CIRCUIT TEST RISK CHANGE

YOUNG PEOPLE, YOUTH ORGANISATIONS AND GALLERIES: WORKING AS ALLIES TO SPARK CHANGE WE WANT TO WORK WITH We call for the youth and cultural AND ACROSS THE YOUTH sectors to work together to: AND CULTURAL SECTORS TO HELP CONNECT MORE YOUNG • Share resources, aims and values. PEOPLE WITH GALLERIES TO SPARK CHANGE. • Advocate and support social, cultural and economic justice.

• Contribute to existing and future work with, for and by young people.

We invite you to use this report to provoke conversation, collaboration and action.

Be part of ongoing collective action to champion work with young people and their cultural participation in galleries.

Contribute at: circuit..org.uk @CircuitPHF #SparkChange

2 CIRCUIT GALLERIES AND PARTNER ORGANISATIONS

3 CIRCUIT GALLERIES Circuit was a four-year national programme, connecting 15–25 year olds to the arts. Led by Tate, and funded by Paul Hamlyn Foundation, it involved six Plus Tate partner galleries, the four Tate galleries and over 80 partners, including organisations from the youth, education, charity and local authority sectors. It reached over 175,000 participants through events and projects.

Tate Liverpool (Liverpool) The Whitworth (Manchester) MOSTYN (Llandudno) Nottingham Contemporary (Nottingham)

Wysing Arts Centre & Kettle’s Yard (Cambridgeshire) Firstsite ()

Tate Britain & (London)

Tate St Ives (St Ives) 4 CIRCUIT PARTNERS

FIRSTSITE & TATE MODERN THE WHITWORTH • Barnardo’s • Bosco Centre • 42nd Street • Colchester and Tendring Youth Enquiry Service • Fast Forward • Bridge College • Colchester Institute • involuntary-movement • Brighter Sound • Boys and Girls Clubs • Octavia Foundation • Children's Society • Essex Youth Service • Pempeople • Contact • Inclusion Ventures • Ravensbourne University • Curious Minds • InterAct • Raw Material • Dance Manchester • Leaving and Aftercare Team, Essex County Council • Renaissance Foundation • Factory Youth Zone • Mid and North Essex Mind • Southwark Council • Future Skills College • Signals • University of the Arts London Widening • House of Manchester • The Sixth Form College Colchester Participation and Progression - Careers • • The Waiting Room and Employability • Manchester School of Art • University of Essex • City of Westminster Looked After • Powerhouse Youth Centre • YMCA Colchester Children’s Services • Proud Trust • The Westminster Society • Rathbone Manchester • Rathbone Trafford MOSTYN • St Mary’s Sexual Assault Referral Centre (SARC) TATE LIVERPOOL • Afasic Cymru • Trinity House • Child and Adolescent Mental Health Services • Child and Adolescent Mental Health Services • Unity Radio (CAMHS) (CAMHS) • Z Arts • Coleg Llandrillo • Holly Lodge Girls’ College • Pixel • Merseyside Youth Association (MYA) WYSING ARTS CENTRE & KETTLE’S YARD • Viva LGBT+ • The Prince’s Trust • West Rhyl Young People’s Centre • Walton Youth Project • Cambourne Youth Club • Ysgol John Bright • Young Person’s Advisory Service (YPAS) • Cambridge Youth Foyer • Ysgol y Gogarth Special School • Changing Frames • Ysgol Y Graig (Penrhos Avenue) • Fenland Group Alternative Education Centre • Generating Alternative Possibilities Cambridge • College: Pathfinders (GAPs) • NOTTINGHAM CONTEMPORARY • Girton Youth Club • Falmouth University • Action for Young Carers: The Carers Federation • Flashlight, St Ives • Romsey Mill • Crocus Fields • Community School • Youth Support Services, Cambridge South • NGY Youth Provision: NGY My Place • Hayle Youth Project • Nottingham City Council Youth Offending Team • Art Gallery & The Exchange • Nottingham Refugee Forum • and College • Young Mums Will Achieve

Galleries and Partner Organisations 5

ABOUT THIS REPORT the whole process, and on extensive change. We want to influence progressive research by specialists carried out ways of working with young people in throughout the programme. The research cultural and youth organisations. We want specialists included a critical friend, a to inform conversations with funders qualitative and quantitative evaluator, a two- and policy makers to enable support and Connecting young people and galleries to year longitudinal study, a PhD researcher, resources for cross-sector work, for the spark change so that young people can and an external researcher to gather benefit of all young people. steer their own learning was a key driving and analyse evidence. At the beginning force of Circuit. This national programme of Circuit, an evaluation framework was saw ten galleries work in partnership constructed collaboratively in line with the with youth sector organisations to create programme’s aims and values, with the opportunities for a more diverse range of intention for gallery professionals, young young people to engage with art in galleries. people, artists and partners to be active reflective practitioners. They worked Here we present some of what we faced closely with the research specialists to and learned, including the barriers to work reflect on what the evidence told them, with young people that still exist across share their findings more widely and, all Circuit galleries, as well as ways to crucially, change their practice in light overcome them. We hope that colleagues of the findings. The evaluation aimed to from the cultural and youth sectors will build skills and agency, whilst enabling view this moment as a call for action responsibility and ownership of the that signals the practical and strategic programme’s successes and challenges. methods for change. We hope that decision makers, senior management and leaders We acknowledge that this report is written of programmes working with young people through the lens of the cultural sector, but will reflect on our findings. we aim to present clear recommendations and a rationale for more sustainable, We outline three key areas of reciprocal and equitable work across the recommendations, barriers and solutions youth and cultural sectors. that are based on experiences over four years’ work by the galleries and their We welcome the opportunity for partners. We draw on the in-depth discussion. We want to draw upon our Circuit Programme evaluation and reflection that underpinned collective experience and make plans for National Team

About This Report 6 FOREWORD

7 FOREWORD the galleries, across digital platforms, in physical spaces and in socio-political contexts. There isn’t a level playing field for access to the arts and many may not feel a gallery is for them. We need to define the I believe that the future of the museum type of positive change necessary to make and gallery sector should be shaped by the things fairer for young people so that they emerging generation of creative people. find spaces that welcome and support their For the past four years the pioneering creative energies. Circuit programme has brought together 15 – 25 year olds in a unique and important Circuit involved more than 175, 000 network across six Plus Tate partners and people across England and Wales and has Tate. Working together in an integrated left a substantial legacy. This report sets way has shown us how we can think out some of the things we learned: the differently about what we offer in the importance of access for all to cultural gallery spaces, online and in the community. resources; of working closely with the I was lucky enough to work directly with youth sector so that they lead new some amazing young people during my initiatives; of being flexible, taking risks time at The Whitworth – they played a and understanding the complex, positive huge part in the success of the opening of dynamic of difference; of integrating young the new Whitworth; they then created the people not just through learning projects WARP Festival, which was part of Circuit, but also through programming, decision- and were inventive in ways we could making and communications activities. never have imagined. The place was alive with creativity and I saw first-hand how We thank Paul Hamlyn Foundation for their transformative their ideas could be. generous support of Circuit, and for their trust and progressive approach which has But I am also conscious that to be relevant enabled us to be thorough and rigorous. to these young people we need to listen to They have helped us to delve deeply into their experience and find out how they want the ways young people, galleries, and youth to work with us. We need to understand organisations can drive the shift that will what the relationship of the visual arts help museums and galleries play Maria Balshaw is to their cultural experiences outside a more vital role in society. Director of Tate

Foreword 8 circuit.tate.org.uk 9 TEST RISK CHANGE

FOR THE FUTURE

RECOMMENDATIONS 10 GALLERIES MOTIVATION YOUNG PEOPLE AND THE FOR DIVERSITY AND CULTURAL YOUTH SECTOR AND CHANGE PRODUCTION BUILDING PARTNERSHIPS

Adapt your resources and Define your motivations for Establish ways for young form partnerships that diversity – in your audience people to work within respond to the current and workforce. organisations as producers climate of limited budgets of cross-art-form cultural and cuts. Understand the changes activity that resonates that need to happen, the with their wider social and Identify common motivations, timeframe, and where the cultural experiences. priorities and values. responsibility lies. Provide progression routes Harness each other’s Reflect and learn from that allow for the development expertise, and share ways short-term projects that of transferable personal of working that are of you connect to long-term and professional skills, for benefit to young people. strategies for change. education and employment, and an increased understanding of the cultural sector.

Recommendations 11 INTRODUCTION

12 INTRODUCTION and identifying the organisational change The programme engaged with thousands required to make these aims sustainable. of participants and demonstrated that art can have a significant impact in building Coming together as a national network, young people’s confidence, their practical we set out to create better access to the skills, and their social and personal The idea for Circuit was developed by arts for young people and to be more development. Circuit gave young people Tate as part of its Learning programme, relevant for the diverse audiences who do the chance to influence arts organisations and was also informed by the Plus Tate not traditionally access cultural resources in a tangible way – it explored Learning Programme. Its formation in galleries. approaches to ‘peer-led’ working, giving was set against a turbulent backdrop of young people the space and skills to government cuts to public spending and Circuit galleries worked with youth bring their own cultures and voices into the 2011 England riots. Today, the context sector organisations to investigate galleries and to share this with the public. of uncertainty continues, with significant current challenges, and to test ways Through the programme, each gallery ongoing cuts to youth provision across of collaborating between arts and developed their own core group of young the UK,1 the rise of nationalism, and the youth organisations. One aim was to people who produced events, including political and economic instability caused enable gallery resources to be ‘easier a high-profile festival at each site, and by Brexit. The 2017 UK government to reach’ for young people. Inevitably, established new partnerships with election highlights these uncertainties, the social and political shifts that took local youth sector organisations. They but also demonstrates the urgency to place over the last four years have been contributed to a national picture of this develop opportunities with and for young crucial in understanding the realities of work hosted on the Circuit website. people if we really want their contribution strategic and sustainable partnership and participation in decision-making work. The significant financial losses The variety of organisations and locations across society. and restructuring resulting from public across the Circuit galleries presented a funding cuts put a strain on the stability good representation of the national context, We believe that public institutions and of relationships between organisations, in terms of organisations’ scales, skills and cultural organisations have a responsibility project participants and their experience. Being responsive to context was to contribute to social and civic life in the audiences. But working in partnership vital. Notably, Circuit has raised questions UK for all citizens. Circuit was developed helped provide new ways of working around diversity in local contexts, and to explore ways in which galleries can with a diverse range of young people. reflected on the structural and behavioural create long-term relationships with youth Working collaboratively also enabled us barriers to inclusion in our galleries. It organisations that ensure a diverse range to maintain engagement and provide highlighted the real need to continue making of young people have equal access to consistent provision for the young long-term organisational changes so that their resources, whilst understanding people involved. there is greater diversity of social class,

Introduction 13 ethnicity and educational backgrounds motivations for diversifying, before we can opportunities for young people’s personal within audiences and the workforce. achieve anything. Is it to enable the public development and social mobility. But how Cultural organisations have tried to address to have ownership and agency within public can cultural organisations come together this over the years, but much more can be institutions? Is it to develop new audiences’ with youth organisations to do this for the done to instigate longer-term change.2 loyalty and help falling visitor numbers? Is long-term? Can we be allies for change? it to offer young people opportunities to And if so, what next? From the outset, evaluation and develop new skills? Or is it so that galleries reflection underpinned Circuit; it was a can understand what younger generations key cornerstone to our work. Through want right now and in the future? extensive data collection and research, Circuit has been able to investigate Young people have an aversion to being the complex picture emerging of categorised as a homogeneous group. Each the experience of participants and young person participates in a programme organisations. The next step is to continue with shifting motivations and identities. to respond to this evaluation to enable Their individual changing circumstances substantial change to take place. and interests will have influence on whether they continue to participate or not. Circuit Galleries and youth sector organisations showed that to remain relevant, cultural can provide a place for young people’s projects should not make assumptions, but contribution. They can offer a space for be responsive to the needs and shifting creativity, debate and reflection on current interests of groups and individuals within social and political issues, as well as be a the 15 – 25-year-old age range. place for skills development. The ongoing debate around such issues across all media While not every organisation will or can highlights the need for young people’s devote substantial resources to this participation and influence to be present work, it is arguable that we need to unite within organisations, so that organisations principles and consolidate resources remain in touch and relevant. across youth and cultural sectors even more so now than when the idea We have learned that it is important to be for Circuit was originally conceived. Mark Miller transparent about why we want to bring Galleries can continue to make changes Circuit Programme National Lead and young people into our organisations. We to meet their civic responsibility to Convenor: Young People’s Programmes must state the personal and professional their communities, as well as provide Tate Britain & Tate Modern

Introduction 14 While not every organisation will or can devote substantial resources to this work, it is arguable that we need to unite principles and consolidate resources across youth and cultural sectors even more so now than when the idea for Circuit was originally conceived. Galleries can continue to make changes to meet their civic responsibility to their communities, as well as provide opportunities for young people’s personal development and social mobility. But how can cultural organisations come together with youth organisations to do this for the long-term? Can we be allies for change? And if so, what next?

circuit.tate.org.uk 15 RECOMMENDATION 1.

GALLERIES AND THE YOUTH SECTOR BUILDING PARTNERSHIPS 16 GALLERIES AND THE some fundamental differences, such as further staff training to support young social class and conflicting organisational people with a range of complex needs. YOUTH SECTOR BUILDING priorities. It showed two contrasting PARTNERSHIPS approaches to projects: those that start Galleries and youth organisations can with young people's own interests and learn from and support each other. By developing mutually beneficial part- value the process, and group project Actively understanding each other’s nerships with youth sector organisations, work with a fixed outcome. Youth contexts and limitations, was even more galleries can signal their commitment to partners and participants called for important during this recent period of finding ways for young people to be part of a levelling of hierarchies, where staff, instability and government cuts.3 By their programmes. Occasionally, galleries artists and participants are equally valued. coming together to share resources and look to the youth sector to ‘supply’ project However, this can create tension if one expertise, they can attempt to tackle the participants so that they can fulfil their person or organisation is held responsible arising social and economic challenges own aims; instead they should focus on for what is deemed to be the ‘successful’ young people face, whilst developing the benefits to the young people and youth or ‘unsuccessful’ delivery of a project. long-term partnerships and networks. organisations involved. To make the most impact, partnerships In some instances, being involved with should be responsive to their local, Galleries are in a unique position to offer a project marked the start of a longer- political and social context. Investing youth organisations space and resources term, more in-depth connection to time to build honest and transparent that provide access to the arts. Galleries the gallery for an individual young relationships, can help both sectors to can help young people to build creative person. But such instances were few. empower and support each other to open-ended relationships on their own This suggests that barriers remain – a develop new ways of working. terms. Working together can produce op- young person may not identify with a portunities for participants to have cultur- gallery, socially or culturally; or they al learning experiences and develop skills may have other priorities and challenges that benefit them personally and profes- in their life. Young people need to be sionally. Shifting beyond doing 'outreach' able to understand and visualise what work in the community can build closer opportunities are available to them relationships between people and the in a gallery. Gallery staff found the gallery, as a welcoming, public destination. requirement for bespoke, pastoral support for vulnerable individuals Some of the challenges when establishing challenging, in comparison to the more partnerships have been identified as formal group-based work of gallery a ‘clash of cultures’. This highlighted education. This underlines the need for

Galleries and the Youth Sector Building Partnerships 17 CHALLENGES • Partnerships can break down due to that practitioners from youth and ongoing cuts in the youth sector. gallery sectors have a relatively & BARRIERS Cuts are causing increased demands surface-level understanding of one on youth workers, higher staff turnover another’s practice. and staff reductions. • Ingrained methods of working in • A culture of competition rather than partnership are hard to shift. It • Staff and senior management in youth collaboration within the current funding sometimes feels easier to revert to the sector organisations may change their climate. This breeds ‘gatekeeping’ habit of planning and delivering a project priorities, in response to shifting working where organisations are protective of straight away, rather than building a methods or requirements in their field. cohorts of young people, creating a relationship first. reluctance to signpost them to other • Relationships are often held between beneficial opportunities. • Facilitators within galleries may individuals and not necessarily shared lack understanding of their own across organisations; partnerships • The tendency to plan ‘for’ rather privilege and not have the skills to can end when staff leave. than ‘with’ youth organisations, allowing support working with young people the creative agency to stay with the with different social and cultural • Lack of time allocated to planning, arts organisation. backgrounds and needs. knowledge-sharing and relationship-building. • Perceptual barriers about galleries relating to class and social difference • Youth sector professionals are hesitant remain, which can discourage partners to utilise visual art institutions as and participants from getting involved. an environment for engagement, in comparison to disciplines such as • Different expectations of what a theatre and music. project should achieve; different opinions about whether the process or • Differing concepts and values related product is the priority. to cultural capital, creativity and art across the youth and cultural sector. • Budget management sitting solely with the gallery can cause imbalance • Knowledge and discourse about in accountability and control gallery education stays within its own between partners. professional field. Failure to recognise

Galleries and the Youth Sector Building Partnerships 18 IDEAS & • Join and host local networks. Cross- together throughout a project, and SOLUTIONS sector networks can promote and adapt things in response to what you share ideas on ways of working with find. Consider doing a skills audit at young people within their communities, beginning of a partnership. making further connections between • Identify which partners you want to the youth and arts sectors. • Create practical continued professional collaborate with and articulate your development and training opportunities motivations for doing so. Ask how • Identify what approaches to take for gallery staff, specific to youth sector young people will benefit, not just what to establish a reciprocal, equal and partnership work and working with the impact will be for your organisation. sustainable partnership. Understand vulnerable young people. and address what might prevent a • Employ a diverse workforce of viable partnership. • Broaden your understanding of each facilitators and staff that represent other’s sector and methods. Don’t rely the partnerships and young people • Evaluate partnerships to help establish on a limited knowledge of the perceived you want to engage with. how to improve them or when to end pressures of other organisations. them. Acknowledge when a partnership • Ensure partnerships are responsive isn’t working; address any issues and to their local, social and political decide if it is feasible to continue. context. Be aware of fluctuating financial and human resources. • Work together to plan a project before Define what you can do – without the ideas, structure, timeline and project funding – to support content are fixed. Set expectations, partnership work and provision for outcomes and roles from the start. young people. Formalise with a written agreement if necessary. • Build relationships at a strategic and ground level at the initial development • Involve young people from the beginning, stage of a programme. Invest time so that they influence the ways in developing trusting, confident organisations work together, as well as a relationships. Understand each other’s project's objectives and outcomes. motivations and priorities, and find shared values and aims. • Learn from each other’s expertise and approaches. Allow time for reflection

Galleries and the Youth Sector Building Partnerships 19 circuit.tate.org.uk 20 RECOMMENDATION 2.

MOTIVATION FOR DIVERSITY AND CHANGE 21 MOTIVATION FOR visitors and partners from wanting to the cultural sector. Therefore, Circuit engage with a gallery, which in the long- galleries identified the provision of DIVERSITY AND CHANGE term could have far-reaching implications practical, transferable skills for young for projects, funding and policy, as well as people as a priority. However, Circuit why these types of cultural organisation evidence indicates that family income, The Circuit programme highlighted should exist. Across a range of experiences, support and knowledge of the sector still divisions in society surrounding class, race there was common learning: that galleries affects young people’s ability to pursue and socio-economic background. Our should be clear about their motivations for a career in the arts. Recruitment and evidence demonstrates that – despite reaching a diverse audience. They should employment structures need to alter to decades of discussion, research and not just be targeting a particular ‘data set’ open up opportunities to a greater range initiatives around diversity and equality to fulfil requirements set by funders or of young people. In doing so, galleries can of access in the cultural sector – young organisational aims, but be advocating a shift aspire to help rebalance social mobility people and youth sector organisations to inclusive programmes and practices that and privilege for individuals.4 still feel and speak about the barriers that embrace ‘difference’. prevent them from engaging. Some young To be more inclusive, organisations people think that galleries are culturally, ‘Diversity’ has become a loaded term, need to be willing to reflect on their ideologically and economically elitist. This and is often assumed to be shorthand current ways of working and commit to can be due to a lack of representation in for ethnicity and disability. Use of the long-term change. Without diversifying the staff and ethos of galleries. There are term also creates a barrier to those now, galleries risk failing to be relevant also assumptions that specific knowledge whose job it is to make change relating to to audiences and a workforce that is is required to enter and be accepted in a representation happen. It can segregate evolving with the ever-changing local and gallery. During Circuit, young people have their work from core activity in galleries. global context. Without change, galleries been explicit in their call for our galleries We make reference to ‘diversity’ and will continue to provide culture for a and museums to be more open, relevant ‘difference’ as a means to cover a wide minority, whilst not capitalising on the and representative organisations with a range of identity politics being negotiated rich creative and cultural changes that more diverse workforce. and discussed by young people today. This are happening across our society today.5 links to ethnicity, gender and sexuality, as Circuit galleries engaged with their well as to social and economic status, and communities and audiences through different levels of privilege. concerted, targeted work. Participants are aware of and can be resistant to being Young people are seeking understanding approached by an organisation to ‘tick a and experience of professions and box’. A lack of trust can prevent potential pathways both across and outside of

Motivation for Diversity and Change 22 CHALLENGES • Lack of capacity or skills to collect and analyse audience data will hold back & BARRIERS progressive change.

• Resistance from participants or • Lack of long-term strategies and audience members to categorise commitment to diversifying audiences themselves when asked to give their and workforce within galleries. demographic data.

• A non-inclusive approach of working • Recruitment structures and processes with young people who are ‘the that target and attract applicants usual suspects’ – participants whose from a narrow range of experience experiences, educational backgrounds and backgrounds. and social class may mean they are already familiar and comfortable with • Lack of training for staff in supporting cultural organisations. young people from different backgrounds and experiences once • Existing perceptions about galleries – they are employed. including the welcome and language it uses – can deter people from visiting. • Perpetuating the habit of offering low- paid or unpaid work to young people. • A workforce that is underrepresenta- Young people may take this up, as they tive of people from different socio-eco- are eager to gain any experience in the nomic and ethnic backgrounds. If people sector, or feel ‘indebted’ to a project, don’t see themselves in an audience or creating an unequal balance between organisation, they may not be individual and organisation. interested in visiting. • Unequal financial and parental support • Marketing strategies that do not target that limits the ability to take up the audiences that young people’s unpaid opportunities, which continues programmes are aimed at. the cycle of a predominantly middle- class workforce.

Motivation for Diversity and Change 23 IDEAS & • Identify the motivations of the • Work with youth sector and community audiences you want to reach. partners to devise work opportunities. SOLUTIONS Understand the challenges around Identify possible groups of young people monitoring the success of reaching who might apply. these audiences and ask yourself what • Clarify your organisation’s motivations skills are needed to analyse it. • Clarify whose responsibility it is to make for achieving greater diversity in your change happen. Plan a time frame for workforce, participants and audiences. • Consider the type of data and long-term change. Ensure there is the indicators of success that are required. commitment, conditions, support and • Understand and react to the specificity Understand why this information will resources to make this work possible. of your organisation – its history, help to create long-term change. location, structure and programme. • Consider the impact of funding models What does diversity mean in that • Tackle perceptual barriers about that result in short-term projects. If context and how can you manage cultural organisations through front-of- staff leave when a project ends, build in attainable and sustainable change? house staff training. ways to ensure what was learned from a project stays within the institution. • Map youth organisations, galleries and • Work with young people from youth museums in your local area to establish organisation partnerships to contribute who to work with, who you are not to staff and organisational development working with, and the reasons why. through auditing the welcome they receive when attending cultural • Think about audience groups when organisations. programming and connect the marketing to this – rather than • Review the type of opportunities that identifying ‘young people’ as a are available in your organisation. homogenous group. Review your recruitment processes. Identify what changes need to happen to • Develop an organisational create mutually beneficial opportunities understanding and support of the that are accessible to people from a positive dynamics of ‘difference’. broader range of backgrounds.

Motivation for Diversity and Change 24 circuit.tate.org.uk 25 RECOMMENDATION 3.

YOUNG PEOPLE AND CULTURAL PRODUCTION 26 YOUNG PEOPLE AND digital media, creates relevant connections Listening and being responsive are for audiences. Their ideas link into essential: it has been crucial to evaluate CULTURAL PRODUCTION people’s wider social and cultural learning, participants’ experiences. Young people demystifying cultural organisations and play a central role in this, and benefit from helping to develop more diverse audiences. devising and analysing creative evaluation. When young people are supported to It is up to galleries to value young If reflection is embedded, it can result produce cultural activity within galleries, it people’s cultural production internally by in effective change that is in line with can benefit them personally and professionally, distributing the responsibility of youth young people’s needs, as well as audience attract new audiences and have a significant programme aims and delivery across engagement targets. If what is learned impact on the wider institution. departments, such as marketing, curatorial is then applied, it can influence ways of and Learning. In turn, galleries must equip working across an organisation. Evidence from Circuit supports staff with the skills to facilitate work with a conclusion commonly promoted by the diverse participants and audiences. Galleries should support the widest range arts sector: that there can be significant of young people, whilst fulfilling their civic social, emotional and cognitive benefits for How a gallery supports young people's role. They should be flexible, social spaces young people through informal, communal agency should be shaped to fit each where young people can take ownership learning with art.6 When given the power to organisation; whilst key principles and to explore prevalent issues, giving visibility produce cultural activity from inception to structures may underpin this work, it to different perspectives, cultures and completion, young people show increased is essential to adapt to the specifics of experiences. Engaging with culture in levels of confidence and motivation. It can each project. However, it should be noted galleries and museums is one way for result in an awareness that they can bring that the time and capacity required to people to become active members of their about change, along with greater socio- support flexible peer-led working are often communities, and is one way for young political understanding. These experiences out of sync with organisational patterns people to contribute to social change. develop knowledge and build positive and deadlines, particularly when working relationships, not only between the young across different teams, such as marketing. people themselves, but within their Young people’s roles as co-producers galleries and communities. and peer-leaders within organisations continue to present challenges. For Young people are valuable producers, example, how much space for contribution participants and employees. Young and autonomy can be given within an people constructing cultural activity in organisation’s hierarchy and bureaucratic galleries in different art forms, such as structures? performance, spoken word, music and

Young People and Cultural Production 27 CHALLENGES • Ongoing reflection and evaluation is school, college and other important time-consuming, particularly when challenges in their lives. & BARRIERS organisations are under pressure to prioritise delivering activity. Staff may • Formalised approach and ethos of lack the skills for effective evaluation galleries’ peer-led programmes are • Internal hierarchies, which result in and for then applying what they learn. not often aligned with the aims to less support and resources for work include young people from working- with young people. • Limited opportunities to share class backgrounds. learning beyond Learning teams in • Governance structures, where young galleries, so that it reaches all levels people’s perspectives are not considered. of the organisation.

• Institutional habits, timelines and • Staff being held accountable for the structures put pressure on being able success of a project and therefore to support collaborative work. held responsible if it is deemed a ‘failure’. This may prevent them from • Facilitators, staff and an organisation’s taking risks and trying new things, or reluctance to share decision-making may limit the amount of control and can mean that creative agency stays autonomy handed to young people. with the gallery, rather than nurturing young people’s ambitions. • Staff may lack the specialist skills to facilitate work with young people. • Tension relating to whether or not the Sufficient knowledge and time are gallery is a space for different forms needed to support group dynamics of cultural production other than and the needs of individuals. This can the gallery collection and the existing include supporting issues associated exhibition programme. with mental health, or mentoring young people looking for development • Tension relating to differing views opportunities. about quality and the status of young people’s programming within the • Young people’s time and capacity hierarchies of organisations. to participate and contribute to programmes, due to family care,

Young People and Cultural Production 28 IDEAS & • Create opportunities for collaboration • Respond to participants’ individual needs between professional roles that work and interests and support autonomous SOLUTIONS directly with young people. This expe- learning within a project. Recruit artists rience can be a way for professionals and facilitators who can be responsive to be aware of what young people need and flexible to these needs. • Spend time defining your motivations to feel welcomed and supported within for working with young people. Define their organisations. • Build time for reflection into project clear benefits for young people, not plans and timelines. Adopt a cyclical just benefits for the organisation. • Listen to young people. Give them ways process of research, reflection and to be critical and reflective, and respond action. See where the skills gaps are • Develop a set of principles and to what they say. Allow them to remain and provide appropriate training. values that will underpin your critical and bring in new perspectives organisation’s work with young people rather than them taking on the gallery’s • Be responsive as change happens. for the long-term. existing ways of thinking. React to ongoing shifts in programming and audiences. For both staff and young • Establish ways for young people to • Provide specialist training for all staff people, clearly state a commitment work within galleries as producers of to support different ways of facilitating to change, experimentation and risk- cross-art-form activity that resonates work with young people. Invite youth taking. with their wider (sub) cultural workers and youth organisations to experiences. Identify how they can be lead training. Ensure training supports • Embed a culture of reflection so supported within existing institutional participants and audiences with learning is recorded. Establish formal frameworks, and what might need to different and complex needs. channels to share experiences beyond adapt, and how to change it. project teams to influence wider ways • Enable staff to hand over creative of working across an organisation. • Develop progression routes and path- agency and encourage risk-taking, ways for young people that provide but ensure there is enough capacity experience, personal and professional within their role to work through the skills, and an increased understanding challenges that emerge from developing of the cultural sector. new ideas and working methods.

• Distribute responsibility for this work across your organisation and demon- strate commitment at a senior level.

Young People and Cultural Production 29 circuit.tate.org.uk 30 CIRCUIT

A JOURNEY 31 The experience of Each developed each Circuit gallery their partnerships was different. and programmes in response to their own experience, location and participants.

Here we share a small selection of those experiences and notable moments for the programme at each gallery 2013–17.

A Journey 32 BUILDING PARTNERSHIPS AND WORKING TOGETHER

2013 2014 2015 2016 2017

Circuit begins with up to two years for The Whitworth and bridge organisation Galleries are set diversity targets, based on galleries to research and develop strategic Curious Minds lead a sector facing their local contexts. This aims to encourage relationships with partners. Circuit aims conversation bringing people from a range galleries to focus on the demographic profile of to engage 'hard to reach' young people. of professional backgrounds in the public and young people through data collection, and to act Galleries identify what this means in their private sector to explore what is meant by as a driver to advocate for greater diversity. local community. 'hard to reach' and 'socially isolated'. One researcher notes that ‘Class difference Galleries acknowledge the importance of is the most often-cited reason for disparities investing time in getting to know youth sector between the cultures of youth organisations partners, with no agenda or planned project. and peer groups.’7

Galleries consult with bridge organisations, Firstsite become members of a local Youth Tate Britain and Tate Modern host a local network When programming their WARP festival, The Nottingham Contemporary shifts its focus local councils and youth services. Strategy Group and go on to initiate quarterly for youth and arts practitioners working with Whitworth look out into their community. to understanding the work of existing meetings which provide sharing and training young people with disabilities. They commission local youth and cultural collectives within the city, and plans to develop The Whitworth focus on their 'hyper local' opportunities for staff in nearby organisations partners to produce new content to be a community meeting space at the gallery. context – where the young people nearest that work with young people. Galleries identify benefits of working with showcased at this large-scale public event held They aim to support young people, whilst not them spend time. youth sector partners who already champion at the gallery and its park. adding pressure on to organisations to deliver Tate Britain and Tate Modern identify target the arts – including Girton Youth Project, more with limited resources. boroughs and build relationships with local Cambridgeshire and Raw Material, London. champions in the youth sector. A shared interest in arts makes it easier to bring together young people from Girton Tate St Ives identify barriers and challenges to Youth Project and the Circuit collective – they young people accessing provision, and build their join each other’s sessions, deliver projects partnership strategy, through hosting a youth together, and the youth worker supports sector day at the gallery for local youth partners. Circuit collective members.

Alongside consultation, galleries continue a Tate Liverpool identify the importance of the Nottingham Contemporary identify that the Wysing Arts Centre and Kettle's Yard shadow long-standing way of working – of planning presence of youth organisation staff during perception of the gallery is still a barrier. Even existing Romsey Mill, Girton Youth Project, and and delivering projects with youth partners a project. Their support shifts attitudes and if senior staff at a youth organisation support Cambourne Youth Club sessions, to familiarise straight away. behaviours, and some young people feel less a project, it isn't guaranteed that the youth themselves with their ways of working. confident and focused without that support. workers running the project will buy-in to it Whilst gallery staff can gain experience in and vice-versa. Staff turnover is high in youth sector supporting different groups, they are not organisations partnering with Wysing Arts usually trained youth workers. Nottingham Contemporary commission partner Centre and Kettle's Yard. Six out of the nine staff to steer a project, addressing issues youth workers they've partnered with are no around partners being able to commit time and longer in post. resources. But the brief is too open for them to develop the project and young people's agency successfully. Ultimately, the gallery is still leading.

MOSTYN shift from artist-led activities to Nottingham Contemporary ensure their At a Wysing Arts Centre and Kettle's Yard Firstsite work with YMCA to produce a film developing plans with a youth partner. project with Crocus Fields, a respite centre for project, the artist defines the importance of about young people’s experiences of living young people with disabilities, is participant-led, 'planning to adapt' in response to the young there. The artists respond to the young people starting with developing the interests of the people when delivering project in a youth club, and shape the project as it progressses, young people as a starting point. rather than sticking to a set plan. moving beyond what was originally planned. It is deemed a success by the participants, gallery and youth partner, but questioned by the youth service for not sticking to its original outcome. IN THE COMMUNITY AND IN THE GALLERY

2013 2014 2015 2016 2017

Firstsite work with Colchester Youth Enquiry Tate St Ives create Pop Up , an open Service and Barnardo's offsite first, to studio in a disused tea shop; without the 'rules' overcome perceptions of the gallery as an of the gallery, the artists and learning staff feel unwelcoming place. there is more creativity expressed.

MOSTYN run Question Spaces, an interactive To address local transport issues, Tate St Ives exhibition in an empty shop in Bangor, creating run the Magic Bus with Newlyn Art Gallery a connection with the local community. & The Exchange, which tours to local cultural venues, picking up young people on the way.

The closure of Kettle's Yard and Tate St Ives due to capital projects means running events offsite. Using venues already known to young people attracts a more diverse audience.

Gallery visits for MOSTYN's partners, Pixel A social worker involved with a Tate Liverpool MOSTYN and Penrhos Avenue Alternative and Viva LGBT+, alter participants' perceptions project notes the importance of being in the Education Centre discuss using the gallery as that the gallery isn't for them. Staff see the gallery to build a connection with it and its staff. an alternative learning space, for initiatives led potential value a change in environment can by Penrhos staff. have to engagement and learning. Nottingham Contemporary's long-term partnership with Crocus Fields, a respite centre for young people with disabilities, leads to participants regularly attending public gallery events and having workshops alongside Collabor-8 Collective members.

Galleries explore attitudes to young people Galleries identify training that their staff need to 'Mystery Shoppers' from mental health charity Each gallery takes a different approach to in public spaces. Firstsite make films looking support young people linked to front-of-house 42nd Street attend events and test the listening to and enacting upon young people’s at the Anti-social Behaviour Act – Talk Don't welcome and safeguarding. welcome of The Whitworth for people with views within formal governance structures. Rant and Fitting Out of Place – and ask the different needs. The project aimed to provide Firstsite appoints a young person as a trustee; question 'Are we good?', after young people Tate St Ives develops a seasonal model of gallery staff with a deeper understanding of and Tate Collective members present at Tate outside the gallery are called a 'YOB Menace' running Tate Collective, which acknowledges how young people experience the gallery, and Britain Advisory Council, beginning ongoing in local press. the changing demographics of their seaside the vulnerabilities and issues they may face. dialogue with the gallery director. town at different times of year; the distances Findings were shared with all public-facing Tate Collective Liverpool make a zine young people have to travel make it work best employees at a training day, co-delivered by Some galleries set up dedicated spaces for You Feel Like a Threat, Don’t You? focusing to run all-day sessions on Saturdays. 42nd Street young people and staff. young people within their gallery. Wysing on the welcome to young people at the Arts Centre opens the Circuit Studio, and gallery and other public spaces. They write Young people taking over social media Nottingham Contemporary develop plans statements to critique the gallery – 'We try channels at Wysing Arts Centre and Kettle's for a community space. to change young people’s attitudes to fit the Yard, and at Nottingham Contemporary brings gallery, but we don’t change the gallery a welcoming and relevant voice. Numbers of to fit the young people.' followers and online interactions increase. MAKING THE GALLERY PROGRAMME RELEVANT

2013 2014 2015 2016 2017

Galleries with existing collectives consider National evaluation of the core groups Wysing Arts Centre and Kettle’s Yard create Nottingham Contemporary note the what Circuit means for them. Five partners indicates that some are becoming more different entry points to their programme, importance of collaborating on workshops that have existing groups: Tate Collective institutionalised and less inclusive – with regular social public workshops, providing provide valuable creative social time for their Liverpool (est. 1994); Tate Collective London emphasising event planning and delivery, over a free drop-in experience. young people without pressure of retention (est. 2000); Get Involved at Nottingham creative and social experiences. or recruitment into the gallery collective, as a Contemporary (est. 2010); and Young Art Tate Liverpool adjust Tate Collective’s project way to build relationships gradually with young Kommunity at Firstsite (est. 2011). Tate Tate Britain's regular large-scale event Late at meetings to become social and creative people and alter their perceptions. Collective St Ives is re-established after Tate shifts to a 'peer-led' model, programmed gatherings. Without a project-driven agenda, a short break in 2012. and delivered by Tate Collective London for a more diverse group of young people stay Wysing Arts Centre and Kettle’s Yard define their peers. involved over a sustained period of time. some of the barriers that still prevent a young Galleries without existing core groups person from their youth partner organisations of young people start to establish them – joining their core gallery group. These include including Whitworth Young Contemporaries, the choice and location of activities, the food Cylch (later GLITCH) at MOSTYN, and Circuit offer, the approaches of staff and the exhibition at Wysing Arts Centre and Kettle's Yard. programme. The location includes the perceptions of the territories associated with particular community centres.

Tate Britain research on Late at Tate shows Tate St Ives state that the connection for Exhibitions and festivals take over galleries, that its multiple art forms are a major draw young people with the gallery does not need putting young people’s activities at the core for audiences. to start with the artwork or an exhibition. of the programme. These include Flipside The primary objective is to create confidence festival at Firstsite and GLITCH festival at Firstsite establishes groups for different and ease within the gallery first, as a way to MOSTYN. Festivals can increase visibility for art forms – dance, sound, circus and gaming, support young people taking ownership of work with young people and collaboration with as well as visual art. In this way, your first their programme. other colleagues, such as in marketing and interaction with the gallery may be with curatorial, and attract new audiences. an alternative form of art to one that is The WYC Presents strand sees large-scale traditionally associated with the gallery. events produced by young people become Large-scale events stretch the capacity of more central to The Whitworth’s programme young people and staff. Working towards them and are considered to play an important role in requires commitment over several months. the gallery being awarded Museum of the Year. It often sees a smaller group of the most proactive young people become engaged in the intensive planning and delivery required, whilst other young people’s attendance drops off. Tate Liverpool's project A Democratic Dialogue sees banners about important issues to Tate Evaluation led by young people is considered Collectives at the gallery are supported to think WYC Speaks at The Whitworth, developed by Collective taken into the streets and gallery central to how programming in the gallery is about programming events that aren’t just Whitworth Young Contemporaries, provides for public discussion; it serves as a platform reviewed. Circulate is established – a national for ‘people like them’, but of interest to a greater a public platform for debate between young for young people to feel their voices are being group of young people who evaluate and critique range of young people. Collective members people and other generations, posing questions listened to. the programme in their gallery and as a whole. show increased awareness of representation such as, ‘How Does Youth Culture Age?’, and By collecting data from visitors and reflecting and diversity within gallery audiences. ‘Does Black History Month Matter?’ Wysing Arts Centre and Kettle’s Yard Circuit regularly on the programme, participants are Cambridge collective are asked to run an event encouraged to consider how their events can Tate Collective Liverpool collaborate with Tate Collective give a peer-led tour of for the Stand Up To Racism campaign – an stay relevant to a wider audience. artists' collective Assemble to challenge Tate to young people from Bosco Centre, indication of a shift that their programme the role of the gallery. They send ‘ransom a community college. The group engaged connects to current issues. notes’ to gallery directors. The subsequent in conversations around sensitive topics conversations result in Art Gym, an including mental health, domestic violence Nottingham Contemporary begin to interactive exhibition, which tests the gallery’s and gang culture alongside a lead artist and programme thematically. Inviting partners position on valuing the process, rather than Tate Collective London, leading to young into the core programme brings more diverse knowing the outcome from the beginning. people from Bosco reporting shifts in their ideas than if work was produced only by young perception of art. people with a common interest in art. JOBS AND SKILLS DEVELOPMENT IN GALLERIES

2013 2014 2015 2016 2017

Nottingham Contemporary Advocates Tate Britain and Tate Modern run CV surgeries, Galleries identify a future priority as young Programme provides a practical entry point incorporating them into project debrief sessions, people’s desire for the development of for young people to connect with the gallery, helping young people to recognise and articulate practical, transferable skills. Some galleries whilst boosting skills to add to their CV. Young their skills. embed Circuit roles into their core staff. people are asked to complete a series of tasks, Others develop new training programmes to including asking a question at an event and upskill a more diverse range of young people. reviewing an exhibition. Examples include Circuit Conductors at Wysing Arts Centre and Kettle’s Yard, and Routes In at Tate Britain and Tate Modern.

Tate Britain and Tate Modern run projects with youth sector partners in the run up to recruitment for Tate Collective; this is to create a pathway for their young people to join the group.

Whilst some young people from youth sector organisations do join gallery core groups, one researcher notes that these individuals are the exceptions to the rule; they are often the most confident members of their youth organisation group and closest in social position to the existing members of the collective.

Wysing Arts Centre and Kettle's Yard launch The Whitworth runs an internship programme Using learning from their internships, Wysing its paid internship programme. with young people from mental health charity Arts Centre and Kettle's Yard set up a new 42nd Street. Youth partners can help to creative apprenticeship programme. This The Whitworth creates a formal Young identify young people who might be interested runs across both organisations, in different Evaluator role, to embed data collection in the opportunity and to identify the support departments, with a qualification at the end. and reflection on the programme into their they will need. wider team.

Firstsite aims to create job opportunities that The Whitworth launches its emerging artists With ex-Collabor-8 Collective members now Galleries, including Nottingham Contemporary, enable young people, who may not easily have programme to support young creative running Nottingham Contemporary’s youth Tate Britain and Tate Modern, review their been able to find work in their chosen field, a talent; this is to support their development programme and gaining employment in other recruitment procedures to consider how they chance to start on the employment ladder in a as artists and social practitioners. Firstsite parts of the organisation, the gallery feels it is could become more open to a broader range supportive environment. This can help young creates paid placements for young artists, listening to a youth voice, and that entrenched people gain experience, confidence and skills who initiate projects for Circuit groups, ways of working are being challenged. and other audiences. DATA

Throughout Circuit, gallery staff worked with professional evaluators to Definitions collect and analyse data. • Core Group Here we present a selection of data which indicates the ethnicity and Young people, 15–25 years, background of young people who were who work with galleries over involved in Circuit, their motivations a sustained period to develop, for getting involved, and the impact produce and deliver site specific the programme had on them. Circuit events by, with and for young people. Read the full quantitative and qualitative data report,8 plus further evaluation • Partnership Projects and research at circuit.tate.org.uk Bespoke work developed in collaboration with youth sector organisations who work specifically with young people described as ‘hard to reach’.

• Audience

The general public, participants of core group and partnership projects who attend Circuit events and festivals produced by, with and for young people.

A Journey 37 ETHNICITY 100

According to UK census data (2011), 18% of the total population of 16-24 year olds 80 in England and Wales are BAME (Black, Asian and Minority Ethnic). Circuit data shows that representation of BAME was greater than 18% across the different programme strands. 60 The graphs on the following pages indicate that galleries were successful in engaging with participants and audiences reflective of the ethnic diversity of their local area.

Where we have comparative data, we can 40 see that Circuit programmes attracted a significantly more ethnically diverse audience, in comparison to galleries’ general programme.

20

White Black Asian

Mixed Other Prefer not % to answer

Core Partnership Audience Group Projects

A Journey 38 ETHNICITY Firstsite Census Circuit

MOSTYN Census Circuit

The Whitworth Census Circuit Gallery

Nottingham Contemporary Census Circuit Gallery

Wysing Arts Centre & Kettle’s Yard Census Circuit Gallery

Tate Liverpool Census Circuit Gallery

Tate Britain & Tate Modern Census Circuit Gallery

Tate St Ives Census Circuit Gallery

% 20 40 60 80 100 A Journey 39 HARD Core Group

TO REACH 28%

26%

Circuit aimed to engage ‘hard to reach’ • In hospital / long-term physical young people. It defined this term as the or mental health needs 14% following categories: • Having a parent or carer • Having a long-term disability: physical, in receipt of state benefits 2014–15 2015–16 2016–17 sensory, hidden, learning

• Young parent Core Group Target 50%

• Young carer Audience

• Homeless 18% 18% 18%

• Gypsy, Roma, Traveller 2014–15 2015–16 2016–17 • Looked after child / care leaver

• Refugee Partnership • Asylum seeker 45% • Home educated

• In youth justice system 34% 28% • Not in education employment or training (NEET) 2014–15 2015–16 2016–17

Partnership Target 72%

A Journey 40 HARD TO REACH

The data indicates that there are still Approaches to reach diverse audiences challenges and barriers to engaging so included: called ‘hard to reach’ young people in long-term relationships with galleries • Setting diversity targets and as participants and producers. As the carrying out research to understand programme progressed, a greater local audiences. number of ‘hard to reach’ young people did join galleries’ core groups, though the • Building relationships with local total fell short of the target. youth sector organisations to help understand their priorities and Projects run in partnership with the working practices with young people. youth sector specifically targeted young people who were categorised by these • Identifying the kind of support that 'hard to reach' terms, but this is under- young people might need to engage, represented in the data. At times, it addressing for example, travel, food, was challenging for galleries to collect expenses and individual support needs. quantitative data, and sample bases for • Running targeted marketing and social partnership projects were relatively media campaigns. small. Furthermore, individuals do not always self-identify with defined • Young people producing relevant categories. Difficulties in collecting this multi-disciplinary arts programmes. data highlight the nuances of diversities, and the complexities surrounding social class, ethnicity and education.

A Journey 41 AUDIENCE MOTIVATION HOW DID YOU HEAR FOR ATTENDANCE ABOUT THIS EVENT?

The mixture of art, 23% music and activities 37% The art exhibition / 19% WORD OF MOUTH / free displays on show FRIEND / FAMILY

My friends going 17% The live music 8% 25% The artists who 7% SOCIAL MEDIA were involved

The workshops 5%

Was curated by 4% 10% young people SEEING INFORMATION / ACTIVITIES WHILE Was taking place 4% at (named gallery) IN THE GALLERY

To meet other like- 3% minded people

Was organised by 2% (named gallery)

A Journey 42 CORE GROUP What, if anything, stops you from 8.4 Awareness of the communication attending core group meetings? power of art ACTIVITIES 63%  Clash with education 8.4 Work experience skills commitments Which of the following, if any, have you got involved with as a result of participating in 30%  Clash with paid work Emotional, Social and Cognitive Benefits the gallery's young people's group? 19% Family commitments 8.5 Work with others as a team 81%  Planning and delivering events and festivals 13% Cost of travel 8.2 Express my opinion effectively

80%  Discussing or contributing to 10% Health 8.1 Listen to different points of view, ideas for workshops, events understand different perspectives and festivals Core group members were asked about 73%  Planning & delivering workshops the personal benefits of being involved Confidence in the gallery programme. They ranked 44% Evaluation predetermined categories out of ten, to 8.5 Explore and pursue more indicate how much the programme had opportunities 41% Marketing helped them to develop in particular areas. The highest ranking areas include: 8.4 Set goals for the future 40%  Public speaking and pursue them

40%  Producing art works Personal Development 8.4 Take responsibility

36% Curating exhibitions 8.8 New friendships, contacts 8.1 I can make a difference and networks to the world around me 36%  Filming / photographing 8.7 Enjoyment and understanding 8.1 I can achieve what I have 19% Administration of art set out to do

17% Finance 8.6 New ways of thinking 7.9 My own worth or value

A Journey 43 circuit.tate.org.uk 44 WHAT HAPPENS NEXT?

What Happens Next? 45 WHAT HAPPENS NEXT? Responsibility lies with all of us – practitioners, directors, funders, policy Be part of ongoing makers – to examine how we work, and collective action act on findings and expertise across the sectors to push for positive change for to champion work Circuit was an impetus for change: it gave young people in society. the organisations involved the opportunity with young people to take risks and test new ways of working Our aim is to support this through active with young people. They interrogated discussion with cultural and youth sector and their cultural what worked and what didn’t, and locally colleagues and organisations, to bring each gallery has committed to a range of together expertise from around the country. participation incremental and systemic shifts within in galleries. their organisations.

Through Circuit, we have been asking if the cultural and youth sectors can be allies in this Contribute at: change. Whilst exposing the complexities and ongoing challenges, our findings circuit.tate.org.uk fundamentally support the importance of working together more closely. @CircuitPHF #SparkChange We invite you to use these findings to provoke conversation, collaboration and action. Individuals and organisations can come together to identify practical actions to take, and shape new models of equitable partnership. To move forward we will need to work with policy makers and funders, to identify and invest in methods of long- term support and resources for national and regional cross-sector work.

What Happens Next? 46 circuit.tate.org.uk 47 ACKNOWLEDGEMENTS

48 ACKNOWLEDGEMENTS and we are grateful to all Tate staff for Thank you to the programme’s consultants their commitment to the programme. and researchers, who helped to Thank you to the staff at each of the interrogate and evaluate the programme: partner organisations for their knowledge, Rebecca Coles, Angela Diakopoulou, Rachel support and openness to collaboration. Escott, Myvanwy Evans, Liz Flanagan, Roz Huge thanks to all the young people who Hall, Anne Millman, Alex Rinsler, Nicola Sim, participated in Circuit, not only for taking Thank you to the gallery directors who Pat Thomson and Hannah Wilmot. part, but for critiquing, challenging and supported change within their organisation shaping the programme over its four years. over the course of Circuit: Maria Balshaw, Anne Barlow, Alfredo Cramerotti, Penelope Circuit has been possible thanks to the Curtis, Chris Dercon, Alex Farquharson, dedication and expertise of many gallery This report draws on the findings from Donna Lynas, Francesco Manacorda, staff, facilitators and artists around the evaluation of Circuit at each of the Frances Morris, Andrew Nairne, Andrea the country, who developed, delivered ten galleries. Thank you to everyone at the Nixon, Mark Osterfield, Anthony Roberts, and evaluated the programme. Their galleries and partner organisations, and to Matthew Rowe, Sir , Sally willingness to challenge themselves and the researchers and consultants, whose Shaw, Kathleen Soriano and Sam Thorne. their organisations pushed Circuit to test insight and analysis informed this report. and develop different ways of working, We are also grateful to Piotr Bienkowski to champion young people’s perspectives (Our Museum), Georgina Fung (UK Youth), Thank you to the programme Board, within and beyond their galleries: and Régis Cochefert and Faiza Khan (Paul whose guidance and insight has steered Hamlyn Foundation) for their advice in Circuit: Anna Cutler (Chair), Régis Jen Aarvold, James Barber, Katie Booth, producing this report. Cochefert, Caroline Collier, Peter Cathriona Bourke, Regan Bowering, April Hamilton, Jane Hamlyn, Patricia Lankester, Brown, Adam Carr, Marina Castledine, Elisabeth Murdoch, Jackie McManus and Abigail Christenson, Georgia Colman, Thank you to all of the staff involved Moira Sinclair. Helen Cooper, Rory Coyle, Vicky Clarke, in Circuit at the galleries: Firstsite, Gill Cullum, Lin Cummins, Shaun Curtis, Colchester; MOSTYN, Llandudno; Thank you to all those people who have Ruth Findlay, Tahira Fitzwilliam-Hall, Nottingham Contemporary; Tate been members of the Steering Group, Lindsey Fryer, Clare Gill, Karen Green, Britain and Tate Modern, London; Tate Working Group and National Evaluation Lou Greenwell, Kay Hardiman, Sue Hogan, Liverpool; Tate St Ives; The Whitworth, Team for their commitment and for sharing Naomi Horlock, Elizabeth Howell, Beth Manchester; and Wysing Arts Centre their expertise. Thank you to the young Hull, Michael Irwin, Freya Jewitt, Nicole and Kettle’s Yard, Cambridgeshire. people who contributed to Circulate for all Jones, Tomos Jones, Hannah Kemp-Welch, Circuit was developed and led by Tate their input and creativity. Hilary Knight, Lewie Litchfield, Frazer

Acknowledgements 49 Merrick, Judith Merritt, Jan Miller, Mark REFERENCES PhD Thesis, Tate / The University of Miller, Sarah Mitchell, Rachel Moilliet, Nottingham, 2018 forthcoming. Raluca Moraru, Rosie O’Donovan, Valentina Orru, Laura Nash, Sally Noall, Rachel 8 Annual Report 2016 – 17, Sphere Noel, Imogen Phillips, Michael Powell, 1 The Damage: A Future at Risk. Cuts Insights, 2017. In 2016 – 17, bases Emily Pringle, Deborah Riding, Shan Rixon, in Youth Services, Unison, 2014. for data were Core Group: 90; Liam Roberts, Ali Roscoe, Adrian Shaw, Partnership Projects: 176; Audience: Melanie Stidolph, Val Summers, Leyla 2 Step by Step: Arts Policy 1769. Base figures for other statistics Tahir, Sally Thelwell, Alice Thickett, Louise and Young People 1944–2014, King’s are available in the full report Thirlwall, Becky Timmins, Stuart Tulloch, College London, 2015. at circuit.tate.org.uk. Laura Turner, Andrew Vaughan, Frances Walsh, Esme Ward, Lucy Wheeler, Rachael 3 The Damage and Funding Arts and Woodhead and Sandra Wynne. Culture in a Time of Austerity, , 2016.

Circuit was funded by Paul Hamlyn 4 Equality, Diversity, and the Creative Foundation. We would like to thank them Case 2015 – 16, Arts Council England, for their very generous support, and 2016. encouragement to take risks and challenge our own ways of working, all with the aim 5 Graham Black, Transforming of advocating for change for young people. Museums in the 21st Century, Routledge, 2011 and Enriching Britain: Culture, Creativity and Growth, Warwick Commission 2015.

6 Imagine Nation: The Value of Cultural Learning, Cultural Learning Alliance 2017.

7 Nicola Sim, ‘Like oil and water?’ Partnerships Between Visual Art Institutions and Youth Organisations,

Acknowledgements 50 circuit.tate.org.uk 51 CREDITS

pp.9  © Nottingham Contemporary Circuit: Test, Risk, Change Copyedited and proofread Produced by the Circuit by Eileen Daly pp.15 Circuit Unlocks Digital, Programme National Team Cambridge, 2016 Design by Polina Joffe © Claire Haigh Mark Miller Rachel Moilliet Reformatted for web by pp.20 The Plaza, MOSTYN, 2016 © Nicole Jones Erno Forsström Luke Kirkbride Young People's Programmes Infographics by pp.25 The new Tate Modern opening Tate Britain & Tate Modern Amelie Scharffetter weekend, 2016 © Dan Weill Published in 2017 by Tate Typeface by ONMIN pp.30 Still taken from and Paul Hamlyn Foundation Talk Don't Rant, YAK Printer in collaboration with Tate Britain Gavin Martin Ilona Sagar, Firstsite, 2013 © Millbank Ilona Sagar London SW1P 4RG © Tate and Paul Hamlyn Foundation tate.org.uk pp.44 Tate St Ives, 2014 © Ian Kingsnorth Paul Hamlyn Foundation 5-11 Leeke Street pp.47 We Have Your Art Gallery, Tate London WC1X 9HY Liverpool, 2015 © Roger Sinek phf.org.uk pp.51 The Whitworth opening weekend, 2015 © Jan Chlebik

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