Creative Coast A case study in how the arts can support management of a natural World Heritage Site Copyright: Partnership, April2013 Designed by Wired Canvas Written and coordinated by Daisy Sutcliffe Triassic 250 - 200 million yrs ago

Jurassic go to www.jurassiccoast.org reason why theJurassic Coast isaWorld Heritage Site To findoutmore aboutthe Walk through Timeandthe 200 - 145 million yrs ago

Cretaceous 145-65 million yrs ago Table of contents

1 Contents, Introduction and Executive Summary 185 million years recorded in 95 miles of cliffs 6 Why the arts?

14 So what could we do and how? 34 arts projects over 5 years 16 What we did and why

19 Case Studies - Early projects Seen by more than

26 Case Studies - Flagship projects for London 2012 200,000 people

36 Acknowledgements 5,000+ participants and volunteers

1 Chair’s Introduction

In 2001 the length of the British coastline from Exmouth to Studland was designated by UNESCO as a natural World Heritage Site – natural heritage so precious that it must be conserved, protected and passed on to future generations intact. The coast records 185 million years of the earth’s history in just 95 miles, telling the story of the Mesozoic era from 250 to 65 million years ago.

The designation led to an explosion of activity along the coast as local organisations got to grips with how this could impact positively on their work. In 2005 an Interpretation Action Plan was written which acknowledged the role of the arts as a way of engaging people with the Site. This led to an ambitious Arts Strategy which in turn led to the development of a multi-faceted Arts Programme. This publication examines the programme, We would also like to thank Arts Council recording successes and lessons learned for England and all the other supporters who others who are interested in applying this have contributed in various ways over the model in some way to their own work. years. We would especially like to thank and County Councils for We would like to thank our arts partners for contributing time, expertise and funding, and getting involved in this new way of working. for having the vision to work across County They have produced some great art, from the borders in the true spirit of World Heritage. small scale to the monumental and we have all learned a huge amount about partnership, And finally we look forward to watching this collaboration and realising our ambitions work progress through the Jurassic Coast through working together. Without them, Partnership and the new Dorset Loves Arts this programme would not have existed. collaboration.

Chris Humphrey Chair of the Creative Coast 2012 Steering Group

Net Works Artist: Zachary Eastwood Bloom Producer: Big Picture

3 Executive Summary

UNESCO encourages World Heritage Sites to be There have been 34 projects which all contribute managed through partnerships, believing that in some way to managing the Jurassic Coast. These approach encourages their management to projects have so far involved over 5,000 participants become part of the fabric of the communities in and volunteers, and reached audiences of over which they are sited. Typically, partnerships are 165,000 directly. Hundreds of thousands more have formed of people from different sectors who have visited sites such as where there a stake in the Site – scientists, educators, tourism is now permanent art inspired by the Jurassic Coast. organisations, transport and others. The Dorset and Coast World Heritage Site (known as the The programme leaves behind increased Jurassic Coast) Partnership goes one step further understanding between the people who manage the than this, being, as far as we can tell, the only Jurassic Coast and the arts sector. This in turn has led natural World Heritage Site in the world that builds to better strategic planning across the sectors, and the creative sector into its management. despite the difficulties that arts, heritage and science face in today’s economic climate, a commitment to Over the last five years Jurassic Coast Arts continuing to work together over the next five years. Programme partners* have worked in many fields from cultural tourism through participatory arts to * See back page for full list of people who we have worked with arts and science collaborations. We have worked in some way to deliver the Jurassic Coast Arts Programme. with people from all over the world and together have developed some great art which provides insight Etude at Jurassic Coast Earth Festival into this extraordinary place. Artist: Yukio Suzuki Company Photo: Maisie Hill Producers: Daisy Sutcliffe & Ayako Miyake Key Observations and Recommendations

Clarity of purpose Be clear about what you and all potential partners want to achieve.

Less can be more Working in partnership produces rich work, often with wonderful unexpected outcomes, but takes a lot of time and energy, so start small.

Communicate Tell the partnership and the wider world what you are doing and why.

The arts can support management of a naturally designated Site Some management aims and policies can be approached through the arts and this often provides good value for money and new ways of looking at problems.

5 Why the arts?

Culture is integral to World Heritage. UNESCO is the UN’s “Involving artists and arts organisations in the Management cultural organisation, and the World Heritage Convention not of the World Heritage Site has given us a whole new only identifies cultural values for which Sites can be inscribed, perspective on how to achieve our aims and meet the but encourages all Sites to be treated as part of the cultural obligations of the World Heritage Convention. There are heritage of each locality, nation, and of the world. some parts of Management, particularly education and communicating the OUV, where taking an artistic approach The Outstanding Universal Value (OUV*) of the Jurassic Coast, has enabled us to tell completely new audiences about was an integral part of the area’s cultural identity well before World Heritage, and in very engaging and inspiring ways. inscription as a World Heritage Site. The Arts Programme has Working with artists can provide a creative spark that will built on this rich heritage bringing to life how the cultural sector not only enhance the value of what you are trying to do, can continue to explore World Heritage values and the OUV but can make you look at the way you undertake your work of the Site itself. It provided opportunities for creativity to be in a whole new light.” integrated into wider education, interpretation, conservation - Sam Rose, Jurassic Coast World Heritage Site Manager and awareness programmes to increase participation, engage different audiences and set a precedent for cross sectoral work especially given our OUV, between the arts and earth sciences. All of these then contribute in some way to protecting, conserving or presenting the Site for future generations.

Moving Tides Project Manager: Sarah Colwell. Photo: Dave Penman Producer: Alan Rogers for the Olympic Torch Celebrations Conservation and Presentation of the Site

Cross-sectoral work The Site is managed by the Jurassic Coast Partnership, a non- * The Site’s Outstanding Universal Value is the reason for which it is inscribed constituted group of stakeholders who are responsible for on the World Heritage List – the features that make it so special that it should writing, monitoring and reviewing the Management Plan. They be conserved and protected for all humanity for all time. Dorset and East Devon are supported by a small team who they charge with overseeing Coast’s OUV is basically its rocks, fossils and landforms: This falls under UNESCO the coordination of the agreed Plan. The Partnership has also World Heritage Criteria (viii): The coastal exposures within the Site provide an established a charity, the Jurassic Coast Trust. almost continuous sequence of Triassic, Jurassic and Cretaceous rock formations spanning the Mesozoic Era and document approximately 185 million years The Partnership is primarily a conservation organisation, of Earth history. The Site includes a range of internationally important fossil which aims to protect, conserve and pass the Site on to future localities – both vertebrate and invertebrate, marine and terrestrial – which have generations. Many individuals and organisations are involved produced well preserved and diverse evidence of life during Mesozoic times. from many different sectors. This gives access to many different The Site contains a range of textbook exemplars of coastal geomorphological business models and funding streams and also makes savings as features, landforms and processes. The Site is renowned for its contribution mutual objectives are achieved through cooperation, reducing to earth science investigations for over 300 years and has helped foster major duplication. The Jurassic Coast Arts Programme has focused on contributions to many aspects of geology, paleontology and geomorphology. This developing art which increases understanding and awareness of Site has continuing significance for many aspects of earth science research and is our OUV and the concept of World Heritage. a high quality teaching and training resource for the earth sciences.

Learning Point: As people specialise, so does their language and their view of the world. Take time to unpick this and make sure that everyone understands the same thing from conversations at the beginning of any projects.

7 Conservation and Presentation of the Site continued...

Arts and Science Learning Point: Both the arts and science sectors can benefit from Do we learn about our world through rigorous scientific working together. These collaborations bring new perspectives investigation or through reading poetry? to each other, drive innovation, build new audiences and ways of communicating with the wider world. We believe that the answer to this is both. Arts and science collaborations are a growing movement both in the UK and around “Art and science, the twin engines of creativity in any the world. Scientists and science institutions need the general dynamic culture, are commonly thought of as being as public to understand and support what they are doing. Artists and different as day and night. This is a critical error. The the art they make happens in a context and often relate to issues partitioning of curiosity, inquiry and knowledge into that are key to their generation, many of which currently relate to specialized compartments is a recipe for cultural stagnation.” scientific research. Both, then can benefit from working together. - Stephen Wilson (2010) Artists provide a different route into understanding and caring about science; scientists have knowledge which is of interest to “What I appreciate about the Jurassic Coast [arts] projects is artists. Both can provide different lenses through which to view the space allowed here to consider the ‘agency’ of nature, not the familiar and the not so familiar. as a bundle of forces, materials and events awaiting human perception and analysis, but existing in and for itself.” Many projects in the Jurassic Coast Arts Programme tested how - Professor Deborah Dixon (2012) this worked in the context of a natural World Heritage Site primarily working with lay-scientists outside the research environment. They explored how the arts can play a role in managing a Site designated for science, what kind of partnerships are needed to make this work, and how these can be developed and supported. Education, Interpretation and Public Understanding of the Site

The arts have a lot more to offer World Heritage Sites than The Jurassic Coast Partnership runs a very successful traditional interpretation. The arts can engage people emotionally education programme. This focuses on helping teachers to with place, the stories about what creates it, and the concepts effectively integrate the core values of the World Heritage behind the World Heritage Convention. Site into the Primary and Secondary curriculum. The Arts Programme has enhanced the delivery of creative approaches World Heritage Sites also have a lot more to offer the arts than in scientific and geographical learning. a beautiful venue or subject. The concept of World Heritage and the way that this manifests in places and in people holds no Learning Point: Applying a creative approach to education, end of subjects for interested artists to explore. interpretation and public understanding programmes is an effective way to ensure that your Site is known about, Both the Jurassic Coast Partnership and the arts sector sought understood and remembered. to increase the audience for their work through the Arts Programme. The theory was that audiences for arts would find “My awareness and understanding of how creative learning out about the concept of the Jurassic Coast and the science can be employed in teaching science and geography has grown that underpins it, and that people visiting the coast would have through having an Arts Coordinator in the team. The Education access to some great art. Our ambition was to introduce new Programme has been enhanced through working with artists people to both areas of work. Although this has been difficult and arts projects that have supported our learning aims both in to evaluate, the evidence that there is suggests that new schools and at public events.” audiences have been established for all partners. - Anjana Ford, Jurassic Coast Education Coordinator

Cabinet of Curiosities Artist: Forkbeard Fantasy Producer: Dorset Museums Service 9 Conservation and Presentation of the Site continued...

Permanent Art on and close to work is for artists to be integrated the Site into new public realm developments, The Dorset and East Devon Coast World for instance interpretation centres, Heritage Site is a long thin strip of cliffs walkways, paths, bridges, street and beaches, owned by many different furniture, and car parks. The artist’s landowners, and protected through a contribution may be identifiable as an variety of UK conservation and planning artwork or may be integrated within an laws. To help those who are interested overall scheme or project. in how the Site is presented, especially planners and engineers, we devised, in Learning Point: Building artists into consultation with Public Art South West plans to develop areas near the Site - a ‘Public Art Code of Practice’.* including access points helps to ensure that these are unique and appropriate This aims to create opportunities for to the designation. artists and craftspeople to contribute to the built and natural environment *Can be downloaded at: whilst ensuring that all work is www.jurassiccoast.org/arts appropriate to a World Heritage Site. It outlines that we encourage temporary work or events which tread lightly Jurassic Journey on the land rather than permanent pieces. Our approach to permanent Artist & Photo: Ben Osborne Producers: Artsreach and Villages in Action Arts and environment / climate change

The communities in Dorset and East Devon are gateways to England’s only natural World Heritage Site. This gives these communities a unique vantage point from which to contribute to the ‘arts and environment’ and the ‘arts and climate change’ movements, both of which have now developed a significant body of work both in England and further afield.

The Jurassic Coast Earth Festival (page 26) was developed in part to use the designation of the Jurassic Coast to draw people’s attention to their relationship with nature and the impact of their behaviour on the environment which they inhabit.

Onboard Jurassic Airlines Artist: Hartnell Creative Photo: Pete Wiley Producer: Jurassic Coast Earth Festival

11 Arts Development, collaborative models and the rural setting

Most natural World Heritage Sites are Formed in 2008 Dorset Loves Arts has Learning Point: Involve your local arts remote and their communities, where run in tandem with the Jurassic Coast development organisations and agencies they exist at all, are dispersed and Arts Programme, supporting some in your plans. They are likely to help small. The arts in Dorset and East Devon of the collaborations developed to you achieve your aims, raise money and are mainly similarly dispersed and small deliver the programme and providing a communicate what you are doing. scale. One of the delights of a visit here strategic framework for this approach to is finding the little gems that no-one delivery. It is a collaboration of key arts else knows about but it is hard for small providers, with over fifty participating scale work to compete with the British members. It developed due to the giants of culture to attract investment. need to address three key issues in arts development in Dorset: The concept of collaborative working is that the sector is stronger together, • The need to embrace organisational presenting its work as a coherent change and build resilience through programme. One of the challenges collaboration in the face of a rapidly is for each organisation to maintain changing funding climate. its own identity whilst working with • The collective need to reach new others to develop a collective identity. audiences and engage people who Both Dorset and Devon have been do not usually access the arts. encouraging collaborative working since • The need to maximise the legacy 2008 although they have employed very of extensive investment in the area different models for this. arising from the Cultural Olympiad. Opportunities for international awareness of natural heritage

World Heritage Sites transcend political This was a recommendation from our Vietnam, New Zealand, Galapagos boundaries, being such important Arts Strategy. We narrowed it down and at the IUCN, UNESCO, the British places that they belong to all peoples initially to only the natural World Council and the Asia Europe Foundation of the world for all time. Heritage Sites, but delivery has proved between 2008-12, and spoke to or had difficult. As far as we know we are the contact with many more. We will be There are currently 962 World Heritage only one which currently integrates the presenting at the American Association Sites around the world; 745 cultural, 188 arts into strategic management. There of Geographer’s annual conference natural and 29 mixed, with new sites being has therefore been a lot of advocacy and, we hope, at the World Heritage added every year at the annual World and explaining about what we are Committee meeting in 2013. We hope Heritage Committee meeting. This creates doing, why we are doing it and what that this will sow the seeds to grow the a large network of possible international we expect it to achieve, with few links opportunity into a more useful network partners who may be interested in made between our arts partners and for practitioners world-wide who are developing work together that both raises similar organisations on or near to interested in making work that explores the profile of their Site’s OUV and of the other natural Sites. the concept of World Heritage. concept of World Heritage. We were not able to prioritise Learning Point: Raising awareness the development of international and understanding together of the Etude at Jurassic Coast partnerships as there was so much to importance of our World Heritage helps Earth Festival do closer to home, but we did present to conserve every Site and involves the Etude as part of the Earth Festival with public in passing this combined heritage Artist: Yukio Suzuki Company. Photo: Maisie Hill our partners in Japan and meet with to future generations. Producers: Daisy Sutcliffe & Ayako Miyake officials in Japan, Thailand, Singapore,

13 So what could we do and how?

There are different models that can be employed to incorporate the arts into the management of designated Sites. These are not mutually exclusive – any combination can be applied. The five most common are:

Approach Description Implications

Commissioning The Site as inspiration. A very clear way to work, but might miss a creative solution to your management Deciding what project you issue by not involving the arts in the development stage of the project. This work want, and what it should can be shown on your Site and/ or toured to other places. achieve; writing a brief and Funding usually needs to be secured in full before the commission starts. commissioning an artist or Time needed from Site experts to advise on and manage the commission – group of artists to deliver it. variable depending on the size of the project. This is usually done through a tendering process.

Programming The Site as a venue. The work might shed new light on your Site in some way, but is unlikely to be Seeing work that might be inspired directly by it, so the link with your Site’s OUV might be tenuous. This can relevant and then bringing it be partially addressed through participation and learning programmes, and clever to your Site. This is often done production. by an expert Programmer You only pay for the work to be shown rather than the development of the work, who seeks work out, but can so your budget will go further. also be done by the team who Less time required from Site experts in development. If the link with the OUV is manage your Site. to be made clearly this will need some support. Opportunistic Projects approach you which These can work very well, especially if there is a policy to support arts work that would happen anyway and helps to manage the Site. However, there is little opportunity for quality control, ask if they can be associated joint planning or to develop this work to strategically support your management with the Site. aims. There is often no requirement of a budget There is often no requirement of time beyond a conversation and sending of materials and logos.

Integrating Building the arts into your You will need to learn how the arts can contribute to projects and this is often planning and fundraising not in an obvious way. You will need to be open to your project changing. You could process thereby integrating work with an arts adviser to be the voice of the arts in your management team. them into relevant new This will add to your budget for your projects, but may open new sources of projects such as new funding, both for the art itself and for the project more generally. buildings, tourism initiatives, You will need to build time into the planning stage of your projects to explore the education projects. possible role of artists and also some time to manage the process.

Partnership Developing long term This gives the richest results. An investment of time is needed especially at the partnerships with artists and beginning, but as mutual understanding between partners grows they will be able arts organisations through to become more actively involved in leading this area of work. which projects are developed All partners will bring something to the table so your budget should go further collaboratively. with this model. You will raise funds together once you have identified a project, so will probably just need start up or development costs initially. This approach requires the largest investment of time. Time will be needed for supporting the fundraising campaign, integrating the project with other work that you are doing, and advising on the development of the work.

15 What we did and why

There have been five key phases in the After research and consultation in 2005-7, it was decided that the Arts development of our work so far: Programme should not be set up in competition with arts organisations but should provide additional support while we all tested a new way of working. 2005 - Creative Coast Group developed as a This was due to concern about the scale of sustainable levels of arts funding working group of the Jurassic Coast Steering to the area, and the high quality of work that was already produced locally by Group. overstretched teams of skilled arts managers. Therefore, in order to encourage the most creative response and test a range of approaches and partnerships, 2006 - Development and publication of the we chose not to programme or commission work directly, but open up the Jurassic Coast Arts Strategy. opportunity as broadly as possible to the arts sector.

2007-8 - Securing funds for the development of a big programme of work leading up to the Geology influencing local life London 2012 Olympic and Paralympic Games. Photo: Jurassic Coast Team Chapel dating from the 13th century on the cliffs of Purbeck 2008-11 - Coordinator employed as part of illustrating architecture influenced by the structure of the the Jurassic Coast Team hosted at Dorset stone from which it is built. County Council to develop and deliver the Jurassic Coast Arts Programme.

2011-13 - Creative Coast 2012 delivered to ensure a legacy to the Programme. This phase was hosted by the Jurassic Coast Trust. The seed fund and development Projects were encouraged to apply for a Some of the projects which applied of the Forum low percentage of the total project costs. to be part of the programme asked We did this by establishing a seed fund for seed funding, some did not. We in 2008 totalling £123,000 to stimulate This led to a great richness of work, but began by allocating small amounts of the creation of new work inspired by made it hard to market coherently, or funding to projects which were quick or interpreting the Site. Artists and for collaboration to emerge between to respond to the call for work. In 2010 arts organisations put forward projects the various projects. we allocated significant amounts of which needed to have: money to five larger and more strategic To address these points, the Creative projects. Each project found match Essential: Coast Forum developed in 2010, which funding in different ways from different • relevance to the Jurassic Coast arts holds annual or bi-annual events. These sources. Some support was offered to strategy bring together our most creative minds all projects in securing match funding • legacy to think about the Jurassic Coast and either by talking to funders directly, • audience & community engagement the wider issues that are highlighted writing supporting letters outlining the • delivery capacity by it: arts and earth science; climate strategic framework for investment • physical and intellectual access change; international partnership; or by writing applications on behalf • leverage of other funds global values and local people. It is a of partner projects. Over £1.5 million network of scientists, artists, educators, was secured as match funding by the Desirable: local businesses, public bodies and arts partner projects. • cross-sectoral working organisations who encourage, support • partnership model and deliver arts projects which connect Key learning: The open funding • environmental & sustainability messages people to the Site. programme did not deliver the best

17 What we did and why continued... results as the learning about how the Learning Points programme would be managed and Choose your approach: Decide what If you choose a partnership what it was expected to deliver for the approach or combination of approaches approach: World Heritage Site had not yet taken best suits your goals, your situation and place. We have developed shared your Site. Clarity of purpose: Be clear about what learning with arts sector organisations Manage expectations: Decide early all partners want to achieve, and take and individuals over the last few years, on what your marketing, fundraising, the time to explore what the common which allows us to move towards a audience development and participation ground is and whether this partnership model which sits somewhere between plans are and who will do what. is the best fit. partnership and commissioning and Communicate: Tell the partnership and Less can be more: Working in ensures outcomes which contribute to the wider world what you are doing. partnership produces rich work, often delivery of the Management Plan. Be specific: Either raise funding for with wonderful unexpected outcomes, specific projects at the appropriate but takes a lot of time and energy at time in their development, or if you the beginning, so start small in order to prefer a general pot with wide criteria, develop a strong foundation. leave enough time to assess thoroughly whether projects really address your management needs.

Jurassic Underworld Artist: Herbie Treehead Photo: Jurassic Coast Team Producer: Fossil Festival Case Studies - some early projects

The case studies found here illustrate how The Cabinet of Curiosities Universal Value different projects can be, and how every Artists: Forkbeard Fantasy Artist: Charlie Morrisey project is developed by different people Producer Dorset Museums’ Service Producer PVA MediaLab in different circumstances. We hope Funding: Jurassic Coast Arts Programme, Funding: Jurassic Coast Arts Programme, that you will be able to draw on some of Heritage Lottery Fund through Dorset Arts Council England through PVA these projects to inspire you and give you Museum’s Service MediaLab core activity insight into work that you are planning. Approach: Partnership Approach: Partnership

Aiming to bridge the psychological gap Working with the Arts Coordinator, PVA Universal Value between the academic geology paper Media lab commissioned an artist to and the family day out on the beach, The create three site-specific performance Artist: Charlie Morrisey Photo: Pete Millson Cabinet of Curiosities is an interactive pieces in response to the concept of Producer: PVA MediaLab museum cabinet which encourages Outstanding Universal Value of the children of all ages to explore the science Jurassic Coast and what the phrase of the coast. It was designed to fit in means to people. The commission the boot of a car, is situated at the Lyme started in West Bay over the Cultural Regis Museum and available for other Olympiad launch weekend (2008) and organisations to borrow. continued over a year. ‘…an automated degree course in geology with films, AV, minerals, hand ‘Beautiful, sensitive, moving and lenses, rock samples, fossils, structural evocative. I can’t wait to see the next geology, Cretaceous overstep, the lot.’ two parts of the trilogy.’ - Visiting Professional Geologist - Audience member 19 Case Studies

Jurassic Journey Between 2009 and 2012, award-winning ‘This project was immensely satisfying Producers: Artsreach and Villages in Action photographer Ben Osborne, inspired on a number of levels. The location was (both Rural Touring organisations) by the geology, wildlife, culture, people packed with photographic opportunities Artists: Ben Osborne, Lal Hitchcock and landscapes of the Jurassic Coast, which gave the project an immediate (sculptor), Matt Harvey (poet), recorded a visual and audio diary of visual appeal. The passionate support Sammy Hurden (musician) his experiences as he travelled along it. (and funding) from the partners and Approach: Partnership Ben collaborated with other artists and supporters was immensely gratifying Funding: The Fine Family Foundation, the took counsel from scientists, especially and definitely contributed to the overall Jurassic Coast Arts Programme, geologists. It became an exciting fusion reach of the project.’ Dorset and East Devon AONB teams, of photography, digital imagery, music, - Ben Osborne, photographer and lead artist East Devon and District poetry and sculpture made from flotsam for Jurassic Journey Councils, Arts Council England and the and jetsam, and both an atmospheric Heritage Lottery Fund audio-visual presentation and an exhibition entitled DEEP TIME were created. These toured rural communities in Dorset and Devon in 2011 and 2012. The show and exhibition have also toured throughout the UK.

Jurassic Journey Artist & Photo: Ben Osborne Producers: Artsreach and Villages in Action

Desert Crossings The piece has toured the UK twice and ‘Working with the Jurassic Coast Team on Artists: Gregory Maqoma, Deborah Baddoo was also performed in South Africa. Desert Crossings gave us an inspiring insight Producer: State of Emergency It is now part of State of Emergency’s into the geological history of the Jurassic Approach: Partnership repertoire and they continue to look for Coast and the evocative mysteries and Funding: Jurassic Coast Arts Programme, opportunities to present or rework it. stories that it revealed to us seeped into the Arts Council England and State of creation of the work allowing us to exploit Emergency core activity ‘Desert Crossings puts the vastness of our creativity to the full. For me, this new geological time into perspective while perspective means that I will carry this This cross-cultural performance was delving deep into what this means for awareness to all landscapes to which I might a collaboration between UK based human culture. It suggests a link between travel in the future.’ producers State of Emergency and our cultural and natural heritage and our - Deborah Baddoo, Artistic Director, Desert Crossings South African choreographer Gregory present; our common humanity with Maqoma of Vuyani Dance Theatre. South Africa and Namibia; skeletons of It was performed by a company of species alive today with the fossils of five dancers. Inspired by the parallels those species no longer with us.’ between the Jurassic Coast and the - Sue Davies OBE, Chair of the Culture Committee Skeleton Coast of Namibia, the work of the UK National Commission for UNESCO was created in direct response to Maqoma’s recent piece Skeleton Dry and explores and reflects on the two Desert Crossings very different regions, which are united Artist: Gregory Maqoma through the rocks on which they stand. Photo: Kevin Clifford Producer: State of Emergency

21 Case Studies

Mapping the Jurassic Coast and Coast Unearthed Artists and Producers: Amanda Wallwork and Jeremy Gardiner Funding: Arts Council England Grants for the Arts and Artists’ own. Approach: Partnership

Coast Unearthed Amanda Wallwork and Jeremy Gardiner created a series of works Artist: Amanda Wallwork Photo: Graham Shackleton that combined to form a panorama mapping the geology and archaeology of the Jurassic Coast. view their work as a form of map Festival, looked in detail at the rocks charting journeys in time as well as and strata forming this unique coastline Working in partnership with the Dorset place. The exhibition was presented in and sought to express the unimaginable County Museum, the artists used Dorset County Museum, Bournemouth vastness of geological timescales. the museum’s extensive collections University’s Atrium Gallery and Black and archive to undertake a period Swan Arts. ‘The project gave the impetus and of research to inform the creation legitimacy for the artists to meet with of this new work. Investigating the A further series of works, exhibited in relevant scientists.’ landscape through its natural and summer 2012 at Bridport Arts Centre - (Artist, Mapping the Jurassic Coast) human influenced history, the artists and linked to the Jurassic Coast Earth Walk of Life Artist and Producer: Helen Poynor Funding: None requested Approach: Opportunitistic

An ongoing programme of experiential workshops working creatively through movement in response to ‘The work fosters a deeper connection the inspiring environments of the with the land through the moving body. Jurassic Coast. The workshops allow I feel that I have got to know the sites participants to experience the natural we have worked in along the Jurassic environment in a new way increasing Coast more intimately than before. It is their sensitivity to and awareness of a completely different experience from both their surroundings and their own walking ‘through’ a landscape.’ bodies. Workshops take place several - Walk of Life participant times a year.

Walk of Life Artist: Helen Poynor Photo: Annie Pfingst

23 Case Studies

Inspiration Aspiration East ‘[I learnt] much about Jurassic Coast’s ‘The studentship has given me a Devon and how we can link this into our work valuable opportunity to engage Producers: DAISI at school. And about using the local creatively with the landscape and Funding: Devon County Children and Young environment for creative inspiration.’ people of the Jurassic Coast and to People’s Services, Jurassic Coast Arts -Primary School Teacher, Inspiration be involved as an artist-researcher Programme Aspiration East Devon in the processional festivities of the Approach: Partnership 2012 Cultural Olympiad. At the same time, the research has renewed Inspiration Aspiration East Devon was my commitment to the value of an arts in schools project. It used arts independent carnival festivity for local practitioners from a range of disciplines people as an expression of their diverse - writing, visual arts, film/digital media, sense of community, identity and place.’ music and dance. 13 schools across two - Jonny Croose, PhD Student communities explored their locality through its environment, history and culture. The work was inspired by the physical coast, the local cultural heritage (museumes, archives etc) and local experts who specialise in the geology, wildlife and landscapes of the Teachers on the beach East Devon Area of Outstanding Natural Inspiration Aspiration East Devon Beauty and the Jurassic Coast. Producers: DAISI The Jurassic Coast Arts The Arts and Humanities Research Studentship 1 (2010-13) ‘The practices of Programme Studentship Council awarded an extended carnival: communities, culture and place’ Partner: University of Exeter’s Cultural collaborative award to the Univerity of Studentship 2 (2011-14) ‘Stone Geography Department Exeter and the Jurassic Coast Partnership Exposures: Geobiographies of Stone on Funding: Arts and Humanities Research Council for three PhD studentships taking place the Jurassic Coast’ Approach: Partnership over five years. The overall theme of the Studentship 3 (2012-2015) ‘Dynamic Supervisors: Academic: Dr Nicola Thomas, Dr extended programme is: Arts Practices and the Geographies of David Harvey, and Dr Caitlin Desilvey. World Heritage’ Non-academic: Daisy Sutcliffe and ‘The Jurassic Coast and the arts of Sam Rose community engagement: heritage, Our relationship with our partners at Students: Jonny Croose, Rose Ferraby and Fran science, policy and practice on a Exeter has proved very productive, Rylands (in order of start date) dynamic coastline’. opening up new networks and theory to the Jurassic Coast Partnership and The programme aims to produce an in- our arts partners. The research that the depth investigation of the geographies students has undertaken has fed directly of arts practice and policy through a into developing the Arts Programme sustained collaboration between the and the wider work of the Partnership. University of Exeter and the Jurassic We also held one of our Creative Coast Arts Programme. Coast Forums in partnership with the University of Exeter.

25 Flagship projects for London 2012

The Jurassic Coast Earth Festival The Jurassic Coast Earth Festival 2012 along the coast a number of times Artists: Richard Hartnell, Sarah was a series of around 70 events which throughout the summer. Butterworth, Sally Watkins and Sue combined arts and science and which Palmer, Robin Hitchcock and John celebrated the Jurassic Coast, while the • Flagship projects received funding and Hegley London 2012 Games were taking place. support in developing and promoting Producer: Candida Blaker for the Lyme Regis the work. These included Onboard Development Trust The Lyme Regis Development Trust Jurassic Airlines, The Pliosaur Cinema, Funding: Arts Council England, Heritage had developed and delivered Fossil 26&7 Bones and Time. Lottery, Jurassic Coast Arts Festivals since 2004 and it built on the • Associated projects benefitted Programme, Jurassic Coast partnerships developed from these from being part of the festival’s Partnership, Legacy Trust via RELAYS, and extended their remit to be part of publicity, but produced their events Artists Project Earth, Fine Family Maritime Mix: London 2012 Cultural themselves. Foundation, Hartnell Creative Olympiad by the Sea, bringing together Communication, Team Devon, Dorset the values of UNESCO and LOCOG. The festival built new audiences and a Area of Outstanding Natural Beauty, stronger reputation for the Lyme Regis Dorset County Council, the Natural The events took place along the 95 miles Development Trust and especially for History Museum, Natural England, of the Jurassic Coast from Exmouth to their ongoing projects the Lyme Regis Garfield Weston Foundation, Harold Studland Bay. They began on 4th May Fossil Festival and plans for a Jurassic Hyam Wingate Foundation, Seaton and ended on 9th September. Events Coast Field Studies Centre based in Visitor Centre, Small Trusts and were divided into ‘flagship projects’ Lyme Regis. Foundations. and ‘associated events’. Some events Approach: Partnership happened only once, others appeared Onboard Jurassic Airlines Artist: Hartnell Creative Key statistics Photo: Pete Wiley Producer: Jurassic Coast Earth Festival Audience 36,200

Number of events 70

Participants and volunteers 244

New commissions 5

Horace the Pliosaur Artist: Sarah Butterworth Photo: Maisie Hill Producer: Jurassic Coast Earth Festival

27 Flagship projects for London 2012

Exploratory Laboratory (ExLab) necessary to deliver the larger ExLab 2, Key statistics Artists: Simon Callery, Proboscis, Simon which was timed to present a high profile Ryder, Mat Chivers, Zachary visual arts event in Dorset, leading up Audience Eastwood Bloom to and during, the 2012 Olympic sailing 24,494 Producer: Carolyn Black for Big Picture events in Weymouth and Portland. It Funding: Arts Council England, Fine Family also functioned as a pilot project for Exhibitions Foundation, National Trust, West collaborative practices in Dorset, bringing 7 Dorset District Council, Dorset together Big Picture* - seven established County Council, Jurassic Coast Arts arts organisations in the county to share New commissions Programme, The Gallery. resources and skills, and stimulate vibrant 5 Approach: Partnership visual arts activity across the county.

The ExLab project developed visual arts The new works were displayed for six * Big Picture organisations are: Artsreach, and earth science collaborations that weeks at seven sites across Dorset. As a b-side, Bridport Arts Centre, Dorset Visual offered opportunities for visual artists to largely rural county with few major arts Arts, PVA MediaLab, Sherborne House investigate the landforms and geological venues, Dorset has limited opportunties Arts, Walford Mill Crafts. processes of the Jurassic Coast World for audiences to access contemporary Heritage Site, helping to highlight the visual art. The ExLab project set out issues of managing this dynamic and to address this by commissioning constantly changing coastline. ExLab innovative new work to be displayed in ExLab: Portland Screw was delivered in two phases. ExLab 1 rural non-gallery locations, reaching out Image & Artist: Simon Ryder ran in 2010, building the relationships to new audiences for the visual arts. Producers: Big Picture ‘Working on the ExLab project has given us a much deeper understanding of how we as an arts organisation could engage on-going with some of the themes and issues relevant to the Jurassic Coast. We have also developed what we are confident will be lasting relationships with partners such as the National Trust.’ - Polly Gifford, Director, Bridport Arts Centre

29 Flagship projects for London 2012

Coastal Voices promoted international exchange and • West Dorset/Lyme Regis – Local youth Artists: John Surman, Marc Yeats, John dialogue, and connected communities, arts provider ‘B Sharp’ led a new song K Miles, Sonia Slaney, Howard amateurs and arts professionals. 1000 cycle by composer John K Miles (for Moody, and the communities of the people came together to perform B sharp) based on life stories of Lyme Jurassic Coast. and work with professional and Regis residents, and previous work Producer: Kate Burrough for Lighthouse Poole international artists between March with musician Billy Bragg Funding: National Lottery funds through the 2011 and August 2012. • East Devon/ Exeter - a new piece Olympic Lottery Distributor, Paul written in response to the Jurassic Hamlyn Foundation, Jurassic Coast Four new 15-20 minute works / Coast by composer Marc Yeats Arts Programme. arrangements were commissioned for Approach: Partnership four areas of the site, in partnership with communities from these areas. Coastal Voices was an umbrella These were: project linking the arts and earth sciences through the concept of ‘the • Poole/East Dorset - new voice’. It encouraged and stimulated arrangements of Nick Cave songs by communities in the South West to composer Sonia Slaney connect to their ‘place’, to examine • Weymouth and the surrounding area - and ‘voice’ the unique relationship a new piece by composer John Surman with the geology and forces which taking us through natural forces and shape our environment, and also to the Jurassic period, the works of explore the ‘voice’ of the coast. It Thomas Hardy and links with Brazil ‘The initial idea for Coastal Voices, a large scale Key statistics participative choral project was inspired by the Jurrassic Coast World Heritage Site. Bringing Audience together the worlds of science and arts, the about 27,000 commissions connected and resonated with the communities who sang them and gave a greater Participants awareness and understanding of the geology 1000 of the coastline. The project was complex and took a great deal of commitment by the Performances organisations who came together to ensure its 5 successful delivery. It was an inspired idea.’ - Elspeth McBain, CEO, Lighthouse, Poole New commissions 4

Coastal Voices Photos (left & above): Maisie Hill (Left) Marc Yeats leads the group from Exeter at the Lighthouse, Poole. (Above) Singers in Weymouth learn new music/

31 Flagship projects for London 2012

Art in the Public Realm The Geoneedle at Timeline Artists: Sans façon, Michael Fairfax, Gary The Geoneedle was commissioned as Artist: Gary Breeze Breeze and Lulu Quinn a marker for the western most end Photo: Jurassic Coast Team Producer: Cleo Evans from Dorset County of the Jurassic Coast World Heritage Council’s Arts Team for the Jurassic Site. It displays the rocks found along Coast Partnership the coast in order, both creating a Funding: Arts Council England, Jurassic beautiful and memorable object, and Coast Arts Programme, Dorset illustrating the ‘Walk through Time’ Engineering, Dorset Countryside, displayed naturally in the rocks which Dorset AONB, Fine Family form the Jurassic Coast. Foundation, Heritage Lottery Fund Approach: Partnership Bridge Artists were appointed to work These projects were developed as collaboratively with Dorset Engineering examples of good practice to illustrate Consortium to produce a bridge that is the Code of Practice for Art in the Public fitting to its location, as opposed to off Realm. Audiences for these works are the shelf bridges. harder to measure as many hundreds of thousands will engage with them on some level every year, but many will not associate them with the arts. Charmouth Bridge Artist & Photo: Sans façon and Country Park

‘Look round and read great nature’s open book’ - Anonymous quote carved into a rock in the Park.

Durlston Castle and Country Park has recently undergone a major renovation. Artist Lulu Quinn was appointed to work as an integral member of the design team to work on concept development of the redevelopment of the nineteenth century folly which is now the centrepiece of Durlston Country Park, and a Jurassic Coast interpretation centre. The artist sat on the panel to appoint the architect. She has since been commissioned to produce ‘Diversity’ a piece of interpretation, glass panels listing all the diverse species that have ever lived on the park. Some of this makes up the wall surfaces in the new restaurant.

Stone carver Gary Breeze was commissioned to develop and make the timeline which leads up Geoneedle to the door of the castle, giving the visitor new Photo: Jurassic Coast Team perspective of the scale of geological time. Artist: Michael Fairfax

33 The London 2012 Cultural Olympiad

The Jurassic Coast Arts Programme was underway before page 13 the international links were not possible to develop we heard of the successful London 2012 bid. The sailing within the timeframe of our work. However, the new carnival and winsurfing events took place in , off the developed for Weymouth and Portland, Moving Tides, made Jurassic Coast and so the plans for a Cultural Olympiad helped some superb costumes inspired by the Jurassic Coast’s us to secure significant funding. They also brought the vision biodiversity of the Mesozoic and present times. Jonny Croose’s to take a risk and try a new way of working, and gave the PhD looks at carnival development in more detail. project a timeframe. Inside Out Dorset The Jurassic Coast Earth Festival, Exploratory Laboratory and This festival of ‘extraordinary events in extraordinary places’ Coastal Voices were all created to animate the Jurassic Coast was developed in 2007. There was a smaller event in 2008 during the period of the Games, providing an insight into the and the festival then became biennial. It programmes works stunning setting for the sailing and windsurfing events, and which show audiences a different perspective of Dorset’s the processes that created the venue. There were many other extraordinary places. In 2010 they produced ‘Rock Charmer’ Cultural Olympiad projects that we were involved with at as part of the Jurassic Coast Arts Programme, a collaboration various stages of their development. Some of these were: between Finnish accordionist Kimmo Pojhonen and Dorset based company Paper Cinema. This was inspired by and shown Carnival and Moving Tides at on the Jurassic Coast. Carnivals along the Jurassic Coast were identified in 2007 as being very active and interesting models for arts development. Battle for the Winds Links were explored with other natural World Heritage Sites This was the flagship project for the 2012 Cultural Olympiad which had strong carnival traditions. The Jurassic Coast was also in Weymouth and Portland. Performers were gathered an interesting subject for local carnival design. As described on from across the seven counties of the South-West region of England and beyond to create a stunning piece of outdoor performance. It took place throughout the region culminating in a performance on the beach in Weymouth where there was a finale of 2012 people wading into the sea with fire torches to represent the releasing of the winds to power the Olympic sailing and windsurfing events. A central character, Doldrum, was inspired by and created from the rocks of the coast as an antihero, attempting to prevent the winds with their erosive properties from blowing.

‘Creating a vision to engage artists and communities with the Jurassic Coast was an inspired decision and we have reaped the rewards in the commissioning of high quality art for audiences and participants along the coast. Activate is very proud to have been part of the Jurassic Arts Programme.’ - Kate Wood, Executive Director, Activate (Inside Out Dorset producers)

Doldrum Artists: Cirque Bijou and Desperate Men Photo: Maisie Hill Producers: Desperate Men, Cirque Bijou and The Jurassic Coast Earth Festival

35 Acknowledgements

Jurassic Coast Team Sharon Goble (PR Consultant 2011) Creative Coast 2012 Steering Sam Rose (Team Leader) Tandem (PR Consultants 2011-13) Group 2011-13 Richard Edmonds (Earth Science Manager) Chris Huxley and Crystal Johnson (Consultants 2007) Chris Humphrey (Chair) Sally King (Visitor Manager) Jo Morland and Peter Mason (Consultants 2005/6) Sam Rose (Jurassic Coast Partnership) Anjana Khatwa Ford (Education Coordinator) Sibyl King (Jurassic Coast Trust) Daisy Sutcliffe(Arts Coordinator 2008-11) Creative Coast Group 2006-11 Mike Hoskin (Dorset County Council) Ben Wyer (Programme Coordinator 2006-10) Sue Kay (Chair 2006-9) Our thanks to the Trustees and staff of the Jurassic Sam Scriven (Earth Science Adviser) Pippa Warin (Chair 2009-11) Coast Trust as accountable body for this work. Julia Pulman (Marketing & Communications Officer) Chris Humphrey (Chair 2011) Alex Potter (Policy Assistant 2010-11) Sam Rose (Jurassic Coast Partnership) Funders Lesley Garlick (Devon County Council) Mike Hoskin (Dorset County Council) We would like to extend our thanks to all who have David Whitfield(Devon County Council) funded this programme, large and small, for your Extended Creative Coast Team Alan Rogers (Weymouth and Portland Borough contribution towards its success. Daisy Sutcliffe(Creative Coast 2012 Coordinator - Council, 2008-11) 2011-13) Jude Allen (West Dorset District Council) References Cleo Evans (Public Art lead 2006-12) Julia Wright (Independent Artist & East Devon Prof Deborah Dixon (2012) - Mark Smith (Project Assistant 2012-13) resident) A Wonder-full Geomorphology; Creative Coast Mary Schwarz (External Evaluator 2009-13) Penny Bayer (Arts Council England, 2007-2010) Keynote speech available at: Katie Venner (Creative Coast Forum Facilitator Nick Green (Arts Council England, 2010-2011) www.jurassiccoast.org/arts 2011-13) Pat Pryor (Dorset County Council 2006-8) Stephen Wilson (2010) - Art and Science Now, West Mead Creative(Creative Coast Forum Val Wilson (Exeter City Council 2010-11) Thames and Hudson Facilitator 2010) Nickola Moore (Poole Borough Council 2010-11) Partners

We have worked with a huge range of Voices: Kate Burrough, Elspeth McBain and the Beautiful:Cleo Evans at Dorset County Council people in developing this work. The whole team at Lighthouse, Poole, and Serious and Maggie Bolt at Public Art South West, Long Music; Marc Yeats, Alan Rogers, Jo Morland and Kentish Associates, Lulu Quinn, Gary Breeze, following list is those people who we and the numerous people involved in the early Sans façon, Michael Fairfax, and John Hayes, Ali have gone on to develop a project with, development of the project. AHRC Studentships: Tuckey and the rest of the Dorset Ranger Service, or who have contributed significantly to Dr Nicola Thomas, Dr David Harvey and Dr Devon County Council, and Dorset Engineering. Caitlin Desilvey; Jonny Croose, Rose Ferraby and Inspiration Aspiration Partnership:Ruth Cohen, the overall development of the project. Fran Rylands and the rest of the team at Exeter Liz Hill and the team at DAISI, The Exmouth and We would also like to extend our thanks University. Universal Value: Julie Penfold, David Axe Valley pyramid schools and the artists and to all those who have contributed in Rogers, Marc Yeats, and the rest of the team at advisers. Jurassic Journey: Ben Osborne, Ian any way at any time. PVA MediaLab, and Charlie Morrissey. Mapping Scott, Roger Werner, Martin Cooke, Delphine the Jurassic Coast and Coast Unearthed: Amanda Jones, Yvonne Gallimore and the teams at Jurassic Coast Earth Festival and the Lyme Regis Wallwork, Jeremy Gardiner and Dorset County Artsreach and Villages in Action. MEMO Project: Fossil Festivals: Candida Blaker, Marcus Dixon, Museum. Earthscapes: Amanda Wallwork and Seb Brooke and the team developing the MEMO Kimberly Clarke and the whole team at the Lyme the rest of the team at Sherborne House Arts and project. Walk of Life: Helen Poynor. Lunch: Tina Regis Development Trust, Richard Hartnell, Sarah Bridport Arts Centre. Carnival Development: Kate Ellen Lee and Anna Ledgard. Desert Crossings: Butterworth, Sally Watkins and Sue Palmer, Lyme Wood, Amy Eastwood, Wendy Petitdemange, Deborah Baddoo and the rest of the team at State Regis Museum, Marine Theatre, Herbie Treehead, and the whole team at Activate Performing of Emergency. Battle for the Winds:Jon Beedell, Desperate Men, Forkbeard Fantasy and all the Arts, Alan Rogers, Fran Williams, Ayvin Rogers Richard Headon, Billy Alwen, Julian Bracey and volunteers. Exploratory Laboratory: Amanda and all the members of B Sharp and the Magic the rest of the team and volunteers. Cultural Wallwork, Polly Gifford, Yvonne Gallimore, Drum Orchestra. The Rock Charmer: Kate Wood, Olympiad links: Richard Crowe, Nick Green, Alan Christine Fletcher-Jones, Andrew Stooke, Jem Simon Chatterton, Bill Gee, Cleo Evans, Nick Rogers, Tracy Samy, Lisa Worthington, Simon Maine, Julie Penfold, Carolyn Black and Diana Beard and the whole team at Inside Out Dorset, Williams and the rest of the Maritime Mix team. Hatton at Big Picture, Tom Freshwater and the The Square and Compass, and Dorset Wildlife. Creative Coast Forum Events:Sian Ede, Marcus teams at the National Trust properties in Purbeck The Cabinet of Curiosities:Tim Britten, Chris Dixon, Susan Russell, Professor Deborah Dixon and , Ali Tuckey and the team Britten, Penny Saunders and the whole team at and Quentin Cooper and everybody who came at Durlston, Coastwatch, B-Side and Sherborne Forkbeard Fantasy and David Tucker at Dorset to a Forum event for their contributions to the House Arts, and all the volunteers. Coastal County Museums’ Service. Bog Standard or development of the work. If you require a copy of this publication in large print please contact: [email protected]

Written and coordinated by Daisy Sutcliffe Visit us online: Designed by Wired Canvas www.jurassiccoast.org/arts Copyright: Jurassic Coast Partnership, April 2013