

The training was designed and delivered in-house and although this was highly
successful and tailored to our own needs, it soon became apparent that it was hugely
expensive in terms of human resources. All 14 mentors achieved their OCN
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accreditation and feedback on course content and delivery was excellent. During part
of this process all mentees are offered free enhance CRB checks, a valuable asset to
our mentors, especially freelance artists who are now equipped to work with young
people and vulnerable people on a freelance basis at no cost to themselves.

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

How important are the following qualities in a mentor for you? (tick all that apply)

they should be a disabled person

they should be successful in the art form I am working/studying in
they should have good listening skills
they should be non-judgemental
they should support me by understanding the barriers I face
they should know people and organisations that may be useful to me
0 3 6 9 12

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

Realising the training was far too exhaustive on our own internal resources we looked
for other training providers who could deliver an accredited course with us. The
following year we delivered a course to 9 mentors in collaboration with Mancat. The
course was successful, but was still costly for Full Circle Arts. During our funding
applications for Source 2 Mancat gave £18,000 worth of training in-kind over 2 years
which secured the mentoring training for us.

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

Mentee Pre mentoring and matching meetings

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

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

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

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

If a mentor is needed?

If so, when is the right time?

A clear understanding of what mentoring is and what it isn’t is developed

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

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

Mentee’s have identified their own goals, areas of work, action plans.
Mentees are central and leading the process.

There is a clear start and end point.

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

Some highlights of our mentoring service

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

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

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

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

Mentor’s meet with a mentee on average once a month to discuss professional

development, encourage focus, provide information and the opportunity to meet with
individuals and organisations who may be able to provide additional information and
support.

Some Outcomes to date

Ongoing research and consultation, with all current mentors and mentees, which
informs the development of our service.
20 new mentors trained and accredited via Mancat joint accredited course with FCA
Renewal of our accreditation of Approved Provider Service from the National
Mentoring network (the only nationally recognised quality mark and FCA still the only
arts organisation nationally to provide a mentoring service with this quality assurance).
36 artists/young people mentored during Source
25 of these young people
11 artists mid-career/career change to arts
28 new to the arts/disability and Full Circle Arts
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18 young people moved into post 16 full time arts education
2 artists doing MA’s
1 undertaking her Phd
A full progress/outcomes diary kept for every mentee
8 peer mentoring (4 pairs) - Source young Artists
All mentees receive either a full PDP or ‘mini PDP’ before being matched (age and
experience dependant)
2 older or more experienced arts consultant mentees now progressed on to
leadership development courses
Cross referrals from MYAN and CPAL members (mentees onto arts projects/training,
working as artists/workshop leaders and young disabled people being signposted to
our service.
Mentoring/PDP coordinators salary now fully met from revenue funding (although this
has meant cutting some project work, we felt the shift was necessary to match
commitment to both mentoring and PDP to be a continuing core part of our work).

Some Figures for this year

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

People accessing this service in this year

Short term – one off support – less than 6 months
Long Term – 6 months onwards

Contact hours – average. Time spent on pre – mentoring service, agreement, mentor
meetings, email, phone call etc..

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08
Short term Contact Hours Long Term Contact Hours
Matches Matches
2 48 8 192

09
Short term Contact Hours Long Term Contact
Matches Matches Hours
1 9 9 216

Recently applied, awaiting match or going through Pre-service

Recently applied Pre-service or PDP Awaiting Match

4 2 2

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

Having studied our own capacity to continue mentoring in -house covered by

employee time (but excluding training, meeting and access costs our maximum
Capacity for mentoring in one year is:-

PDP or Pre-Mentoring Service – 15

Mentoring Matches – 15

Findings –

100% of those who have experienced PDP/Pre-mentoring service, short term and long
term mentor matches have reached or moved significantly forwards towards their
goals.

100% have valued the opportunity

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100% said it has encouraged focus

100% said it had helped with motivation

100% have moved on to education, training or further arts employment opportunities

Other findings
Increase confidence
Increased networks
Accessing main stream arts provisions
Accessed training
Accessed further art Projects
Accessed employment opportunities
Become Self employed
Built Artist Profile
In a measured way this translates to
Mentoring Service contributed to an increase/improvement in the following

Before Service After service

20
Confidence 80
30
Focus 83
37
Motivation 87
19
Orginisation 79
26
Self Awareness 75
18
Self management 84
10
Action Planning 92
17
Self Evaluation 82

0 20 40 60 80 100

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

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

Lessons we have learned and how we plan to develop

We find it more inclusive and a way of developing sustainability to teach

mentees in how to choose and use a mentor – this provides a better
return on investment than just concentrating on training people in how to
be good mentors

We offer a mentor matching service – but we now encourage and support

people to look for their own mentors first – this helps to ensure relevance
Mentoring relationship are usually driven by the learner, who takes
responsibility for scheduling meetings and developing the agenda.  Learning
to chose and use mentors effectively is a relatively advanced skill and is one
that should be explicitly taught. We try to encourage people to check out
a few potential mentors rather than just allocating them one

In future we plan to train people who have already been approached to

become mentors to avoid training a whole bunch of people who want to
mentor, but for whom there is presently no demand. We shall plan for this
by identifying around 4 suitable accredited mentoring courses within the
region and securing funding for mentors to gain accreditation through these
courses.

To offer Disability Equality Training to all mentees as well as to all mentors,

this helps disabled people to externalise the disabling barriers they face. It
also gives confidence by knowing and understanding their rights to full
participation.

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

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

Our future plans for our mentoring scheme development are as follows

Identify accredited courses throughout the region to sign post new

mentors to
Hold follow up mentor briefs for those who have an interest after
participating in our projects
Provide a platform for ongoing peer mentoring
Build a strong network for all mentors and mentees
Provide social and networking opportunities
Development learning logs, and development toolkits that can be accessed
on our website.

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

Case studies from our young disabled mentees

(Names have been changed)

1.
Sarah first came to the attention of Full Circle Arts through a social group run by
Salford Youth Service. The group was for disabled people and appeared to have a large
age range attending, from 11 years to over 30. Sarah and some friends were interested
in developing a small drama presentation for a forthcoming conference. This was
organised and delivered to a high degree of success and encouraged the young people
to develop a further project. Sarah then attended the FCA annual arts project and was
matched with a mentor immediately afterwards. It was only through this process that
the obstacles facing Sarah’s development and interest in the arts became apparent and
her Mentor was able to work with her to overcome some of these. Within three
years, Sarah is running a youth arts organisation for young disabled people (which grew
from the Salford initiative) and this summer was successful in gaining an acting contract

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that toured to the Edinburgh Festival and later around Cheshire. Sarah continues to be
mentored and develop her arts interest and career.
2.
Katherine was isolated for many years, ‘requiring’ constant 24 hr supervision from a
Personal Assistant. An intelligent young woman, who appeared to have few outlets for
her creativity. Katherine applied to become involved in one of our arts projects and
took part in every element of the project. On being matched with a Mentor,
Katherine’s confidence grew. She applied for a job as a part-time Front of House
attendant at one of Manchester’s Museums and secured the position and now works
independently of her Personal Assistant.

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 Source- Artists

That positive experiences are so ad hoc

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

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

being.”

The survey asked respondents to select the areas of professional

support most important to them
One to one guidance or mentoring was the
1st choice of most artists

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

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 Source Artists - Professional Development Planning Service

Description

In December 2006, Full Circle Arts implemented a Professional Development service.

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

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

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

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Goal

Reality

Options

Will or Way Forward.

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

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

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

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

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

Vicki completed her training through PINNA, the certificate was accredited by
Lancaster University. PINNA offer ongoing training and peer support for coaches or
those working closely with Coaching techniques. Through independent study, mentoring
and training we have been able to create A PDP package and a variety of tools kits that
can be used during PDP.

Figures
We aimed for 7 individuals to access 3 full sessions of PDP service in year one, 7 new
plus the possibility of the existing 7 who might access follow up and drop in support in
year two and so one.

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

Figures as follows
Ending April 08

10 Accessed PDP session 1,2 + 3

1 Accessed PDP session 1 + 2 only

1 Accessed PDP session 1 only

3 Service not offered

8 Waiting list/awaiting application

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Ending April 09
6 Accessed PDP session 1,2 + 3
1 Accessed PDP session 1 + 2 only
2 Accessed PDP session 1 only
1 Service not offered
0 Waiting list

April 09 to date
7 Accessed PDP session 1,2 + 3
0 Accessed PDP session 1 + 2 only
0 Accessed PDP session 1 only
1 Service not offered
2 Waiting list

April 09 - People accessing follow up sessions 3

April 08-09 People accessing follow up sessions 5

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

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PDP

Service contributed to an increase/improvement in the following

before PDP after PDP

Confidence

Focus

Motivation

Organisation

Self Awareness

Networks

Employment

Training

Opportunity

Knowledge

Skill

Funding opportunities

Access to external agencies/organisations

Move towards Goal

0 22.5 45.0 67.5 90.0

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PDP Case Study

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

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

Lisa’s application indicted she identified herself as a new emerging practitioner who had
formal arts training in

Surface Pattern Design BA hons

Foundation Art and Design
Btec National Diploma Peforming Arts

She highlighted on her application that she was returning to an arts career after an
absence.

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

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

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

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

Lisa then made application

Session 1.

In session one Lisa was encouraged to build a map of where she was right now, we
explored

CV
Training
Current Networks
Past Networks
Current Opportunities
Past Opportunities
Experiences
Barriers
Lisa sat at table at the Never Dive Alone Event
Values
taking part in a Solution Circle
Influences
Skill

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

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

Skill
Past Opportunities and current opportunities
Networks
Experience

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

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

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

At the end of session one – Lisa had built a clear picture of where she was right now,
exploring all her resources and identified 4 areas she would like to explore further
during PDP.

Session two

Lisa returned to session two, we began by reflecting on any activity that had occurred
since last time. Lisa said she had made contact with several people. New and old
networks who she had not tapped into for a while.

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

She had also spent a great deal of time researching.

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

throughout sessions.

In session two we began discussing Lisa’s goal, the reality

( session one supports this exploration of the reality) Options and begin to design a
way forward.

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

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Twelve months – To have facilitated two workshops in choreography for disabled and
non disabled people with an interest in dance and choreography using the simpson
board-

We placed the goal at number ten and asked Lisa to consider where she was in
relation to that Goal. Lisa placed herself at a 2. Conversation reflected back on existing
skills, networks, experience, contact etc.. that made Lisa a 2.

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

Several areas of work were highlighted and recorded.

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

Lisa was asked to pick a few areas that she felt she could begin working on
immediately, she chose – future research of local schools, attending a training day for
disabled dancers to build networks, research in particular performance and dance
organisations, and follow up on those suggested to her during PDP.

Session 3
A way forward –Lisa began reflecting on action since last time, she had made several
contacts with dance artists, researched and made contact with two schools who she
felt might be interested in dance workshops for disabled and non verbal young people.
She had attended an event for dance practitioners and made new contacts, contacted
NWDAF, PANDA, DIGM.

Lisa felt already she had moved towards her goal, and now placed herself at a number
4.

She felt her confidence had increased, along with her networks, Opportunities and was
beginning to gain experience by working closely with a dance facilitator. She also said
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she wanted to bring her goal forward and try and achieve it by Feb 2010. This informed
the action plan we created during session 3.

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

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

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

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

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

Summary

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

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

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

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

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

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

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

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

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

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

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 Development of PDP toolkits that can be used during one to one meetings
and accessed on our website.
Meeting cost
Access requirements
Development events and surgeries
Staff training and development

We are keen to develop this hugely successful service especially in the current
economic situation.

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

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

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 Source Artists
Artist Development & Networking day 2
Fayre Exchange
Fayre Exchange took place on April 01/08 at
the Bridgewater Hall Manchester. It was the
second Artist Development and Networking
hosted by FCA. Responding to requests from
artists that highlighted the need and desire for
networking and discussion around professional
practice

The event allowed FCA the opportunity to

have a two way dialogue with artists about
their challenges, their needs and ways in which
me might develop our services to support
their requirements.

Fayre Exchange was committed to individual professional development of disabled

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

Solution focused and action orientated, we aimed for fayre exchange to encourage
effective networking, a sharing of ideas and information, focus on individual professional
development and for everyone to go away with something that would contribute to
their own professional development.

‘ a new contact, a training provider, information from the market place etc…’

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

Attendees -
Disabled artist at various stages of their career
Young emerging practitioners on PDP scheme
Arts Professionals with an interest in inclusion
FCA staff
Arts Organisations and support organisations for the professional development of
artists

Organisations included
PANDA
BBC
Access to Work/Job Centre Plus
North West Playwrights
Arts Council England
CIDS
CAN

Activity and Speakers –

Vicki McCorkell on Full Circle Arts and PDP service
Philip Patston - Diversity Works Trust - New Zealand
On The Sofa with – Vivienne Stone/Michelle Oakes/Abu Jafar
Exchange time – 2 allocated time slots for exchange of information, ideas, concerns,
networks.
Q+A
Round table discussions – a chance for reflective discussion around individuals
Professional Development, challenges faced, ideas, options, a way forward.
Networking and Min Market – An allocated time for networking and the chance to visit
organisations stalls.

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

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

Posts were made on the following areas.

Questions and Information on Funding Sources

Questions and Information about arts organisations
Questions and information about Arts mentoring schemes or mentors in other parts
of the country

We ended the day by asking everyone in the room to share one thing the day had
highlighted and one action they would leave with that could contribute to their
professional development.

Feedback ranged from

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

Everybody contributed to this feedback.

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

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

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

‘thank you for all your hard work and inviting us to this wonderful event.  As a deafblind
person I was inspired by the artists In a different way, their faces, emotions, movement,
even the sound of their voices, the high and lows.  Its just fascinating for my work.  I
really liked the large written words of the speaker on the screen, It was amazing and a
fantastic idea.  I f I look at a BSL too long then the creative mode start setting in and
then I start drawing.   But It was so wonderful.  I met a Spanish artist who showed me
the art of clapping In flamenco, In that short time I learned so much.
I gathered a wealth of Information on your website including access to work.  A few
lines of the speaker prompted me to get in touch with a few proffessional people  so I
am really on my way.  I am joining a dance company too.
So you lovely people thank you again and long may you reign!‘ - Adios Lorraine’

  ‘I didn't really get a chance to say thanks to you for the day. I really enjoyed the
experience and found the whole thing especially Philip Patston particularly inspiring.
And boy do I need inspiring at the moment. The only down side was the BBC thing. It
was a good chat with Gary I think he was called but he had to admit he had nothing to
offer and not all that much to suggest. Apart from wait around till the end of 2010!
Congratulations on all your hard work I feel it paid off in droves. Oh and the food was
good too! And I heard so well because of the loop so that was good too.It just gave me
some extra oomph. I went for a practical for a job interview today. I am not terribly
hopeful but it was good to have gone anyway. Andrew

It was a real pleasure for all three of us to work for FCA again, you're one of the very
very few organisations who seem to know exactly how to support BSL interpreters
(and therefore Deaf clients). Thanks very much indeed. And next time we have and
emergency, we'll be calling you, Vicky. Thanks very much to Ray too for the Lorraine
Priestner DVD.
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had a great day and made a few contacts to boot. cheers ed

‘Overall I thought the day went really well, the content was very interesting.
I think it’s wonderful for artists to get together and share/support and consider their
own Professional Development. The stalls worked very well and I will be following up
contact with a few of them. And it was free!’ Many many thanks Sue

Outcome
Full Circle Arts understand the need for events that focus on individual professional
development and the opportunity for artists to network, share and learn form one
another.

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

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

We would like to develop our PDP events by organising or supporting artists to

organise smaller groups in - critiquing sessions, skill sharing, action learning sets,
development workshops that are art form specific. This is dependant on securing
funding.

We would look again to run a large scale event after one year of more focused activity.
Again this is dependant on funding.

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

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

Artswork
BBC Blast
The Prices Trust

Their national art program was directly supported by Arts Council England,
Connexions and several arts organisations up and down the country.

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

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

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

Mentoring in the arts would be a 12 week project, we aimed to

Introduce the Bronze arts award to young people

Support Young People through the process of Bronze Art Award
Support those who wanted to complete and submit the award to achieve it.
Focus on young peoples arts interest.
Introduce Mentoring to young people
Encourage an understanding of Mentoring
Encourage peer mentoring throughout the project
Encourage young people to discuss the arts and research art opportunities available in
Manchester.
Increase young peoples knowledge of art opportunities available in Manchester
Visit an arts venue they had not been to before

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Work on the creation of a piece of informative art about Manchester’s arts sceneFacts/
findings/feedback

Project designed in December 2007

Project delivered between February 2008 and completed in June 2008
Consisted of 12 creative learning workshops + 2 arts event visits + one to one arts
advice/support for arts award.
Participants – 6 young disabled people not in education, employment or training
Full Circle Arts became a register centre to deliver Bronze and Silver Arts Awards
through project work.
2 members of staff at Full Circle Arts received Arts Advisor trainer
1 disabled artist received Arts Advisor training
Participants completed program – 5
Participants offered Bronze Art Award - 6
Participants who undertook Bronze Art Award 3
Participants who submitted Bronze Art Award 2
Participants achieving Bronze Art Award 2

Project Coordinator – Vicki McCorkell FCA

Managed by – HUB4
Arts award/mentoring and project facilitator – Vicki McCorkell
Arts Facilitator – Michelle Oakes – Visual Artist and PHD student

Michelle Oakes was a disabled artist who was also accessing the PDP service
Hub4 Mentoring in the arts

Questions Yes No

Were you offered the chance to achieve a Bronze 6 0

Art Award
Did you received information, advice and guidance 6 0
around the Bronze Art Award
Did you work towards achieving your Bronze Art 3 3
Award
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Did you submit your Bronze Art Award 2 1

Did you complete the 12 week project 5 1

Have you learnt about mentoring 6 0

Did you take part in peer mentoring throughout 6 0

the project
Were you given the opportunity to reflect and dis- 6 0
cuss your interests and skills in the arts
Did you research Arts opportunities in Manchester 5 1

Have you leant about other arts opportunities 5 1

Have you learnt new skills 5 1

Do you feel more confident 5 1

Has this project encouraged you to consider future 5 1

arts related goals
Would you consider taking up arts training, educa- 5 1
tion, or development programs
Did you complete an individual piece of art 6 0

Did you complete the final group piece of art 5 1

Did you enjoy this project 6 0

Would you be interested in achieving a silver arts 3 1 2 Maybe

award

Quotes from Hub 4 – Mentoring in the arts’ participants

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“ Before this project, I had no idea about all the dance schools and organisations in
Manchester”

“ I feel more confident”

“ I understand what mentoring is”

“ I am now looking to study dance, or dance therapy at college”

“ I don’t want it to end”

“ to get to where you want to get to in the arts, you’ve got to work your butt off and
take on every challenge as it comes”

“ Working together is easier to come up with solutions than working it out by yourself ”

“ Mentoring is about guiding someone to get to where they want to be”

“ I listen more to other people”

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“ I’m not just a pretty face, I can help other people”

“ there is more art in Manchester than I thought, our canvas lets people know about all
the arts stuff ”

“ I’ve liked being very creative because I never had the chance to do it at home”

“ I started getting more confident’

“ how relaxing painting on canvas can be”

“ from looking back to the beginning of the project, I can’t believe where we’ve come
to”

“ I now know where the Cornerhouse is”

“ I didn’t know Central Library had a theatre before this project”

“ I walked past the Urbis for the first time”

“ I’ve learnt loads……..mentoring, art venues and companies in Manchester…..and how

to paint onto canvas!”

Outcomes

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

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

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

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

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

For further info please refer to the comic and dvd that were produced by the young
people to reflect their journey during this project.
Film at www.full-circle-arts.co.uk/ourwork.asp?id=83
Comic at www.full-circle-arts.co.uk/ourwork.asp?id=80 or available on Issuu.com

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 Source Young Artists

Description

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

Over twelve months the service would offer…

PDP
Ongoing review and reflection
Regular group meetings
Accredited and non accredited Training
Development workshops
Silver Arts Award
Silver Arts Advisor and support
Information about arts organisations/opportunities
A project opportunity, where the SYA’s would design, manage and deliver their own
arts project to other young people.
Mentoring
Signposting and support to gain work experience opportunities
Signposting and support to gain new and develop existing networks
Exit reviews and ongoing PDP

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Activity chart
Activity Young person Young Person
offered Accessed
Intro session to the SYA 5 Yes 5 Yes

Pre service PDP 5 Yes 5 Yes

4-6 weekly Hub meetings 5 Yes 5 Yes

Accredited Training 5 Yes 5 Yes

Non accredited Training 5 Yes 5 Yes

Development Workshops 5 Yes 5 Yes

Intro to Silver Arts Award 5 Yes 5 Yes

Arts award advisor and support 5 Yes 5 Yes

Information 5 Yes 5 Yes

Opportunity to Design, manage 5 Yes 5 Yes

and deliver an arts project

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 Activity Young person Young Person
offered Accessed

Mentoring 4 Yes 3 Yes

Work experience internal 5 Yes 5 Yes

Work experience external 3 Yes 3 Yes

Signposting to networks 5 Yes 5 Yes

Ongoing review and support 5 Yes 5 Yes

6 month review 5 Yes 5 Yes

Critique of work 5 Yes 5 Yes

Feedback 5 Yes 5 Yes

Follow up support groups 5 Yes 5 Yes

Exit PDP interview 5 Yes expected Nov

2009

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Activity continued

Intro to SYA – June 08

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

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

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

We then invited those interested to apply to the service.

Pre PDP Service July 08

Late June FCA received 5 applications to the service and offered each young person a
place on the scheme.

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

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

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

Overall Goal

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

Complete arts award and gain accreditation, after Project ends.

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

We used scales from one to ten to determine how far away people were from
reaching their goal
Goal – average figure 1

We explored ideas for Network development, training, skill development and work
experience that would encourage a progression towards reaching this goal.

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

Again we used a scale from one to ten

Networks – average figure 3

Training – average figure 2
Work experience – average figure 3

We listed current skills and discussed skills individual felt they would like to develop for
the overall project and their individual arts progression

Common skill development needs that were highlighted

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

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

Common training needs

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

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

4 to 6 weekly hub meetings and Support groups.

From August 08 – To October 09

13 meetings
8 meetings - 100% attendance
5 meetings – 5 out of 6 attended

Meetings covered

Ongoing review and discussion

Informal development workshops
Arts award Support
Unaccredited training
Project discussion and Planning

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

Accredited Training
January – Creative Facilitation
February – Introduction to Youth Arts
February – Working with Children and Young People
March – Marketing

Silver Arts Award – ongoing

All training was offered to Full Circle Arts free of charge by Hub4/Artwork.
3 SYA’s achieved accreditation for all 4 courses
2 SYA’S received accreditation for 3 courses
And one SYA received accreditation for 2 course

All 5 SYA’s will be submitting their Silver Arts Award for accreditation in November 09

Non Accredited Training

Risk Assessment - In House
Communication - In House
Project Management – In House
How to Critique your work and the work of others – Tanya Rabee
Afternoon discussion on Critique and promotion with a panel of 5 professional
disabled artists

100% attendance at all sessions

Development Workshops

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

A session on profiling yourself as an artists was delivered, each member then had to
create their own profile page for the SYA part of the website

Intro to Silver Arts Award

A session was held introducing the silver arts award.

Arts Award Advice and Support

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

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

We predict moderation will take place before December 2009.

Information

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

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

6 months into SYA and the project planning began.

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All SYA – played a role in the project management
All SYA – Designed an 1 to 2 hour workshop that they would facilitate.
All SYA worked together as a team to come up with a group idea that would tie all
their arts interests and experience together.
SYA – would share responsibility for Marketing, venue hire, budget, shopping for
equipment, sign off sheets, publicity, project info file, risk assessment, evaluation,
communication.
On August 12th and 14th, the SYA,s completed their task, put all their training and
development into practice and achieved their goal by managing and taking a lead role in
facilitating, AIM – Arts In Motion

A project for young people in years 8 and 9 to come together and explore

Photography – Facilitated by Damien

Creative Writing – Facilitated by Paul
Drama – Facilitated by Janet and Peter
Dance – Facilitated by Helen

The SYA’s described their arts project as an arts relay, the images that were captured
during Photography would be handed over and inform the creative writing workshop
where characters would begin to form, the writing that came out of Paul’s session
would influence Character development in Peter and Janet session and the characters
and stories that came form the previous three would inform Helen’s dance and a final
performance that included all elements would complete the day.

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

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

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Mentoring

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

As we matched 3 people during the year we saw it important for mentoring to

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

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

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

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

Work experience internal

Internal work experience opportunities were created within Full Circle Arts.

These included

5 SYA’s running one hour workshops

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

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Work Experience External.

3 people have gained work external work experience.

2 places have been offer through PANDA’s creative break scheme

1 SYA’s co facilitated with So Many Words theatre company on our Remix Summer
project.

Again, we may have been ambitious to expect the SYA to gain work experience
placement during the year and we hope to follow this up as an action point when we
come to final PDP sessions in November

Signposting to Networks and external organisations

We continue to believe in people accessing mainstream arts opportunities, throughout

the year we signposted and recommended SYA’s researched and explored external
networks and opportunities.

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

Networks that have already been established

PANDA
DIY theatre company
Individual Artists
Zion Arts Centre

Ongoing review and support

Communication did not always seems a two way process throughout the year, SYA’s
sometime did not respond to ongoing correspondence but always communicated
when they needed something or wanted advice or support.

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Emails were sent every week to SYA’s.
Telephone contact on average once a week
Meetings one to one – average every 6 weeks
Group meeting – average once a month

6 month review

After six months all SYA were invited to a mid PDP session, where we returned to
where they had started from, reflected on the journey, achievements, thing’s learnt and
forward planning.
6 months reviews have been recorded for all SYA participants

Example of a 6 month review

Full Circle Arts SYA – 6 month review December 2008

Name: Damien Hayward

Art interest: Photography

July 08 – When we began

1 2 3 4 5 6 7 8 9 Goal
10

December 08 – 6 months on

1 2 3 4 5 6 7 8 9 Goal
10

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Full Circle Arts Agreed the following
areas would be offered or supported
during SYA
July 08 to August 09
Initial service briefing meeting
Pre service session (PDP)
Ongoing support/review
Mentoring
SYA Meetings
Training opportunities
Networking Opportunities
Work Experience opportunities
Silver Arts Award
Final Project opportunity
Evaluation
Full Circle Arts
December 08 - After 6 months
‘I have accessed’
Initial service briefing meeting
Pre service session ( PDP)
Ongoing support/review
5 SYA Meetings – Skill/network/experience/
ideas share
Training during SYA meetings.
Workshop on ‘ an artists profile’
‘How to Critique your work and the work
of others’
‘Project Management’
Networking opportunities
During SYA meetings (peers and individual
artists)
Opportunities signposted via email/
newsletter
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Ways Forward for FCA – Profile to be posted on FCA Website and newsletter
requesting a mentor, look for match in Feb 09. Plan for next 6 months of SYA
meetings, Accredited training to be offered in January 09 to March 09. Further training
dates to be arranged, Meet with Arts advisor to begin work on Silver Arts Award Jan/
Feb and onwards. Workshop delivery experience during SYA hub session January 09,
Continue to signpost Networking opps, ongoing support and review to continue over
the next 6 months, Project to be delivered June/July 09, Ongoing evaluation + plan for
end of project report
Work Experience – SYA AND Individual PDP PLAN: Goal Specific: To research and
gain at least 2 work experience opportunities outside FCA.
July 08 – When we began

1 2 3 4 5 6 7 8 9 Goal
10

December 2008 – 6 months on

1 2 3 4.5 5 6 7 8 9 Goal
10

July 08: Work experience December 08: Actions December 08: Way forward
preferences – What I
wanted

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Photography Continued work experience
Experience in facilitating with Spearfish (admin role)
arts/photography good opportunity for
workshops networking and links to
Shadowing photography further opportunities.
workshops, photographers, Created Artist Profile and
digital media. sent out to various
photography studios
requesting work
experience/shadowing
opportunities.
- Will design and deliver a
one hour workshop within
the SYA scheme January 09.
- Will continue dedicating
time to research and
networking to encourage
work experience
opportunities.
- Contact organisation with
updated Artist Profile and
CV

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

1 2 3 4 5 6 7 8 9 Goal
10

December 2008 – 6 months on

1 2 3 4 5 6 7 8 9 Goal
10

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

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Artists Have researched a variety Further research and contact
Online photography Net- of arts organisations and
works opportunities at…
Research Arts and Photog- BBC
raphy organisations Contact Theatre (signed up Digital Media
for newsletter) Universities
Red Eye (further research Media Trust
on internet) Photography studios
Warehouse Project
SMG, (sent letter and artist
Profile) Hive
Individual Artists (email
contact)

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

1 2 3 4 5 6 7 8 9 Goal
10

December 2008 – Six months on

1 2 3 4 5 6 7 8 9 Goal
10

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July 08: Training require- December 08: Actions December 08: Way forward
ments
What I wanted
Mentor Training Accessed training in….. Research independent train-
Workshop Management/ ing opportunities that could
design “How to Critique your work encourage development in
Workshop facilitation and the work of others” non Photography/media
Promotion/Marketing accredited
English ( written skills/ Access all training provided
recording information) “Building an Artist Profile” by FCA and HUB4 artswork
Communication non accredited workshop in the next 6 months
Presentation session
Photoshop
‘Project Management’ non
accredited

Quick Questions

Have you enjoyed the SYA experience so far? Yes

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

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

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

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

Has the SYA project inspired you so far? Yes

Do you feel this development opportunity has supported you to learn more? Yes, I’ve
learnt a lot

Do you feel this development opportunity has suited your learning style and prefer-
ences? Yes

Do you feel more responsible for your own professional development? Yes

Can you provide any examples of this? I’m researching all the time, I feel more confi-
dent in talking to people about my goals and my work, I feel more organised and I keep
a diary and I’m slowly getting better at recording information.

Have you learnt new skills or developed existing ones? Yes

Please feel free to reflect on your skill development in the box provided
Skills

Organisation
Self Awareness
Planning and Preparation
My own photography skills have improved because I’ve learnt about critique, using the
dark room and my camera more often.
Communication has improved, I feel more confident with contact organisations and
individuals on the telephone and via email.
I feel more confident when talking about my work
Recording information
Time management

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Has your knowledge of the arts increased since SYA ? Yes

Can you provide examples? I know more about photography equipment, arts organisa-
tions and artists.

During your pre-service session (PDP) You described barriers to your learning and
things that can sometimes hold you back, have barriers presented themselves during
SYA? Not really

Have you felt supported? Yes

Where are you now –

On my way and confident about the next six months, my confidence has increased, I
feel more focused, more skilled, developing networks by constantly researching and
raising my awareness of new organisations. I have had training in Critique and Project
Management. I have built an artist profile and updated my CV. I have made contact
about work experience opportunities and hope to gain work experience in the next 6
months. I’ starting to see University as a reality and something I might consider in a few
years time.

What are you most looking forward to –

At the moment I’m most looking forward to the next session where I can gain the ex-
perience of facilitating an hour workshop to the group. It will definitely be a good ex-
perience

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Next Steps:
Plan for my one hour workshop.
Get Profile on the website and on FCA newsletter
Get matched with a Mentor
Research training opportunities that will support my own area of artist development
(possible photoshop/web design)
Attend up and coming training sessions
Develop my skills further
Take down more notes during sessions and record more learning in my log book.
Begin to look at Silver arts award after SYA workshop.
Look at my action points under training/networking and work experience

Peer Critique and Feedback

As well as being offered a one day workshop on How to Critique your work and the
work of others, we encouraged ongoing critique throughout the process of SYA.

As the year progressed we saw an increase in confidence around peer critique and
constructive feedback of one another.

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

After the workshop practice sessions, we help a group critique and feedback session,
where participants commented on the delivery of the workshops, highlighting things
that worked well and possible areas for improvement.
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The PDP coordinator also offered a report on each members of the group practice
workshop.

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

Follow up support groups

After the project came to an end, we were keen to offer ongoing support and the
opportunity for the group to meet to, reflect on the project their learning, begin the
evaluation process and the continuation of the arts award.
Two meetings took place in September one for arts award and another for reflection
of the 2 day project they ran.

example of project questionnaire:-

Notes from workshop reflection meeting 22nd September.
Prior to the project how did you feel?
Stress, Anxiety, worry, felt prepared on the morning but felt as a group we could have
organised our project planning better to have achieved certain goals on time.

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

Challenges we faced as a group

Respect of participants to facilitators and others in the group
Dealing with negative behavior, and having the confidence and being assertive enough
to deal with it.
Time management – pre project planning and communication
Breaking of rules that were set
Illness on the day
Communication with one another about what their workshop would involve and what
role you expected others to play.
Group control of young people, especially throughout the building at break times.
Things that could have helped/Improvements. Or attempts made to overcome
challenges.
Improved planning, and ongoing communication and constant checking.
Using the tool that were given to us throughout – ( action plans, time lines ) notes on
training, and ongoing reflection of how I am using what I have learnt and how I am
demonstrating that.
Being clear about roles and responsibilities and what support you wanted from others.
More mock workshops practices.
Less interruption.
Preparation for working with an inclusive group and the challenges that might present.
Assertiveness and confidence to control negative behavior.
Clear and solid boundaries (if it’s a rule and you believe in the rule, don’t even get into
negotiation, when the rule has already been stated )
Create a code of conduct of policy of behavior, and action to take when rules have
been broken.
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Providing one to one support where and when required
Time to state ground rules at the beginning
Time to talk as a team when challenges arouse to agree a solution
Appoint a lead in behavior control
Utilize training more, when situation arouse, make constant reflection on what we had
learnt through training and demonstrate it through actions during workshops.
Main things learnt through the project
Self awareness, awareness of others and a better insight into the creative facilitation and
project management.
The importance of Team work
Communication
Knowledge of other art forms and activities involved
Finding solutions
How to spot challenges before they escalate.
Planning workshops, setting aims and objectives
Engaging participant
An improved awareness of how far away we are from becoming an arts professional.

Evidence of training being put into practice by the group during the delivery and
planning stages.
Child protection –
Information confidentiality, image consent forms, we had CRB checks, Parental Consent,
Project Management –
Brainstorming ( planning )
Setting agendas
Sign off sheets
Budgeting
Communication
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Solution Circle
Solution focused communication
Questioning
Listening
Use of non verbal communication
Observation
Reflective communication
How to Critique you work and the work of others
Ongoing reflection of what we were doing and
how it could be improved, stretched
Risk assessment- and implementation of health and
safety
Flip chart pages showing Solution Circle
Completed a risk assessment
Used prevention of risk during set up
Signage
Awareness of space and others.
Equipment checks and safety instructions
Marketing –
Posters
Letters & Mail outs
Visiting venues
First Aid Creative Facilitation-
Engaging Participants
Learning styles
Planning activity
Timing

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

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

Exit and Final PDP meeting

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

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

Total Time for SYA-

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

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

The Source Young Artists Own Words

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

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

In order to run the project, we had to have project management training for the
project to be successful. We also had training courses in child protection, risk
assessment and creative facilitation along with other courses, which gave us the ability
to effectively run workshops.
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I am Paul Robert McDowell and before doing the SYA project I was mainly writing
poetry and other writings (such as a script and a fantasy story).
 
My interests before (and after) the SYA project are reading, writing, (console) gaming,
performing live poetry, wanting to run a workshop and to publish a book of poetry, one
of my scripts or the fantasy story.
 
To facilitate my own workshop I needed training and the training I needed was part of
the SYA project and I  had no prior knowledge of how to plan a project/workshop
either. So doing the SYA project enabled me to learn the skills I didn’t have and increase
my knowledge of how to plan a project/workshop.
 
I attended meetings (Hubs) where we learned the basics and did exercises to prepare
ourselves for the training and later meetings where we would plan the project.
 
Over the course of the training sessions I received training in working with youths in
the arts, project planning & management, budget management and child (and data)
protection.
 
I learned key information in each session such as:
 
How to control young people in an awkward situation (e.g. inappropriate attitudes and
advances)

The parts that make up a project

 
Mistakes (or problems) that could happen when planning a project (e.g. a divide of
ideas which causes conflict and therefore teamwork skills) We did a problem solving
circle (Solution Circle) to look at our group communication.
 
How a budget should be managed (and how an invoice should be done)
 
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Risks of not having consent forms and what not to do when working with minors (e.g.
giving out personal contact details they could contact you on outside of a project)
 
The training was necessary and I know it will help me plan and develop other projects/
workshops if I chose to do so.
 
During the training sessions we were set tasks and I learned some good ways of
improving rapport with a group and although I could not think of how to include them
into my workshop for this project in the future their skills could be useful.
 
As well as training and project planning meetings we also did practice workshops so we
could try out our individual workshop plans and improve any parts that needed
improving or altering.
 
I think the practice workshops helped to fine tune the plans, help people spot flaws in
their ideas or tasks and also helped increase confidence, presentation and facilitation.
 
During my practice workshop it became apparent that at times I was unclear giving
instructions and had a tendency to turn my back to the group to write down an
instruction or idea I had mentioned to them and I didn‘t give much support during
tasks.
 
Those were things I focused on improving and I practiced during project planning
meetings by scribing notes, by time we delivered the workshops (end project) I did not
have any of those problems.
 
I learned that I can let nerves and stress get the better of me, I could work best by
including some physical tasks when doing a workshop and that I am capable of
planning, promoting and delivering a project.

I am Helen Bridge before the SYA project my main interests were dancing, helping
others, art and crafts going to dance events theatre productions and I wanted to
improve my confidence and communication skills. I also wanted to know about working
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with children and vulnerable adults. I felt that the SYA project would help me explore
all possibilities open to me.

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

We then did some training that introduced us to youth work and went into child safety
I did some first aid, we did some communication training which we need to improve on
still. But the Solution Circle really helped us. One of the most important training
sessions we did was risk assessment/management.
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All of the training was useful there were some that I felt were more useful than others
but the first aid risk assessment and child safety and of course project management
were the most important in my opinion and were used a lot during all our workshop
process. I would tried to show how I was enjoying everything and how passionate I was
about taking part in such a fantastic project.
We didn’t really do a lot of practice workshops but the one we did helped me greatly. I
thought that I would be better at project delivery than I was and was absolutely
devastated at the time, but the feedback I received from my peers was very
constructive. It was here where I realised that we had done some training on how to
critique your own work and how to critique others work as well. I realised that I was
very harsh when critiquing my own work, but was extremely constructive when
critiquing others work. I had to learn how to be more constructive with myself. Using
the feedback I got from my peers and project facilitators I knew where I needed to
improve and I needed to work on these areas to deliver my part of the main project.

I learned a lot about myself during the entire project I learned that I was quite a selfish
person and I kept thinking that my ideas would make the workshop days a success I
was willing to listen to others ideas, but when it came to utilising others ideas I didn’t
see how we could use them and really didn’t want to try. However as time went on
I realised this was going to have to be a group effort to make the whole thing a
success.,

At the beginning working with others was a problem I just wanted to have debates
about the whole process finding problems where there weren’t any. Communication
between us was a huge problem. We didn’t keep each other updated as regularly as we
should and in the end everything became a panic and stressful. Challenges were faced
at many stages but the main challenge was communication or lack of it between us. This
in turn caused stress anxiety and argument. We should have been more organised and
all these challenges would have been much easier to cope with.

I valued the whole opportunity greatly it was a fantastic experience and I would like to
do something like this again in the future as part of my personal and professional
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development. Doing this project has made me realise that there are many more
opportunities available to me in the path I would like to follow. The next stage in my
plan is to look into Jabadao and see if I can get some work experience on one of their
schemes. This in turn would help me feel more confident in pursuing my main goal of
being a dance movement therapist.

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

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

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

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

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 Source:it spreading to where our users are

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 Source:it

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

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

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

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

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Would you like to see a website which was Disability Arts branded

Yes 5%
No 89%
Not sure 6%

Would you like to see a website which positioned itself as an arts development and
information site.

Yes 89%
No 5%
Not Sure 6%

We asked artists where they positioned themselves or their work

Do you regard your artistic practice to be informed by your impairment or experience

of disability

Yes 12%
Not sure 6%
Sometimes 5%
No 77%

Do you choose to identify yourself or your work with the Disability Arts Movement

Yes 9%
No 82%
No answer given 9%

A range of opinions were given in seeking comments on why or why not people would
choose to identify with disability arts

“Disability isn’t my focus, being an artist is my focus. Unfortunately ‘disability’ seems

to be the place I seem stuck as far as the arts world is concerned”.

“Yes, its part of who I am, I’m proud of who I am and the disability arts movement
celebrates this”
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“I’ve been to a few disability arts events, but it seems to a bit of a clique circuit with
the same old faces both on stage and in the audience”.

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

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

When we asked what sort of information or sections artists would be interested in,
these were the results. (35 respondents)

Would you like to see a section on YES

A jobs section 34
Training opportunities section 28
Accessible Venues guide 18
What’s on 26
Career advice/toolkits 32
Artists database/showcase 29
Arts Workshops guide 16
Information on FCA’s work 27
News or a newsletter 32

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In the focus group we asked how likely artists would be to showcase their work via a
Full Circle Arts website

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

Artists section
The artists section of our website and Source:it our newsletter have been crucial to the
success of Source artists

To establish the new artists database and portfolio / showcase section we employed a
freelance worker who:
Mapped professional disabled artists currently practising
Marketed the opportunity to disabled artists
Co-ordinated and serviced a selection panel, including equal opportunities policy and
practice for entry on the web site
We now have 37artists on the web site within a searchable database each artist has
their own page outlining their experience, a CV and additional web pages to promote
and showcase their work.They also have a link to their own web site. Promoting a dif-
ferent artist each month on the website homepage as well as in the newsletter has
proved to be very beneficial for the artists, giving them the opportunity to showcase
their work to a wider audience. The website now has over 6,100 unique visitors each
month and Source:it our fortnightly newsletter, has a circulation of over 620.
In addition we have provided one to one advice and development signposting to artists
who were/are not yet ready for the professional database / portfolio / showcase.

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

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needs with tools developed by FCA. This is then supplemented with one to one Pro-
fessional Development Planning.

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

Artist’s featured on the site have been contacted to produce commissions, lead work-
shops and to take part in projects all over the UK. Signposting artists to training or
relevant opportunities and keeping them up to date with what’s available for them to
utilise is invaluable for the artists. (see outcomes below)

Toolkits
A consultant was employed to research and write downloadable artist development
toolkits
The following toolkits can now be downloaded directly from the website
Benefits and barriers
Writing your CV
Developing your presentation Skills
Presentation Techniques
Why should I have a contract
What should be in my contract
Funding do’s and don’ts
Designing a fundable project
Funding bid structure
Personal selling points
Funding source list
These are placed alongside a page of useful contacts, a page outlining our Professional
Development Planning services and the strangely very popular creative procrastination
page.

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Workshops
We employed a freelance worker to research, map and collate a comprehensive list of
all accessible local arts groups and participatory arts in the North West. These have
been added to our new database, which is has been active on-line since January 2007.
Currently we have 40 accessible arts workshops in the North West available on-line
from local dance or music groups to photography or new media workshops and hack
days.

Our Newsletter
During this programme our newsletter has gone from a circulation of around 180 to
now over 600 individuals and organisations.
“Oh I always look out for your newsletter, its so easy to read and very useful, I can just
cut and paste all the relevant stuff to my colleagues and other organisations in the bor-
ough” Debbie Cowley - Arts & Cultural Manager Trafford MBC.

Outcomes to date

we have developed and maintained a dynamic online resource of profes-

sional artists and practitioners
we have designed and put on-line a new web site which is accessible and
user friendly to both arts employers and artists wishing to join
we have a facility for each artist to have their own web page within the site
to showcase their work
we have developed partnerships with external agencies to gain accurate
professional advice for artists (see below)
we have developed a library of resources and information that is available
(with quiet study and work space for any visiting artist or young person
who wishes to use it).
had 2 large scale and 3 small scale training opportunities for artists
11 artists have/or have had mentors
79 external arts work opportunities (minimum 6 days work) gained for our
artists directly from our services.
3 artists have had solo exhibitions in Manchester and London
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 we have held 2 artists days (Manchester Museum and Bridgewater Hall)
with guest speakers including international representation.
23 artists have attended [mainstream] professional development courses as
a direct link of partnerships formed between FCA and external organisa-
tions
The new sections to our website saw an initial jump of 50% in unique visi-
tors to the website, with an annual growth rate now of 20%
In addition to the services above in the last 12 months we have increased our web
presence, we now have our work on a host of social media sites and channels to open
up a conversation with our users and audiences.
We have a blog on Wordpress which allowed young artists to
post up their work, comments and reflections live as it was
done during Remix our disabled young people’s summer pro-
ject. As well as a live audience to their showcase, over 500
people a day visited the site to watch their animations, look at
their photographs or listen to their feedback.
http://fullcircleartsblog.wordpress.com

We have been on Twitter since late March 09 with now over 600 followers. We also
use twitter for feedback by setting up hashtags for feedback at our events.
We connect with our users through Facebook (1,361 friends)
Our films can be seen on our You Tube channel
Photographs on our Flickr pages
Our reports and published material is available on our Issuu on-line ‘bookshelf ’
We share our interesting sites and information with our users via delicous
We have Ning and a Crowdvine group networking sites set up for groups and confer-
ences (see Never Dive Alone).

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 Our conference, dissemination, collaboration &
partnership day

Never Dive Alone

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Background
All the work, described in this evaluation is built on inclusion which is dependent on
collaboration. Never Dive Alone was about inclusion and collaboration

All our work is guided by the following principles:

Inclusion is non-negotiable and “ALL MEANS ALL” – we don’t do “Tips for

Inclusion” events. We are not interested in passing on techniques without
also making explicit the values that need to underpin them. Anything else is
just unsafe and risks becoming another thing we ‘do to’ young and disabled
people
Building Relationships lies at the heart of developing inclusive practice, all of
our events, training, conferences or programmes are about encouraging
connection especially in difficult situations – those where imaginative
responses are needed
Inclusion is more than one person’s work – strong and effective teams, or
colaborations with a shared vision are key to delivering new ways of
working and they know that “Together We’re Better”
We want people who attend our events to leave with some immediate
changes to their practice in mind. Not just ‘good intentions’.  It’s the little
things (and enough of them) we do differently tomorrow that will make a
difference.
We want people to leave with their eye on the ‘Long View’ – with a
stronger sense of what they would love to see happening in their work in
10 or 20 years time

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

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Never Dive Alone Aims & Objectives

Aims

To move the arts agenda from access to inclusion

To profile FCA’s work in Mentoring, PDP and Source Young Artists
To form new partnerships for collaborative working
To open debate around new thinking on collaboration, openness, personalisation
and participation in relation to inclusion

Objectives
To move the arts agenda from access to inclusion
Participants have a concept of what inclusion means
Participants have explored methods to achieve inclusive practice
Participants understand the limitations of ‘access’ for extending their organisations
reach and engagement
Participants leave the day with some immediate changes to their practice in mind
(however small)

To profile FCA’s work in Mentoring, PDP and Source Young Artists

Participants have a clear understanding of FCA’s work in mentoring, PDP and
Source Young Artists
Participants have used some of the tools/methodologies FCA uses for inclusive
work with young people, Mentoring, and PDP
Participants have seen examples of FCA’s work

To Form new partnerships for collaborative working

A minimum of two ‘Mainstream’ organisations will have begun to work in
partnership and be discussing /planning collaborative projects/work by August
2009
Participants will have an understanding of how FCA can work with them to help
achieve their goals for inclusive practice
Participants will have an understanding of how FCA can work with them to help
extend their reach and engagement with disabled people

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

Our Goblin Market - a stall exchanging sweets for feedback

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

The event was designed

intentionally as a coming
together of present and future
working partners, artists and
disabled people, interested in a
dialogue or conversations
around inclusion in the arts.
There were opportunities for
delegates to reflect on their
learning, and space for them to
consider the implications of four
short presentations.

Delegates experienced first-

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

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

The event gave us the opportunity to roll

our sleeves up and actively engage with
these issues. Working with tried and tested
structures, we  explored with others how
we all might move forward.

The morning looked at; experience of

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

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

A full transcript of the presentations is available to read from

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

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 “One of my perspectives
is that you can take a
functional approach to
inclusion. That it can be a
state, something that you
kind of aim to do. I think
that can go on a kind of
spectrum. At one level
you can simply remove
the guard dog and the
keep out sign to allow
Michele Taylor with microphone starting the Open Space event
people in. It's not
proactive but it's perhaps
a first step on the journey. You could go a bit further and you can put up a welcome
sign. You can a go a bit further still and you could actually invite me. You can consult me
about what it is I might want to come to at all. You might employ me. That would be
nice. And then you might show my work. Yes, all of those things are ingredients to
inclusion I think. From my perspective all of those things will contribute to my feeling
included. However, there is a problem. Because generally if you take that kind of
functional approach, what you require is to know what labels I am wearing. Are you
inviting me today as a disabled person? Are you inviting me as a woman? Are you
inviting me today as a mother? Are you inviting me today as a gay woman? What label is
it that you require me to wear today so that you can know you are including me? Do
you see what I mean? It’s like the emphasis on still on how I'm different from everybody
else you want in there.
Where am I? You see I think there was time when I was on the outside looking in with
my nose pressed against the glass. It would be really nice to be in there. I would really
like to know what goes on. Most of the time to be fair I do not think I am on the
outside looking in any more. I think I'm on the inside looking on. This comes back to
something that Chris was talking about. But I do not think I'm on the outside looking in
most of the time, I think I'm on the inside looking on. I'm still not really included.
Because I want to be in the very thick of it. I do not think I can be in the very thick of it
if you do not shift your perspective, and I mean you globally because I'm ambitious. I'm
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not targeting any particular organisation. If you do not shift your perspective from
looking at my labels to looking at your organisations. I was thinking about the inclusive
organisation. I came up with words - it seems to be a bit of a theme that we're thinking
about, odds words. Assumptions. Expectations. Parameters. Boxes. Protection.
Flourishing. Reflection. Connection. Personalisation. Stares. Choice. Expression. Just some
of the words that came into my mind when I think about an inclusive organisation
because obviously when I think about an inclusive organisation I'm contrasting it with an
organisation I do not experience as inclusive. But for me inclusion is not a state. It is not
a goal. It is not a target. It may not even be something that can easily be evidenced. It is
a process. I think that an organisation, a team, a department, a project, an event that is
seeking to be inclusive needs to recognise where it is on that journey and engage with
the journey. I think it needs passion. I think that the most fundamental ingredient is
passion and commitment. If you have got passion and you have got commitment and
some sense of where you might be on that journey then, yes, maybe some of those
steps I talked about before, inviting me, consulting me, employing me, showing my work
those are important. As long as they are in the context of passion and recognising that
inclusion is a journey.”

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

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

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

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2 of the e-mails we received the following day

“I just wanted to get in touch to say how impressed I was with the event yesterday. It's
not often that such a wonderful opportunity comes along and I think you really pulled
off something special. It was partly to do with the glorious Bridgewater venue, gorgeous
food and professional air of the day.  And also your style of presentation, use of
technology and choice of group exercises were really interesting, new to me and very
refreshing. 
 
But more so it was because you are a group of people who obviously believe in the
power of your practice.  I mentioned at the end that the opportunity to share is a
wonderful stimulus for me.  While the day brought up lots of unanswered questions, I
left the building with a strange sense of clarity, ambition and inspiration.  So I just
wanted to thank you all for giving a platform to some really important themes,
facilitating a space where I could network and learn from others, and for raising the bar
for inclusion and disability arts. 
 
I and the members of So Many Words are very grateful for the valid work your
company continues to produce”.
 
Jamie Patterson - Artistic Director, So Many Words Theatre Company

“I wanted to say that, all in all, I found the morning inspirational! (And this from
someone who’s been to far too many conferences and therefore is often too cynical
for his own good).
 
It was fantastic to hear you spell out how important the web is (and will be) in terms
of access to an organisation – totally in tune with the direction I’m keen we take, but
provided plenty of food for thought. Watch this space!”
 
Jonathan Harper - Marketing Director The Lowry

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Feedback from the Goblin Market

1, write down three words that describe the day

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

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2, have you met any useful people that you will keep in contact with
Yes new friends with same goals
Yes
Yes with artists and organizations working in the sector
Yes clarity of ideas to new connections
e-mail addresses, food for thought, met old friends again
new connections, artists possible work together on future projects, organizations possi-
ble collaborations
Yes I have met new people from different regions and got some great ideas
Yes, new contacts
Yes thanks and new info
Start of a collaboration already, yeah
Definitely, interesting people excited about inclusion

3, is there anything we could have done better

Bridgewater Hall disabled parking is crap
Warmer please
More coffee Coffee on tap
A delegate list
A tech session

4, is there anything from the day you will take away and use 
Use solution circle X 3
Try an adaptation of solution circle exercise
Twitter and think about collaborative approach
Feedback to colleagues and discuss our accessibility further
Visit the Never Dive Alone Website and learn more about PDP
Grab Chris and get her to help with my career development and have a chin wag
about what FCA do since I really care about what they do
There are no hard to reach audiences, just hard to reach arts organisations
Follow up contacts
Write my own action plan
Apply for ACE funding
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Learnt about the massive benefits and some limitations of new media
Hopefully will now get an exhibition in Oldham
Going to do a PDP X4
Follow up some ideas for collaboration X 3
Follow up work around inclusion X 2

Some feedback from Twitter

ContactMcr Had a great time at Never Dive Alone #neverda yesterday. Thank you!
@chrissyhammond @full_circle_art

iamhelenharrop really inspiring and fun day in MCR at #neverda .. looking forward to
catching up with folks again @shifthappens

sc_r #neverda - wrapping up a great day here at the conference - really enjoyed the
open space event, thanks to @full_circle_art people!

kate_butler had an extremely inspiring, informative and entertaining day at 'never dive
alone'. http://bit.ly/Li2p7 #neverda

MarisaDraper Great day at #neverda event. Great presentations, discussions and old
school sweets. You can't beat space dust. :)

You can read our full Twitter stream on the event at

http://www.full-circle-arts.co.uk/ourwork

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 Model of a rabbit made for animation workshops

Full Circle Art’s ran the following participatory arts projects

during Source 2 - which act as gateways to Source 2 provision
Full Cirque - Circus Skills
13 young Deaf and disabled participants
12 sessions
3 disabled artists
2 non-disabled artists
1 young disabled person work shadowing
1 young disabled person taken on as volunteer at skylight Circus

Look 07 - photography
10 young disabled participants
2 disabled artists
2 non disabled artists
26 sessions
I exhibition (Manchester City Art Gallery)
Est - audience 600

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Quip (part 1 and 2) project working with disabled Gay, Lesbian, Bi and Transgender
people in Manchester’s Gay Village.
23 disabled LGBT participants
4 disabled artists
2 non-disabled LGBT artists
1 disabled apprentice
22 sessions

Passing Down - Creative writing

11 disabled participants
2 disabled artists
12 sessions
1 event (MOSI)
24 audience

Oakwood High School - Dance, visual arts and drama

37 young disabled participants
3 disabled artists
3 young disabled people work shadowing
18 sessions

Round The Piano

6 young disabled participants
1 artist
12 sessions
1 performance
Audience 52

Remix Outreach - various artforms venues around Greater Manchester Skylight, Jig-
saw, Oldham Link, Newbridge learning Centre, Earz 4 Kidz, Bolton Octagon, Rum-
worth School
70 young disabled participants
2 disabled artists
1 young disabled artist work shadowing

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21 sessions

Remix - drama, dance, music, Frii Spray Animation,Visual Arts Music - Zion Centre
Manchester
67 young disabled participants
11 disabled artists
2 non disabled artists
2 young disabled artists work shadowing
46 sessions
1 event
47 audience
500 on-line audience (FCA blog site)
166 You Tube views - animation

Full evaluations of all these projects, films, documents and audio are available from
Full Circle Arts

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

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The following working partnerships have been formed with support from
this funding
English National Youth Arts Network
Manchester Youth Arts Network
Cultural Leadership Programme
The Cornerhouse - Livewire
Creative Industries Development Services
Performing Arts Network Development Agency
North West Playwrights
Community Arts North West
Lime
The Lowry – community programmes
BBC Extend
Media Trust
Manchester City Art Gallery
Artswork – Hub 4
Contact Theatre
Chinese Arts Centre
BADDAC, Bury
Jigsaw Partnerships Bury
Met Express, Bury
Proud & Loud Arts, Salford
Oakwood Youth Arts, Salford
So Many Words, Salford
Contact Theatre.
Zion Arts Centre
Connexions – all ten boroughs
Tameside Young People ‘s Group
Manchester Metropolitan University Faculty of Arts
Salford University Faculty of Arts
Northern Actors Centre
Citadel Disability Arts

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Octagon Youth Theatre
GMCDP Youth Drama Group
Dukes Youth Arts Centre
National Mentoring Network

We have given presentations on Source and held workshops with:

Creative Cities – Manchester University

English National Youth Arts Network – Liverpool Maritime Museum
Cultural Leadership Partnership – London
Manchester Youth Arts Network – Man-
chester City Art Gallery
European Conference on Mentoring –
Birmingham NEC
Music Leader Project – Manchester
Open day @ Manchester Metropolitan
University
Creative Partnerships Exciting Minds
Event - Manchester
Decibel - Manchester Town Hall

Collaborative projects underway with

The Cornerhouse
MMU
Newbridge School
Panda

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

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

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During the project We worked with

73

Disabled artists
9

Non-disabled artists
595

Young disabled people (participants)
107

Disabled and Deaf people (participants)

We had
546

Participatory sessions
12

Performance or exhibition days
2

New commissions

We had
723

Live audience
144,000
On-line audience
31,200
distribution of newsletters

We received funding from

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

Drawings of participants by disabled participant at Remix

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