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…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.
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Background Source Mentoring Source Artists…including Professional Development Planning Source Young Artists …including pilot Hub 4 Source:it Conference event never Dive Alone Participatory Arts Projects Partnerships Some Statistics
1 8 9 23 41 79 87 100 103 106
slide from FCA’s Never Dive Alone event showing our journey
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
Full Circle Arts
1 Source2 Evaluation
(1*) In the funded arts sector only 2% of the workforce is a disabled person.6% or 1 in 5 of the UK population and 1. Disabled people’s education and training opportunities are such that 23% of disabled people have no qualiﬁcations compared to 9% of non-disabled people. For example disabled people make up 18. we do support artists wishing to develop their practice within this genre. needs. peer practice and employment opportunities that many non-disabled people take for granted. we continued to gather. but the overwhelming demand was for ongoing. “Its not just about access. training. you are expected to be segregated into ‘special arts’ but I ‘d rather be on the inside. Only half 50% of disabled people of working age are in work. the development. Hence we make no apologies for not focusing on building a platform for the production or showcasing of disability or Deaf arts. outcomes and future plans are based on their feedback.3 million are ready for and able to work but not in employment. we fought long and hard for an end to special eduction. involved. but if you want to be involved in the arts there is little that is inclusive about any development opportunities. The Source programme is also an attempt to address inequalities seen in wider research and Government statistics which show how excluded disabled people are. 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. taking part in what my non disabled arts friends are involved in”. (please see our research ﬁndings within the report).March 2009 2* Arts Council England Disability Equality Scheme Annual Report 2007/8) “I am still on the outside looking in. mostly face to face sometimes one-to-one support for inclusion in development. compared to 80% of non-disabled people. wants and observations of their barriers and practice.the programme. I can get in the door but I’m still not included” Disabled participants at FCA’s artists development day 2008 Full Circle Arts 2 Source2 Evaluation . the voices of disabled people themselves throughout the programme. (1* Ofﬁce for National Statistics Labour Force Survey. Jan .
Inclusion treasures diversity and builds community. disabilism. homophobia. capacities. and takes responsibility for this Has structures for making space and time to answer the question ‘What do you do when you don’t know what to do’ Recognises the wisdom for being human is widely distributed Source2 Evaluation . Inclusion is about creating & sharing tools. Inclusion is NOT just a 'disability' issue. resources.about learning to live together. Inclusion is about our 'abilities’ or gifts and how to share them. but I know it when I hear it.Jazz “Its tough to define. uncertainties and powerlessness Recognises we are all profoundly inﬂuenced by poverty.” Miles Davis 1984 Inclusion like Jazz is difﬁcult to describe but you feel it when its there Inclusion is about ALL of us Inclusion is about living full lives . so we can all live full lives Inclusion is a process not a product Full Circle Arts 3 A truly Inclusive organisation knows: Our deepest connections have to do with our fears. racism.
which allow an acceptance of difference. It is evident that barriers to inclusion are erected within many cultural and educational institutions. To be effective and to work to address disabled people’s expressed needs. The choice could mean that they do not wish to participate in the arts or creative thinking. Much work has been done around inclusion mostly by the Inclusive Education Movement and the Independent Living Movement. motivated by fear and ignorance. but the assumption is rarely practiced. one off. Full Circle Arts 4 Source2 Evaluation . segregated arts projects and discrete settings. In one sense this will assist in their development as human beings and it will stimulate ideas and in another. unable to participate in the artistic educational and development provisions/opportunities of their choice. fear of losing control and ignorance of the facts. time limited. but at least they have been given the opportunity to take part in their own decision making process. Most activity has taken place around either ‘access‘. This is exempliﬁed as young disabled people are placed within institutions. wants and aspirations in the arts. In the Arts there is little that could be said to work on the fundamental principles of inclusion.Challenging the way we work. It is important that individuals are able to express themselves more freely. sense they will have fun realising their potentials. or disability and Deaf arts. It is assumed that all members of society should be given the opportunity to express themselves through the medium of their choice. segregated disabled people’s arts projects. Full Circle Arts had to challenge and examine our own practices. perhaps more signiﬁcant. The struggle for full inclusion is an ongoing challenge.
Everyone needs a formal forgetting strategy” . The problem is forgetting old habits and ideas . “It’s more than my job’s worth”.” Refusing to involve people in planning for their own needs. so leave it to us”. Demonstrating an extreme resistance to change as this is seen as a threat to the continued existence of the system. but you refuse to do what we say”. Blaming people for their lack of progress and getting individuals to take responsibility for the systems failure.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.” Full Circle Arts 5 Source2 Evaluation . “We have been operating in this way for years and you are the ﬁrst person to complain about this. Refusing to help people speak up about their needs. 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”.” Protecting money and resources as if it were their own. “You should be more grateful for what we are offering you”. “Experts know more about these things than you do.“ The problem is never imagining the dream. Refusing to take risks for a service which they know is needed. “It’s better not to make waves”. “We’re doing everything we can to help you. “These troublemakers will make things harder for us. Becoming personally and professionally offended when you try to make them accountable. “We could not possibly afford to pay for what you are asking for. Being reluctant to refer people to genuinely independent advocates or support networks which are promoting change and choices.
“Even if this means upsetting some of our procedures it will improve the service we are here to provide. Young participant of the Remix project playing the piano A dance workshop Visual arts workshop with a young participant painting a papier maché structure For example people working in the funded arts sector.” Show a willingness to take risks.” Encourage people to speak up for themselves and to access independent advocates and support groups. “We have given you this and we will review it in ﬁve years time. in order to provide a more effective service. “These people may be able to help you get a better deal than what is on offer at the moment. 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. ( 1* John Holden in Democratic Culture cites the role of those working in the publicly funded arts as that of Public Servant).Assuming that there is only one route which is ﬁxed for all time and takes no account of individuals changing needs. 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.” Full Circle Arts 6 Source2 Evaluation .
Sometimes these changes come through political/legal reform. personal but nonetheless dramatic ways. “We do not see you as the problem but an essential part of the solution. Full Circle Arts 7 Source2 Evaluation .” Promote the individual's self conﬁdence and encourage them to become better advocates for themselves and others. recognising that needs change over time and that plans have to adapt to meet those changing needs. We seek to ignite lots of small ﬁres in the arts organisations around us. However. Whilst debate can be temporarily stiﬂed. cultural buildings and take part in every aspect of the arts with appropriate support if necessary. We believe in doing so we will be building bridges for inclusion rather than yet another bureaucratic hierarchy. where accountability. “If you have any further questions or the situation changes please don't hesitate to contact us. “I recognise the system has failed you in this and that the system is unjust and needs to change. but the work of a small (4FTE’s) arts organisation. administration is necessary to a public service and to support progress towards inclusion.” Acknowledge weaknesses and inherent barriers within the system.” Engage with people in an ongoing dialogue.Involve people in planning for their needs. accessibility. We have to ensure that disabled people achieve the right to go to their local arts projects. armed conﬂict or revolution. “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. but often the most enduring changes occur in small. How can we make a joint argument for such a change?" Clearly.” Avoid making judgements or placing blame on the individual. compassion and an overriding respect for the individual are seen as less important than a respect for rules and procedures. Source is developed on principles of inclusion. people's shared passions and convictions sooner or later declare themselves and do change the world and the way we live. the bureaucracy must be directly challenged and reformed. “You are the expert on your own situation and your own needs. rather than building one huge bonﬁre. This philosophy of Inclusion can only be achieved in practice within the context of a public service ethos.
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. youth clubs and young disabled people’s groups. support and employment opportunities for disabled young people and artists. Full Circle Arts 8 Source2 Evaluation .Source Source is an holistic arts programme offering development. Young peoples participatory projects Feeding into this we concurrently ran a number of participatory arts projects for young disabled people and workshops within schools. training.
Artists looking back on important turning points often mentioned a mentor or signiﬁcant individual. which reviews the recent professional development experience of disabled and d/Deaf artists in the south west commissioned by Arts Council England. Available from www. Emphatically.org. 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. who by using their skills. Looking forward towards a ‘professional development wish list’.” Extract from “Here and Now” a report. The value and importance of mentoring came up time and again throughout the interviews and survey. South West in June 2009. mentoring (along with ‘networks’ and ‘local’) was most often identiﬁed as the single intervention that would make the most difference.artscouncil.uk Full Circle Arts 9 Source2 Evaluation .Mentoring A Mentor is someone. experience & knowledge will encourage someone to develop their full potential. mentoring was mentioned by almost every artist as an important source of support. in the open responses as well as the survey questions. Written by Moya Harris and Annie Warburton.
Having a Mentor is a bit like having a human sounding board for a mentee – someone to chat with about their plans. The service is also available to young disabled people. ideas and their future. and working with some young disabled people we had discovered some depressing statistics.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. Of students on arts courses 80% Drop Out rates during ﬁrst year of course Full Circle Arts 10 Source2 Evaluation . Mentors are not there to judge or tell a mentee what to do. Mentors are purely people who have a lot of experience in the arts and would like to pass that experience on to someone else. training and employment. 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. A brief history During some work with Gerry Morriaty then at Manchester City College over 10 years ago. emerging or established artists. graduates or those mid career. Non Disabled Students Disabled Students 2% 20% 98% No. but to support an individual in the direction they want to go.
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. 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. We worked with a small pilot group of people from Manchester City College. 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. much greater than we anticipated Full Circle Arts 11 Source2 Evaluation . 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. North West Arts Board (now Arts Council England North West) and 2 disabled artists. 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. however for others they felt that just having an excellent mentor. but we had many lessons to learn and adjustments to make. with an understanding of the arts discipline they were working towards was more important. After 2 years piloting the scheme. 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. For some a disabled mentor was important. we knew that there was a clear demand for this service.
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. 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. Our programme was becoming more inclusive and much more informed by its users. 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. 2) We transformed the training process for our mentors. During this stage of our mentoring programme. All 14 mentors achieved their OCN Full Circle Arts 12 Source2 Evaluation . we saw a shift in the ethos of our programme. 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. we were beginning to design a programme around the needs of our disabled young people. the Artistic Director of Contact theatre) 2 were self employed. it soon became apparent that it was hugely expensive in terms of human resources.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. all new mentors would receive 30 hours training to OCN level 2 accreditation. a dance worker from Dance Initiative Greater Manchester. The training was designed and delivered in-house and although this was highly successful and tailored to our own needs.
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 course was successful.accreditation and feedback on course content and delivery was excellent. Engaging non-disabled mentors was a huge step for Full Circle Arts as a user led organisation. The following year we delivered a course to 9 mentors in collaboration with Mancat. Full Circle Arts 13 Source2 Evaluation . During part of this process all mentees are offered free enhance CRB checks. Out of 5 disabled mentors only 1 had received Disability Equality Training and only 2 understood the Social Model of Disability. 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. During our funding applications for Source 2 Mancat gave £18. but that they also received Disability Equality training. 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.000 worth of training in-kind over 2 years which secured the mentoring training for us. This was just as true for disabled as well as non-disabled mentors. but was still costly for Full Circle Arts. especially freelance artists who are now equipped to work with young people and vulnerable people on a freelance basis at no cost to themselves. a valuable asset to our mentors.
since arts organisations could see the beneﬁts of releasing their employees to be trained as mentors and receive Disability Equality Training. or their own responsibilities as a mentee within the mentoring relationship. We had concentrated on ensuring a high quality of mentor without doing sufﬁcient work with prospective mentees. The introduction of Professional Development services has beneﬁted the Mentoring scheme is a variety of ways. Full Circle Arts 14 Source2 Evaluation . to Full Circle Arts recruiting mentees through our young people’s participatory projects and work within schools and colleges. We were able to do this partly by measuring intrinsic rather than purely instrumental values of the service. 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. the value of these relationship will still need to be retained. Ongoing evaluation of the mentoring scheme through Source 2 encouraged the design of our Professional Development Planning service. 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. and capacity building for the organisations skills base) and however we choose to develop the training. Some young mentees were not sure of what a mentor was for. Apart from the obvious need for matching happening at the right time for the best outcome for all. working with rather than for our mentees. (there were huge relationship building and collaborative relationships that could be formed from offering training to employees in terms of partnership working. 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. We have now developed a service which is much more inclusive service. frustration can happen on both sides of the relationship if this if not present. 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.The training was successful in terms of equipping mentors with skills and attracting new mentors .
If a mentor is needed? If so. Mentee’s have identiﬁed their own goals. options and possible routes have been explored previously through the PDP. still today because of its on going development in reaction to the real needs of our users. Mentors are there to support the journey that has already been identiﬁed. areas of work. 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. 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. This helps FCA identify with the young person. when is the right time? A clear understanding of what mentoring is and what it isn’t is developed with the mentee. no longer spends months trying to encourage an individual to highlight a goal.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. Mentees are central and leading the process. action plans. practitioner or artist…. There is a clear start and end point. The mentor. PDP has provided more focus and commitment to the overall mentoring process. which in terms informs their choices and options. providing opportunities for discussion of implications of options Contracting between Mentee and Mentor is more focused as goals. Mentee’s have taken responsibility for their learning from the beginning. The continuity and one-to-one contact and support that Full Circle Arts 15 Source2 Evaluation .
with all current mentors and mentees.mentoring provides remains one the strengths of this service in positive outcomes for mentees. Approved Provider Status is a quality benchmarking scheme. 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 Full Circle Arts 16 Source2 Evaluation . 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. 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). Mentor’s meet with a mentee on average once a month to discuss professional development. 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. provide information and the opportunity to meet with individuals and organisations who may be able to provide additional information and support. 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. which informs the development of our service. 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. encourage focus. This quality assurance works perfectly well within the arts sector and is one we would encourage any scheme to look to. Some Outcomes to date Ongoing research and consultation. whether young people or established artists.
focus. phone call etc. Time spent on pre – mentoring service. 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. their conﬁdence. 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. mentor meetings. action planning has increased (dramatically) This indicates our move to intrinsic rather than simple instrumental measurements of success informing our future decisions.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. email. Full Circle Arts 17 Source2 Evaluation .. People accessing this service in this year Short term – one off support – less than 6 months Long Term – 6 months onwards Contact hours – average.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) . agreement. The outcomes for mentees have increased.
short term and long term mentor matches have reached or moved signiﬁcantly forwards towards their goals. Having studied our own capacity to continue mentoring in -house covered by employee time (but excluding training. awaiting match or going through Pre-service Recently applied 4 Pre-service or PDP 2 Awaiting Match 2 8 of these people applied for mentoring after taking part in one of our Young peoples project. 100% have valued the opportunity Full Circle Arts 18 Source2 Evaluation . 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.08 Short term Matches 2 Contact Hours 48 Long Term Matches 8 Contact Hours 192 09 Short term Matches 1 Contact Hours 9 Long Term Matches 9 Contact Hours 216 Recently applied.
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 Confidence Focus Motivation Orginisation Self Awareness Self management Action Planning Self Evaluation 0 10 17 20 40 60 18 19 26 20 30 37 After service 80 83 87 79 75 84 92 82 80 100 Full Circle Arts 19 Source2 Evaluation .
strength. Whilst some discussion between the beneﬁts of pre-mentoring PDP’s are seen below in the section on PDP. learning preference. 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. but for whom there is presently no demand. 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. To offer Disability Equality Training to all mentees as well as to all mentors. It also gives conﬁdence by knowing and understanding their rights to full participation. it helps to highlight those here Full Circle Arts 20 Source2 Evaluation . who takes responsibility for scheduling meetings and developing the agenda. this helps disabled people to externalise the disabling barriers they face. Learning to chose and use mentors effectively is a relatively advanced skill and is one that should be explicitly taught. goal and possible routes. 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. From the beginning the mentor is aware of the young person skills.Mentors have feedback that the process has been made earlier and more focused through the introduction of the Professional development Planning sessions.
and development toolkits that can be accessed on our website. This was organised and delivered to a high degree of success and encouraged the young people to develop a further project. Sarah ﬁrst came to the attention of Full Circle Arts through a social group run by Salford Youth Service. Sarah and some friends were interested in developing a small drama presentation for a forthcoming conference. The group was for disabled people and appeared to have a large age range attending. Sarah then attended the FCA annual arts project and was matched with a mentor immediately afterwards. Within three years. 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. 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.Mentoring is intrinsic part of professional development follow up. from 11 years to over 30. and ongoing support. and we are currently researching possible funds with LSC. Case studies from our young disabled mentees (Names have been changed) 1. the Adult Learning Fund and Aiming Higher. 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 Full Circle Arts 21 Source2 Evaluation . The development of this service will rely on additional funding.
Sarah continues to be mentored and develop her arts interest and career. 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. Katherine’s conﬁdence grew. ‘requiring’ constant 24 hr supervision from a Personal Assistant.that toured to the Edinburgh Festival and later around Cheshire. 2. Full Circle Arts 22 Source2 Evaluation . who appeared to have few outlets for her creativity. Katherine was isolated for many years. An intelligent young woman. On being matched with a Mentor. Katherine applied to become involved in one of our arts projects and took part in every element of the project.
in the words of one of our interviewees: “Real listening.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.org.artscouncil. human being to human being. Written by Moya Harris and Annie Warburton. which reviews the recent professional development experience of disabled and d/Deaf artists in the south west commissioned by Arts Council England.uk Full Circle Arts 23 Source2 Evaluation . heart to heart. South West in June 2009. Available from www.” 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.
training and a career in the arts. signposting to FCA Information and advocacy services and external arts development. training. employment opportunities. individuals are offered 3 sessions of an hour an a half each. Core PDP sessions draw heavily on the principles and models of coaching practice. Full Circle Arts implemented a Professional Development service. PDP sessions are in-depth. and young people who have a keen interest in pursuing arts education.Source Artists . allowing disabled people to direct their own thoughts and needs giving them the opportunity to focus on their existing experiences. emerging practitioners. 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. We do not tell or steer the direction. dedicated and focused to Professional Development Planning it can operate as a sounding board. The service would act as an umbrella term to all arts projects/activity/services that focused on progression in the arts. 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. where they would like to get to and how they might get there.the mentoring scheme. After receipt of application. Artist Development and Networking events. we explore where someone is at. Through in-depth discussion we encourage an individual to explore Full Circle Arts 24 Source2 Evaluation . and networks. supportive and one to one. ie . knowledge.Professional Development Planning Service Description In December 2006.
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
Full Circle Arts
25 Source2 Evaluation
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 1 1 3 8
Accessed PDP session 1,2 + 3 Accessed PDP session 1 + 2 only Accessed PDP session 1 only Service not offered Waiting list/awaiting application
Full Circle Arts
Ending April 09 6 1 2 1 0 April 09 to date 7 0 0 1 2 Accessed PDP session 1,2 + 3 Accessed PDP session 1 + 2 only Accessed PDP session 1 only Service not offered Waiting list Accessed PDP session 1,2 + 3 Accessed PDP session 1 + 2 only Accessed PDP session 1 only Service not offered Waiting list
April 09 April 08-09
People accessing follow up sessions People accessing follow up sessions
Total of service users to date- Full PDP or Pre/mentoring- 28
Full Circle Arts
5 45.5 90.0 67.0 Full Circle Arts 28 Source2 Evaluation .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.
networks. 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.PDP Case Study Lisa Simpson applied for the Professional Development Planning service in 2009. Lisa’s personal statement highlighted she would like to pursue a career as a disabled choreographer. options and create a structured plan to move forward. She strongly believed there could be potential in other disabled people becoming choreographers who have not had the opportunity or tools to realise it. Full Circle Arts 29 Source2 Evaluation . She was signposted to our service by an Employment Project Ofﬁcer working with disabled people at Knowsley Health and Wellbeing. opportunities. 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 indicated she had not participated in the arts for some time and felt she needed a plan to return to the industry. Lisa wanted to access the professional development service to explore her goal further and move towards achieving her goal by exploring.
we explored CV Training Current Networks Past Networks Current Opportunities Past Opportunities Experiences Barriers Values Inﬂuences Skill Lisa sat at table at the Never Dive Alone Event taking part in a Solution Circle We had a discussion about these areas as we built a self assessment map. In session one Lisa was encouraged to build a map of where she was right now. Skill Past Opportunities and current opportunities Networks Experience Full Circle Arts 30 Source2 Evaluation . Lisa then made application Session 1.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. And we explored those headings in Further detail. I asked Lisa to Focus on the 4 headings that particularly resonated for her.Pre.
Lisa. building a clearer picture of the resources Lisa had and identifying gaps. through discussion her goal became more speciﬁc Full Circle Arts 31 Source2 Evaluation . rated each of these headings out of 10. Lisa said she had made contact with several people. we would always reﬂect back to where we began throughout sessions. She said she had been considering her goals and returned to session with notes and ideas for session 2. Session two Lisa returned to session two. 1 being very Low and 10 being very high. In session two we began discussing Lisa’s goal. These areas would be key priority areas when goal setting and moving forward. the reality ( session one supports this exploration of the reality) Options and begin to design a way forward. We recapped on session one. Again. At the end of session one – Lisa had built a clear picture of where she was right now. New and old networks who she had not tapped into for a while. Lisa highlighted her Goal.We had a further in-depth conversation around these 4 headings. we began by reﬂecting on any activity that had occurred since last time. She had also spent a great deal of time researching. further exploration around the ﬁgure Lisa had placed herself under each heading. exploring all her resources and identiﬁed 4 areas she would like to explore further during PDP.
In-depth discussion around these areas of work took place. She had attended an event for dance practitioners and made new contacts. contacted NWDAF. she chose – future research of local schools.. Lisa felt already she had moved towards her goal. along with her networks. She also said Full Circle Arts 32 Source2 Evaluation . Lisa placed herself at a 2. She felt her conﬁdence had increased. possibilities began to surface and would design a way forward in session 3. Conversation reﬂected back on existing skills. Several areas of work were highlighted and recorded. here Options. networks. that made Lisa a 2. contact etc. PANDA.. DIGM. that could ﬁll the gap.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 boardWe placed the goal at number ten and asked Lisa to consider where she was in relation to that Goal. Opportunities and was beginning to gain experience by working closely with a dance facilitator. Session 3 A way forward –Lisa began reﬂecting on action since last time. researched and made contact with two schools who she felt might be interested in dance workshops for disabled and non verbal young people. I asked Lisa to consider the gap in between the 2 and 10 and this encouraged a conversation about the reality. attending a training day for disabled dancers to build networks. Lisa was asked to pick a few areas that she felt she could begin working on immediately. and follow up on those suggested to her during PDP. experience. and now placed herself at a number 4. all the areas of work. she had made several contacts with dance artists. activity etc. research in particular performance and dance organisations.
and had become a member of PANDA. had downloaded funding applications. We returned to all the areas of work and took a step by step approach to move up the scale towards Lisa’s Goal. she felt almost overnight she was back in the industry she wanted to be in. Summary We have 100% positive feedback from those who have committed to 3 sessions of Professional development Planning Service. 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. This informed the action plan we created during session 3. She felt she was a 6 on the scale of 1 to 10 and believes her goal will be achieved by Late February. She had made a variety of contacts. 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 Full Circle Arts 33 Source2 Evaluation .she wanted to bring her goal forward and try and achieve it by Feb 2010. Lisa commented the service had improved her focus. but expressed an interest in mentoring at some point in the future. she had felt supported listened to and valued the experience. she had identiﬁed a possible mentor for the future. was creating an artists proﬁle for FCA website. Lisa felt conﬁdent to work through this action plan and did not feel a mentor was needed at this time. was speaking to a potential co-facilitator and a teacher who could support her to plan workshops. Lisa was offered follow up sessions at her request and returned in September to feedback on where she was now.
Young People accessing Pre-mentoring services fall under our PDP heading. We have employed artists who have undergone PDP to work on our arts projects. 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.advice from this service. PDP and employment. Artists are experiencing difﬁculty securing funding for their professional development and to fund projects. we ensure people who access PDP received our newsletter and are signposted to any opportunities that may be of interest to them. projects. We encourage artists to proﬁle themselves on our website and explore other arts organisations. 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. These ﬁgures remain lower than we would like. many disabled artists are still out of work. Statistic tell us. 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 Full Circle Arts 34 Source2 Evaluation . although there are cases where people have gone on to further training. and external services. education or training in the arts. activities. They have all gone on to future opportunities. Service has always had a constant demand and in our third year of running the PDP we are aware of our capacity. Again we try to signpost and provide toolkits that can support funding bids. Maximum number of people accessing PDP’s in one year is 15. The overall cost of PDP is one of time. Artists are still ﬁnding it difﬁcult to access training and other professional development opportunities.
Robot model made during our young disabled people’s animation workshop Full Circle Arts 35 Source2 Evaluation .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.
Fayre Exchange was committed to individual professional development of disabled artists at any stage of their career. their needs and ways in which me might develop our services to support their requirements. It was the second Artist Development and Networking hosted by FCA.Source Artists Artist Development & Networking day 2 Fayre Exchange Fayre Exchange took place on April 01/08 at the Bridgewater Hall Manchester. a sharing of ideas and information. Providing a platform for individuals to share information around their experiences. funding and professional development needs. information from the market place etc…’ Full Circle Arts 36 Source2 Evaluation . Solution focused and action orientated. training. ‘ a new contact. focus on individual professional development and for everyone to go away with something that would contribute to their own professional development. we aimed for fayre exchange to encourage effective networking. a training provider. 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.
Findings/facts/feedback Bookings . networks. Networking and Min Market – An allocated time for networking and the chance to visit organisations stalls. options.New Zealand On The Sofa with – Vivienne Stone/Michelle Oakes/Abu Jafar Exchange time – 2 allocated time slots for exchange of information. Q+A Round table discussions – a chance for reﬂective discussion around individuals Professional Development. Full Circle Arts 37 Source2 Evaluation . ideas.Diversity Works Trust . ideas. challenges faced. a way forward. concerns. 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 .72 Attended by 59.
Feedback ranged from Clearing ones desk. PDP needs. suggestions. The day highlighted a need for networking days that have an emphasis on professional development. ideas. Making contact with a particular organisation to set up a meeting to going home and creating an action plan for the next twelve months. 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. Everybody contributed to this feedback. 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.Throughout the day we encouraged attendees to write on the exchange boards their comments. Further feedback “Thank you for inviting me to the Full Circle Arts event on 1st April a brilliant day”. 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. and smaller more focused group sessions that are art speciﬁc. 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. Full Circle Arts 38 Source2 Evaluation .
I am not terribly hopeful but it was good to have gone anyway. happy to be involved with Full Circle Arts in the future. A few lines of the speaker prompted me to get in touch with a few proffessional people so I am really on my way. Apart from wait around till the end of 2010! Congratulations on all your hard work I feel it paid off in droves. Thanks very much to Ray too for the Lorraine Priestner DVD. As a deafblind person I was inspired by the artists In a different way.Adios Lorraine’ ‘I didn't really get a chance to say thanks to you for the day. So you lovely people thank you again and long may you reign!‘ . 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. even the sound of their voices. Full Circle Arts 39 Source2 Evaluation . I f I look at a BSL too long then the creative mode start setting in and then I start drawing. we'll be calling you. Vicky. I really liked the large written words of the speaker on the screen. The only down side was the BBC thing. emotions. Its just fascinating for my work. Edie Mansﬁeld Access to Work Adviser’ ‘thank you for all your hard work and inviting us to this wonderful event.It just gave me some extra oomph. And boy do I need inspiring at the moment. their faces. of course. And next time we have and emergency. movement. I really enjoyed the experience and found the whole thing especially Philip Patston particularly inspiring. I went for a practical for a job interview today. It was amazing and a fantastic idea.I am. Thanks very much indeed. I met a Spanish artist who showed me the art of clapping In ﬂamenco. In that short time I learned so much. I am joining a dance company too. Oh and the food was good too! And I heard so well because of the loop so that was good too. the high and lows. Andrew It was a real pleasure for all three of us to work for FCA again. I gathered a wealth of Information on your website including access to work. you're one of the very very few organisations who seem to know exactly how to support BSL interpreters (and therefore Deaf clients). But It was so wonderful.
skill sharing. 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. Full Circle Arts 40 Source2 Evaluation . share and learn form one another. development workshops that are art form speciﬁc. 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. All feedback we have received and the ongoing communication with the artists we work with support this. After hosting two days of this kind.critiquing sessions. cheers ed ‘Overall I thought the day went really well. Again this is dependant on funding. We would like to develop our PDP events by organising or supporting artists to organise smaller groups in . We would look again to run a large scale event after one year of more focused activity. action learning sets. however we have received enough feedback that indicates smaller more focused groups would be greatly appreciated.had a great day and made a few contacts to boot. This is dependant on securing funding. the content was very interesting. we would like to look at organising another in the next two years.
a 2007/08 national training initiative for young people interested in the arts.HUB4 ‘Mentoring in the Arts’ ( pilot Source Young Artist) Description At the time FCA were designing a more intensive development project for young people ( SYA ) we were approached by HUB4. 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. Full Circle Arts 41 Source2 Evaluation .
Mentoring in the arts would be a 12 week project. Focus on young peoples arts interest. Connexions and several arts organisations up and down the country. Hub4 ‘Mentoring in the arts’ became a pilot for the now structured development project of Source Young Artists that Full Circle Arts offer. employment or training to develop their knowledge in the arts. 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. Increase young peoples knowledge of art opportunities available in Manchester Visit an arts venue they had not been to before Full Circle Arts 42 Source2 Evaluation .Hub4 was a partnership project between three agencies that work with young people. Newcastle and Manchester. Hub4 contributed to the overall cost of this project and FCA contributed money that was in place for SYA. 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. Hub4 aimed to work with young people between the ages of 16 and 25 who were not in education. Southampton. Full Circle Arts designed and delivered ‘Mentoring in the Arts’ Project for the Manchester Hub4. The project operated in Norwich. Artswork BBC Blast The Prices Trust Their national art program was directly supported by Arts Council England.
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. advice and guidance around the Bronze Art Award Did you work towards achieving your Bronze Art Award Full Circle Arts 43 Yes 6 6 3 No 0 0 3 Source2 Evaluation . Participants – 6 young disabled people not in education.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 Were you offered the chance to achieve a Bronze Art Award Did you received information. 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 . employment or training Full Circle Arts became a register centre to deliver Bronze and Silver Arts Awards through project work.
Did you submit your Bronze Art Award Did you complete the 12 week project Have you learnt about mentoring Did you take part in peer mentoring throughout the project Were you given the opportunity to reﬂect and discuss your interests and skills in the arts Did you research Arts opportunities in Manchester Have you leant about other arts opportunities Have you learnt new skills Do you feel more conﬁdent Has this project encouraged you to consider future arts related goals Would you consider taking up arts training. education. or development programs Did you complete an individual piece of art Did you complete the ﬁnal group piece of art Did you enjoy this project Would you be interested in achieving a silver arts award 2 5 6 6 6 5 5 5 5 5 5 6 5 6 3 1 1 0 0 0 1 1 1 1 1 1 0 1 0 1 2 Maybe Quotes from Hub 4 – Mentoring in the arts’ participants Full Circle Arts 44 Source2 Evaluation .
or dance therapy at college” “ I don’t want it to end” “ to get to where you want to get to in the arts.“ Before this project. 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” Full Circle Arts 45 Source2 Evaluation . 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.
art venues and companies in Manchester…. I can help other people” “ there is more art in Manchester than I thought.mentoring. 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……. Full Circle Arts 46 Source2 Evaluation .. In June 08 we would be in a position to implement a 12 month intensive development project for disabled people age 18 to 30..“ I’m not just a pretty face. See Source Young Artists. 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.and how to paint onto canvas!” Outcomes Working on the HUB4 project allowed us to pilot a development scheme for young people.
A positive relationship was forged between Full Circle Arts and Artswork/Hub4. overall aims and objectives as well as complying to work we had set out to deliver.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.asp?id=80 or available on Issuu. For further info please refer to the comic and dvd that were produced by the young people to reﬂect their journey during this project. the support involved and recognised how it may be attached to future projects. in the style of a grafﬁti map of Manchester that lists the various art organisations the young people researched. 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.com Full Circle Arts 47 Source2 Evaluation .full-circle-arts. and we have contributed to their evaluation on the national training initiative. Hub4 managed and contributed ﬁnancially to the scheme.full-circle-arts.asp?id=83 Comic at www.co. giving FCA the ﬂexibility to design and deliver a project that would ﬁt into their remit.uk/ourwork. It acts as an informative piece of art aswell as reinforces the idea of mentoring and progression in the arts. A large piece of art was created. Film at www.uk/ourwork. It gave us the opportunity to experience delivery and assessment of arts award.co.
who have a keen interest and commitment in pursuing arts training. manage and deliver their own arts project to other young people. 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.Source Young Artists Description SYA is an intensive development service for young disabled people age 18 to 30. In June 08 FCA. offered up to six places on the scheme. education and a career in the arts. This would be the second year of a development service for 18 to 30 year olds and the ﬁrst structured Source Young Artist Scheme. Mentoring Signposting and support to gain work experience opportunities Signposting and support to gain new and develop existing networks Exit reviews and ongoing PDP Full Circle Arts 48 Source2 Evaluation .
manage and deliver an arts project 5 Yes 5 Yes Full Circle Arts 49 Source2 Evaluation .Activity chart Activity Intro session to the SYA Young person offered 5 Yes Young Person Accessed 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.
Activity Mentoring Young person offered 4 Yes Young Person Accessed 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 Full Circle Arts 50 Source2 Evaluation .
We then invited those interested to apply to the service. During Pre-service PDP session. experiences. 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. barriers to learning and Training needs were identiﬁed along with networking and work experience preferences. It was important for us to be clear about the level of work. and answer any questions they may have. The information session provided us with the opportunity to speak with the group before they decided to apply.Activity continued Intro to SYA – June 08 Before the year of development activity began. Full Circle Arts 51 Source2 Evaluation . Pre PDP Service July 08 Late June FCA received 5 applications to the service and offered each young person a place on the scheme. skills. what they wanted to gain themselves and what they wanted to gain form the service as a group member. One to one PDP sessions were offered to each of the participants to identify a clear starting point. 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. These sessions focused on the resources the young people already had.
work experience and skill development goals they would like to explore. People identiﬁed possible networks. 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. after Project ends. To develop my interest and skills in my own art form further. training. Complete arts award and gain accreditation. 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. skill development and work experience that would encourage a progression towards reaching this goal.This information beneﬁted us when planning the year of activity. 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 Full Circle Arts 52 Source2 Evaluation .
knowledge of each individual was shared in our ﬁrst group meeting. networks. 4 to 6 weekly hub meetings and Support groups. organisations. working with challenging behaviour. promotion of self and work. critique. Marketing. project management. risk assessment. communication. report writing and record keeping. Common training needs Creative facilitation.Communication. Skills. Through discussion of skill development and training needs we were able to identify the training we would then provide during the year. and encouraged conversation around group members interests. it built conﬁdence around the resources they already had as a group. critique. experience.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 Full Circle Arts 53 Source2 Evaluation . conﬁdence. time keeping. facilitator skills. ﬁrst aid. 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. From August 08 – To October 09 13 meetings 8 meetings .
record minutes.In House Communication .After six months. Kathryn and Vicki – SYA coordinators did not attend meetings and it was the SYA’s responsibility to plan. book venue. 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. set agendas. 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 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 Full Circle Arts 54 Source2 Evaluation .
6 months into SYA and the project planning began. Arts Award Advice and Support This SYA saw everyone committing to the silver arts award. A session on proﬁling yourself as an artists was delivered. Full Circle Arts 55 Source2 Evaluation . manage and deliver an arts project for other young people. they all chose to take it the award and have committed to one to one arts advice meetings between Feb 09 and October 09. Feedback reports were written for each member on areas for improvement and strengths. information about projects and arts activities in Manchester.Practice workshops were arranged for the group to plan and deliver an hour workshop to their peers. Opportunity to design. 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. assess and arrange moderation. All SYA’s are on track with their portfolios and we have set a deadline for November 1st to receive portfolios back. Information Throughout the twelve months SYA’S received FCA newsletter. We predict moderation will take place before December 2009.
one of the SYA’s became unwell and the others had to cover her absence.All SYA – played a role in the project management All SYA – Designed an 1 to 2 hour workshop that they would facilitate. unfortunately on the second day. Full Circle Arts 56 Source2 Evaluation . 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. They dealt with this challenge extremely well.s completed their task. 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. risk assessment. On August 12th and 14th. See further feedback on the project from the SYA’s themselves later in this document. evaluation. sign off sheets. the images that were captured during Photography would be handed over and inform the creative writing workshop where characters would begin to form. the SYA. project info ﬁle. publicity. venue hire. put all their training and development into practice and achieved their goal by managing and taking a lead role in facilitating. budget. communication. 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. All SYA’s committed to the delivery of this project. shopping for equipment.
Full Circle Arts 57 Source2 Evaluation . 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. Mentees found they had a great deal of meetings. One more SYA was matched but unfortunately his Mentor could not commit. whilst they valued the mentoring process and did feel it was needed. As we matched 3 people during the year we saw it important for mentoring to support their individual development. 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. they provided feedback that it would be more helpful after the process had come to an end. one to one arts advice ongoing review and PDP. project work and mentoring. 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. One SYA was not provided with a mentor but received ongoing support from PDP and mentoring coordinator.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.
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. 3 people have gained work external work experience. Full Circle Arts 58 Source2 Evaluation .Work Experience External. SYA’s sometime did not respond to ongoing correspondence but always communicated when they needed something or wanted advice or support. 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. Again. 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. 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. throughout the year we signposted and recommended SYA’s researched and explored external networks and opportunities.
Emails were sent every week to SYA’s. achievements. 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 Full Circle Arts 59 Source2 Evaluation . thing’s learnt and forward planning. reﬂected on the journey. where we returned to where they had started from. 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.
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 December 08 . 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 Full Circle Arts 60 Source2 Evaluation .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.
ongoing support and review to continue over the next 6 months.5 5 6 7 8 9 Goal 10 July 08: Work experience preferences – What I wanted December 08: Actions December 08: Way forward Full Circle Arts 61 Source2 Evaluation . 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. Workshop delivery experience during SYA hub session January 09. look for match in Feb 09.Ways Forward for FCA – Proﬁle to be posted on FCA Website and newsletter requesting a mentor. Meet with Arts advisor to begin work on Silver Arts Award Jan/ Feb and onwards. Accredited training to be offered in January 09 to March 09. Plan for next 6 months of SYA meetings. Further training dates to be arranged. Project to be delivered June/July 09. 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. Continue to signpost Networking opps.
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 explore – What I wanted December 08: Way forward Full Circle Arts 62 Source2 Evaluation . . Created Artist Proﬁle and sent out to various photography studios requesting work experience/shadowing opportunities. photographers. . digital media.Photography Experience in facilitating arts/photography workshops Shadowing photography workshops. .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. Continued work experience with Spearﬁsh (admin role) good opportunity for networking and links to further opportunities.
(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 Full Circle Arts 63 Source2 Evaluation .Artists Online photography Networks Research Arts and Photography organisations Have researched a variety of arts organisations and opportunities at… Further research and contact BBC Contact Theatre (signed up Digital Media for newsletter) Universities Red Eye (further research Media Trust on internet) Photography studios Warehouse Project SMG.
./proﬁling. It’s been friendly and supportive. critique. The session on Critique..July 08: Training requirements What I wanted Mentor Training Workshop Management/ design Workshop facilitation Promotion/Marketing English ( written skills/ recording information) Communication Presentation Photoshop December 08: Actions December 08: Way forward Accessed training in…. How relevant do you think the sessions have been to the overall project aims and objectives? (consider all areas of work: initial brieﬁng. Research independent training opportunities that could “How to Critique your work encourage development in and the work of others” non Photography/media accredited Access all training provided “Building an Artist Proﬁle” by FCA and HUB4 artswork non accredited workshop in the next 6 months session ‘Project Management’ non accredited Quick Questions Have you enjoyed the SYA experience so far? Yes What have you enjoyed the most? SYA meetings. social) Always Relevant Full Circle Arts 64 Source2 Evaluation . learning different things that will help with the ﬁnal project. I can’t think of anything. project management. pre-service session (PDP) sharing of experience/networks/skills etc. What hasn’t been so good or what could be improved? Nothing really.
using the dark room and my camera more often. I feel more conﬁdent when talking about my work Recording information Time management Full Circle Arts 65 Source2 Evaluation . I feel more conﬁdent in talking to people about my goals and my work. Communication has improved. 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.If not always relevant. 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. I’ve learnt a lot Do you feel this development opportunity has suited your learning style and preferences? 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 conﬁdent with contact organisations and individuals on the telephone and via email. I feel more organised and I keep a diary and I’m slowly getting better at recording information.
developing networks by constantly researching and raising my awareness of new organisations. It will deﬁnitely be a good experience Full Circle Arts 66 Source2 Evaluation . more skilled. I have made contact about work experience opportunities and hope to gain work experience in the next 6 months. arts organisations and artists. I’ starting to see University as a reality and something I might consider in a few years time. I have built an artist proﬁle and updated my CV. my conﬁdence has increased.Has your knowledge of the arts increased since SYA ? Yes Can you provide examples? I know more about photography equipment. I feel more focused. What are you most looking forward to – At the moment I’m most looking forward to the next session where I can gain the experience of facilitating an hour workshop to the group. 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. During your pre-service session (PDP) You described barriers to your learning and things that can sometimes hold you back. I have had training in Critique and Project Management.
we encouraged ongoing critique throughout the process of SYA. Begin to look at Silver arts award after SYA workshop.Next Steps: Plan for my one hour workshop. where participants commented on the delivery of the workshops. As the year progressed we saw an increase in conﬁdence around peer critique and constructive feedback of one another. we help a group critique and feedback session. 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. highlighting things that worked well and possible areas for improvement. After the workshop practice sessions. The group often contacted one another to ask for advice about the ways in which they were approaching work. 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. Full Circle Arts 67 Source2 Evaluation .
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. a note about the entire process that would have helped organisation and planning is to better design agendas set speciﬁc goals throughout the months. worry. Anxiety. Prior to the project how did you feel? Stress. Could have managed stress better. Full Circle Arts 68 Source2 Evaluation . communication hadn’t been great through the months but we came together over the project days better than previously. on all aspects of SYA work. reﬂect on the project their learning.The PDP coordinator also offered a report on each members of the group practice workshop. Two meetings took place in September one for arts award and another for reﬂection of the 2 day project they ran. we were keen to offer ongoing support and the opportunity for the group to meet to. we could have all designed and shared an individual workshop plan that noted speciﬁc aims for each workshop. example of project questionnaire:Notes from workshop reﬂection meeting 22nd September. Ongoing feedback was offered throughout the year. Overall feelings about the project – Went well. 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. when and how. Follow up support groups After the project came to an end. 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. begin the evaluation process and the continuation of the arts award.
and action to take when rules have been broken. Being clear about roles and responsibilities and what support you wanted from others. trust. Things that could have helped/Improvements. Improved planning. Assertiveness and conﬁdence to control negative behavior. Full Circle Arts 69 Source2 Evaluation . Preparation for working with an inclusive group and the challenges that might present. Using the tool that were given to us throughout – ( action plans. Challenges we faced as a group Respect of participants to facilitators and others in the group Dealing with negative behavior. and ongoing communication and constant checking. we delivered what we set out to. achievement. Group control of young people. Or attempts made to overcome challenges.strong sense of teamwork. 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. punctual/commitment. and having the conﬁdence and being assertive enough to deal with it. loyalty. don’t even get into negotiation. and ongoing reﬂection of how I am using what I have learnt and how I am demonstrating that. Less interruption. time lines ) notes on training. when the rule has already been stated ) Create a code of conduct of policy of behavior. where and when…. especially throughout the building at break times. friendship. Clear and solid boundaries (if it’s a rule and you believe in the rule. More mock workshops practices. Overall aims and objective of the project were achieved. good set up because of the plans that had been created we knew what.
we had CRB checks. make constant reﬂection on what we had learnt through training and demonstrate it through actions during workshops. The importance of Team work Communication Knowledge of other art forms and activities involved Finding solutions How to spot challenges before they escalate.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. image consent forms. when situation arouse. setting aims and objectives Engaging participant An improved awareness of how far away we are from becoming an arts professional. Project Management – Brainstorming ( planning ) Setting agendas Sign off sheets Budgeting Communication Full Circle Arts 70 Source2 Evaluation . Child protection – Information conﬁdentiality. Parental Consent. Planning workshops. awareness of others and a better insight into the creative facilitation and project management. Main things learnt through the project Self awareness. Evidence of training being put into practice by the group during the delivery and planning stages.
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.and implementation of health and safety Completed a risk assessment Used prevention of risk during set up Signage Awareness of space and others. stretched Risk assessment. Equipment checks and safety instructions Marketing – Posters Letters & Mail outs Visiting venues First Aid Creative FacilitationEngaging Participants Learning styles Planning activity Timing Flip chart pages showing Solution Circle Full Circle Arts 71 Source2 Evaluation .
Total Time for SYAOne month prep and Pre. It will provide the opportunity for SYA’s to reﬂect on the entire process. achievements and consider a way forward for their professional Development.service 12 months development activity + delivery of project 3-4 months continuation of arts award. looking at where they began. ﬁnal PDP and evaluation. Full Circle Arts 72 Source2 Evaluation . Exit and Final PDP meeting After Arts Awards are submitted. These session will contribute to a ﬁnal indepth evaluation of the entire process. 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. An arts event will be attended on October 27th as part of the Arts Award and to celebrate the end of the SYA scheme. areas they wanted to develop.Arts award meetings will continue to take place throughout October before the deadline for submission.
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. which gave us the ability to effectively run workshops. My art form is drama. We also had training courses in child protection. It was eventually decided that the ﬁnal product would consist of 5 individual workshops of photography. Full Circle Arts 73 Source2 Evaluation . These would be run over 2 days.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. we had to have project management training for the project to be successful. and would be run for up to 30 young people between the ages of 11 and 14 years. but not much. risk assessment and creative facilitation along with other courses. creative writing. drama and dance. In order to run the project. I had done some workshop facilitation. When I met with the other young people. Before taking part in the Source: Young Artists project. we discussed ideas of what we wanted to do as part of the project.
g.g. writing. budget management and child (and data) protection. wanting to run a workshop and to publish a book of poetry. 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. (console) gaming. performing live poetry. 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) Full Circle Arts 74 Source2 Evaluation . 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). one of my scripts or the fantasy story. project planning & management. inappropriate attitudes and advances) The parts that make up a project Mistakes (or problems) that could happen when planning a project (e. I learned key information in each session such as: How to control young people in an awkward situation (e. 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. Over the course of the training sessions I received training in working with youths in the arts. 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. My interests before (and after) the SYA project are reading.
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. Those were things I focused on improving and I practiced during project planning meetings by scribing notes. I learned that I can let nerves and stress get the better of me. promoting and delivering a project. help people spot ﬂaws in their ideas or tasks and also helped increase conﬁdence. by time we delivered the workshops (end project) I did not have any of those problems. I think the practice workshops helped to ﬁne tune the plans. 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. 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. presentation and facilitation. I also wanted to know about working Full Circle Arts 75 Source2 Evaluation . art and crafts going to dance events theatre productions and I wanted to improve my conﬁdence and communication skills. I am Helen Bridge before the SYA project my main interests were dancing. I could work best by including some physical tasks when doing a workshop and that I am capable of planning.g.Risks of not having consent forms and what not to do when working with minors (e. 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. helping others.
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. 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. aims. This was going to be an extremely important workshop as we learned about sign-off sheets. One of the most important training sessions we did was risk assessment/management. But the Solution Circle really helped us. I felt that the SYA project would help me explore all possibilities open to me.with children and vulnerable adults. 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. Full Circle Arts 76 Source2 Evaluation . we did some communication training which we need to improve on still.
We didn’t really do a lot of practice workshops but the one we did helped me greatly. but the feedback I received from my peers was very constructive. However as time went on I realised this was going to have to be a group effort to make the whole thing a success.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. 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. We should have been more organised and all these challenges would have been much easier to cope with. 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 realised that I was very harsh when critiquing my own work.. This in turn caused stress anxiety and argument. We didn’t keep each other updated as regularly as we should and in the end everything became a panic and stressful. 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 was extremely constructive when critiquing others work. but when it came to utilising others ideas I didn’t see how we could use them and really didn’t want to try. I would tried to show how I was enjoying everything and how passionate I was about taking part in such a fantastic project. Challenges were faced at many stages but the main challenge was communication or lack of it between us. I had to learn how to be more constructive with myself. I thought that I would be better at project delivery than I was and was absolutely devastated at the time. 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 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 Full Circle Arts 77 Source2 Evaluation . Communication between us was a huge problem.
my passion for my own artwork has rocketed and I am more willing to meet new people. frustration and tears. The training and the whole experience of being on this project has given me such a boost. 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. so that I don’t allow them to roll on again. However. My name is Damien Hayward I feel proud to be part of the SYA project for the last 18 months. Full Circle Arts 78 Source2 Evaluation . there were some communication and workload problems with some members of the group from time to time. 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. I would like to add the fact that yes. and I am now looking to do another type of project again. 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. This in turn would help me feel more conﬁdent in pursuing my main goal of being a dance movement therapist. Doing this project has made me realise that there are many more opportunities available to me in the path I would like to follow. I am trying new things. It doesn’t hinder me from working with any aspect of working with any of the people again. physical and emotional limits.development. 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. There have been times of anger. It has been a test of my mental. I have come out at the end feeling more conﬁdent in myself and my own artwork. I now know what to look for and stop any problems dead.
Source:it spreading to where our users are Full Circle Arts 79 Source2 Evaluation .
and how we should position the web-site and how they positioned themselves and their work. funding opportunities.Source:it Background A consultant was employed to interview artists on what they would ﬁnd useful content on the web site. a database of accessible venues. access or working with disabled artists.Source:it Source:it is the information and support hub providing personal contact for artists and arts companies. a ‘what’s on’ guide. 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 . news and information. Full Circle Arts 80 Source2 Evaluation . Source:it also incorporates our web site which was completely redesigned and is now updated daily with an extensive employment and training opportunities section. Disabled artists and emerging practitioners were asked how they would like to see our website positioned. and a variety of other relevant information for disabled artists and arts companies interested in inclusion.
its part of who I am. 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. Unfortunately ‘disability’ seems to be the place I seem stuck as far as the arts world is concerned”. “Yes. being an artist is my focus.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. I’m proud of who I am and the disability arts movement celebrates this” Full Circle Arts 81 Source2 Evaluation .
but it seems to a bit of a clique circuit with the same old faces both on stage and in the audience”. its too easy to be pigeon holed”. wherever that takes me” When we asked what sort of information or sections artists would be interested in. “Compared with other arts events I have performed at the audiences are always small and usually other disabled people. I choose to be me an artist with a wide range of inﬂuences. I want my work to be seen and critiqued alongside my non disabled contemporaries. I may be disabled but I’m lots of other things too. “No. (35 respondents) Would you like to see a section on A jobs section Training opportunities section Accessible Venues guide What’s on Career advice/toolkits Artists database/showcase Arts Workshops guide Information on FCA’s work News or a newsletter YES 34 28 18 26 32 29 16 27 32 Full Circle Arts 82 Source2 Evaluation . 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.“I’ve been to a few disability arts events. these were the results.
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. The website now has over 6. has a circulation of over 620. a CV and additional web pages to promote and showcase their work. 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 Full Circle Arts 83 Source2 Evaluation . giving them the opportunity to showcase their work to a wider audience.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. 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.They also have a link to their own web site. 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.100 unique visitors each month and Source:it our fortnightly newsletter. Promoting a different artist each month on the website homepage as well as in the newsletter has proved to be very beneﬁcial for the artists.
Source:artists provides a high quality resource for the professional development. 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. employment and marketing of professional disabled artists and their work.needs with tools developed by FCA. (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. Artist’s featured on the site have been contacted to produce commissions. This is then supplemented with one to one Professional Development Planning. lead workshops and to take part in projects all over the UK. a page outlining our Professional Development Planning services and the strangely very popular creative procrastination page. Full Circle Arts 84 Source2 Evaluation .
Workshops We employed a freelance worker to research. 3 artists have had solo exhibitions in Manchester and London Full Circle Arts 85 Source2 Evaluation . 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. its so easy to read and very useful. “Oh I always look out for your newsletter. Outcomes to date we have developed and maintained a dynamic online resource of professional 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). 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.Arts & Cultural Manager Trafford MBC. which is has been active on-line since January 2007. 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. I can just cut and paste all the relevant stuff to my colleagues and other organisations in the borough” Debbie Cowley .
we have held 2 artists days (Manchester Museum and Bridgewater Hall) with guest speakers including international representation.com We have been on Twitter since late March 09 with now over 600 followers. comments and reﬂections live as it was done during Remix our disabled young people’s summer project. 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 also use twitter for feedback by setting up hashtags for feedback at our events.wordpress. We connect with our users through Facebook (1. As well as a live audience to their showcase.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 conferences (see Never Dive Alone). http://fullcircleartsblog. look at their photographs or listen to their feedback. over 500 people a day visited the site to watch their animations. Full Circle Arts 86 Source2 Evaluation . We have a blog on Wordpress which allowed young artists to post up their work. 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. 23 artists have attended [mainstream] professional development courses as a direct link of partnerships formed between FCA and external organisations The new sections to our website saw an initial jump of 50% in unique visitors to the website.
dissemination.Our conference. collaboration & partnership day Never Dive Alone Full Circle Arts 87 Source2 Evaluation .
Not just ‘good intentions’. palantypists. It’s the little things (and enough of them) we do differently tomorrow that will make a difference. 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.Background All the work. all of our events. 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. BSL intrepreters and the presentations at Never Dive Alone Full Circle Arts 88 Source2 Evaluation . training. 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. 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. 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. We are not interested in passing on techniques without also making explicit the values that need to underpin them. described in this evaluation is built on inclusion which is dependent on collaboration.
Mentoring. PDP and Source Young Artists Participants have used some of the tools/methodologies FCA uses for inclusive work with young people. 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.Never Dive Alone Aims & Objectives Aims To move the arts agenda from access to inclusion To proﬁle FCA’s work in Mentoring. openness. PDP and Source Young Artists To form new partnerships for collaborative working To open debate around new thinking on collaboration. 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 Full Circle Arts 89 Source2 Evaluation . PDP and Source Young Artists Participants have a clear understanding of FCA’s work in mentoring.
or our social media pages to contribute to. e-mail. 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.a stall exchanging sweets for feedback Full Circle Arts 90 Source2 Evaluation . the debate Our Goblin Market . and continue. openness.To open debate around new thinking on collaboration.
Drawing. Because the issues were paradoxically complex yet simple. and space for them to consider the implications of four short presentations. reach and engagement have been seen as a ‘bolt on‘ to artistic practice and the main work of arts organisations. artists and disabled people. Perhaps the new landscape could help us appreciate them as core values. diversity. We drew on different techniques used and tested with inclusive education. without which we cannot deliver quality or equality. interested in a dialogue or conversations around inclusion in the arts. making notes and sharing ideas on the table cloths. Delegates experienced ﬁrsthand some of the tools and approaches coming to the fore as mechanisms for transformative conversations. For too long inclusion.Never Dive alone was the title of our event. Full Circle Arts 91 Source2 Evaluation . such as all participants taking part in Solution Circles. which took place on 11 June 2009 at Bridgewater Hall. 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. There were opportunities for delegates to reﬂect on their learning. The event was designed intentionally as a coming together of present and future working partners.
A full transcript of the presentations is available to read from http://www. aspirations and work towards inclusion where they could connect and collaborate with us. which allowed delegates to see our dreams. questions or start disscussions. The event gave us the opportunity to roll our sleeves up and actively engage with these issues. experience of inclusion from an organisational and an individual perspective.full-circle-arts.co. Full Circle Arts’ perpetual beta model of striving for inclusive participation. openness. we explored with others how we all might move forward. There were 23 members of the network and 56 participants on the day. As well as examining inclusion Vicki McCorkell presenting Full Circle Arts Dream. The morning looked at. Working with tried and tested structures. participation and personalisation for inclusion. Full Circle Arts 92 Source2 Evaluation . our Mentoring and PDP coordinator gave a presentation in the form of a PDP of Full Circle Arts.We looked at the value of collaboration.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 inclusion. 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. some of our successes and failures and some of our fears and dreams. and ways in which we need to collaborate done via an organisational PDP to be effective.
You can consult me about what it is I might want to come to at all. 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. Most of the time to be fair I do not think I am on the outside looking in any more. there is a problem. 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. Because I want to be in the very thick of it. You could go a bit further and you can put up a welcome sign. I would really like to know what goes on. I think I'm on the inside looking on. something that you kind of aim to do. I'm Full Circle Arts 93 Source2 Evaluation . I think that can go on a kind of spectrum. You can a go a bit further still and you could actually invite me. Because generally if you take that kind of functional approach. That it can be a state. and I mean you globally because I'm ambitious. I think I'm on the inside looking on. I do not think I can be in the very thick of it if you do not shift your perspective. I'm still not really included. It would be really nice to be in there. This comes back to something that Chris was talking about. Yes. It's not proactive but it's perhaps a ﬁrst step on the journey. what you require is to know what labels I am wearing. However. But I do not think I'm on the outside looking in most of the time. all of those things are ingredients to inclusion I think. 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.“One of my perspectives is that you can take a functional approach to inclusion. That would be nice. You might employ me. From my perspective all of those things will contribute to my feeling included. And then you might show my work.
a project. employing me. inviting me. I was thinking about the inclusive organisation. consulting me.” Some of the participants at the opening circle of the Open Space event in the Afternoon Full Circle Arts 94 Source2 Evaluation . Assumptions. It is not a goal.it seems to be a bit of a theme that we're thinking about. It is a process. But for me inclusion is not a state. I think it needs passion. I came up with words . yes. a team. I think that the most fundamental ingredient is passion and commitment. If you do not shift your perspective from looking at my labels to looking at your organisations. Expectations. Boxes. Connection. maybe some of those steps I talked about before. Expression. As long as they are in the context of passion and recognising that inclusion is a journey. 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. It is not a target. I think that an organisation. Protection. It may not even be something that can easily be evidenced. odds words. a department. If you have got passion and you have got commitment and some sense of where you might be on that journey then. an event that is seeking to be inclusive needs to recognise where it is on that journey and engage with the journey. Flourishing. Personalisation.not targeting any particular organisation. Reﬂection. showing my work those are important. Stares. Choice. Parameters.
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 Full Circle Arts 95 Source2 Evaluation .
facilitating a space where I could network and learn from others. and for raising the bar for inclusion and disability arts. Jamie Patterson . 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 more so it was because you are a group of people who obviously believe in the power of your practice. And also your style of presentation. I and the members of So Many Words are very grateful for the valid work your company continues to produce”. all in all. gorgeous food and professional air of the day. While the day brought up lots of unanswered questions. new to me and very refreshing. I mentioned at the end that the opportunity to share is a wonderful stimulus for me. So I just wanted to thank you all for giving a platform to some really important themes. I left the building with a strange sense of clarity.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.Marketing Director The Lowry Full Circle Arts 96 Source2 Evaluation . use of technology and choice of group exercises were really interesting. 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). ambition and inspiration. but provided plenty of food for thought. 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. Watch this space!” Jonathan Harper . So Many Words Theatre Company “I wanted to say that.Artistic Director.
just hard to reach arts organisations • Interaction ideas informal • Inspiring interesting enlightening fun 8 open creative free • networking thought provoking knowledge • Inspirational spiritual great • inclusive supportive friendly • inspirational interactive informative •informative challenging provocative • genius networky cool • inspiring invigorating 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 Full Circle Arts 97 Source2 Evaluation . 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.Feedback from the Goblin Market 1.
new contacts Yes thanks and new info Start of a collaboration already.2. just hard to reach arts organisations Follow up contacts Write my own action plan Apply for ACE funding Full Circle Arts 98 Source2 Evaluation . 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. 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. interesting people excited about inclusion 3. artists possible work together on future projects. yeah Deﬁnitely. organizations possible collaborations Yes I have met new people from different regions and got some great ideas Yes. 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. met old friends again new connections. food for thought.
informative and entertaining day at 'never dive alone'.co. looking forward to catching up with folks again @shifthappens sc_r #neverda . Thank you! @chrissyhammond @full_circle_art iamhelenharrop really inspiring and fun day in MCR at #neverda .wrapping up a great day here at the conference . You can't beat space dust..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.really enjoyed the open space event. discussions and old school sweets. http://bit.uk/ourwork Full Circle Arts 99 Source2 Evaluation .ly/Li2p7 #neverda MarisaDraper Great day at #neverda event. Great presentations. :) You can read our full Twitter stream on the event at http://www. thanks to @full_circle_art people! kate_butler had an extremely inspiring.full-circle-arts.
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 .audience 600 Full Circle Arts 100 Source2 Evaluation .photography 10 young disabled participants 2 disabled artists 2 non disabled artists 26 sessions I exhibition (Manchester City Art Gallery) Est .which act as gateways to Source 2 provision Full Cirque .Model of a rabbit made for animation workshops Full Circle Art’s ran the following participatory arts projects during Source 2 .
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, Jigsaw, Oldham Link, Newbridge learning Centre, Earz 4 Kidz, Bolton Octagon, Rumworth 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
Full Circle Arts
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 – Manchester City Art Gallery European Conference on Mentoring – Birmingham NEC Music Leader Project – Manchester Open day @ Manchester Metropolitan University Creative Partnerships Exciting Minds Event .Manchester Town Hall Collaborative projects underway with The Cornerhouse MMU Newbridge School Panda Full Circle Arts 104 Source2 Evaluation .Manchester Decibel .
Our work and evaluations can be seen at Evaluations of projects past and present www.youtube.full-circle-arts.co.com/FULLCIRCLEARTS Part of the visual arts exhibition as part of our disabled young people’s Remix project Full Circle Arts 105 Source2 Evaluation .ﬂickr.uk http://issuu.com/photos/fullcirclearts We also have a youtube account which show ﬁlms made by and with young people: http://www.com/full_circle_arts We have a ﬂickr account where visitors can see photos of our events: http://www.
200 Live audience On-line audience distribution of newsletters Participatory sessions Performance or exhibition days New commissions 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 Full Circle Arts 106 Source2 Evaluation .000 31.During the project We worked with 73 9 595 107 Disabled artists Non-disabled artists Young disabled people (participants) Disabled and Deaf people (participants) We had 546 12 2 We had 723 144.
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