CASE FOR CULTURE RESPONSES

NEW WRITING NORTH

1. WHAT HAS CULTURE GOT TO OFFER THE ECONOMY OF THE NORTH EAST?

Culture is central to the economy of the region. It boosts tourism and helps to raise the profile of the region. Recently Newcastle was picked out as central to the creative economy of the UK as a whole and the particular environment here (low living costs, strong sense of community and well established cultural networks) makes the region the go to place for creative entrepreneurs and start ups. Stevie Ronnie, Poet, Northumberland

Strong culture and a strong cultural profile lifts a town, city or region above others. It makes us more competitive, more ‘known’ and understood. Being strong in a certain area of culture (literature) secures a place for the region in the hearts and minds of the national sector and associated sectors. It’s about our cultural identify and how others see and understand who we are. Writing and writers provide extra benefit if their work is set in and reflects the region and this leads to strong and ‘money can’t buy’ benefits such as how wonderful Northumberland looks in ITV’s Vera, which is based on North Tyneside writer Ann Cleeves’s books. I’d also like to see acknowledged the role that artist and writers have as SME’s and the direct contribution that they make to our regional and national economy through creating work here and building businesses. They may be small in size but there are many in number. It would be interesting to take a stab at how big this part of the sector is to identify and understand the role it plays in the economy regionally. Claire Malcolm, Chief Executive, New Writing North.

It adds to the visitor experience. Locals attending events spend on transport, food and accommodation etcetera, as do tourists attracted to the North East by, for instance, the Durham Book Festival. There is also a less immediately obvious ‘enhancement’ of the profile of the area, created by the engagement of local writers, artists, musicians etcetera with their region. Writing, artworks, music inspired by the North East, put the region, its history and its culture on the local, national and international map for readers/audiences. Ann Coburn, novelist, Berwick upon Tweed.

I’ve been a writer for many years, published for three. During that time I’ve been involved in a range of literary events, all of which have contributed to the local economy, bringing jobs and visitors to the region. Book festivals (Durham, Hexham, Books on Tyne) are very popular, drawing people in from outside. Despite a difficult climate in the publishing industry over the last few years, these events continue to thrive. To give one example, I’m a founder member of Newcastle Noir, now in its second year, a relatively new crime festival that grew out of a ‘Crime Day’ held at the Lit & Phil Library, brainchild of a Northumbria University lecturer. Visiting crime writers and fans use local hotels, restaurants and transport links. As an incomer myself, I have chosen to settle and buy a home in the Tyne Valley. From a business point of view, I use a local printer, accountant . . . the list goes on. Mari Hannah, novelist, Corbridge.

One of my first jobs in the North East was to run a summer-long community arts festival in Durham Cathedral to mark the 900th anniversary of the Cathedral’s foundation. When we started a lot of people said it was a waste of time, ordinary people couldn’t be bothered with such things. They were wrong. We filled a three month-long changing exhibition in the Chapel of the Nine Altars with art and personal stories of warmth and intimacy created by parishioners of Durham Diocese from all socio-economic backgrounds who turned up every day, working together, to staff the exhibit, engaging thousands of tourists passing through. It was a great success according to feedback from both tourists and participants. I would see this as an example of culture in action in expressing the bonds of community, in promoting the economy through tourism and enhancing the health and wellbeing of inhabitants. Rebecca Jenkins, novelist, Barnard Castle.

Culture in all its forms is a passionate engagement in making something happen. The economy in the North East benefits from writers living and working here, supporting venues, and attracting inward investment in terms of grants, awards and royalties. Stephanie Butland, novelist, Northumberland.

Most studies I've heard about show that the cultural industries of the North East - including literature - averaged out over a 12-month period - engage with more people than sport. And in the same way as sport, cultural activities, such readings, reading groups, book launches, workshops, festivals bring people together to share a common interest and also to learn about books, writers, publishers they may not know. Kitty Fitzgerland, novelist and playwright, North Tyneside.

2. HOW CAN CULTURE CONTRIBUTE TO THE HEALTH AND WELLBEING OF PEOPLE LIVING AND WORKING IN THE NORTH EAST?

It helps us understand who we are and actively makes us feel part of something bigger than ourselves. Books and literature connect people through ideas and reflection and also provide inspiration for how to live and show us how other people live and survive difficulties. The growth of our regional book festivals demonstrate this as does the library usage and participation in reading in this region – stronger in some areas here than the national average. Claire Malcolm, Chief Executive, New Writing North

Culture provides vital distance from issues too personal and painful to explore directly: response to culture becomes coming to terms with our health and wellness challenges. The north east already has world-class cancer care provision for the physical body. My own experience of talking to those who have had cancer suggests that writing has an important role in helping move towards wellbeing. This was certainly my own experience. Stephanie Butland, Novelist, Northumberland.

Art and writing has the power to transform the aspirations, health and wellbeing among those who society often ignores. Recently I worked on a writing project engaging hard to reach young people in the region and the positive effect that the creative process had on the future of these young people was transformational. Art can help to heal and it can help us to deal with our problems by sharing them and expressing ourselves creatively. This is particularly relevant within some of the communities that suffer from high levels of unemployment and social deprivation. Stevie Ronnie, Poet, Northumberland

Culture based in or inspired by the region engenders a sense of identity and regional pride, particularly when community involvement plays a part. My play Get Up & Tie Your Fingers toured the region last year, stopping at coastal venues, which have been and still are involved in the fishing industry. At every venue local choirs spent months learning the choral music and then performed on stage alongside the professional actors. Those choir groups worked very hard and gained confidence and an increased sense of worth. They also formed communities within their communities, which are still going strong. Their families and friends also took pride and pleasure in their performance. Alongside the performances, an exhibition of art works from the local community was curated at every venue. Everyone from knitters (there was a knitted coat for a full-sized boat which toured with the play) to model boat builders, and from primary school children to people in their nineties, were involved, and each exhibition pulled in hundreds of visitors. Those involved learned how inventive and creative they could be and felt a real sense of achievement. The communities also appreciated the acknowledgement of what they did for a living and the pride they took in their work and traditions. Members of each north east choir followed us down the coast and even came to the last night all the way down in Hastings, where a hundred women sang the final

A Case for Culture Responses from Writers (March 2015) 2 song together, in the open air venue on a working quayside. Similarly, a writing project I did for Hexham Book Festival, working with Berwick school children to explore and write creatively about the experience of local people left behind to cope alone in WW1, brought the whole community together and talking – parents and grandparents searched lofts for WW1 memorabilia personal to their family and members of the community were invited to bring stories or items to a drop-in session at the local library. I worked with the local archivist to run sessions where the children learned how to use the Archives office for research. The Maltings youth theatre was involved in the final celebration, performing the play I had put together from the creative writing of the children. I read my own story, Compass, which had been inspired by a soldier’s compass brought in by a Tweedmouth Middle School boy. He and his parents were at the final celebratory event at The Maltings and were extremely proud that their great grandfather’s compass had inspired a story. Ann Coburn, novelist, Berwick upon Tweed.

I live and work in the North East by choice. My books are set here and – despite the body count – fans of crime fiction seem to think I showcase the area in a positive light. I feel a responsibility to take the region’s cultural identity forward, something echoed by local indie (Forum) bookshop owner, Helen Stanton, with whom I have a close working relationship. She runs literary events throughout the year, generating a wonderful community spirit. Arranging over forty such events in 2014, including my own book launches, her efforts are much appreciated and celebrated within the local community. Bestselling authors, both national and international, contribute because of Forum’s reputation as the engine behind a thriving literary hub. In rural areas, these gatherings are crucial to the health and wellbeing of residents who would feel isolated without them. A quote: ‘Another event that looks set to be an annual fixture is our village Midsummer Evening and Market, pioneered and organized by Helen, the owner of Forum. There was street food, traditional fun (including stalls and rotten tomato throwing!), live music, and much more. All shops – our own included – did great business.’ Mari Hannah, novelist, Corbridge.

Culture and art bring people together, binding them in a sense of belonging and enjoyment of community and face-to-face engagement in an age of fragmentation and isolation behind the smartphone screen. Think of libraries: they are not just about books; they have become the last remaining communal space where any member of the community is welcome to walk in and enjoy life-enhancing things free of charge. How do we know where we came from without the landmarks we grow up with – whether stories, or skies, or buildings? I work with people with Alzheimer’s. Many of my clients can’t remember how to boil a kettle or even whether they have children, but if you show them a photograph of a landmark from their youth they will tell you stories of how it was back then and end up smiling, reassured that they do belong somewhere. Even when speech begins to go, we can enjoy a line of poetry together or get emotional listening to a soaring piece of music. Technology may be a tool to make life easier, but culture furnishes that life and helps us express what it is to be human. Rebecca Jenkins, novelist, Barnard Castle.

Writers working in the North East are engaged in the business of heightening the senses in the face of assaults of frantic living. Paying attention in the way that writers do stimulates the brain and enables readers to relax and feel more alive, so contributing to health and wellbeing. Peter Bennet, poet, Northumberland.

By giving people a voice and places to share common interests and literary enthusiasms. By learning that people worldwide can share the same aspirations and anxieties. Kitty Fitzgerald, novelist and playwright, North Tyneside.

3. SENSE OF PLACE AND COMMUNITIES: WHAT HAS CULTURE GOT TO OFFER THE NORTH EAST AS A ‘PLACE’ AND ITS COMMUNITIES?

Something to aspire to and to be inspired by. The region’s arts organisations are pretty good at access,

A Case for Culture Responses from Writers (March 2015) 3 through not great at sustaining access. We could do with some new approaches to sustaining engagement activities so that everyone here gets to benefit from the art that happens. Claire Malcolm, Chief Executive, New Writing North.

Much of my work as a writer and artist is in communities and everyday I am privileged to witness the transformative effect on the wellbeing, aspirations and sense of community of the people who live here through culture. There is already a very strong sense of community in the region but many of those communities have been ripped apart through the disappearance of the traditional industries that they depended on for generations. Culture, and community engaged art in particular, provides an engaging way of fostering self-worth within those communities, helping us all to look towards the future with confidence. Stevie Ronnie, Poet, Northumberland

Landscape has long influenced art: music, painting, poetry and prose. As an avid reader, I love books that transport me to places I’ve never been. For example, Brighton is a city I’ve not visited except in Peter James’ novels – and yet he draws it so clearly, I feel I know it well. Ian Rankin’s name is synonymous with Edinburgh and now, through writing, I have the privilege of sharing my own part of the world with readers, nationally and internationally. I recently met with the Smithsonian’s US tour group who travel to the UK annually via book recommendations. There really is nowhere I’d rather live than Northumberland. The landscape is so diverse; the city isn’t far away and we have the most dramatic countryside right on our doorstep, as well as sweeping coastline and magical castles. It provides a constant flow of ideas and creativity. What writer could fail to be inspired? Mari Hannah, novelist, Corbridge.

Writing creates places, re-inventing existing environments from fresh perspectives. Writing set in and around the north east has a very strong sense of identity and readers embrace books set in places that they recognise. Rebecca Jenkins, novelist, Barnard Castle.

Writing, and in particular poetry, is part of a vital and important tradition in the North East, which produced the Border Ballads. Involvement in the poetry world of Newcastle led to the best work of the last Modernist, Basil Bunting. There is now a thriving community of crime writers in the North East. Writing of all kinds continues to celebrate the region. The North East is home to probably the most important an influential poetry publisher in Europe. Stephanie Butland, novelist, Northumberland.

One of the best literary scenes outside London. Many well known writers live here and writers support each other very well. We have good publishers here too. A widely varying landscape, which has inspired many writers. A varied working history too, from shipbuilding to coal, to land work and steel. The Sage, and the Baltic and good and varied theatre. Peter Bennet, poet, Northumberland.

4. DISTINCTIVENESS: HOW DOES CULTURE CONTRIBUTE TO MAKING THE NORTH EAST A DISTINCTIVE AND ATTRACTIVE PLACE?

Writing about this place shapes our imagination, changes our perceptions and is a powerful temporal force. The art in our landscape demonstrates that we aspire to accessible and important art and that we don’t compromise when it comes to quality. Claire Malcolm, Chief Executive, New Writing North.

Many writers self-identify as northern writers. I consider myself influenced by the world around me, the size of the sky and the way that people interact here. My first three novels are set in a small town which draws directly on my experience of friendly, supportive communities like the one I grew up in in Amble. Stephanie Butland, writer, Northumberland.

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The North East is distinguished by the presence of a strong and mutually supportive community of writers, and benefits from major creative writing courses in four universities in the region. Peter Bennet, Poet, Northumberland.

I would argue that the cultural community and offer in the region is unique within the UK. There are many opportunities for artists and writers to engage with the wider public and there has been excellent support for the arts over the past two decades that has enabled this. Since the recession things have become much harder for those who work in the arts but there are still many success stories despite this adversity. Stevie Ronnie, Poet, Northumberland.

Distinctiveness is what makes novels stand out from the crowd in a market flooded with stories that are London centric. My US editor agrees. She knows her audience and yet she changed not one word of my manuscripts, preferring her readers to experience what she described as the quirkiness of the place. Long may that continue… Mari Hannah, Novelist, Corbridge.

It examines current situations and communities as well as the past. I worked on the Meadowell Estate for five years, running a women’s writing group that produced a book, a touring show and fed into a feature film I worked on as a writer, DREAM ON. I worked with miner's families in Co Durham, after the pit closures and we produced a monthly magazine and a theatre production.

I also did a radio drama project in Low Newton prison, which resulted in a performance within the prison and at Durham Literary Festival. All of this work travelled either by reviews, articles, radio or TV outside the region. Kitty Fitzgerald, Novelist, North Tyneside.

5. INTERNATIONAL: WHAT ARE YOU AMBITIONS TO DEVELOP NATIONAL/INTERNATIONAL WORK, LINKS AND COLLABORATIONS FOR THE FUTURE?

They are broad and developing. It has been hard to justify spending resource to international working in recent times but this is beginning to change. I feel that my sector is now more alert to international opportunities and more confident about achieving them. These relationships take time and effort though, building working partnerships across cultures and countries is a long term business. I think that the region could do more in rallying organisations around strategic partnerships (such as a recent one with Sweden that seems to have collapsed administratively). We have a translation and author mobility project in development based around countries that share the North Sea. We are also exploring international writers and work that will broaden the horizons of our readers and audiences as a creative way of addressing diversity. Claire Malcolm, Chief Executive, New Writing North.

I was published and translated in Germany before I managed to secure a publishing deal in the UK. My agent has since placed my work with a US publisher and has plans to sell foreign rights to other territories. Some say that the digital age will kill the book business and yet I feel the opposite is true. Never before has it been possible to reach such a wide audience. My series character, DCI Kate Daniels, though based in the North East, travels widely in my latest book. Commercially, it makes sense to shift the focus occasionally and yet retain a distinctive regional feel. I’ve also sold visual rights and hope to follow in the footsteps of Ann Cleeves whose crime novels have already been adapted for TV. They have sold worldwide, bringing much-needed jobs in film and media to the region. Mari Hannah, Novelist, Corbridge.

Writers in the North East regularly take part in cultural exchanges and reading tours abroad, often supported by regional universities and Arts Council England. Peter Bennet, Poet, Northumberland.

I have just returned from a short writing residency at Heinrich Boll Cottage in Ireland, where I talked with A Case for Culture Responses from Writers (March 2015) 5 the organisers about a potential future link. While there I also did a session in a local school for World Book Day, where I talked about the cultural landscape of the North East. In September I will be taking up a 3 month Writer's Residency at The University of Manitoba in Winnipeg, Canada. I am already booked to read at Winnipeg International Writing Festival and hope to make many useful connections for the North East Kitty Fitzgerald, Novelist, North Tyneside.

I’d like to see Get Up & Tie Your Fingers (a representation of the fishing industry of the North East coast), along with the attendant involvement of community choirs and local craftspeople, tour to other fishing communities in Europe or along the Eastern Seaboard of Canada/North America (‘Perfect Storm’ country). Lots of parallels there, and cultural connections to be built with the North East of England. Ann Coburn, Novelist and playwright, Berwick upon Tweed.

In recent years I have found myself working more on a national and international level in terms of the residencies and commissions that I have been undertaking. I want to continue to expand the geographical range for my work over the coming years and would particularly welcome opportunities to do this by partnering with North East based arts organisations. I'd like to see more links and partnerships with the region and European and US arts organisations to help enable me to do this. If I am going to make work of international significance then I'd like to do this by involving regional partners in collaboration with artists and organisations across the globe. Stevie Ronnie, Poet, Northumberland.

6. VISION: WHAT ARE YOU IDEAS AND ASPIRATIONS FOR DEVELOPING YOUR SECTOR OVER THE NEXT 15 YEARS?

I’d like to understand what our impact is on the economy so that we can make a better more compelling case for what we do with a wider range of supporters. I want to inspire the next generation of writers and work to ensure that the most excluded can access work that entertains and encourages them. I want to support writers so that they can move with the changes in the market place, locally and nationally and internationally and grow our sector to be confident and ambitious. We have amazing writers here so there’s alot to work with! Claire Malcolm, Chief Executive, New Writing North.

Writing taught by experts in schools, helping those with ambitions to understand that writing could be a career. Book festival to be known as the Northern Hay because of its size and ambition. Stephanie Butland, Novelist, Northumberland.

I would like to see an expanding audience of readers for all kinds of literature, fostered by projects such as Read Regional, Writers in Schools, and the outreach programmes of the universities and thriving regional book festivals. Peter Bennet, Poet, Northumberland.

More international connections; more outlets for published writers, not just emerging writers and more publishing ventures. I have a theatre option out on my novel PIGTOPIA, a group of practitioners looking to work on it with The National Theatre. It was offered to all the producing theatre companies in Tyneside but there were no takers, which was disappointing as this is another way to collaborate between literature and theatre. Kitty Fitzgerald, Novelist, North Tyneside.

There is a wealth of literary talent in the North East. I’m proud to say that I’ve been used as an ambassador by our regional writing agency New Writing North (NWN) to promote the work they do to a wider audience, in particular the Northern Writers’ Awards, travelling to other cities, Manchester, Liverpool and Wakefield to spread the word. I’ve also used social media and my own website to raise their profile and

A Case for Culture Responses from Writers (March 2015) 6 give something back to an organisation who gave a struggling writer a leg up. It has been my pleasure to be involved in this promotional activity. NWN is viewed by other regional writing agencies as a centre of excellence in nurturing talent. They administer the Read Regional campaign. Schemes like this will ensure that northern voices are heard. Mari Hannah, Novelist, Corbridge.

I would love to see an expansion of the audience and market for contemporary visual art in the region through an increase in support to the galleries, prizes and opportunities available to artists. In terms of my writing practice I would love to see more writers in schools and communities along with the multitude of positive effects that this can bring. I'd like to see stronger creative networks, enabling and supporting artists in the region to make work of national and international significance. I want the North East to step out of the shadow of London and be seen as the leading destination in the UK for artists, writers, the arts and culture. There are many ways in which this vision can be realised however funding is absolutely key and I'd like to see an end to the current culture where artists and writers are often expected to work for free or very low pay. Stevie Ronnie, Poet, Northumberland.

As a children’s writer, I’d love to see the North East become more of a centre of excellence for children’s literature. A network of local writers, the Northern Children’s Book Festival, Seven Stories (the Centre for Children’s Books), and local higher/further education institutions working together to provide archives, resources, expertise and creative and academic courses for writers and students of children’s literature. I already teach writing for children and writing for young adults on the MA at Newcastle University. Perhaps courses with children’s literature as a specialism could be further developed? Ann Coburn, Novelist and playwright, Berwick upon Tweed.

7. REALIZING THE VISION: WHAT SPECIFIC INTERVENTIONS (RATHER THAN JUST ‘MONEY’) COULD HELP MAKE THIS HAPPEN?

Power bases of influence so that we can influence change, connected thinkers, partnerships, ambitious collaborations and perhaps new networks through which the sector could represent its ambitions and dreams. More connection and understanding of what is already here and a better representation of this externally and internally. Claire Malcolm, Chief Executive, New Writing North.

Collaborations: Utilising the talents we have in the region. Kitty Fitzgerald, Novelist, North Tyneside.

I think that the support of art organisations in developing projects, opportunities and prizes for artists and writers in the region is key to the success of my future aspirations. Personally, I would like to see more events and opportunities of national and international significance, taking place within the region. There is still a sense, particularly among the young, that moving to London is the only way to develop within the creative sector. The high living costs in London seem to have made this dream less possible for those on a low income and I'd like to see the region take advantage of this and become an even more attractive place for emerging creatives to move to and settle. Stevie Ronnie, Poet, Northumberland.

Maintaining a high level of practical based assistance to aspiring writers is a must. Not every writer will be lucky enough to win an award as I did. But every writer would benefit from advice and networking opportunities. Those who care about literature/commercial fiction are always looking for ways to generate interest in the region. Hot off the press: my books will feature in ‘Murderous Tours’ a walk around Newcastle’s scenes of crime, fact and fiction, historical and contemporary. We hope it will be a sellout at Newcastle Noir in May 2015. Although time-consuming, these types of initiatives cost very little but capture the imagination of readers adding to their local knowledge and the enjoyment of their stay in our region. Mari Hannah, Novelist, Corbridge.

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Co-ordinators of both information and people. These days mid-list authors like myself have to do everything ourselves: write the books, keep up the social media presence, print our own publicity material – even record our own promos to upload to YouTube. We live in a maelstrom of shifting technologies and opportunities; agencies that co-ordinate and inform, offer training and prod you into action, are invaluable. New Writing North is a model in that respect and, I would suggest, a strong reason why so many writers are drawn to settle and work in the North East. Rebecca Jenkins, novelist, Barnard Castle.

Cultural exchanges among writers and the establishment of hubs for teaching and retreats. 'Come to the north east, take some time to think, be mentored by an established north-east writer'. Workshops in writing responses to landscapes. Community immersion, writers-in-residence exchanges. Literary tours and holidays. Stephanie Butland, Novelist, Northumberland.

In terms of realising the vision, I can only hope to keep writing and take part in promotions as they occur. I spent a day with maximum-security prisoners in Frankland Prison last year, and will be helping to launch Jon Silkin's posthumous Collected Poems in April. This will be a reminder of the work of a major poet who identified with the North East and published one of the country's most influential literary magazines here. Peter Bennet, Poet, Northumberland.

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North East - Case for Culture Consultation with the dance sector

Led by Dance City and TIN Arts

Q1 - Economy

Gathered from consultation session: *There is great value in artists working and earning as well as growing to become employers and commissioners in their own right *Dance and wider culture attracts tourists bringing inward investment and can further act as a magnet for national and international investment *Planning and developing skills and education that is relevant *Capital investment in arts and culture in our region makes it ‘a better place to live.’ *Economic change creates the conditions for a prosperous region

Gathered through online survey (for those unable to attend): *Figures released by the NGCV network reveals partners have made a collective economic contribution of £404m to the NE in the last 5 years. (source NGCV newsletter) Nationally the Creative Industries are worth £8million an hour, or £71.4 billion per year to the UK economy. Not only are the financial achievements notable, but the reputation of the arts in the UK is global and the intrinsic, social, emotional and educational impacts are felt both close at home and on an international scale. (source www.gov.uk) Culture provides employment, promotes local businesses and creates supply chain links abroad.

Q2 Health and wellbeing

Gathered from consultation session: *Dance directly and indirectly addresses physical and mental health *Raises confidence / ability / self-esteem in those who partake. *Dance contributes to creating a happy place, reference - ‘happiness’ survey. *Dance can offer a constant lifetime opportunity to access. *Dance is part of how people can holistically continue to be ‘physical’. *Due to the ‘isolation of the North East’ from the centre (London), artists are encouraged to think further than the product, challenged harder and almost required to explore a multi-layered / multi-faceted approach to creating and making work. *Importance and credence given to the social impact of the work. *Dance work created in the NE reflects and shares ideas around North East locality and our past/present/future. *The NE is able to mobilise quickly due to lack of infrastructure meaning more flexibility to collaborate and engage. *The NE has particular issues that can be addressed through dance / physical activity eg. smoking / obesity / mental health. *Dance is a language that is universal. HOWEVER we need to develop robust mechanical evidence around benefits - outcomes - measuring change.

Gathered through online survey: Dance is a physical art form with emphasis on participation. Attending classes contributes to a healthy lifestyle to help maintain/improve fitness and manage weight. Classes are low cost. Dance can prevent and cure injuries and ailments. Dance improves self-confidence, self-esteem. Dance teaches history and style, and there is generally something for everyone, all ages, shapes and sizes. It's hard to dance and not make friends.

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Q3 People and place

Gathered from consultation session: *Dance is contributing to creating good places to live. *Many of the answers to Q1 & Q2 can be applied here. *Dance brings colour to the neighbourhoods, brings energy / life to an area, brings balance to the geography of the North East. *Our heritage forms and feeds into the cultural offer. *Dance can bring the historical / heritage elements and the future of the North East together within one conversation and dialogue. *There is a growing clear identity arising from young people under 20. Culture (specifically through digital media) has become a way of escaping geographical boundaries, finding a sense of shared community. *Describing the people of the NE - Practical, grounded, openness, sense of not being scared, optimistic, hard inner steel, willingness to share and ideas. *Currently dance within the NE is exploring new career pathways. New routes and pathways are being plotted. Dancers are creating new ideas and cultural enterprises that are forging these new pathways. A sense of inquisitiveness. *Dance has become a default art form to celebrate, throw focus upon, well used in the North East.

Gathered through online survey: The NE has a vibrant history, classical heritage and cultural evolution thanks to the recent investments in venues and initiatives integrating culture across the city, not just one cultural quarter. ''Beyond high culture, Newcastle-Gateshead also shouts about sport, shopping, a vibrant night life, and the unique Centre for the Children's Book.'' source http:// www.theguardian.com/uk/2002/oct/31/travelnews.travel1) Culture, in all its forms, embraces the regions past, present and future and appeals to and involves all communities.

Q4 Distinctiveness

Gathered from consultation session: *The nature of the work that is being created in the North East is eclectic - born from the wide variety of training. Some of that work is created in isolation. There is space to create. *The NE offers cheaper cost of living, and therefore is a good place to be a creative. *You can be an exploratory dance artist as there is space to think and breathe and take risks with a supportive community. *The NE is witnessing a new sense of developing - creating - evolving emerging work, reaching out of the North East into Scotland and wider across the Northern region. FRESH as a exemplar model is also attracting people from outside North East.

Gathered from online survey: Culture in the North East highlights the vibrant people, places and ignites a passion amongst communities. This is therefore attractive to visitors and an important reason for visiting, improving the economy in the North East which should then be re-invested to expand upon more cultural support. Newcastle's Grey Street was voted the best streetscape in the country in a Today programme poll and the new bridge won the Stirling Prize. Newsweek magazine feted Newcastle-Gateshead as one of the world's eight most creative new regions. (source http://www.theguardian.com/uk/2002/oct/31/travelnews.travel1)

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The NE has cities, beaches, countryside, mainline trains across the UK and an international airport. This combination attracts tourists who in turn look to experience all we have to offer, predominantly our food, architecture, landscape and art.

Questions 5,6 and 7 were dealt with as ‘one question’ focused on ambition/aspiration/vision

Gathered from consultation session: *Placing focus on the key individuals / artists. *Looking at how we retain as well as attract key inspirational people. *More investment in artists - creating the attractive offer to bring talent to the North East. Creating the circumstances for people to be retained. *Creating opportunities to migrate together and support creativity / personal development / living standards can be attractive. *Enabling positive interventions. *Reference to the ROCC report (rebalancing our culture). *Looking at the commissioning landscape, undertaking more training / understanding of how dance can be better and more frequently commissioned. *Raising levels of ambition through new connections - national- international. *Showcasing work. *Supporting individuals / orgs to reach out and travel away, brings challenge / learning / new experiences and ‘soaking up’.

Gathered from online survey: Embed arts subjects in the school curriculum and change perceptions of arts subjects being secondary to more academic or scientific studies. I would like to see more women represented in organisations and onstage. I would like to see a better infrastructure for artists to build a sustainable career in the arts. Fair pay, realistic budgets, better training and support so higher quality outputs are made. NE to be in healthy competition with London for the best quality work in the UK. Better training for artists, performance as well as business management, teaching, writing applications, marketing, accounting etc. Being an artist involves all of the above and more. More collaborations, cross art form, cross venue, touring relationships locally, nationally and abroad. Mentoring, regular networking, framework to support this. Apprenticeships, shadowing, skill sharing, paid internships.

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Hartlepool Borough Council

1. Economy – what has culture got to offer the economy of the North East? (250 words)

• Visitor figures for 2013/14 – Museum of Hartlepool (132,067); Hartlepool Maritime Experience (44,622); Hartlepool Art Gallery (70,595); Libraries (381,071); Town Hall Theatre (50,436); Heugh Gun Battery (Not available) = 678,791 • The Cultural sector is an integral part of the Hartlepool Vision linking directly to the Church Street/Church Square development and the Waterfront development. • The sector provides employment and volunteering opportunities for over 300 people directly in the town. • Support to firms providing heritage skills – Conservation Grant Scheme has seen small/medium sized firms specializing in traditional skills carrying out works for homeowners.Environments based around historic buildings such as the Townscape Heritage Initiative have improved public realm and buildings in the area. • Traditional shipbuilding skills have led to the restoration of ships such as HMS Warrior, HMS Trincomalee and PSS Wingfield Castle. • An events programme including: Fireworks; Christmas Light Switch On; Headland Carnival; Horticulture Show; Headland Heritage Festival – attracting in excess of 25,000 visitors per year.

2. Health and wellbeing - how can culture contribute to the health and wellbeing of people living and working in the North East? (250 words)

• Research shows participation in cultural activities can lead to improved physical and mental health and improvements in the healthcare system, e.g. music and visual art reduced anxiety and depression during chemotherapy • Music caused significant reduction in anxiety levels and positive effects on blood pressure, heart rate and demand for oxygen • Studies show how the arts can facilitate improved communication skills of mental health service users, helping relationships with family and mental health providers – providing ways for people to express themselves – improving self esteem • Participation in cultural and sporting activities has been shown to improve or create social networks, enhance quality of life, promote social cohesion, personal and community, empowerment, improve personal and local image, identity and a sense of wellbeing. • Participation in the arts and experiencing culture can have physical, mental and social effects through the reduction in tension and arousal of attention, alertness or excitement (London Health Commission, 2002) • Bygren et al (1996) found higher mortality rates among those who rarely attended cultural events • Cultural activity can develop and maintain social capital by encouraging links between individuals and groups. There is evidence linking the components of social capital with health, e.g. life expectancy, anxiety, depression, coping with illness and prognosis when ill (Cave and Coutts, 2002).

A Case for Culture Responses from Writers (March 2015) 12

3. Sense of place and community – what has culture got to offer the North East as a ‘place’ and its communities? (250 words)

• Museum and Library collections – help to create a sense of place. Collections can vary from: archaeology; social history; art; industrial; maritime; newspaper and photographic collections. This provides the collective memory for the town or region. • Provide welcoming, non-judgmental spaces for individuals and groups to access and to come together. Libraries also provide free access for computers for making job applications and for benefits claims. • The local studies section of the library service and the museum service provide help and assistance with family and local history research. • Opportunities to volunteer in places such as the libraries, arts, events, museums and in more specialist areas such as the Heugh Gun Battery and Trincomalee. • Opportunities for young people to develop in a non-formal learning environment. The Young Cultural Ambassadors programme has provided just such an opportunity in the Art Gallery and Theatre.

4. Distinctiveness/ image and profile of the region - how does culture contribute to making the North East a distinctive and attractive place? (top 3 examples please – 250 words)

• Hartlepool Maritime Experience and the Museum of Hartlepool, home of HMS Trincomalee. This venue provides access to two major ships HMS Trincomalee (second oldest ship still afloat in the World) and PSS Wingfield Castle. The Museum provides access to collections looking at maritime history, industrial history, social history, art, archaeology and a temporary exhibition programme as well as events. • Heugh Gun Battery – the only World War I battlefield site in the UK. Featuring a collection of military history for over 100 years. • Cultural Quarter – the Church Square area which houses Cleveland College of Art and Design and Hartlepool Art Gallery. This area also plays host to a number of cultural events. The gallery has a changing programme of temporary exhibitions with work ranging from the local art club, the College Degree Show to national and international artists as well as displaying the town’s fine art collection.

5. National/ international work - what are your ambitions to develop national/ international work, links and collaborations in the future? (top 5 priorities please – 250 words)

• In April 2016, Hartlepool Maritime Experience will become the National Museum of the Royal Navy North following a partnership between the Council, the National Museum of the Royal Navy and the Trincomalee Trust. • The Art Gallery and Cleveland College of Art and Design are hosting an Illustration Festival in June 2015 with nationally and internationally-renowned illustrations artists visiting the town. In 2017 the exercise will be repeated to commemorate the 100th anniversary of the birth in the town of Reg Smyth who gave us Andy Capp, it is also the 60th anniversary of the first cartoon strip of this character in the Daily Mirror. • 2017 is the 200th anniversary of the building of HMS Trincomalee and the town will be hosting maritime-related activities in conjunction with the National Museum of the Royal Navy. • In September 2016 German artist Peter Zimmermann will be undertaking his first UK solo show at Hartlepool Art Gallery. This will coincide with the opening of the new Cleveland College of Art and Design campus as part of the Church Street development.

A Case for Culture Responses from Writers (March 2015) 13

6. Vision -what are your ideas and aspirations for developing your sector over the next 15 years? Max 300 words.

• Development of the National Museum of the Royal Navy North(NMRN). • Development of new Museum of Hartlepool and STEM Centre on Jackson’s Landing along with a further expansion of the NMRN. • Creation of the critical mass of visitor/retail destinations based around the waterfront element of the town. • Development of the Church Street/Church Square Cultural Quarter in partnership with Cleveland College of Art and Design. • Development of Health Projects in arts, museums and libraries. • Development of a fluid outreach library service and pop-up libraries in new developments. • Further development of Young Cultural Ambassadors Scheme via Hartlepool Art Gallery. • Develop theatre consortium model to bring new, exciting theatre productions to the Town Hall Theatre and other venues in the town. • Strong cultural offer that is sustainable and underpins the town’s tourist economy.

7. Realising your vision/ aspirations for your sector - what specific interventions (rather than just ‘more money’) could help make this happen? (250 words)

• Joined up programmes across the Tees Valley in the areas of events, music, libraries, museums, theatre and dance. • A return to the Renaissance-driven collaborative working/thinking across the Tees Valley and the North East. • To ensure culture is a central plank in the economic regeneration programme. • To have a better understanding of current and potential audiences. • Provide opportunities to give young people a chance to access culture in its widest sense. • To see of fairer distribution of resources away from the usual ‘Big City’ destinations. • A recognition that good things happen right across the region and are not just provided by a few highly regarded organizations.

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Society of Chief Librarians North East

1. Economy – what has culture got to offer the economy of the North East? (250 words)

We believe that libraries, as cultural institutions, contribute to the collective wealth of the North East. They act as signposters, centres of inspiration and repositories of community memory.

In direct monetary terms, a recent study carried out by Archives Libraries & Museums Alliance UK, showed that people visiting libraries place a theoretical money value of between £24 and £27 on each visit to the library, around 5.7 times greater than the cost of providing the service.

The Arts Council England’s Evidence Review of the Economic Contribution of Libraries (2014), states: "What the available evidence shows is that public libraries, first and foremost, contribute to long term processes of human capital formation, the maintenance of mental and physical wellbeing, social inclusivity and the cohesion of communities.

The Society of Chief Librarians has developed a number of Universal Offers which are designed to bring consistency to services and focus on cohesiveness, reducing service costs and providing communities with the opportunity to develop, share innovation and creativity. There are currently four offers – Health, Reading, Digital and Information (with a fifth developing around Learning). Two “promises” will be converted into fully developed offers this year and these reflect the needs of children and young people and print disabled people (The Six Steps promise).

These offers and promises aim to encourage a sense of wellbeing and dynamism encouraging further growth and investment and a specific example of this is the regional Business and Intellectual Property Centre at Newcastle City Library and the related Tees Valley Enterprising Libraries scheme.

2. Health and wellbeing - how can culture contribute to the health and wellbeing of people living and working in the North East? (250 words)

We believe that libraries support health and wellbeing in many ways for every age group. Recent research shows that people see their library as a safe, trusted and non-stigmatized place to go for help with, and information about, health issues. There is evidence from the National Institute of Clinical Excellence that self-help reading can help people with common mental health conditions, including anxiety and depression. A good example is the Reading Well “Books on Prescription” scheme – an element of the Society of Chief Librarians Universal Health Offer.

Delivered by Library Services across England it helps people to understand and manage their health and wellbeing using self-help reading. A recommended reading list has been developed by experts working in partnership with libraries and funded by the Arts Council England. Books can be recommended either by GPs or self-referral by individuals. The books are available in almost all English public libraries where they can be borrowed free of charge.

In January 2015 Reading Well Books on Prescription for dementia was launched. It provides help and support for people with dementia, carers of people with dementia and those wanting to know more. This complements the many initiatives and projects which libraries have organised and delivered over recent years.

A Case for Culture Responses from Writers (March 2015) 15

These are just few examples of support which libraries provide for the health and wellbeing of their communities – there are many others which deal with the wide and varied health needs of the people we serve.

3. Sense of place and community – what has culture got to offer the North East as a ‘place’ and its communities? (250 words)

Libraries can be the heart of a community’s memory and working closely with Museums and Archives can hold the key to the recorded and physical culture of the Region. Culture creates a sense of identity and belonging which can encourage people to feel ownership of a locality and the need to contribute to its development.

Libraries provide a focus and a context for people to understand the people, the landscapes and the physical nature of their home – through local and family history activities and through social activities which seek to interpret the history and background of our rich communities. Libraries are non-judgmental and unite people through their spaces, physical and electronic resources and their passion for their local communities.

There are many examples of library work to celebrate or commemorate elements of the Region’s history. In 2014, for example, three North East library services (Newcastle, North Tyneside, Stockton) became trial partners in the National Digital War Memorial project. This sought to commemorate everyone affected by the commencement of World War One in 1914. What ensued was a truly community based response where people from every background worked with their local service to create performances, art pieces and research based work based on the collections and resources of their library service.

In other work, libraries have supported art exhibitions and writers around the Lindisfarne Gospels and will play a role in looking forward to the bicentennial of the world’s first fare paying railway service, the Stockton and Darlington Railway, in 2025.

4. Distinctiveness/ image and profile of the region - how does culture contribute to making the North East a distinctive and attractive place? (top 3 examples please – 250 words)

Landscape – the huge variety in the modern North East from the natural beauty of our coasts and hills, moors and forests to the stark grandeur of our built heritage. In many places, it is easy to see the attraction of the region because of its amazing natural features from the seemingly endless sandy beaches to the rolling heather moors of the Pennines and the upper dales. In other localities there is a certain amount of imagination needed and this is where the cultural institutions play their part in helping modern people to understand the history of a site which might now be a chemical works or a shipbuilding yard, but which has its own historical position in the development of the region.

Creativity – from the important figures in history who made the region, and the world, change. FromBede to George Stephenson, from Thomas Sheraton to Ridley Scott and from John Walker to Lord Armstrong. The North East has an amazing history and one which ranges from the invention of the friction match to the first historian to recognise the English as a nation.

The people of the region – the diverse communities who have made their home here. From the traders who have settled in our ports and integrated into our population to the more distant invaders, the Vikings and Saxons who made their homes in the region. They are all part of the rich story of the North East and each has made its mark on the culture and history of the area.

A Case for Culture Responses from Writers (March 2015) 16

5. National/ international work - what are your ambitions to develop national/ international work, links and collaborations in the future? (top 5 priorities please – 250 words)

Participation of the region’s library services in the Task Force arising from the Independent Library Report for England (DCMS 19 December 2014)including:

1. To continue to reinvigorate the public library service in England, working with key national partners e.g BBC (Most recently in the Little Painting Challenge) ACE, British Library, Society of Chief Librarians, Chartered Institute of Library and Information Professionals, Local Government Association, The Reading Agency, Cabinet Office Digital Inclusion Strategy 2. To support the creation of a national digital library network and continue to develop e-lending 3. To develop a vigorous culture of mutual support amongst library services 4. To encourage more community involvement in the management of libraries through a variety of models 5. To encourage and develop the library workforce especially new recruits and graduates

6. Vision -what are your ideas and aspirations for developing your sector over the next 15 years? Max 300 words.

The libraries sector has changed dramatically over the past ten years from a vibrant and developing network supporting its community, to one which constantly faces challenge from the budgets available to parent local authorities. It is still possible though, to see the power of effective use of the public library as a trusted space in the community which is able to support, develop and nurture communities.

The pressing need is for the message to get out that Libraries are a valid partner in delivering culture over the coming years – they provide a focus for activity and they need to be included as a matter of course in any discussion about the value of culture because they are a day to day provider of written word and other formats of recorded information. We need them to be much more integrated into the cultural offer, but on their own terms, providing the services they are designed to deliver – access to reading both for pleasure and learning, providers of information, places of inspiration and support. In summary our aspirations for our services focus on the following:

To continue to improve society through facilitating knowledge creation in communities, connecting people with ideas and with one another. Library Services providing connections as well as collections. To maintain libraries as inclusive community hubs where people can create as well as consume. To maximise community involvement to take library services to those who can most benefit.

The library of the future may look different but in essence, it should still act as a place of community information, involvement, socialization and support for reading and learning. There is a pressing need to plan for the future to ensure that the right mix of skills and partnerships exists to preserve this.

7. Realising your vision/ aspirations for your sector - what specific interventions (rather than just ‘more money’) could help make this happen? (250 words)

• National/regional library advocacy programme • National/Regional signage/branding • National library cards – linked to FE/HE Library provision • National library catalogue

A Case for Culture Responses from Writers (March 2015) 17

• Linkages between government departments with budgets already allocated to related services and library services e.g. National Careers Service has its own information resource, this is a natural fit with Public Libraries Universal Information Offer • Rolling out WiFi to every library in the country/region • Partnership between every school, its library service and other cultural providers • Constant adaption to changing technologies as they evolve. • Increased partnership working both within our sector and beyond • Stronger recognition of the role of libraries in communicating culture across the Region

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NE Museum Sector Response

1. Economy – what has culture got to offer the economy of the North East?

The NE museum sector attracts visitors in and outside of the region, creates jobs, develops skills, attracts business investment and raises aspiration and attainment. The total gross economic contribution of the North East Museum sector to the regional economy was estimated at £45.4 million of GVA during 2012-13, supporting 1,218 FTE jobs1. . The museum sector plays a pivotal role in driving the tourism economy of the North East, attracting local, national and international visitors to the region’s diverse range of venues and collections. In 2012/132, 4.9m people visited NE museums attracting £7.6m visitor spend to the region.

. For every £1 of public money invested in the sector an additional £4.12 is generated through indirect and induced impacts3.

. NE museums provide direct employment for over 900 people4.

. Museums attract significant investment for project work and capital improvements creating additional employment opportunities for businesses and commercial creative industries.

. Capital investment in museums is revitalising places and generating growth e.g. current developments at Discovery Quarter around Discovery Museum.

. Museums provide traineeships, placements and volunteering opportunities that help to provide a skilled workforce.

. Our collections and stories provide content for creative businesses and inspire cultural entrepreneurs.

. Most importantly the museums help support the regional distinctiveness of the North East, helping create a place where business wants to locate and invest.

2. Health and wellbeing – how can culture contribute to the health and wellbeing of people living and working in the North East?

‘Museums boost people’s quality of life and improve mental and physical health. It is good for wellbeing to engage closely with collections and ideas in the presence of other people’5. Those who had attended a cultural place or event in the previous 12 months were almost 60 per cent more likely to report good health compared to those who had not...’6 . Museums are uniquely placed to use their collections to engage people, stimulate thinking, and pose questions all of which contributes to positive mental wellbeing.

. Participation in museums promotes good health and research has shown that the higher frequency of engagement with museums the high level of wellbeing.

1 An Economic Impact Study of the North East Museum Sector 2012/13, ERS 2014 2 As above 3 As above 4 As above 5 Museums Change Lives, Museums Association 2013 6 The value of arts and culture to people and society, Arts Council England 2014 A Case for Culture Responses from Writers (March 2015) 19

. Museums provide spaces for enjoyment, inspiration and relaxation.

. Museum collections are evolving and being added to in response to changing communities – they can validate the role of particular communities in our society and can also reflect these communities and how they contribute.

. Engagement with museum collections improves the cognitive abilities of children and young people through school visits and outreach projects.

. Volunteering opportunities have a positive impact on the confidence and self-esteem of individuals; particularly of those seeking pathways to paid employment (2,276 volunteers gave over 191,585 hours of their time to support the NE museum sector in 2012/13).7

. Museums have a positive impact on health conditions including on dementia and Parkinson’s disease e.g. through reminiscence projects and object handling, and working in partnership with universities to conduct research in to museums’ therapeutic effects on people. Care homes in Newcastle have commissioned museums to provide permanent ‘reminiscence cases’ for their residents.

. Museum experiences give us long lasting happy memories.

. They are spaces for social interaction and can help to reduce loneliness and depression.

. Museums work in partnership with specialist providers to help improve the lives of unemployed and homeless people, isolated older people, and looked-after children.

3. Sense of place & community – what has culture got to offer the North East as a ‘place’ and its communities?

‘Museums are one of the things that make a place worth living in and worth visiting. They help define a place – a city, a town, a village, sometimes a nation’8. . The North East’s museums represent a huge range of subjects – social and industrial history, archaeology, fine and decorative arts, with local, national and international significance; they can help the people of the NE see their place in the nation and the wider world.

. NE museums’ collections and buildings characterise what is the ‘North East’ e.g. industrial heritage, Hadrian’s Wall, innovation (e.g. the electric light bulb, the turbine and the friction match).

. Museums are welcoming spaces that are accessible to everyone e.g. Safe Spaces Scheme; ‘Use our loos’

. Museums offer spaces for groups and communities to come together fostering improved community cohesion.

. They are centres of the community.

7 An Economic Impact Study of the North East Museum Sector 2012/13, ERS 2014 8 Museums Change Lives, Museums Association 2013 A Case for Culture Responses from Writers (March 2015) 20

. Museums provide access to their communities’ collective heritage and history, helping to shape identity and a sense of who we are.

. Smaller, volunteer-run museums are safeguarding and retelling the histories of less well known communities and places of the NE.

4. Distinctiveness/image and profile – how does culture contribute to making the North East a distinct and attractive place?

. There are very distinct themes in the region – Romans, Borders (castles & rivers), Christian heritage and industrial heritage.

. The region is symbolic of innovation and invention. The region’s museums contain evidence of historic invention and innovation (ref. to History of North East in 100 objects); today museums continue to collect and interpret current discovery and invention for the future.

. The region holds some iconic pieces of art (the largest collection of Spanish art outside London; works by John Martin who was recently the subject of an exhibition at Tate Britain; the work of the Pitmen painters at Woodhorn). Some of the region’s museums were the first to achieve Designated status for their collections.

. As well as historic iconic buildings, the region has a distinctive contemporary image with buildings such as Woodhorn and Segedunum and iconic landmarks e.g. Angel of the North.

. The region is compact, with distinct areas such as NewcastleGateshead, Sunderland and Teesside.

5. National/international work – what are your ambitions to develop national/international work, links and collaborations in the future? (top 5 priorities)

. To promote the NE museum sector (as part of a wider cultural offer) to the UK and overseas encouraging new visitors to the region and stimulating those who already visit to extend their stay.

. To produce and receive international touring exhibitions – promoting the region internationally and bringing the best international cultural offer to the region.

. To grow partnerships with universities and collaborate on an international level.

. To share skills, expertise and innovation within and outside of the sector, nationally and internationally – NE museums are currently working widely internationally including Scandinavia, France, Italy Germany, China, Turkey, Brazil and the West Balkans.

. To maximise the use of digital to engage international audiences.

6. Vision –what are your ideas and aspirations for developing your sector over the next 15 years?

A Case for Culture Responses from Writers (March 2015) 21

. To work with national and international partners to develop and enhance the offer in the region, for example, having designated areas within museums for national collections or developing further national branches like the model at Locomotion, Shildon

. To have effective international reach and engagement.

. For increased collaboration with the HE sector, showing the ability of museums to deliver impact

. To continue to evolve new business models, supported by public investment ensuring excellent services for our local population, visitors to the region and our online audience.

. The NE museum sector is integrated and integral to our communities.

. It is able to respond more quickly to social and economic change.

. Increased working between NE museums to maximise resources and add value by working in partnership.

. Increased diversification of income and less reliance on public funding.

. Further development of digital technologies to engage audiences e.g. TWAM’s Museum in the Cloud.

. For the sector to be recognised as confident cultural organisations, with entrepreneurial spirit.

. For all NE museums to be greener organisations and environmentally responsible.

. More local people involved in programming and governance decisions.

. To be acknowledged by other services e.g. health, social services as an integral part of their service delivery, with social care funding supporting social care activity in museums.

. To develop an improved offer for children and young people including new and innovative relationships with schools where museums can support learning across the whole curriculum

7. Realising your vision/aspirations for your sector – what specific interventions (rather than just ‘more money’ could make this happen?)

. A national museums funding strategy

. Effective regional tourism and marketing strategy

. Development of business skills and creating a greater entrepreneurial environment

. Increased partnership working

. A Cultural Curriculum for North East – cultural sector to be involved in curriculum setting

. Development of museum boards/governing bodies and ensuring that we have museum/culture champions from outside of the sector

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. Continued development of partnerships with other cultural organisations

. Increased advocacy (especially targeting all levels of government)

. Openness to new ideas and different ways of working

. Greater confidence to take risks

. Share learning and knowledge

. Joined up working and a regional approach where possible e.g. DMOs working together

. Effective links with the business/commercial sector

. Better understanding our audiences and their needs

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ARC, Stockton Arts Centre (Combined Arts)

1. Economy – what has culture got to offer the economy of the North East? (250 words)

Combined arts organizations, primarily arts centres, offer an important pathway for artists early in their career. They form an essential part of the arts ecology, enabling artists to develop sustainable careers, often encompassing participatory as well as performance/exhibition work.

Without the employment opportunities and artist development initiatives and support offered by arts centres, many artists would struggle to begin their careers. They are often seen by artists as more approachable, and more permeable than single art-form organizations.

Also, arts centres operate all day, increasing footfall and therefore spend to the local area throughout the day, rather than only contributing to the night-time economy. The range of activity delivered by arts centres means they are able to tap into a wider range of income streams, with many having robust mixed- income business models.

2. Health and wellbeing - how can culture contribute to the health and wellbeing of people living and working in the North East? (250 words)

Arts centres are geographically, and philosophically, very close to the heart of their local communities, and ideally placed to provide participatory activities that meet local health and wellbeing priorities. As with artists, arts centres are often places for people early in their cultural journey, providing an accessible, close-to-home, cultural refuge.

Many are already offering specialist activity for early years, children and young people and older people, working in partnership with their local CCG, public health and local authorities.

3. Sense of place and community – what has culture got to offer the North East as a ‘place’ and its communities? (250 words)

As mentioned above, the artistic and business models of arts centres allow them to be much more reflective and responsive to their local communities. They are able to shape and mould activity to suit the needs and aspirations of their environment, and to act as an entry point for new participants and audiences.

4. Distinctiveness/ image and profile of the region - how does culture contribute to making the North East a distinctive and attractive place? (top 3 examples please – 250 words)

The North East is building a strong reputation for its collaborations around supporting performance artists – through initiatives such as Bridging the Gap, Meet the Programmers and the North East Artist Development Network, we are demonstrating the value of venues working together to support artists. This is being developed from the ground up, making the North East a desirable place for artists to make work. This is not necessarily happening in other regions.

5. National/ international work - what are your ambitions to develop national/ international work, links and collaborations in the future? (top 5 priorities please – 250 words)

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There is a strong network of arts centres across the North East and we would like to be better networked nationally and internationally – particularly in terms of sharing the collaborative working models around artist development.

We would like more performance work developed through the arts centre ecology to be exported, to the rest of the UK and internationally.

6. Vision -what are your ideas and aspirations for developing your sector over the next 15 years? Max 300 words.

We want the arts centre sector to be better recognized for its role in the wider cultural ecology, both in terms of artistic excellence and audience engagement.

We want more engagement with LEPs, public health, social care, further/higher education and other local/regional influencers, in terms of the role arts centres can play in those areas.

We want the North East to lead the way in terms of adopting arts and cultural offers as part of health and social care provision.

We want the North East to be more porous – to see more artists from the North East work elsewhere, and more artists from outside the region create and present their work here.

7. Realising your vision/ aspirations for your sector - what specific interventions (rather than just ‘more money’) could help make this happen? (250 words)

The establishment of a region-wide arts/health group, with senior public health/CCG figures committed to piloting new activity

For LEPs to recognize what we call ‘artist development’ as a pathway to employment…

The establishment of more artist exchange programmes, but with an audience focus

A Case for Culture Responses from Writers (March 2015) 25

Circus Central – North East Circus Development Trust

1. Economy – what has culture (circus) got to offer the economy of the North East? (250 words) Circus is an intelligent physical art form. It’s practice has extraordinary impacts on participants and is fundamentally inclusive. Circus is for all. It also incorporates all art-forms and engages people physically as audience members and as performers. It can function at the centre of cultural landscapes ( think, Cirque du Soleil the National Circus of Canada) and at the Margins. In the 21st century circus can and does reach out to isolated communities (mobile Venues) and is perceived as a popularist art form, as well as though it’s contemporary guise it can be avant-garde.

Fundamentally circus is the archetypal cultural entrepreneur. It seeks alternative ways to engage with and make markets, it is not bonded by geography or rules. It takes a tent to a rural community, works on the street, establishes festivals and engages with all social groups. It’s youth, artists, managers and organisations are highly networked nationally and international and travel widely bringing back new ways of operating. Incoming artists benefit the NE economy because they bring excellence and excitement to local events. Young people who have been engaged in youth circus (particularly long term) gain essential life skills transferable to employment, they are enriched by circus through it’s diverse, intergenerational and immersive experiences where they have real responsibility and a sense of emancipation. Circus hubs are critical to this economic ecology (eg Circus Central, Newcastle) as they enables artists to remain economically active (developing commercial work, gaining form professional development, and gaining employment). Hubs enable groups to come together and make things happen that otherwise wouldn’t be possible eg. as an incubator. Hubs also provide regular access to training. Circus hubs can work across sectors and develop projects and partnerships which strengthens individuals and organizations which opens economic opportunities through stronger funding applications.

2. Health and wellbeing - how can culture (circus) contribute to the health and wellbeing of people living and working in the North East? (250 words)

Circus is an art-from for the people, all the people. In circus there is the mix of high skill and the extraordinary, where all belong every has a chance to develop skills and is very adaptive to age, ability and experience. Thus Circus offers rich and unique wellbeing opportunities for all and can work well as an inclusive opportunity. It’s inherent physicality is non-competitive, but does have a reward of winning, a doperine high when you get a trick. This makes people feel good a sense of achievement from the first session, it enables people to become more robust in their personal expectations, to learn how to fail, is an important lesson so that they become resourced to try again. This helps participants gain self-confidence and develop trust in others. The individuality within circus while remaining in a sense of community/family can develop very strong bonds which make for a real sense of well-being. In addition to this those who participate in regular circus training become very physically fit, as well as physically literate (coordinated) and more mentally acute. A circus body and mind is adaptable.

New research is coming out of Canada, It will be published in spring 2015, by the University of Manitoba and Ecole du Cirque Montreal. Which has found that 20 core Physical Literacy skills (hoping, jumping etc) are increased through participation in circus activities as part of a school session. This research has found that circus is a) significantly more effective than PE in developing these skills, b) the increase in motor competence directly effected an improved confidence and c) closed the gap between girls and boys. The importance of this research is massive because it directly affects individuals and their health and well- being. (www.physicalliteracy.ca) has persuaded both the Canadian and Us Governments to adopt Physical literacy as a core educational target alongside numeracy and text/language literacy.

A Case for Culture Responses from Writers (March 2015) 26

Also there have been researches into the effects of circus on children and young people in Finland – “Effective Circus Project ” University of Tampere www.vaikuttavasirkus.fi which showed high level increases in wellbeing through social circus as supported by Cirque Du Monde the global citizenship wing of Cirque du Soleil. There are other researches coming out regarding happiness. There are many other impact studies looking into circus effects on participants.

Circus Central along with University of Northumbria in 2015/6 are doing a small impact study with Migrant children and well-being.

3. Sense of place and community – what has culture (circus) got to offer the North East as a ‘place’ and its communities? (250 words)

The NORTH EAST is already a centre of excellence for Youth and Community Circus.

Circus in its revised guise is strongly based on community and this is built upon the sense of community in Classic circuses. Circus Central have significant circus heritage in the North East with goes back to 1237, Hob of Pelaw, who’s tightwire walker who was documented on Durham Cathedral. We have undertaken a research project with the youth circus which looks at the heritage we have in the North East, based on the collection of Circus Ephemera made by Arthur Fenwick (and also the Wood collection) the collection has now been partially digitized by the project. www.labonche.net (funded by HLF) . The NE regional youth circus is already functioning as ambassadors for the region as it performs at festivals and events in the UK, it is based at Circus Central.

Circus gives all people a great sense of community, because the activity is physical and creative. The activities help to break down barriers and create a sense of belonging. Participants become volunteers in community events and also develop into artists and practitioners who are also community minded. A good example of this is with JUST in Billingham, and Circus Central in Newcastle

Circus Central through its international work has a very strong presence in international circus world as a place of excellence for youth circus, it has helped to put Newcastle and the North East onto the Circus Map.

Professor Ron Beadle from Northumbria University writes about the Virtues inherent in Circus, due to the nature of the co-operative enterprise of a community which are bounded by common goals. In youth and community circus this is also evident and is often part of the Aims and objective of individuals and organizations.

Circus Central along with University of Northumbria and 5 other European circuses are looking at Community Circus and how they are constituted, and effective in communities that they serve. In 2017 there should be an Event to share this research in Newcastle.

4. Distinctiveness/ image and profile of the region - how does culture (circus) contribute to making the North East a distinctive and attractive place? (top 3 examples please – 250 words)

A city with a vibrant circus ecology will attract artists and companies to the area ( Bristol and Belfast are good examples of this) This influx of people is important for the city as it brings vibrancy and through circus a special impact on public facing events and can help as a tourist attraction.

In terms of Circus hear are 3 examples

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1 – Circus and Street Arts Festivals - Stockton International Riverside Festival ( 30 years) is a very good example of this. Circus Central would like to develop a circus festival ( think Glastonbury circus and theatre field – with participation and performance) 2- Five Ring Circus ( the youth circus based at Circus Central) - could develop into a Company, which like Sorin Circus in Tampere become a huge asset to the community as well as internationally renowned 3 - Circus Research Network (Britain and Ireland) was founded in Newcastle by Northumbria and Circus Central - This Partnership between Universities and Circus is an exciting prospect for cultural research and interdisciplinary research. Northumbria are offering 2x research PhDs in 2015.

5. National/ international work - what are your ambitions to develop national/ international work, links and collaborations in the future? (top 5 priorities please – 250 words)

1 – - Professional Development - Circus Central are delivering and managing EU projects for Artists, Teacher and Staff Training - this is continuing Professional Development for individuals and also networking opporunities 2- - Research Circus Central and Northumbria are involved with and are Developing and International circus research projects in Europe and beyond. Active already are Circus Central and Northumbria with partners in UK, Canada, USA, Germany, Belgium, Italy, Denmark, 3 – Artist Employment Let’s Circus - is the (Circus) Agent of the North - is involved with programming events and festivals in the UK and has strong links with Australia and Africa. It also has outreach and social circus agendas in its work and in 2015 will have a big tops which will tour Scotland - this tour offers training in events for artist 4 – Youth Circus Sector development Circus Central is involved in developing and running CircusWorks the UK youth Circus Network, and is active in supporting circus sector development across the UK, and is networked into the European Youth Circus Networks. With CircusWorks they are developing UK Youth Circus Festival and educators conferences 5 - Establishing clear progression routes for children and young people in circus nationally and internationally

6. Vision -what are your ideas and aspirations for developing your sector over the next 15 years? Max 300 words.

Circus is an intelligent physical art form. Circus is for All, in all settings and in all ways. ( Health, well being, art, economics, social cohesion, fun, enlightening and scientific.) 1 – Accessibility - Circus should be inclusive available regularly to many groups not just youth and artists it is valuable to families, people with a wide range of additional needs and over 50’s. Along with the National Centre for Circus Arts (London) we have the ambition of every one to access to regular circus activity with in 30 miles. 2- Circus in schools – circus is effective in developing Physical Literacy, it should be in schools as a bonefide ingredient in the curriculum (like Finland with 1400 hours for Primary schools and 2700 hours in secondary school) there should be a circus delivered in Degree programmes in the North East 3 – Circus should have a dedicated hub in the NE, a place which enables high level practice and artistic development ( Circus Central is functioning as a hub but is not yet fully equipped) People in the NE should not have to travel to London, Cardiff or Abroad to find this level of facility. 4 – Circus should be an obvious aspiration to all, it should be as ubiquitous as Football and shopping as an activity in the mindset of the public. For fitness, fun and enterprise skills. 5 – to develop a Circus festival and to have circus strongly present in other festivals, for the artists to be drawn from the North East and not to be a net importer of circus to the region. To have a regional circus company and incubation spaces.

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7. Realising your vision/ aspirations for your sector - what specific interventions (rather than just ‘more money’) could help make this happen? (250 words)

Circus needs are very similar to other areas of Culture in the North East - we are however an underdeveloped sector relying on self starters. (Circus Central the biggest organisation and is being developed by unsalaried staff).

1 – Marketing, PR and Advocacy - Increase in public, cultural and governmental awareness of benefits of participation in Circus and appreciation of modern modes of circus and its social impacts. Circus should be a given, not an extra, in our cultural tool kit.

2 – Partnerships - universities, venues, festivals, councils, small companies working together to research, develop projects, technically support and develop circus arts and activities.

3 – Sector development requires strong (resourced) leadership and space for artistic research, skills development and practitioner support. This will make NE attractive to the circus sector. This DOES NEED MONEY – Circus Central will start its first round of modest core funding in April 2015, (through Newcastle Culture Investment Fund, 3 years).

4 – Circus artists and organisations are entrepreneurial and will make things happen – but the impact of this is limited by there resources they have. Having said this they do “punch” above their weight. They need low cost or no cost rehearsal spaces.

5 – Much of the sector is autodidactic and needs professional development opportunities - Circus Central is the only organisation delivering training - to date this is on an adhoc basis.

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Karen Nairstone, director, Design Event

1. Economy – what has culture got to offer the economy of the North East? (250 words) The designing and making of things that people want can have a massively important economic role to play in the North East. The creative industries not only generate goods to sell but generate a rich and exciting culture life encouraging people to live, spend and invest in the region. The further development of a market for contemporary craft and design in the North East would help retain the talent that is trained and developed here.

It is important not to see design and craft as a quaint / nostalgic / backward looking pastimes but as activities where new technology is harnessed and new skills employed for cultural and economic ends.

Encouraging individuals and companies to be more design aware and innovative can lead to more innovation in the region’s manufacturing, making, buildings, and spaces.

2. Health and wellbeing - how can culture contribute to the health and wellbeing of people living and working in the North East? (250 words)

“What we seek, at the deepest level, is inwardly to resemble, rather than physically to possess, the objects and places that touch us through their beauty” Alain de Botten, The Architecture of Happiness It has been proven that happiness has a direct positive impact on our heath and wellbeing, and a place without culture is a place without joy. Specifically in relation to design, it is one of the most accessible forms of visual art and has positive health benefits to those partaking in craft and design. One of its biggest benefits to health and wellbeing is in shaping the environment around us providing us with the opportunity to experience beauty in objects every day. Craft and Design (grouped together or seen as separate areas of activity) have much to offer, in that their practice revolves around both practical and creative skills. The use and acquisition of these learned skills can be rewarding ends in themselves (self esteem, concentration, discipline, qualifications) but if those craft and design skills can be used to generate employment and jobs then hope, health and wellbeing will follow. Kids Kabin in Walker is a good example of an organisation for 8-16 year olds that harnesses the sense of achievement that an engagement with Craft and Design can engender.

3. Sense of place and community – what has culture got to offer the North East as a ‘place’ and its communities? (250 words)

Design has a huge impact on our sense of place and community, through well designed spaces, places interiors and services we can create more positive environments. Design Event are working with the RIBA to encourage architects to work with regional designers to create more interesting spaces – the Toffee Factory being a prime example. Such spaces create a sense of place through their uniqueness, and a sense of wellbeing through their beauty and functionality.

Seeing, touching and experiencing things that are designed and made in the North East gives greater value to these experiences. Having the opportunity to engage with design and contemporary craft inspires and innovates. There is a proven thirst across the north east for engagement with innovative design, proven through the 2013 Northern Design Festival which attracted over 90,000 visitors.

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4. Distinctiveness/ image and profile of the region - how does culture contribute to making the North East a distinctive and attractive place? (top 3 examples please – 250 words)

The opportunity for craft and design to impact on the distinctiveness of the region is huge, and supporting our regional design talent is central to this. Design Event have just won the Homes and Gardens design award for Best Backer of British Design evidencing this passion. Showcasing work by Northern designers at a national and international level highlights the creative talent of the region and we need to encourage advocacy in those shaping our region to invest in regional design talent. Design Event have started highlighting well designed unique places on our website which is attracting much attention.

Craft and Design makers have been central to the grass roots led development of the Ouseburn Valley into a thriving creative hub. Well designed icons such as the Sage, the Millennium bridge and Baltic have also helped to create a positive image of the region, and we need to encourage place leaders to invest in good design. Northumbria Design School and the National Glass Centre in Sunderland are also strong centres of craft and design recognized at a national level.

5. National/ international work - what are your ambitions to develop national/ international work, links and collaborations in the future? (top 5 priorities please – 250 words)

Design Event have had huge success in showcasing work by regional designers at the London Design Festival – raising the profile of the North East as a hotbed of design talent, and developing markets for individual makers. We will continue to showcase at this international platform alongside exploring opportunities to showcase work at international design fairs including Paris, Milan and New York to support designers developing more sustainable businesses and therfore a stronger design culture across the region. Northumbria University have established links with organisations such as the BEDG (British European Design Group) which have led to trade missions to both China and the United States to promote both individual Crafts and Design businesses and the Northumbria University’s role in developing and supporting these creative industries. Their intention is to develop commercial links not just with individual potential customers but companies that see the economic and cultural value of skilled and thoughtful designing and making. The ambition is to develop educational and commercial collaborations with partners in the United States.

6. Vision -what are your ideas and aspirations for developing your sector over the next 15 years? Max 300 words.

To develop a centre for contemporary craft and design which provides networking, professional development and leadership skills, showcases high quality innovative work to innovate and inspire both makers and the public and has a strong exhibition programme and independent retail offer. A place for designers to network and get support and a place for the public to experience great design. We plan to stage exciting design related events more frequently that make the region an exciting place to live and work and that would be of interest to a national and regional audience not just a local one. Since Design Event started the Northern Design Festival and the curated selling exhibition the Design Event MART, we have seen designers really step up and improve the innovation and quality of their work, processes and materials in order to be selected for these opportunities. We want to continue to embed these high standards of work in emerging designers. We also ant to incentivize designers and craftspeople to stay in the region by providing the opportunities to reach their markets

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7. Realising your vision/ aspirations for your sector - what specific interventions (rather than just ‘more money’) could help make this happen? (250 words)

Advocacy of northern designers and the design strengths of the region Access to collectors and potential collectors, commissioners and specifiers Partnerships to support with space and venue Advocacy from broader cultural and design sector that this programme is important Access to interesting spaces to exhibit work Access to international platforms and contacts to develop international programmes

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Northumberland Culture Partnership

1. Economy – what has culture got to offer the economy of the North East? (250 words)

Culture provides infrastructure and marketing opportunities for tourism attracting national and international visitors to enjoy the region’s heritage assets and world class festivals and events. e.g. Hadrians Wall, Holy Island, The Berwick Film and Media Arts Festival. Overseas visitors to Northumberland 2010 – 12 (International Passenger Survey) equated to a spend of £15.5m

Cultural Industries offer creative employment and entrepreneurial development and are particularly important for a rural economy. We know that in Northumberland Quality of Life is a key attracter for “footloose Industries” and Creative people. (Examples available) – From the ACE bait project the Arts have provided the vehicle to take people from worklessness to employment.

The Cultural sector including tourism made up 16% (2nd highest) of the economic industries in Northumberland in 2013

The estimated GVA for the Arts for Northumberland was more than £21 million in 2012, exhibiting growth between 2009 and 2012 of almost 25%. In comparison the North East also showed a similar level of growth over the same period (26%).

2. Health and wellbeing - how can culture contribute to the health and wellbeing of people living and working in the North East? (250 words)

• Being involved or experiencing culture can inspire people to approach their lives in positive and new ways • It opens up new possibilities and feeds imagination, helping people to express themselves and discover untapped passion and creativity • Through Culture messages can be conveyed that touch people and excite thinking • Culture brings people together and can amplify a sense of sharing, connection and meaning The bait programme in South East Northumberland has an arts for health strand funded and evaluated by Northumberland Public Health. Initial analysis has shown a median 10% increase in well-being reported by participants using a nationally accepted methodology. (full report available)

3. Sense of place and community – what has culture got to offer the North East as a ‘place’ and its communities? (250 words)

• Culture can set the context of our region and harness feelings of pride, ownership and belonging • Our image of place roots us and fires our passion to act as advocates forging new opportunities and partnerships with the rest of the country • Northumberland has 100 miles of coastline from Berwick to Blyth – it is the edge where the County looks out towards sister countries. • Dark Skies and space. Northumberland’s scale of landscape offers searched for tranquility and inspiration • Northumberland sees no boundaries between its heritage and arts it is intrinsic to the way we approach culture • The natural environment is part of the cultural experience • The volume of the small and intimate in our rural setting (the local church hall) has huge impact and is how our cultural activity is divined • Cross generational arts activity – bonds communities

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4. Distinctiveness/ image and profile of the region - how does culture contribute to making the North East a distinctive and attractive place? (top 3 examples please – 250 words)

Hidden Gems; things to discover A&A, Northumbrian Pipes our own musical instrument More castles, world class Roman forts, and world class architecture than any other region in England

• Hadrians Wall /Holy Island/– World Heritage Sites / International recognition • Cragside / George Stevenson Bridge - Innovative Engineering • James Turrell’s Skyspace – originality / daring

Artists love to come here, spend time here and often stay. People come to have artistic experiences in Northumberland e.g. Unthanks singing weekends on the Northumberland coast. Heritage, Art and Landscape.

5. National/ international work - what are your ambitions to develop national/ international work, links and collaborations in the future? (top 5 priorities please – 250 words)

Build further partnerships with other Great Walls of the world; The Rhine, Germany, Great Wall of China

Poetry in the region - Celebrating the internationally relevant Northern Poetry Library in Northumberland and connecting it to the reach of the collection; across the Commonwealth, Asia and the Americas and build new relationships with global poets to engage with Northumberland as a place and centre for contemporary poetry

Inspire international events to be hosted in Northumberland building on the successes of the Tour of Britain and The Tall Ships Race

Bringing national museum /gallery presence to Northumberland e.g. Lowry Berwick, Tate Woodhorn

More international community exchanges….

6. Vision -what are your ideas and aspirations for developing your sector over the next 15 years? Max 300 words.

We want to share and be inspired by the pioneers and leaders who brought Northumberland to the rest of the Country and beyond. Capability Brown 2016. Cragside (Armstrong) etc.

Business / Economy :We want to create strong and sustainable cultural opportunities for practitioners and creative industries to return to the region to live, work and grow.

Health: We want families and communities to feel that culture is for them and to be instrumental in celebrating our successes. We want to actively remove the barriers that exist now.

Education: We want every child and young person to benefit from a broad variety of cultural education to develop skills and creative innovation.

We want Northumberland’s vision to be focused around the region’s “Creative Landscape” Northumberland the North East’s “Creative Landscape” where inspiration is drawn from a place with more castles than any other English county and where we have 100 miles of coastline from Berwick to Blyth.

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“Creative Landscape” encapsulates Northumberland’s wealth of heritage in the context of curated contemporary landscapes of Northumberlandia, Alnwick Garden and Kielder’s Art & Architecture programme. “The Creative Landscape” is woven through every cultural programme from projects like Peace Camp to the Tour of Britain.

7. Realising your vision/ aspirations for your sector - what specific interventions (rather than just ‘more money’) could help make this happen? (250 words)

Produce our own Cultural Magna Carta where Partnership across all sectors is signed up and where culture underpins business, health and education. To do this we need to: Forge new partnerships with non arts partners public and private lobby central government for decisions on investment and infrastructure; Transport infrastructure / broadband and tax relief for creative industries Be more effective with the money we have to serve the region better

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HEADWAY ARTS

1. Economy – what has culture got to offer the economy of the North East? (250 words)

Accessible routes to learning new skills especially for disadvantaged and hard to reach groups in society

Improved arts facilities especially in the SE that can bring best practice to the area with the potential to be part of a realistic cultural and economic regeneration for towns like Blyth.

The refurbishment of our former church to create Headway ArtSpace will provide a unique venue for SE Northumberland offering high quality training and participation opportunities for people with a learning disability people with a learning disability, special needs or enduring health problems. By September will be a ONE Awards offering up to 60 people a unique accreditation in the arts and places for 36 young people to gain work based experience in the arts. We can support apprenticeships and internments and assist people’s chances of employment and help them realise their ambitions. The buildings development as a wider venue for performance and exhibition will make a significant contribution to the local economy and complement local efforts to increase footfall and evening provision for local people and visitors to the area.

2. Health and wellbeing - how can culture contribute to the health and wellbeing of people living and working in the North East? (250 words)

For people with a learning disability, mental health issues or enduring health problems increased participation across art forms is an excellent route to improving personal well-being, confidence and physical health and can raise awareness of the contribution this group of people can make to the arts and wider society.

We are developing a full time programme of participation in the arts that brings the best practitioners in the region together with people with a learning disability to create great art. Our programme will provide lifelong progressive routes for participation in the arts to enable people to experience the arts and realise their ambitions at any age.

3. Sense of place and community – what has culture got to offer the North East as a ‘place’ and its communities? (250 words)

Headway Arts run an annual festival of learning disabled culture that features participation from groups and companies from across the region. Our vision is to expand the scope and impact of the festival to help strengthen the disability sector through more active participation and to enable people with a learning disability to define their cultural needs and identity rather than having it imposed upon them.

4. Distinctiveness/ image and profile of the region - how does culture contribute to making the North East a distinctive and attractive place? (top 3 examples please – 250 words)

The refurbishment of our former church to create Headway ArtSpace will provide a unique venue for SE Northumberland. The buildings development as a wider venue for performance and exhibition will make a significant contribution to the cultural offer bringing together many aspects of our work including festivals, touring theatre, exhibitions and performances. It will be a place where people can help define and express their cultural ambitions.

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5. National/ international work - what are your ambitions to develop national/ international work, links and collaborations in the future? (top 5 priorities please – 250 words)

Having carried out many collaborative projects across Europe and worked together with our partners to create a common methodology (CoCreArt) and effective tools for enhancing participation for people with a learning disability we feel a strong sense of connectivity with these organisations. However, opportunities for further collaboration are always limited by funding so we would like to:

To continue to be able work with organisations across Europe that share common goals through programmes such as Erasmus To continue to develop our CoCreArt methodology in collaboration with pan European organisations To develop an international cultural festival of learning disability To gain better recognition for our European work in the UK

6. Vision -what are your ideas and aspirations for developing your sector over the next 15 years? Max 300 words.

Our vision is to continue to develop our premises in Blyth and to work towards the development of a Centre for Inclusion in the Arts that brings together the best practice from across Europe (and beyond). This is best articulated in the attached prospectus.

7. Realising your vision/ aspirations for your sector - what specific interventions (rather than just ‘more money’) could help make this happen? (250 words)

Better networking: Collaborations between organisations including those outside the region could produce some great projects and events but often companies work in isolation especially in Northumberland. Better connectivity: Mechanisms for organisations to find out what’s happening and work together towards common goals would be helpful. Repositioning of the role of culture as an economic force. The economic potential of culture is not currently recognized in Northumberland making access to key funding like ERDF very difficult. Arguing a more effective case for culture that all organisations can articulate would open up new funding opportunities that could strengthen the cultural infrastructure in a sustainable way.

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Sunderland Cultural Partnership

1. Economy – what has culture got to offer the economy of the North East? (250 words)

- In 2010, Sunderland’s Economic Leadership Board set out their ambitions clearly in the widely endorsed Economic Masterplan; for Sunderland to become ‘An entrepreneurial University city at the heart of a low-carbon regional economy’. The city’s future is tied to the wider economy and so it must be collaborative and outward looking. The Economic Masterplan has identified five key sectors where transformational growth is likely to take place if its actions are followed. One of these sectors is the Creative Industries

- Employers seek individuals with a well-rounded knowledge of the world well beyond the technical aspects of their job. Cultural education contributes substantially to this knowledge and can therefore help create the enterprising workforce of the future to drive forward the city’s growth agenda.

- ‘The workforce in the sector is growing over four times faster than the UK’s workforce as a whole and … a coherent approach to our Cultural and Creative Industries is a vital national priority’. The Warwick Commission 2015

- Culture is proven to be a major driver for economic regeneration and prosperity in the UK City of Culture competition. Hull will be the UK City of Culture for 2017, and the city is expecting to create 1,200 jobs in tourism and culture, welcome seven million visitors to the city and an additional £184million being spent in its local economy over five years. Londonderry City of Culture 2013 reported more than 40 new business start ups, hotel occupancy reaching 98%, regeneration of the city centre and £25m worth of media coverage in the first two months.

2. Health and wellbeing - how can culture contribute to the health and wellbeing of people living and working in the North East? (250 words)

Arts, heritage, creativity and culture are all valuable conduits for self-expression, learning, development, physical activity and personal enjoyment. Sunderland’s Health & Well Being Strategy promoted an asset based approach and cultural offerings are an important component of improving physical and emotional health and addressing health inequalities. They are a means through which people connect with the world around them and are increasingly used as effective mechanisms to improve health and wellbeing though:

- Creation of positive environments: physical spaces which improve people’s experiences are more likely to result in positive outcomes in learning, healthcare and workplace productivity

- Participation: getting involved in culture provides both a social and creative outlet for people experiencing physical and mental health issues. Many care homes, GP surgeries and hospitals as well as community settings provide opportunities for people to engage with the arts as a tool to improving their wellbeing. It is also often a platform to explore and discuss otherwise difficult or challenging issues. The arts therapies (drama, music and visual art) have now become an established and recognised psychotherapeutic tool used by professional therapists.

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- Motivation: people are more likely to get involved in physically or mentally stimulating activity if they enjoy what they are doing, rather than feeling ‘obliged’ or that they ‘should’ be doing something. It is more likely to be sustained if it’s a personal interest

- The National Alliance for Arts, Health & Wellbeing launched in 2012 aims to provide a clear, focused voice to articulate the role creativity can play in health and wellbeing. http://www.artshealthandwellbeing.org.uk

3. Sense of place and community – what has culture got to offer the North East as a ‘place’ and its communities? (250 words)

There are a numerous compelling reasons to celebrate the North East as a place to live, work and visit which this consultation will highlight. But there are equally numerous challenges faced by communities in our region including unemployment, poverty, education and health issues, and low-esteem. Culture, whether that be museums and galleries, historical buildings, natural environment or programmes and events, are all platforms to both challenge and celebrate distinctiveness in equal measure. The cultural sector is also full of creative and critical thinkers who can help us explore these issues and vision our way to a more healthy and happy future:

- The cultural offering is what makes a place distinct and differentiates it from other regions, cities and towns. This can be the look and shape of its physical buildings, natural landscape and countryside or the nature of its people. - Culture and creativity can be the ‘voice’ of a city; helping to change perceptions, alter misgivings, sell positives and debate challenges - Cultural pride is important to community as well as individual well being. Increasing access and engagement to local culture – feeling part of it and a sense of ownership - contribute to this sense of pride and community cohesion - Every community has heritage and artists, although often they are untapped and under-developed resources. Programmes like Cultural Spring offer routes to connect communities to great creative experiences - The globalisation and depersonalisation brought about by new/digital technologies resulting in fragmented communities and individual isolation can be countered by participatory arts as a means to community cohesion. - Conversely, the arts can harness digital technologies in ways that can help conserve and express individual and community identity.

4. Distinctiveness/ image and profile of the region - how does culture contribute to making the North East a distinctive and attractive place? (top 3 examples please – 250 words)

Sunderland contributes to the distinctiveness of the region through:

- Glass – Sunderland has a long and proud heritage of glass-making. It was on the site of National Glass Centre that Benedict Biscop introduced glass-making to Britain and the expansion of the industry in the 18th Century made Sunderland an international centre of glass production. Today National Glass Centre is a Centre of national excellence supporting the research, teaching, production, exhibition and enjoyment of contemporary glass.

Heritage – Sunderland is proud of its heritage and contributes significantly to the overall historic narrative of the region. The Venerable Bede - The Father of English History – was based at St Peter’s in

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Monkwearmouth and St Paul’s in Jarrow, and the Anglo-Saxon church at St Peter’s, built in 674 A.D, still remains (and is currently under-going significant landscape improvements). The region is also well-known for its industrial innovation and heritage. One of the most important developments of modern history was invented in Sunderland by locally-born Joseph Swan, inventor of the first practical light bulb. The City’s 3,6,9 Vision and programmes like the Innovation Festival seek to harness such stories and contextualise them within some of the developments which are currently progressing across the city and north east. Other historic sites such as Bowes Railway, Hylton Castle and Roker Pier and Lighthouse all have significant regional importance. - Sunderland Museum and Winter Gardens hold distinctive collections of fine and decorative art, history, natural sciences, geology and archaeology.

- Performance – Sunderland is home to the biggest commercial theatre in the Northern region, bringing West End blockbusters such as Lion King and War Horse to the North East. There is also a burgeoning performance scene in the city with particular specialisms in children’s theatre. The North East is recognised as a hotbed of musical talent – and Sunderland is very much a key contributor with major national acts such as Futureheads, Field Music, Frankie and the Heart Strings, Lake Poets, Lilliput and Nadine Shah all hailing from the city.

- The region is generally recognised as an incubator for new and emerging talent – Northern Gallery for Contemporary Art in Sunderland being a key platform for rising international stars in contemporary visual art to exhibit

5. National/ international work - what are your ambitions to develop national/ international work, links and collaborations in the future? (top 5 priorities please – 250 words)

- Sunderland has committed to making a bid to become UK City of Culture for 2021 and a successful bid would lead to major arts and cultural events taking place in the city in the years leading to 2021 and beyond. This would be a major driver for the whole region. The city is also host to the Tall Ships in 2018 – an opportunity to showcase the city’s strengthened cultural offer, create a programme of activity which would be a catalyst for the 2021 programme and a conduit for audiences to link with other regional offers

- Sunderland’s Economic Leadership Board have created a 3, 6, 9 timeline for the delivery of key projects which are part of the Economic Masterplan. This is a vision of what the city will look like up to 2024 – including Tall Ships in 2018, City of Culture 2021 and a celebration of the 1350th birthday of the Venerable Bede in 2024

- NEPN Photography Biennale will seek to establish a regular (biennial) Festival of Photography and lens-based art that creates an internationally significant platform for regionally based photographers to showcase their work, bringing artists and curators of international stature to the region to work alongside. To further establish Sunderland as a creative hub for innovative lens- based practice, through mentoring, commissioning and exhibiting work. To build on existing national and international networks to facilitate cultural exchange through commissioning and exhibition partnerships.

- Museum & Winter Gardens has long standing relationships with national museums, bringing some of the most prestigious art shows to Sunderland including the BP Portrait award and is part of the National Gallery’s Masterpiece Loan tour. The museum has been bringing such collections to the

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region for over 20 years, developing many strong and positive partnerships which will continue to be developed

- Further development of the city’s strategic partnerships with Essen, St Nazaire, Harbin and Washington DC for cultural venues in the city.

6. Vision -what are your ideas and aspirations for developing your sector over the next 15 years? Max 300 words.

Within Sunderland:

- Delivering Sunderland Cultural Partnership’s new shared vision for culture: building on the three core priorities to Celebrate Sunderland; Develop Audiences and Confident Cultural Consumers and Nurture Creativity - Sunderland’s bid to become UK City of Culture 2021 – and the legacy of that bid - University of Sunderland’s position as one of the leading civic universities in the country with a commitment to a wider city agenda; setting a benchmark for how HE institutions can work in the future - Build on the rapidly developing performance offer for Sunderland through the development of the Music, Arts and Culture Quarter, (including the creation of a new city square (Keel Square) and the redevelopment of the former Fire Station into a new performing arts venue) and Arts Centre Washington/Sunderland Stages; platforms for artistic development and to bring audiences into the city - Clearly define our unique selling points for culture around glass, photography/lens-based media and music - A 10 year vision for Cultural Spring across all of Sunderland - More affordable artists’ workspace – creating a critical mass of artists in the city, keeping talent in the city - A new vision for Sunderland Museums and Heritage Service - Further develop and consolidate strategically important partnerships across the city and region, including with the University of Sunderland, Sunderland City Council and region-wide cultural organisations - Legacy for Artworks North East – with Sunderland as a hub for artists engaged in participatory arts practice - Embedding the value of artists to businesses; delivering the first round of 100 Artists into 100 Businesses project with NECP, and ultimately developing an ongoing legacy across the city and region - To save the 300 year old listed Holy Trinity Church and give it wider appeal as ‘The Canny Space’ – a new community and commercial venue and heritage attraction – one that will interpret and retell 300 years of history through fun, immersive experiences. Our intention is to have completed work in time for its 300th anniversary in 2019. - Sunderland as England’s First Arts Award Supporter City – more children, young people and schools connected with culture and its wider learning benefits for the city - Strengthening the volunteering sector and community input - Support innovation: o FabLab and Shackleton House as a new creative hub o Innovation Festival o Centre for Enterprise and Innovation at University of Sunderland o Sunderland Software Centre

A Case for Culture Responses from Writers (March 2015) 41

o City of Light

7. Realising your vision/ aspirations for your sector - what specific interventions (rather than just ‘more money’) could help make this happen? (250 words)

- Individuals and organisations in the cultural sector need to work together towards the same goal. This will create new opportunities and experiences through better programming, fundraising, marketing and much wider participation. Sector-led projects frequently capture people’s passions for cultural activities. We believe this will play an important role going forward - Building stronger connections to national and international cultural organisations and networks.

- Mechanisms to enable effective partnership working: delivering the new vision, the bid for UK City of Culture 2021 and other major cultural initiatives, through such cross-city collaboration

- To further build relationships between Sunderland and the regional cultural sector; breaking down regional silos where they still exist

- Reducing red-tape: opening up unused spaces, simple procurement routes, clear cultural commissioning processes and reduced bureaucracy for artist-led projects which could create impact and vibrancy

A Case for Culture Responses from Writers (March 2015) 42

Film and Media

1. Economy – what has film, tv and media got to offer the economy of the North East? (200 words)

Film and media offers the North East the means to export our stories and our culture globally.

It offers high-value knowledge economy jobs in the lucrative creative digital industries sector. The UK creative industries are renowned across the globe for driving growth, investment and tourism. According to recent statistics from the Department of Culture Media and Sport (DCMS), UK's creative Industries, which include the film and television industries, are now worth £71.4 billion per year to the UK economy – generating just over a £8 million pounds an hour. The industry has seen a growth of almost 10% in recent years, outperforming all other sectors of UK industry.

Beyond these specifics, film and media expertise is critical to our future success as the language of moving image becomes as important as the written word in the 21st century.

A thriving Film and media production sector here can bring: • INCOMES through employment

• TRAINING opportunities

• REASONS TO STAY in the region

• INWARD INVESTMENT on locally produced projects

• INWARD SPEND on local services (hotels, caterers, transport networks, shops)

2. Health and wellbeing - how can film, TV and media contribute to the health and wellbeing of people living and working in the North East?

Film, TV and Media can contribute to the health and wellbeing of people in the NE because they: 1. Are a powerful symbol of an open and free society. 2. Help to develop imagination, critical thinking, and intellectual faculties. 3. Give people a voice, the opportunity to express themselves and share their viewpoint with others. 3. Encourage debate and provide an opportunity to reflect differing opinions, communities and voices across the North East. 5. Promote co-operation and collaboration- key characteristics of a healthy society. 6. Provide entertainment, allowing people to enjoy their leisure time. 7. Can be used specifically to engage with and help to benefit the health and well being of young people in the region. Child poverty and educational attainment are some of the biggest challenges in our region and there are some great examples of how film and digital approaches can engage young people.

3. Sense of place and community – what has film, TV and media got to offer the North East as a ‘place’ and its communities?

Film and Media helps: 1. People understand and connect with their community. 2. Give local people a sense of place and purpose. 3. Represent our region and communities to the rest of the UK.

A Case for Culture Responses from Writers (March 2015) 43

4. Provide an effective vehicle to reflect the range of cultures and communities across the region.

Film and Media can give the different communities in the North East an accessible way of articulating questions of identity and developing distinctive forms of practice. A strong regional film, TV and media sector is all the more necessary now as regional cultural identities are subsumed by national and international forces.

4. Distinctiveness/ image and profile of the region - how does film, tv and media contribute to making the North East a distinctive and attractive place?

Film and Media shines a spotlight on the people, facilities and natural beauty of a region that boasts friendliness, work ethic and cost efficiency. As a result, companies and individuals will relocate for a better quality of life, and natives will return.

Seeing our region on screen - even a brutalist car park (‘Get Carter’), even negative stereotypes (Geordie Shore – testing the no publicity is bad publicity theory to its limits?) generates recognition, pride and affirms identity. Our villages, towns, cities, countryside, coastlines and castles are photogenic; thanks to the work of NFM, our local councils are among the most film-friendly in the UK.

We are universally recognised as friendly, outgoing and industrious folk. Film and media output can only reinforce that view and broadcast it wider.

5. National / international work - what are your ambitions to develop national / international work, links and collaborations in the future?

Film and Media sector is global (the biggest growth markets are currently India and China) and offers significant national and international opportunity for the region. A number of film and TV producers in the North East have developed strong relationships already with a variety of European countries; particularly Hungary, Sweden and Norway. The BBC remains a very important national partner. There is a cultural/economic onus on the Corporation to reflect the regions and to address a ratings and approval deficit in the North East. 6 Music Festival and childrens’ productions like Wolfblood can have significant impact and resonance. 6 Music Festival is still being re-broadcast now and Wolfblood (CBBC) was a co-production with German state broadcaster ZDF, now distributed by Disney to over 23 territories.

6. Vision -what are your ideas and aspirations for developing the sector you work in over the next 15 years? What headline impacts could we include in the Case for Culture (eg 5 feature films shot in region per year by 2020) Max 200 words.

So we believe that we now have to use our lack of infrastructure to our advantage. We need to build a strategy around small scale, independent, flexible production, hand-in-hand with radical and all-embracing approach to education prised from the moribund grasp of the institutions and the industry.

By 2030 the people in the north east will be the most articulate in the language of film in any part of the country. We will build upon our existing strengths to move from being consumers to creators to drive new era of well-being in the future. Previous regional economic strategies we have pursued in this area have been short-termist and have only consolidated our disadvantage and dependancy on grants and crumbs from the industry table.

A Case for Culture Responses from Writers (March 2015) 44

Its time to try a different approach and grow from the bottom up instead. We will make digital (media) available to all, give it away and empower people to tell their (our) stories. We will build a self-sustaining network of digital media hub (education + training + cinema) in each of our local authority areas. Working in partnership with all five regional universities and the industry here and internationally these hubs will form the ‘great northern film school’. As a region, we will make 5 feature films a year and utilise alternative and innovative digital distribution models to reach a market.

We will do this without permission from the gatekeepers in the industry, because we can, because we are outsiders ,and we will forge our own new partnerships nationally and internationally as a result.

This will encourage a thriving exchange between professional and community filmmaking, mutually beneficial in the sharing of skills and narratives;

We will put our lack of infrastructure to our advantage. We will build a strategy around small scale, independent, flexible production, hand-in-hand with a radical and all-embracing approach to education and training.

This will create a generation of new young, skilled moving image communicators who will make our region competitive and will cause a ‘trickle-up’ effect to grow a sustainable regional sector.

7. Realising your vision / aspirations for your sector - what specific interventions (rather than just ‘more money’) could help make this happen?

ERDF / ESF support for the hubs network, training and job creation.

By getting our (fair) share in UK eg ROCC report (BFI and film spend in regions is even MORE imbalanced than ACE - it is just going under the radar).

Meanwhile, in the short term, we should also aspire to: 1. Create a new award of international significance which will grab global attention 2. Pressure at the highest level on BBC Production Controllers to send production here. Just 20 hours of children’s drama programming per year would be twice what we have this year and would maintain a baseline working/training environment. Remember Wales are making fifteen times as much TV for the BBC. Ten years ago they were making just one network drama a year. 3. Persuade the BBC to locate its next three year arts output deal on Tyneside – currently they are reaching the end of a project with the South Bank Centre encompassing arts, drama, film, music, theatre etc etc…. 3. Win a second raft of Random Acts commissions from C4 4. Win at least one commission from the Sky Amplify fund bringing together first class production companies and important arts institutions to make top quality programming for Sky Arts 5. Work with The Space in its new approach to produce online content of the highest ambition, quality and originality 6. Establish a new regional production fund to drive inward investment 6. Develop a specialism in the existing commercial sector in the region that would help earn us an international reputation (Perhaps transmedia is an answer for the North East).

A Case for Culture Responses from Writers (March 2015) 45

South Tyneside Council

1. Economy – what has culture got to offer the economy of the North East? (250 words)

- Key driver for the economy, growing jobs in the creative industries and cultural sector. The North East has a history of innovation and inventiveness (and inventors), which continues. - Drives the formation of micro and SME businesses - a recognisable, quality, culture can attract businesses to relocate and act as a key aspect in retention of people and business - Increased visitor numbers for culture and heritage events, attractions and activity; results in increased visitor spend and through this supports and creates jobs directly and indirectly - South Tyneside has used a culture and heritage rationale for regeneration of the borough’s infrastructure – e.g. seafront parks, public realm, town centres, businesses and leisure facilities. This has given confidence to the private sector to invest in supporting infrastructure development and job creation on South Shields seafront. Culture will also act as a major catalyst in the regeneration of South Shields Town Centre with ‘The Word’ – North East Centre for the Written Word being at the heart of a £100m programme to improve the leisure and retail offer. Through this, the town centre will become a vibrant cultural destination 365 days of the year.

2. Health and wellbeing - how can culture contribute to the health and wellbeing of people living and working in the North East? (250 words)

- The North East has some specific health issues arising from our industrial past, involvement in cultural activity can address some of these. For example: - Promotes social inclusion and reduces isolation - Can improve confidence and problem solving through learning new skills which increases employability - Keeping people active and connected to social networks - Strengthens communities through common interest and bond, and can break down barriers - promoting pride of place

3. Sense of place and community – what has culture got to offer the North East as a ‘place’ and its communities? (250 words)

- Culture helps define the ‘character’ of people in South Tyneside and the North East, can help determine and increase understanding about what is different and special about the place - Our culture joins us together; we celebrate the local but are outward looking - We are diverse, tolerant and accepting. - We celebrate our cultural heritage and identity but can use innovation (the inventiveness of the people) to help shape the future and redefine who we are and this can help young people embrace and shape their cultural heritage. Engagement in a strong cultural offer creates pride in a location which can help in the development of self belief. Vibrant cultural places attract creative people who help alter the local economy, as can be demonstrated by the vibrancy of South Shields seafront.

4. Distinctiveness/ image and profile of the region - how does culture contribute to making the North East a distinctive and attractive place? (top 3 examples please – 250 words)

- ‘The River’, the Romans and Bede – our history and heritage is important and shapes the future. The Tyne and South Tyneside’s position on it has enabled invention and innovative responses to social and

A Case for Culture Responses from Writers (March 2015) 46 economic issues of the day, brought people and ideas, technology goods and services, to the area for millennia. This still has relevance in a modern context in terms of being creative and inventive, exporting and importing ideas and goods and developing technological responses to social and economic issues. This can be illustrated by the Venerable Bede; in the 7th Century Jarrow and Wearmouth were one of the main cultural powerhouses of Europe. Later, the industrial revolution drove a scientific revolution which created a catalogue of ‘World First’ inventions (see for example the ‘Great North Greats exhibition, which was staged in a shop premises in King Street, South Shields). The history of Lifesaving demonstrates that maritime lifesaving was born at the mouth of the Tyne 150 years ago and has had influence across the world, and the three last remaining Voluntary Life Brigades are based on the Tyne and the Wear. - The coastal strip, and in particular South Tyneside’s geography, a peninsula bounded by River and sea, is a place which lets creativity happen. In a way, the Lifesaving response above and the arts performance ’Foghorn Requiem’ at Souter Lighthouse demonstrate two distinct responses to this. Supporting artists to create imaginative events such as Foghorn requiem can challenge perceptions of place, creating global interest and drawing visitors from across the country. - Great North Run: leaving aside the elite runners, this event has great cultural meaning to those in South Tyneside, the North East and beyond which goes much further than ‘the running’ itself

5. National/ international work - what are your ambitions to develop national/ international work, links and collaborations in the future? (top 5 priorities please – 250 words)

- We have high aspirations for The Word, South Tyneside’s new central library and visitor attraction. As The North East Centre for the Written Word it will be a focal point and home for North East writers and will celebrate and explore the written work in all its forms. Mirroring the borough’s successful experiences in performing arts (a number of our young people have gone on to perform in the West End and have won TV talent shows) we will create a legacy of creative writing with potential national and international audiences. In addition, community engagement in reading and creative writing programmes will address North East literacy levels, improving skills and abilities and through this employability. A strong digital presence will run throughout the venue, with a specific learning programme for schools in programming and technology uses. We will use the notion of the Tyne as an international ‘Gateway’, recently illustrated by Michael Chaplins writings on the Tyne, as a way to link to artists of all types who will interpret the written word (including a public art programme which has included 13 international artists from across the world). - We will build on the links our heritage and museum venues have with national and internationally recognized leaders in their field, for example making more of the relationships our Museums have with British Museum, that Arbeia has with international audiences (particularly the USA) and with Bedes World’s relationships with San Savadore in Italy. - We will ensure we are connected to regional and national initiatives that have local roots and international dimensions, for example the idea of developing the ‘Northern Saints’ trail will include the Venerable Bedes and the Wearmouth Jarrow story. - We will develop links with our Twins Towns in Germany and France, building on their high profile cultural organizations such as Pina Bausch (Wuppertal), Studio Éclair in Epinay sur Seine and ‘Oposito Compagie’ in Noisy le sec. - Extend idea of taking arts to the streets, demonstrated by ‘Cultural Spring’, by widening the delivery area and overall activity - Develop further the National and International work of The Customs House, e.g. Supporting ‘Follow the Herring’ to go international with a tour of Scandinavia. - Extend the reach and value of South Tyneside International Magic Festival, developing a ‘fringe’ element

6. Vision -what are your ideas and aspirations for developing your sector over the next 15 years? Max 300 words.

A Case for Culture Responses from Writers (March 2015) 47

- Establish The Word as a key ‘hub’ where people can get an introduction to the creativity and the heritage of the borough and then feed into the rich range of opportunities to develop those interests further. The Word will be a key Regional institution, host a high quality digital offer and be a distributor of knowledge and expertise. The Word could act as a Lead Agent and pass porting funding on relevant themes of work should funding become available across the Region. - We will cement the ST Summer Festival as the North East’s premier free festival - Develop a range of innovative and creative responses of national and international significance that engage large audiences, capture imaginations and develop profile for the borough. This will include supporting local artists and attracting nationally recognised artists to the area and will include developing programmes of celebratory and commemorative activity at key dates (e.g. Anniversary of formation of South Shields Voluntary Life Brigade) - Develop an imaginative and enjoyable public realm with public art as a key feature - Develop our heritage infrastructure and educational capacity – for example further reconstruction work at Arbeia and Bedes World, the development of the North East Maritime facilities - Given South Tyneside’s recent experience with the Cultural Apprenticeship Programme, the borough could become a centre for a Cultural Academy, developing training and entry level employment initiatives for the cultural; sector. This would require Regional ‘buy in’ and advocacy, identifying gaps in training and learning pathways, centralised employment/vacancy information and so on.

7. Realising your vision/ aspirations for your sector - what specific interventions (rather than just ‘more money’) could help make this happen? (250 words) - Genuine partnership mechanisms that allow dialogue between partners of different scale and scope within a principle of equality. - Principle of sharing best practice – ‘Stronger’ venues to have a clear remit in supporting emerging organisations, helping build capacity, spreading regeneration, skills and knowledge. - Establish an Events and Festival Network to share practice and develop programmes of work to fill gaps (e.g. developing stewarding) -- The lack of resource for developing feasibility studies is now a real gap. Finance and information/recommended consultants would be helpful to develop new ideas and test their value and deliverability.

A Case for Culture Responses from Writers (March 2015) 48

Stockton Borough Council Culture And Leisure Services

1. Economy– what has culture got to offer the economy of the North East? (250 words)

• Cultural infrastructure provide by volunteers; sports clubs, Preston Hall • Cultural wealth through partnership working (ie Stockton international Riverside Festival, sports clubs), supporting networks (Libraries), sharing resources • Developing social capital. Life skills that engagement with culture and leisure enriches the community ie people more employable • Strong Cultural heritage that attracts visitors to the area • Additional spend in the Borough by visitors to Cultural events and venues; Stockton International Riverside Festival, Stockton Cycling Festival, Billingham International Folklore Festival, River Rat Race, Preston Hall Museum and Park .

2. Health and wellbeing - how can culture contribute to the health and wellbeing of people living and working in the North East? (250 words)

• Engagement with cultural activity for people of all ages contributes to: o People being more independent o Creates social occasions, social connectedness o People being more confident and feeling a sense of purpose and worth o Social inclusion of the most vulnerable groups in society o Many different ways for people to express themselves and communicate o Improved physical fitness and wellbeing • Examples of initiatives: o Dementia reminiscence work, singing, Museum collections, Bookstart, Readers groups o Funky feet fitness for small children, Stockton Cycling Festival o Stockton International Riverside Festival Community Carnival o Volunteering

3. Sense of place and community – what has culture got to offer the North East as a ‘place’ and its communities? (250 words)

• Museums and archives hold the key to the physical culture of the region ; Preston Hall Museum • People can achieve a sense of belonging and identity through family history research; Digital War Memorial, WW1 Sunflowers project • Drawing people together from different interests and cultures through shared experiences; Stockton International Riverside Festival and Carnival, Stockton /Cycling Festival • Amazing history of manufacturing • A strong culture of volunteering; sports clubs, Preston Hall Museum • Perceptions of places can be changed by cultural events and activities; Stockton International Riverside Festival, Stockton Cycling Festival

4. Distinctiveness/ image and profile of the region - how does culture contribute to making the North East a distinctive and attractive place? (top 3 examples please – 250 words) • Stockton has the River Tees with its amazing bridges and demonstrating a strong heritage of manufacturing. • Important and interesting people in history associated with Stockton; John Walker, Thomas Sheraton, George Stephenson and great stories to tell

A Case for Culture Responses from Writers (March 2015) 49

• Stockton International Riverside Festival - 28 years old this year and its profile, spirit and ambition has helped to define Stockton’s redeveloped town centre • Tees Barrage - ambitious and creative engineering which looks beautiful and provides high quality world class water sports facilities

5. National/ international work - what are your ambitions to develop national/ international work, links and collaborations in the future? (top 5 priorities please – 250 words) • Stockton International Riverside Festival - Develop stronger national and international partnerships to commission and present new work; Without Walls Commissioning Consortium, Gone in 20 Minutes combining new work by emerging artists, Meridians European Network commissioning new work to tour around European festival. • Developing national and international partnerships through museums and libraries - sharing innovation and resources • 2025 celebration of the bi-centenary of the Stockton and Darlington Railwayand the world’s first passenger train. • Building profile and reach of Stockton Cycling Festival • Developing the Sports Academy for adults with learning disabilities and hosting the Special Olympics

6. Vision-what are your ideas and aspirations for developing your sector over the next 15 years? Young people centred approach: •Cultural changes around experiences and attitudes of young people through cultural activity •There is evidence that engaging in cultural activity improves academic attainment. We’d like to see culture more to create confident and curious young people - build it into them rather than knock it out of them. More arts and events in public places, temporary and permanent, adding to the distinctiveness of places, people’s enjoyment of places and increasing community pride

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Catherine Hearne - Helix Arts, Rebecca Ball - Cultural Spring, Rachel Adam - BAIT and Nikki Locke- East Durham Creates

1. Economy – what has culture got to offer the economy of the North East? (250 words)

• Jobs – arts, creative and cultural industries are a significant employer in the region. There is a relationship between a thriving cultural infrastructure and the ability of the region to attract and retain creative entrepreneurs and creative businesses. There are also secondary economic benefits to supplier industries (eg design, venue hire, hospitality) • Employability skills – cultural projects enable people to build confidence and transferable skills that enable them to enter the labour market as either employed/self-employed - with entrepreneurial approach • Tourism – arts and cultural events and organisations attract people to the region. They contribute to the financial value of the regional economy and to the profile of the region • Cultural projects develop flexible thinking patterns and increased problem solving abilities – these are skills that are transferable to any sector and can help people adapt to changing work patterns • Quality of life - culturally vibrant places contribute to community cohesion and create places that people want to live and work. This is particularly true of North East, which has enviable network of cultural assets.

2. Health and wellbeing - how can culture contribute to the health and wellbeing of people living and working in the North East? (250 words)

• Confidence – arts participation has a positive impact on levels of confidence and this in turn has a positive impact on health and wellbeing. Involvement in cultural projects empowers people to make decisions about their lives. This in turn reduces the sense that things are being ‘done to’ people and communities. • Personal enrichment – taking part in cultural activities provides essential recreational time, space to reflect and learn and forms part of a holistic approach to wellbeing • Social connections – taking part in cultural activities enables people to build networks and reduce social isolation and this is crucial for a positive sense of wellbeing • Everyday health – taking part in a regular cultural activity is as good for you as going to the gym or playing sport. The public health message of exercise three times a week is well known. The equivalent is possible for involvement in cultural activity. • Provides a non-medicalised approach to improving both mental and physical health. There is a growing evidence base (eg Warwick Edinburgh Mental Wellbeing Scoring system - WEMWBS) to demonstrate the positive impact of taking part in the arts on people’s sense of wellbeing • Growing body of practice demonstrating the positive impact on wellbeing of older people from taking part in the arts. With an ageing population the role of the arts in society is essential.

3. Sense of place and community – what has culture got to offer the North East as a ‘place’ and its communities? (250 words)

• Cultural events, initiatives and experiences provide common ground that link people and build collective, encourage civic pride - can challenge any tendencies to insularity • Can contribute to the sense that a somewhere is ‘place of opportunity’ or somewhere ‘where things happen’. Can also be used as a mechanism to explore deeply the place and the people. • Create positive, complex, future facing narratives about a place – to positively articulate change. It can help give a voice to alternatives narratives about a place and challenge stereotypes

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• Volunteering opportunities help people explore and contribute to their community and themselves in a different way • Revitalises and is key element of regeneration – as well as a local Tesco in any new development why not a culture hub? • Can unite and mobilize people, though important to recognise and acknowledge there’s always a journey and these things take time (Angel of the North) • Successful approaches that have eventually been owned by the community are genuinely collaborative, respond to local need but take time. Research: • Incredible Edible Festival in Todmorden, food led – started off through local need and slowly taken on by the community http://www.incredible-edible-todmorden.co.uk/home • 2014 Good City Index: http://magazine.good.is/guides/good-cities-index-2014 Each share an underlying ethos of citizens creatively engaging with their surroundings with the expectation that, with a little work, things can get better. • Fun Palaces: Valuing what people do already in bringing communities together and encouraging a sense of ‘anyone can do it’ http://funpalaces.co.uk • Creative People and Places: Testing all of the above!

4. Distinctiveness/ image and profile of the region - how does culture contribute to making the North East a distinctive and attractive place? (top 3 examples please – 250 words)

• Arts and Culture is an expression of identity and therefore can help articulate regional distinctiveness, specific local heritage, attitudes, stories, beliefs, distinct cultures. Example: Hadrian’s Wall light project as part of Cultural Olympiad, GNR Culture Programme, Beamish

• Leader in creative and cultural industries - highlight points of connection with other places nationally and internationally. It can help create connections across borders – an artist coming from another country to create a new piece of work but equally a participant travelling from one estate to another to go to a workshop.

• Contemporary place in the world. Physical regeneration through arts and cultural activities and or organisations can provide powerful new images of a place. Example: Sage Gateshead, Baltic. Further notes: o Is there one big idea that could bring everything together? There is so much going on o Stadium of light attracts a multitude of people across the UK as a music venue –which other places attract outside visitors and how can we maximise that by showcasing/linking with culture (Emirates Ground in Durham).

5. National/ international work - what are your ambitions to develop national/ international work, links and collaborations in the future? (top 5 priorities please – 250 words

1. Partnerships – partnership recommendations tended to dominate interviews about national links. There was an ambition to build, develop and exploit creative partnerships between participatory arts organisations and the famous national brands such as National Theatre. There was enthusiasm for bringing a major institution to the region mirroring Tate Liverpool and others: equally an ambition to export our big venue brands eg Baltic Southend ensuring that participatory expertise is immersed. Firm commitments should be sought from national broadcasters to maximise outreach investment in the North East.

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2. Events – extend current and develop new festival brands with targeted international and national marketing and ensure participatory arts celebrated within that to attract new audiences

3. Migrants –growing numbers of migrants will offer opportunities to celebrate diversity here. Tees Valley Arts employs a p/t refugee worker of African origin who brings international music links to local participants – this approach could be replicated far more widely by 2030.

4. Digital –few interviewees talked about digital in the participatory sector. We should exploit this gap in understanding and development fast to ensure the sector maximises opportunities. Detailed research around understanding digital creativity and distribution in the participatory sector is crucial.

5. Education – building on digital creativity and distribution there are cheap and easy opportunities to develop national/international links and collaborations to share best practise in the participatory sector. Artist and participant exchanges (virtual and physical) will continue to offer learning opportunities. Nationally and internationally known artists should routinely work in the NE participatory sector.

6. Vision -what are your ideas and aspirations for developing your sector over the next 15 years? Max 300 words.

The last 15 years has seen significant growth in the cultural infrastructure of the North East –particularly in terms of investment in the region’s capital assets. We hope that the next 15 years will see a correspondingly significant growth in the reach of and engagement in the North East’s cultural life. To achieve this we need to –

- Involve more people in the discussions about and decisions about the regions cultural offer - Invest in building the cultural confidence of our communities as participants, audiences, promotors, consumers . - Support networks of non-arts venues that can act as cultural and community hubs in places where the cultural infrastructure is less strong - Respect and value the broadest range of cultural and creative activity - Get out there, listen, share and adapt our offer - Create a broad range of non arts partners across health, education, business, sport, technology and housing that enable us to connect with more people, access more resources, work more strategically as a region and learn new approaches - Work more collaboratively as a sector - Be honest, be radical and not afraid of change - Empower communities to take leadership - Collaborate with partners on digital inclusion

7. Realising your vision/ aspirations for your sector - what specific interventions (rather than just ‘more money’) could help make this happen? (250 words)

Key actions: - A shared regional vision and clear plan of action - A series of cross sector working initiatives and collaboration with health, education, business, sport, broadcast, technology and / or environmental partners to enable us to work more strategically on a regional level, access new resources and connect with more people - A shift in attitudes towards participatory, amateur and voluntary arts sectors. A greater respect and value given to ‘everyday’ cultural practices.

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- A more equitable distribution of resources both on a national and regional level - Strong regional leadership and strong connection to national platforms, national conversations and long term meaningful national partnerships - A radical review of the way we use and support arts and non-arts spaces both physical and virtual

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Jim Beirne – Chief Executive – Live Theatre

1. Economy – what has culture got to offer the economy of the North East? (250 words)

“Culture and economy are the twin pillars of any successful and creative city” (Benjamin Barber)

If the city is safe, fun, has a range of good coffee shops, museums and theatres then it will attract people to that city. Universities will succeed, as students want to live in the cities like this. Then they stay, become SMEs and contribute to the economy, which in turn enables the city to look after its people.

A strong cultural offer increases a region’s reputation creating a positive image and profile. This in turn attracts entrepreneurs and creative industries. Most cultural quarters are built around the interesting theatre, restaurant, cinema or museum. This is what enlivens city centres brings the public back into the city from the out of town shopping centre. Theatre, and culture more generally, develops personal and social skills in young people, it enables social mobility and prepares them for F/H Education and ultimately for work.

NGCV has 5 years of economic impact studies - £83m turnover, over 2000 staff and over 1 million participants a year. These are impressive numbers but the real win is in the shift in perception of how a northern city can be looking to the future. The cultural economy needs organisations to work together; LA’s and universities as well as the theatre and cultural sector need to be asking questions about graduate and artist retention. If funding is no longer available what else can they do to invigorate their city, what other tools do they have to retain talent and prevent a “brain drain”?

2. Health and wellbeing - how can culture contribute to the health and wellbeing of people living and working in the North East? (250 words)

In a recent study by the University of Illinois, theatre and culture were seen to improve lives; people who engage in culture are more likely to actively engage in democracy and be more caring of their neighbours. Theatre brings people together, sharing stories, reaching across society and across the city.

Health and wellbeing is about enabling equality; being empowered to express oneself and express a state of mind. Theatre can have a transformative power in a health setting. Increasingly evidence, backed by NHS metrics is showing the benefits of using theatre both in terms of prevention and in offering more effective solutions.

A common theme here; bringing together funders, LA’s/NHS, theatre and health practitioners would make much more of the resources we all have. For example using the library infrastructure and theatre makers as spaces for people to be seen and heard. As art and theatre brings people together and enables people to find a ‘way in’. Theatre is a communication with words and image that creates dialogue, intellectual and emotional exchange and these are some of the basic needs for health and wellbeing.

The health and wellbeing are not reflected in the Equalities Act yet it is fundamental to the human condition and to society, theatre and culture can be a voice for that.

3. Sense of place and community – what has culture got to offer the North East as a ‘place’ and its communities? (250 words) Culture offers and deepens a sense of identity and belonging

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Heritage is key to this (North East) identity and cultures/forms are often passed down from one generation to the next – offering an authentic voice. This identity can also be a barrier, especially for people coming into the North East from outside, and also for the next generation – we need culture to reflect the region as it is seen and experienced by the next generation. Culture also enables us to look beyond heritage as it has/does exist and enables us to look forward to reimagine and redefine who we are and who we might be (as global citizens) Culture can offer North East communities a sense of pride. How do we create a voice that is not stereotyped but rooted? Culture also lets us see beyond the place/region – e.g. visiting artists help us define who we are. Importance of the relationship with universities in the region: culture offers the student body (temporary community) a sense of belonging and also attracts them to the region (with the potential to attract them to stay as well). We are not a community but multiple communities who co-exist. Theatre has the potential to bring people together from these separate communities to form a community and offer a sense of belonging. Culture in the North East is sometimes synonymous with buildings. What impact do these have on the communities who chose to engage with these buildings (or not). What does community offer culture in the North East? (Turn the question on its head…) Culture in the North East demonstrates and inspires an entrepreneurial spirit. Culture can take North East voices outside of the region as well as bring artists to the region. Culture can help grow our communities (e.g. retain talent and students). Culture gives us space and places to examine and enquire – it is a vibrant cultural offer that champions enquiry.

4. Distinctiveness/ image and profile of the region - how does culture contribute to making the North East a distinctive and attractive place? (top 3 examples please – 250 words)

Theatre and culture reflect the identity of the region. It reflects our relationship to geography, history, education and economics. Each of these particulars coalesces to create a distinctive identity, which marries industry, landscape and the population in a unique way.

There is perhaps more of a willingness to collaborate in this region than in other. There are significant opportunities to develop public engagement in the arts and in theatre as a result of that willingness.

The role of theatre and culture is important as we develop new identities for the future, we can use theatre to imagine that identity, to help people make sense of cultural change. There is a need to create a place for theatre that is transparent. Allowing import and export, from and to this region, to and from around the world.

5. National/ international work - what are your ambitions to develop national/ international work, links and collaborations in the future? (top 5 priorities please – 250 words)

To create exchange visits to learn from colleagues around the world who in turn can learn from us.

To develop international art circuits.

An international/national perspective crystallises what you do in the local and regional and that enhances work.

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There is a view to make more of the Creative Europe funding for collaboration. Developing more showcases for North East work going out and international work in.

There are a number of international connections already and should be made more of e.g. Gothenburg working with dance and new theatre working with colleagues internationally.

There is a feeling that arts companies don’t travel enough.

Should head for the National Theatre of the North the combination of Newcastle, Gateshead, Sunderland and Teeside.

6. Vision -what are your ideas and aspirations for developing your sector over the next 15 years? Max 300 words.

A vibrant connected fringe and independent sector that is connected nationally and internationally with similar scale organisations.

The North East is a place that attracts students who are serious about living and working in the theatre and cultural sector.

By 2030 the North East would be known for the range of small scale venues for diverse audiences and artists.

There would be a new way of supporting independent artists and we reclaim spaces that could be used to support.

The sector would be self-sustaining and entrepreneurial, creating assets and social enterprises that provide a legacy for artists and organisations.

An NGCV model would be created for the independent sector.

There would be a change in the perception of theatre, it would be seen to be available for everyone.

The sector would be able to demonstrate worth because outputs could be measured and valued.

That the North East becomes a beacon for sustaining artists livelihoods and therefore becomes a magnet for talent.

There would be fewer barriers across all engagement – e.g. between amateur and professional.

The theatre and cultural sector are politically aligned – with LAs the LEPs and Government Departments (we don’t mean voting!). So the sector is more powerful and has the backing of these bodies.

By 2030 there is a gender equality across the industry ranging across technical to leadership positions. That creativity and culture are at the heart of everyone in the region and that the theatre sector is entrepreneurial and as a result it is impossible not to invest in.

7. Realising your vision/ aspirations for your sector - what specific interventions (rather than just ‘more money’) could help make this happen? (250 words)

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Politics Aligned politics (as above), a continuing North East Cultural Partnership, a campaign for theatre and culture across the North East, a regional social and economic impact measurement study, ‘rebalancing’ the London regional investment inequity, international recognition – with case studies, improved dialogue with politicians and parties.

Economic More regional investment for culture from the National Lottery and ‘rebalancing’ More financial tools – social investment, soft loans.

Working Together The sector and universities work together for the sector, not as individual organisations. Shift perception to arts as multifaceted charitable causes. Can NGCV collect stats on employability – contributing to regional impact?

Thinking of the ‘town’ or the ‘city’ as the venue and as our responsibility and that engagement can probably only work collectively.

Are we using technology to its full advantage in making the Case for Culture -what about lobbying and social media as collective advocacy tools?

Needs a big ‘vision’ which will be about confidence and collaboration across cultural sectors, education statutory FE/HE and LAs. Maybe this can help the combined authorities.

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Darlington

Creative Darlington, Darlington Borough Council and Darlington for Culture worked together as a sector convenor to feed views from Darlington into a Case for Culture. The response below is informed by – 1. Responses to the standard Case for Culture questions distributed by Beamish on behalf of the North East Cultural Partnership secured via surveymonkey. Survey accessed 25 times, 11 blanks and 14 responses. 2. A synopsis of group discussions regarding Darlington input into the North East Case for Culture process at Voodoo Café on Friday 20 February 2015 and at the Dolphin Centre, Darlington on Thursday 3rd of March 2015, attended by approximately 20 people in total. 3. Input from the following organisations, council services, partnerships and businesses –

• Creative Darlington • Darlington Cares • Darlington Civic Theatre • Darlington for Culture • Darlington Borough Council – including Darlington library service, The Head of Steam Railway Museum, Healthy Darlington, Neighbourhood Services and Resources Group, Regeneration Projects Division - Economic Growth Group • Darlington Partnership • Darlington Jazz Festival/Jazz Club • Opera by Design • Theatre Hullabaloo

Economy – what has culture got to offer the economy of the North East? (250 words)

Culture creates jobs directly through cultural employment and indirectly by enhancing promotion of place. Cultural engagement can improve verbal skills, confidence, application, team work, and loyalty - all transferable skills to the work place. It can also lead to the development of new businesses and build confidence to become entrepreneurial.

Creative business is an important and growing part of the economy. Darlington has some very successful examples including Gallerina, The Arts Shop, The Forum. On a smaller scale, individual artists and craftspeople help in making local economies more sustainable. Businesses are keen to locate where culture happens - Lingfield Point demonstrates the value of arts and culture (e.g. hosting artists in residence and Festival of Thrift) in relation to creating an environment that businesses want to locate.

Resources, like the Civic Theatre, are likely to encourage people and businesses to locate here. Darlington’s heritage, existing assets (including public art) and emerging assets (Theatre Hullaballoon) help generate civic pride and in promoting Darlington as a distinct and positive place to live, work, visit.

Culture attracts skilled employees to an area - the local cultural offer helps people consider whether to move to an area or not - which is in turn attractive to businesses considering locating in an area and means that the economy has a more skilled workforce.

Culture helps animate people; participant’s general well-being improves thus costing the health service less money. Restaurant and retail businesses turnover increases, and more taxes will be paid as a consequence. Cultural activity supports and encourages town centre visits, important given the rise in online shopping.

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Health and wellbeing - how can culture contribute to the health and wellbeing of people living and working in the North East? (250 words)

People can benefit from engagement in cultural activity in either or both terms of their physical fitness and mental well-being. Links/recent research include http://www.ahsw.org.uk/userfiles/files/AHSW_Arts_on_Prescription_Fact_Sheet.pdf , re commissioning, social prescribing and mental heath, http://www.centreforwelfarereform.org/uploads/attachment/339/social-prescribing-for-mental- health.pdf re new research http://iccliverpool.ac.uk/?research=the-art-of-social-prescribing-informing- policy-on-creative-interventions-in-mental-health-care https://www.gov.uk/government/news/phe-and-nhs-england-guide-highlights-importance-of- communities-to-health-and-wellbeing re Public Health England and NHS England guidance on community- centred approaches.

Evidence highlights the positive impact of collaboration, peer communication and how knowledge within communities can contribute to reducing social exclusion (thereby reducing health inequalities). Cultural engagement builds networks which can provide support for individuals. Isolation is detrimental to wellbeing. Connections and friendships help to build independence as well as preventing isolation. A strong cultural offer can encourage people to develop new interests, to get out of their homes more, encourages or enables a point of conversation with like-minded people, raises confidence in one’s ability to do something and helps give personal identity.

Dance can very positively impact on physical health/fitness. Darlington recently developed a Darlington Dance Festival Association to encourage public engagement in dance and collaboration between dance professionals/groups. Dance is part of the Healthy Darlington campaign, supported by local authority public health expenditure and sports development service. Singing is known to be beneficial to mental health - as proven by the use of music therapy by organisations including Tees & Esk Wear Valley NHS Foundation Trust. Social prescription programmes, e.g. OpenArt Studio in Darlington, impact on working lives as well as family life, supporting lower sickness records and aim to prevent increased mental health problems and reduce prescribed medication.

Sense of place and community – what has culture got to offer the North East as a ‘place’ and its communities? (250 words)

Culture can positively impact on place/community by increasing pride people feel in their area, helping people understand more about their history and community (particularly through museums/libraries) and by helping bring people together. Different people and communities come together for inclusive cultural events. One shouldn’t expect a common definition of culture. Culture brings people with like-minded interests together and can encourage them to try new things; it can have a transformational impact on young people.

Culture like sport can inspire pride in a place and help to preserve, celebrate and refresh local traditions and crafts. Culture, language, music and literature help to define communities and promote social cohesion. The North East has a depth of history which connects well with our cultural offer. Consideration of the regions cultural offer beyond conurbations to include more remote and isolated areas is important. Cultural engagement can foster learning and appreciation of diversity.

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Town centres which rely on shopping to draw people in are dying. The Town Centre is vital to the survival of our small towns. Without it there is a downward spiral into decline. Leisure and culture are the attractors that will save town centres and keep them vibrant. Culture has a vital role to ensure that people spend locally and keep places alive.

Successful public art helps build identity through uniqueness, but only where it is well thought through and adequate budget is available, however everything from museums to businesses which support live entertainment can add to the image of a vibrant community.

Distinctiveness/ image and profile of the region - how does culture contribute to making the North East a distinctive and attractive place? (top 3 examples please – 250 words)

The diversity of the region is distinctive. The North East has beautiful countryside, vibrant traditional cities, new cultural centres, and a wealth of market towns steeped in history.

The economic importance of a vibrant cultural offer within North East town centres is recognised. Leisure centres, libraries, theatres, galleries, events services, business improvement districts, businesses, key festivals and cultural organisations contribute to distinctiveness.

A belief that the North East cultural image must be presented as something which extends beyond Newcastle/Gateshead is held in Darlington. The humour and perspective of North East people was cited as important. People across the North East volunteer their time and expertise to cultural activity (e.g. Darlington for Culture, Darlington Cares locally).

The importance of public recognition/endorsement of the top examples of North East culture was stated. Everyone might not attend Beamish regularly, be sympathetic to contemporary sculpture, have a spiritual affinity with Christian worship or aware of Roman heritage, but most have understanding of what Beamish, The Angel of the North, Durham Cathedral and Hadrian’s Wall represent/say about the North East.

The cultural shortlist included Durham Cathedral, The Sage Gateshead, Hadrian’s Wall, Beamish, theatres including Darlington Civic Theatre, Locomotion in Shildon, The Angel of the North and the Brick Train, the AV Festival, SIRF, the natural environment with a huge diversity of landscape as well as a wealth of historical attractions, the industrial heritage (birth of the railways, mining, shipbuilding).

The Angel of the North, Beamish and major theatres/performing arts venues were the top three attractions.

National/ international work - what are your ambitions to develop national/ international work, links and collaborations in the future? (top 5 priorities please – 250 words)

1. Theatre Hullabaloo has a track record of national/international collaboration, including Take Off Festival. Completion of the Hullaballoon: a new 150 seat studio theatre is expected in spring 2017. We want to make The Hullaballoon a fantastic place to learn and play, and a hub for children’s theatre in the North East. 2. Darlington Civic Theatre has played a significant role in the cultural development of Darlington. A significant programme of capital improvement will encourage engagement with the Civics’ heritage and consolidate/sustain Darlington’s strong performing arts offer. The Civic has developed significant partnerships with other UK theatres to enable access to high quality theatre and to support the creation of new productions.

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3. Coming up to 2025 and the bi-centenary of the first rail passenger journey there is a significant opportunity to collaborate across the North East and develop a programme with national/international appeal. Darlington is working with Stockton Borough and Durham County Councils to develop a significant proposal. 4. The Festival of Thrift has worked with national and international artists and is moving to commission more work and further national/international collaborations are expected. 5. Tees Valley authorities are considering bidding for Capital of Culture 2025.

Particular Darlington Case for Culture survey responses suggested –

• making more of links between the railway museums of York, Darlington, Shildon • supporting touring theatre companies to enable more people to experience top quality theatre at affordable rates • supporting the preservation of St Cuthbert’s Church, Darlington • having the Tour de France in the North East

Vision -what are your ideas and aspirations for developing your sector over the next 15 years? Max 300 words.

Darlington’s aspiration is to promote a landmark cultural programme from 2015 – 2025, to mark the bi- centenary of the first railway passenger journey and promote Darlington’s globally significant railway heritage in the context of the Tees Valley. The 2025 programme is expected to leave a significant legacy, including sustaining cultural assets and heritage, developing the visitor economy and Darlington’s brand and reputation for ingenuity.

Darlington will be part of a Tees Valley national Capital of Culture programme in 2025, subject to successful application, which will enhance existing partnership working, promote Tees Valley’s cultural offer and encourage people to discover Tees Valley as a location which has changed, and is changing the world.

Creative Darlington (CD) will progress its vision, shown below, aims to encourage a broad and diverse arts offer, to reinforce specialist practice in children and young people’s arts and to develop Darlington as a place in which artists, producers and creative business flourish.

Looking forward to 2020 and beyond: Darlington will be a place where art happens, where the arts matter and where the arts and creativity are central to Darlington’s future identity and economic success.

CD will focus on activity which builds the Darlington, Tees Valley and North East brands, particularly Festival of Thrift and the 2025 programme and build on existing strengths, by promoting the heritage of performing arts particularly Darlington Civic Theatre’s and establishing the Hullaballoon as a centre of excellence in Darlington.

Darlington for Culture (DfC) will support local cultural organisations and individuals as an enabling and co- operative organisation with a mission to create the conditions where arts, craft and culture can flourish for the benefit of everyone in Darlington, the wider region and beyond.

We aspire to hold affordable, accessible local cultural activity, develop volunteering, encouraging people to take pride in their locality and to ensure artistic innovation is valued and supported.

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Realising your vision/ aspirations for your sector - what specific interventions (rather than just ‘more money’) could help make this happen? (250 words)

Darlington stakeholders in the public, private and voluntary sectors will co-operate and contribute to local, Tees Valley and North East cultural development. Local authorities involved in the 2025 programme would appreciate support loaning assets from national museums and from national agencies (Network Rail, Visit England) in enabling and promoting activity. Increased focus on the North East within the social media and communications of ACE would be helpful. Choosing the Tees Valley for launches of particular programmes/events would build areas cultural profile. Cultural bodies should continue to build links with Universities and collaborate to publicise research.

Cultural activity which ACE might not necessarily define as ‘excellent’ and which may not be funded should be valued in creating a bridge to risk taking for other cultural activity and for contributing to health and wellbeing and community cohesion. Private development like the Feethams leisure complex should continue to refresh Darlington’s cultural offer.

Individual responses in Darlington suggested money should be distributed with greater transparency, a digital hub could promote culture across North East, better co-ordination of in kind support from public and private sector organisations, fundraising support, development of an innovative residency opportunities for artists, more support is required for community arts, local authorities need to be more visionary and to think 'investment' rather than 'subsidy' and that cultural investment cannot be excluded as even small amounts can go a long way in the hands of arts and community organisations.

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Bridge North East

As part of the North East Cultural Partnership’s (N.E.C.P) Case for Culture consultation Bridge North East has acted as convenor on behalf of the region’s cultural education sector. The sector is made up a diverse range of stakeholders who are involved in the provision of arts and cultural activity for the regions children and young people i.e. schools, cultural organisations, community groups and individual practitioners. There is a unique challenge therefore in comprehensively consulting with and subsequently representing the views of such a broad sector. Bridge North East’s response to this in relation to the Case for Culture was to directly consult with an existing network of senior leaders from the Cultural Education Leadership network via our Cultural Education Leadership Conference in February of 2015.

To aid the consultation process Bridge produced its own set of questions linking Cultural Education and Children and Young People to the key thematic areas identified by N.E.C.P. These questions were: • Economy: What has the engagement of children and young people in culture got to offer the economy of the North East? • Health and wellbeing: How can cultural education contribute to the health and wellbeing of children and young people living and working in the North East? • Sense of place and community: What has culture got to offer the North East as a ‘place’ and its communities? How do young people fit into that? What Role does Cultural Education play? • Distinctiveness, Image and Profile: How does children and young people engaging in culture contribute to making the North East a distinctive and attractive place? • Vision: What are your ideas and aspirations for developing Cultural Education for children and young people in the region over the next 15 years? • Realising your vision: What changes (other than more money) need to be made to help achieve your aspirations?

The only N.E.C.P theme that our consultation did not engage with related to National and International Work this was felt to hold less direct relevance to the Cultural Education sector. Delegates at the conference were offered three separate opportunities to engage in the consultation process; with questions on flipcharts placed around the venue, a paper copy of the consultation document included in delegate packs and an electronic version distributed after the event. The conference was attended by 101 individuals with sector representation broken down as: 45% Cultural Organisations 18% Schools 16% Libraries 14% Museums 2% Strategic Leads 1% Music Education Hubs 1% Misc In addition ACE National Portfolio Organisations and Major Partner Museums who work with children and young people in the region were contacted by email with the electronic version of the questionnaire. Responses were received from individuals drawn from all of the above stakeholder groups and compiled thematically into the following report (adhering to the original word limits as requested by N.E.C.P). Many of these responses highlighted the many strengths of the region’s work with children and young people, additionally the Bridge North East team have thought about this strategically, specifically in relation to the vision and what is required in order to realise this vision. Sector Response

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Economy: What has the engagement of children and young people in culture got to offer the economy of the North East?

Responses to this question broke down into two key areas; The Economic Contribution of the Sector Work with Children and Young People is a key dimension to the cultural sectors economic contribution to the region. Delivery of cultural education is a key aspect for museums and libraries as well as most arts organisations in the North East. Work is also produced for children and young people and a family audience attracting attendance at events and performances galleries and museums. Freelance practitioners form the majority of the sectors service providers in this area – and many do this work to pay their bills while producing world class art of their own. This economic impact of this should not be underestimated and we see no reason that this should change over the next 15 years. Skills development feeding into economy through the workforce Cultural / Arts Education is a training ground for C&YP, improving core skills such as literacy, problem solving etc but other softer skills which employers in all areas recognise i.e. interpersonal skills, team work etc. Cult Ed for all would create a generation of highly skilled, creative, entrepreneurial individuals who are comfortable starting and realising their own projects as well as collaborating. This will benefit all industries (particularly global areas like science & tech) attracting inward investment and new businesses but also making region excellent place to raise children and young people – attracting new professionals and retaining talent at our world class universities. “Fundamentally the current generation of children and young people will be the next generation of wage earners; cultural education can ensure they are highly skilled, pro-active individuals with a commitment to the region” Unnamed CEL Conference attendee

Health and wellbeing: How can cultural education contribute to the health and wellbeing of children and young people living and working in the North East?

Greater consideration within the health and social services needs to be given to the role of the arts in supporting mental and physical health and wellbeing of the region. It has been shown that Cultural Education improves young people’s mental and physical health and therefore can make a preventative contribution to the regions well being as well as playing a therapeutic role in treatment of individuals.

Engaging with the arts supports the expression of the self and improves sense of self worth through helping individuals articulate their self identity. Self expression offers children the opportunity to have strong and confident voices.

Cultural education (inside and outside of the classroom) broadens horizons and inspires the development of confident, aspirational and ambitious individuals. Research demonstrates that learning and curiosity is a positive mental state and social activity plays a large role in good mental health. Again, cultural education teaches social skills and appropriate behaviour through shared experiences and social activity.. “Cultural education must be a foundation of children and young people's education in order to broaden horizons, open minds and change lives.” Fiona Tobin, Lifelong Learning Support Manager, Sage Gateshead

Sense of place and community: What has culture got to offer the North East as a ‘place’ and its communities? How do young people fit into that? What Role does Cultural Education play?

Shared stories, landmarks and events create a common identity. Involvement in cultural activity (from arts to heritage) creates a sense of community and help us to make a meaningful contribution where we live..

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Investment in cultural education can build a unique sense of place for the region and engage whole communities in the way that football does so successfully. We see this with the best museums and galleries which are spaces for reflective celebration that bring the past up to date and provide safe spaces to question the world around us. By the same token understanding our shared heritage also helps us to understand difference and offers opportunities to challenge the monoculture that is common in some parts of the region. Experience of difference promotes understanding and respect and allows us to find new common ground. “Cultural literacy bonds communities and creates a powerful sense of belonging while knowledge of foreign culture promotes understanding and takes the fear out of differences.” Carol Alevroyianni, Carol Alevroyianni Associates

Distinctiveness, Image and Profile: How can children and young people engaging in culture contribute to making the North East a distinctive and attractive place? Give three examples.

Culture creates a sense of wonder of where you live creating vibrant and lively communities. Children and young people, as natural culture vultures, bring places and things to life in unique ways. The North East has a great culture of public, participatory events like such as The Great North Run, Lumiere, The Great North Passion etc that show the North East in the best possible light as a place where all levels of society, but particularly children and young people, engage in culture. The North East has some excellent family friendly assets (Seven Stories, Stockton International Riverside Festival, Juice Festival etc) which the region can build on to ensure that more of our venues, organisations, events and activity is geared towards welcoming families. If cultural education is embedded in the same way the North East will have a national and international reputation for innovation and risk taking in education by the year 2030. The cultural offer in region has national and international profile thanks to our World Heritage Sites, arts organisations, events programme and universities. This profile should be built upon to allow us to attract more world class things, people and activity and truly put the region on the map. The best demonstration of this at present are: • Inspirational participatory events such as the Great North Run. • The North East’s UNESCO World Heritage sites: Hadrians Walls & Durham Cathedral. • A nationally recognised, region wide festival programme.

Vision: What are your ideas and aspirations for developing Cultural Education for children and young people in the region over the next 15 years?

The sector first and foremost aspires for cultural education to be embedded in the region’s schools and cultural organisations as ‘the norm’, with a common vision for cultural leadership built into training and business planning. The North East will be; • A flagship region which is nationally recognised for high level delivery of quality cultural education, • A place where culture is embedded in education at every level, from teacher training to individual children and young people driving forward their own creative development in formal (schools, colleges and universities) and informal (other educational opportunities) education. • A place where cultural organisations who work with schools see not only teacher development but CPD for their own practitioners as integral to their work with children and young people. • A place where the combined skills and assets schools, universities, cultural organisations, libraries and museums are made openly available to all children and young people. • Somewhere where schools truly understand that libraries, museums and cultural organisations are an extension of the classroom and enhance learning. • A place where the role of charities and voluntary organisations in providing aspects of Cultural Education is recognised and supported as a vital part of the ecology.

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• A region where schools are recognised as an integral part of a community’s cultural offer i.e. schools as venues, parents contributing to cultural curriculum, arts organisations developing work in partnership with schools etc. “Our vision is for the Northeast to be a national exemplar for its provision and engagement of families, children and young people in arts and culture.” Kate Edwards, Chief Executive, Seven Stories “Cultural education needs to be at the forefront of any curriculum in every school, and not allowed to be a bolt-on experience. Culture can be a doorway into any other subject” Nicola McBeth, Reception Teacher, Hilton Academy

Realising your vision: What changes need to be made to help achieve your aspirations?

A Shared Vision • A simple vision for ‘Cultural Education’ in the region to act as a galvanising force. This may be a strong message (i.e. Passionate People - Passionate Places) or a cultural equivalent to the London Schools Challenge (i.e. the North East Cultural Curriculum) • This vision needs to engage both education and cultural sectors; challenging and empowering them at the same time. A Recognised Cultural Education Sector • The region’s emerging ‘Cultural Education’ sector consists of a network of senior and mid level leaders spanning across the culture and education sectors. This network needs strategic leadership to be nurtured, trusted and ultimately expanded so that the schools and cultural organisation sectors work in partnership. • An appropriate term for this sector (‘Cultural Education’) needs to be identified, widely promoted and ultimately embedded over the fifteen year period to ensure the sector (and not just the current network) becomes self identifying. Top Level Buy-In • Regional leadership (led by ANEC) drives cultural education as a priority and National Portfolio Organisations, Major Partner Museums and Bridge (ACE Strategic Investment) play a developmental role. • National recognition of the value of ‘cultural education’ that allows schools and arts organisations to treat it as a priority i.e. (Department of Education, OFSTED, Arts Council etc) • Headteachers and leaders of cultural organisations are empowered to make a meaningful and strategic contribution. Infrastructure • Improved transport infrastructure that allows low cost access to the region for children and young people. • High quality digital infrastructure • A regional investment plan, including a philanthropic giving scheme, that supports Cultural Education and reflects its holistic value to the North East. “We must encourage partnerships between schools, cultural venues, libraries to catch young people at an early age and make it part of life to access quality culture as the norm” Fiona Tobin, Lifelong Learning Support Manager, Sage Gateshead “Industry partnerships with cultural providers need to be in place which showcase the benefit to the regional economy of work with children and young people.” Clare Smith, Project Manager for Learning Innovations, Tyne & Wear Archives & Museums.

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Ros Rigby, Sage Gateshead; Jim Mawdsley, Generator.

1. Economy – what has music got to offer the economy of the North East? (250 words)

• Attracting and retaining people connected with music to live/work here • Tourism spend around music/events (large and small) • Employment of staff in venues, labels, studios, teaching music (‘Spillover’ effects – individuals that contribute ideas, processes, products and talent that spread beyond the sector in ways that drive growth and productivity). • Money circulating in local businesses as the result of music activity/events / can encourage wide range of investors to recycle gains into funding new businesses • Entrepreneurial discovery revealing regional strengths with potential for experimentation, innovation and growth • Sales of music/instruments • Health benefits of music saving money in the long run • Music events enhancing the economy of town centres • Mobilising distinctive local resources/assets (firms, people, geography, institutions); • Seeding of intellectual capital/talent spotting/development • A world class and lively music/cultural scene attracts businesses to base themselves here • Affordability – it is a relatively cheap place to base a business/organisation – meaning modest investment can result in positive regional economic benefits.

2. Health and wellbeing - how can music contribute to the health and wellbeing of people living and working in the North East? (250 words)

• Contributes to and supports cognitive development • Generally and psychologically therapeutic • Give sense of Structure and aids concentration, memory and time management • Sense of worth, confidence, self esteem; tackles isolation • Involvement in community and interaction with others - social inclusion • Produces endorphins • Promotes physical and mental health e.g. helps with Alzheimer’s • Alternative approach to disaffection, alienation, disability • Not just solution based but preventative • Assists recovery • Binds community - crosses age barriers • Inspirational live experiences and a strong music ‘scene’ of gigs and participation encourages sense of community and wellbeing/support • Educational benefits of music • Older people - transforming some people’s lives • For young people excluded from education etc music is an incentive to learn/engage

3. Sense of place and community – what has music got to offer the North East as a ‘place’ and its communities? (250 words)

• With clearer overall leadership a great deal! • Sense of cultural heritage brings people together- makes them happy- provides inward investment/income streams/tourism

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• Legacy of the regions’ music collectives - providing a community for others to join/engage with / track record of strong collaborative working • Music gives the region an identity eg Sunderland as a music city; folk music of the region (High Level Ranters to Kathryn Tickell and the Unthanks) • Key artists as part of the region’s identity- Sting, Prefab Sprout, Mark Knopfler. • The only place in England with our own unique musical instrument (Northumbrian Pipes) • Tyne and Wear recognised as a key place for any Jazz, Folk ,Classical touring schedule • Strong community music scene across range of genres and movements • Sense of pride/ownership of local artists, ensembles and venues (yet there can be a view that if it’s home grown if not good enough - grass is greener view- we need to shout louder about what we’ve got!) • Music as catalyst for city-wide celebrations • We are establishing good models for city-based festivals as opposed to green-field sites.

4. Distinctiveness/ image and profile of the region - how does music contribute to making the North East a distinctive and attractive place? (top 3 examples please – 250 words)

Through a very wide mix of music venues including (since 2004) Sage Gateshead, which has attracted many major names to the region for the first time, also housing a world class orchestra presenting both the best of classical music as well as increasingly collaborations with other genres. We also have a range of excellent other venues on different scales- from the Academy to the Cluny with new ones springing up (Fire Station in Sunderland), plus venues not designed for music which work very well for particular styles (eg the Lit and Phil Library for avant-garde jazz- one of the niche music specialisms in Newcastle). This venue mix helped attract BBC 6 Music Festival, for example, who wanted to promote events on differing scales, and indeed found the offer unique to the UK.

Through a strong sense of its own traditional music heritage linked to its industrial and rural history, with some contemporary figures who have now broken into the mainstream, and major rock names who have been heavily influenced by folk music. This music is flexible and can offer everything from large scale concerts to ceilidhs, ceremonial music and informal pub sessions, and is a form in which the public can participate easily both at a simple and a more expert level.

Through its strong rock and roll heritage from the 60s to now, with a current scene with a range of sounds (not just one ‘fashionable’ sound!) and a strong support network for musicians and a nationally known popular music development organisation in Generator.

5. National/ international work - what are your ambitions to develop national/ international work, links and collaborations in the future? (top 5 priorities please – 250 words)

To continue to attract major national and international music events to the North East (eg return visits from WOMEX, One Big Weekend, ISPA, BBC Young Musician, BBC 6 Music Festival plus events we have not yet managed to attract eg European Brass Band Championships, National Youth Entertainment Brass Championships of Great Britain, BBC Folk Awards, European Jazz Conference).

To develop major new music industry events building on models elsewhere- eg a North East by North East (NEXNE) event on the same lines as South by South West (SXSW -in Austin Texas) – showcasing artists from across the UK and the world.

To develop a scheme called ‘Northern Music Connections’ whereby we build on existing and newly opened (or re-opened) transport routes to our geographical neighbours - Holland, Germany, Norway, Sweden, Denmark, Iceland – to develop deep musical partnerships/musical exchanges/ multi-country festivals.

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Examples could include a link with the EUROSONIC Festival in Groningen, with the iconic BIMHUIS jazz and world music venue in Amsterdam, further orchestral exchanges between Royal Northern Sinfonia (RNS) and Gothenburg Symphony Orchestra, further folk music links with Scandinavia etc.

To celebrate the achievements of the region’s musicians abroad- sometimes completely unrecognized- eg local dance music promoter Scott Bradford’s successful Forensic night at the Miami Winter Music Conference, RNS touring across Europe and beyond.

6. Vision -what are your ideas and aspirations for developing your sector over the next 15 years? Max 300 words.

Establishing a major music festival that is produced in heritage locations across the region within a time limited period (established locations like Belsay/Wallington and more recent/unusual ones -Stephenson Works/Dunston Staiths) with content coming from a wide range of genres (classical, jazz, folk, rock, pop and dance music - as a USP for the region- we have amazing historical sites and you can experience amazing music at these locations! Exploring digital streaming opportunities to make these available worldwide.

Communicating and building on our unusually proactive and supportive community of musicians, music organisations and music venues in the North East, across genres, to retain and attract musicians and promoters, and within the music industry’s global digital networks music businesses, encourage the growth of labels/studios/promoters/new organisations and to attract major national and international music events (see section 5).

Continuing to support and develop our excellent network of music venues- large and small- to enable them to offer the right environment for live music as it develops – for artists and audiences, and to support the development/continuation of existing successful city/town based festivals.

Establishing the North East as a place where everyone is within reach of opportunities to learn to sing or play an instrument in whatever genre and at whatever level suits them. We would build on the huge development over the last decade in opportunities for people of all ages to participate in music making , through things like the Sage Gateshead Silver programme for older people involving 1000’s of people on a weekly basis, the CoMusica work in music with NEETS and the Music Sparks programme for those with learning disabilities, the ever growing Folkworks programme of weekly workshops and summer schools, plus a range of spin-off folk workshops, the work of Northumbrian Pipers Society, Jazz North East and other voluntary groups, work of the Music Hubs in schools. -

Becoming a national leader in developing technology to enable people to participate in music who currently can’t do so due to disabilities.

Building on the positive experience of bringing the sector together as part of this process via regular (twice yearly?) meetings to review progress and build on the underlying optimism shown in the inaugural meeting.

7. Realising your vision/ aspirations for your sector - what specific interventions (rather than just ‘more money’) could help make this happen? (250 words) Development of working relationships between music promoters and the heritage sector (NT, EH, individual owners, local authorities, preservation trusts) to facilitate the development of new festivals and events on a partnership basis, with some pilot events in 2016/17.

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Existing music organisations, musicians and ensembles becoming more outward facing; considering their role in the region not just their immediate locality (eg Royal Northern Sinfonia making a deliberate effort to become the region’s orchestra -re-connecting to the original collaborative vision between local authorities which led to establishment of Northern Arts to support the orchestra’s work across the region. They can also play a role in fostering creativity and innovation outside of the sector.

Encourage the creation of dynamic networks that animate and support the ‘entrepreneurial/talent discovery’ process to identify and exploit niches of business growth opportunity. How can established cultural music organisations support young business? The music sector has developed a culture of interdisciplinary working which can be passed onto firms in the wider economy.

The reinstatement and further development of an overall regional promotional strategy which could take advantage of the diverse history of musical landmark events and individuals in the region- from composers Charles Avison and William Shield in the 18th and 19th centuries to the opening of the country’s first folk club outside of London in 1959, the founding of RNS in the 60’s, Ever Ready as Brass Band of the Year in 1977, the foundation of the Bunker is Sunderland and the broadcasting of The Tube in the 80’s- and much much more, but would also promote today’s music events and artists much more widely and positively than happens currently.

The opening/re-opening of transport routes to other Northern countries alongside sponsorship arrangements enabling free/cheap fares for artists.

Local authority and LEP support for existing and new music venues/studios/organizational premises and other music businesses. Working alongside these policy makers to make the case to central government for investment in cultural ventures through Regional and local growth funds.Though some of these businesses are typically characterised by low financial barriers to entry, they still need support (not just financial) to ensure that they can stay in the region and use the wealth of talent it produces.

Rebalancing of Arts Council/DCMS support to the regions, particularly to support new/emerging artist and organisations and international work- both import and export . The NE is a relatively small region that remains distant from the UK’s cultural capital but has assets and capabilities of international quality and significance. Collaborative relationships between different cultures stimulate market growth , so support for developing these international markets is crucial (industry links alongside financial support and brokerage).

The recognition as a national priority of the importance of music (within the arts in general) in the curriculum- currently under threat- and the development of greater partnership working between schools, Music Hubs, and music organizations. Partnerships to be evidenced (joint-working with results), so that they don’t just exist on paper alone.

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Reuben Kench on behalf of Festival and Event workstream

1. Economy – what has culture got to offer the economy of the North East? (250 words)

The obvious contributions and include; Direct economic benefit arising from visitors and tourism, through events, attractions and tourism businesses. Direct economic benefit from cultural businesses, products and services, including exported products and services. Indirect benefit through the positive impact on the region’s ability to attract and retain talented individuals (in every field) through the quality of life contribution and through the image and perceptions about the region. Indirect benefit through the positive impact on the regions ability to attract investment and new businesses to locate in the region due to quality of life and image factors. These benefits arise from the cultural venues, attractions, producers and assets, including the built environment and heritage. In addition culture contributes to the engagement and productivity of the people of the North East, enabling programmes which reach excluded and at-risk individuals and provide powerful and transferable learning experiences and skills. At its most basic and profound level, culture gives us the tools with which to make sense of the challenges we face in life and create new solutions, it is the raw material for social and economic innovation.

2. Health and wellbeing - how can culture contribute to the health and wellbeing of people living and working in the North East? (250 words)

There is increasing recognition that people’s health and wellbeing is influenced by a range of interconnecting factors. Indeed, the World Health Organization suggested over 50 years ago that health is a complete state of physical, mental and social wellbeing, not merely an absence of disease or infirmity.1 This definition acknowledges that good health and wellbeing are reliant on an array of multiple factors, not just physical, but also psychological and social. Arts Council England, the Department of Health and many leading healthcare experts firmly believe that the arts have an important part to play in improving the health and wellbeing of people in many ways.

In 2014, the Department for Culture, Media and Sport (DCMS) published an analysis of Understanding Society data, demonstrating a significant positive association between sport, culture and subjective wellbeing beyond other factors known to influence wellbeing (e.g. income). The analysis valued the identified wellbeing benefits of sport and culture in the region of £1,000 per person per year.

3. Sense of place and community – what has culture got to offer the North East as a ‘place’ and its communities? (250 words)

It is hard to think of a way in which a sense of place and community could be expressed without using culture. The passions and preoccupations that bind communities emerge through songs, stories, rituals, games, and pictures. Our communities are proud of the history of the North East which provides symbols of resilience, strength, inventiveness, compassion, and humor which can be applied today and used to protect and inspire the people of the region, giving them the confidence and self-belief to achieve great things now and in the future. Rightly, culture is used to provide a vehicle for communities to come together at times of sadness and celebrations. The Passion Plays in South Tyneside, the World War Centenary Sunflowers in Stockton, the

A Case for Culture Responses from Writers (March 2015) 72 music on Lindisfarne at the close the Festival of the North East, these provide a glimpse of the myriad ways in which culture constantly replays, sustains and reinvents our sense of who we are.

4. Distinctiveness/ image and profile of the region - how does culture contribute to making the North East a distinctive and attractive place? (top 3 examples please – 250 words)

- Our distinctive festivals and events encapsulate North East culture; they are rooted and authentic, genuine and unpretentious, they celebrate and maintain traditions like marches parades and galas, they are diverse and dynamic, illustrating our openness and hunger for new forms, they are international and ambitious, and their settings illustrate the dramatic landscapes of cities, beaches, hills and moorland. - The industrial heritage of the region, its bridges, ships, steam engines, iron and steel, its inventors and thinkers, the massive flowering of industrial and intellectual production of the late 18th and early 19th century, the oldest provincial antiquarian society (founded 1813), the Literature and Philosophy Society (founded 1793), the invention of the friction match in 1829, the light bulb in 1878. And don’t forget beer and football. - iconic public art, Goldsworthy’s Lambton Worm, Oldenburg’s Bottle of Notes, Gormley’s Angel, Mach’s Train, Turrell’s Skyspace, Kapoor’s Temenos, and a host of temporary and smaller works. The number and quality, the range and accessibility of our public art portfolio is unique and should be built upon.

5. National/ international work - what are your ambitions to develop national/ international work, links and collaborations in the future? (top 5 priorities please – 250 words)

Increased international co-commissioning of large scale outdoor work for Lumiere and SIRF, developing site specific works and also works that can tour, particularly into European festival networks. To nurture our network of peer festivals, including across Europe and internationally, to source new work, provide new opportunities for artists, but also enable co-productions as a way to fund ambitious, innovative work. To promote Lumiere, SIRF, Vamos, Billingham International Folk Festival, Animex and other events with an overtly international remit as international platforms for contemporary art and cultural practice, linking artists, curators, producers, commissioners. By 2030 we will be acknowledged as a world leading broker and host community for the best of international collaboration around street theatre, outdoor visual arts, folk music and dance. To sustain that effort through hosting symposiums/conferences where professionals can share experiences, best practice and opportunities. To utilize our internationally significant heritage and historic achievements to attract international audiences to events that celebrate our contribution to the world, including our maritime, Christian, railway, and engineering achievements.

6. Vision -what are your ideas and aspirations for developing your sector over the next 15 years? Max 300 words.

Festivals and Events are a major part of the North East cultural identity and ‘offer’, but they could play a bigger role and enjoy a higher profile nationally and internationally. To achieve this we have identified 4 priorities;

To understand and promote the value of the festivals and events that we have - getting a regional and national audience to appreciate how uniquely strong and divers our events are, and defining the social and landscape context that adds so much value.

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Strengthen and improve our home-grown events and attract and create new ones – share information systematically to avoid unnecessary clashes and promote more audience crossover within the region, use themes and anniversaries to create linked events across the region, attract major ‘footloose’ international events like Tall Ships, Brit Awards, Turner Prize, and accolades like UK City of Culture or European Capital of Culture. Address capacity, resource and skills gaps – collaborations and symposia will drive innovation and advance best practice in creating distinctive, safe, impactful events across culture, heritage and sports, strong long- term funding partnerships and commercial value will ensure sustainability, training and further education will help the sector address skills and capacity gaps in areas of technical production, stewarding, traffic management and customer relations. Maximize the economic contribution that festivals and events make – concerted North East destination promotion, based on characterization of the region’s people and landscape as a value adding context for international markets, collaboration and packaging of information to disperse international visitors across the region’s festivals and attractions, use of festivals and events to showcase the place, as a compelling part of the case for talent retention, inward investment and business relocation.

7. Realising your vision/ aspirations for your sector - what specific interventions (rather than just ‘more money’) could help make this happen? (250 words)

A regional destination promotion framework and agreement that provided a context in which separate locations or events could be promoted coherently to overseas markets. The refresh and re-use of a descriptor like ‘passionate’ as a connecting trait that links the region’s cultural festival and event offer and the locations in which they are staged. Greater devolution or meaningful regional influence over national resource allocation and policy design to ensure the particular needs and opportunities of the North East drive investment. Partnership and co-investment between Arts Council England, Local Authorities and LEPS, providing mutual assurance and longer term stability, moving away from inflexible standard ‘one size fits all’ grant regimes with limited opportunity to reflect local context . Consideration for a regional allocation, or regional tier of lottery distributer prioritization, across all the distributers.

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Billingham International Folklore Festival of World Dance

1. ECONOMY – What has culture got to offer the economy of the North East? (250 words)

According to a survey done 10 years ago, 40% of Billingham Festival audience travelled to Billingham Festival from outside Stockton on Tees.

They spent money on travel, hotels, shopping, eating out and visiting other tourist attractions in Tees Valley and beyond, creating a major impact on local economy. Unfortunately, 5 years ago we lost the Billingham Arms Hotel, which was ideal for the accommodation of Festival visitors.

The only hotel near Billingham is Premier Inn in Wolviston, which is about 10 minutes drive.

Due to that fact, we now lost the core of our visitors from outside Stockton on Tees, as people prefer to be accommodated right at the heart of the festival in Billingham Town Centre and most of the visitors preferred to arrive by train, without personal transport, which now makes it impossible to see the festival, if they stay in Premier Inn.

On a positive note, the recent regeneration of Billingham Town Centre, led to the opening of a few new eating establishments and restaurants, where our visitors can have a meal between the concerts. The cooperation of Billingham Town Centre management, who give us all the unoccupied shops in Billingham for the festival use during the festival, creates further interest for local community and encourages local people to visit the town centre, to do their shopping as well as to watch festival events.

2. Health & wellbeing – how can culture contribute to the health and wellbeing of people living and working in the North East? (250 words)

Billingham festival is about World Dance in all its forms and the dance is one of the healthiest activities, which can contribute to health and wellbeing. In the run up to the festival and during the festival we: - Hold dance workshops for children, youth and adults, promoting dance as one of the best ways to keep fit and feel good - Hold tea dance parties for people over 50, where they can join the international performers and learn social dances from other countries, such as Mexican Danzon, which is scientifically proven as one of the best “treatments” for people with dementia. - Organise street concerts and flash mobs with international performers involving the audience - Hold Family Concert on a Sunday, where the whole family can join in and have fun dancing on stage with International dancers - Hold primary and secondary school residencies and local community groups workshops prior to the festival - Organise visits of international performers to care and nursing homes

The traditional dance is a celebration and happy dance, and all the international performers from around the world travel to Billingham to bring happiness to people. They perform in bright and colourful costumes, to live music, lifting the spirits of anyone who come to watch the shows.

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3. Sense of place and community – what has culture got to offer the North East as a ‘place’ and its communities? (250 words)

Since 1965 when Billingham Festival was launched alongside a new and prosperous town, a sense of pride was born in Billingham people.

Over 50 years the Billingham festival became the legacy of Billingham and is truly a community event, organised and run by over 150 volunteers.

Our band of 150 dedicated festival Volunteers year after year come from near and far to experience and learn, by pushing aside the language and cultural barriers, the rewards of working alongside our international participants and overcoming the challenges of organising such a major and unique event.

Throughout the year, through a variety of fundraising and social events, our dedicated volunteers fundraise to buy sound equipment and other various commodities for the Festival.

The enthusiasm, dedication and drive of our Volunteers to make Billingham Festival a success is the biggest asset and legacy of Billingham Festival.

In our ever-growing multi-cultural society we pride ourselves in promoting world peace and understanding between Nations. Friendships formed at our Festival are ever-lasting, and when you have Israel and Egypt dancing together, we know it’s a job well done.

Through the Festival years Billingham placed itself well and truly on the World map.

4. Distinctiveness/image and profile for the region – how does culture contribute to making the North East a distinctive and attractive place? (top 3 examples please – 250 words)

-Billingham Festival is the only festival of its kind in the UK, presenting all forms of multi-cultural dance and attracting visitors from all over the UK and from abroad. The visitors, who come from afar, not only attend the festival events, but enjoy the hospitality of the North East and visit other cultural attractions and events in the region -Billingham Forum Theatre is one of the major highlights for the performers who come to the festival and for the audience, who come to see them, as it is a beautiful Theatre with one of the largest stages for dance in the country and great acoustics. -Dance City in Newcastle is a unique venue, which is built specifically for dance. The Wold Dance Gala we held in Dance City is another major highlight for our 300 performers, who admire and enjoy the facilities Dance City has to offer.

5. National/international work – what are your ambitions to develop national/international work, links and collaborations in the future? (top 5 priorities please – 250 words)

We Continue presenting 8-10 music and dance companies from all over the World each year, but at the same time focus on inviting dance companies from abroad which present both traditional and contemporary dance pieces, in order to showcase a combination of styles and the evolution of dance based on traditional roots. At the same time we plan to continue to introduce accomplished, contemporary dance works into our programme, inviting multi-cultural UK- based professional contemporary dance companies, with emphasis

A Case for Culture Responses from Writers (March 2015) 76 on traditional African, Asian, Caribbean, Latin and South American roots and feature these companies alongside the international performers.

We now expanded the commissions of the new work to include the international creative professional cooperation projects, resulting in the premières of the new commissioned work at the Festival, aiming to build audience expectation of premières, presenting new works, combining contemporary and traditional dance styles. The international music and dance commission 2015 will include collaboration between artist in the UK, Chile and 10 dance companies from all over the World.

We continue to introduce and present well established and emerging UK professional contemporary dance work, which represent exciting fusion of dance styles and genres and take inspiration from multi-cultural roots, focusing on innovative approaches to traditional music and dance.

By including “Dance Gateway” in our programme we are giving the local artists a platform for showcasing their latest work alongside international professional performers, create opportunities for professional development and international cooperation, with future possibilities of touring. The festival presents a unique platform for creative work and collaboration between over 350 artists from all over the World, which result in joint productions and premiers at our festival, creating further collaboration opportunities for the festival performers, choreographers and musicians in the future.

6. Vision – what are your ideas and aspirations for developing your sector over the next 15 years? Max 300 words

Thanks to four consecutive generous grants from National Lottery through Arts Council England starting from 2011 Billingham International Folklore Festival of World Dance entered a new era by extending its programme beyond its 46 year history to encompass a contemporary element alongside other dance styles premiering new creative innovative artistic work in addition to its firmly established traditional focus.

The Festival is entering a new decade after celebrating its 50th Anniversary in 2014. Over the last four years since we extended our programme to include the contemporary dance element, running alongside our traditional focus, the festivals image and identity has gradually allowed us to lay foundations for new audience-engagement opportunities whilst also reaching a wider and more varied audience.

We established firm partnerships with several regional dance and arts organisations and achieved valuable recognition among UK arts professionals. We are constantly learning from our experience, feedback and advice of our partners, audiences and performers. We aim to use this experience and feedback to extend and develop audience engagement and participation, keeping our core audiences whilst reaching out to new ones and engaging cross-generation participants: children, young people, adults and the older generation across the UK through our extensive outreach activities.

Building on the launch of the Festival’s new contemporary identity in 2011 we aim to find new ways to further strengthen our contemporary identity by focusing on innovative approaches to traditional music and dance, showcasing new ground-breaking artistic work by both well-established and emerging UK professional contemporary companies, which represent different dance genres and take inspiration from multi-cultural roots.

This work will feature alongside our international performers, expanding the platform for performance and audience engagement. We also aim to expand our educational programme, encompassing residencies,

A Case for Culture Responses from Writers (March 2015) 77 workshops and participation events for children, young people and adults through extensive outreach activities based on creative contemporary and traditional dance and diverse multi-cultural arts.

This new contemporary focus launched in 2011 has now been regionally and internationally recognised by audiences, participants and performers and is becoming an integral part of our festival, attracting a new and more varied clientele.

We intend to continue concentrating on our audience development by further expanding, strengthening and fine tuning our contemporary focus, including a wide range of exciting, unique and refreshing activities and concerts into our programme, using the Festival as a platform to present new ground-breaking work, raising audience expectations, encouraging and inspiring participation, highlighting fusion and interaction between dance and other art forms, showcasing the festival in a new light to broaden audience experience.

More and more world choreographers find their inspiration and visionary concepts in traditional roots, exploring and creating a new dance language, breaking the boundaries between dance styles and fusions whilst embracing other cultures and art forms. We strive to be the impetus and at the front of this dance evolution, encompassing all the new trends and combinations of styles and art forms in our programme.

We aim to deliver an effective, efficient programme of targeted promotion for our Festival, by further increasing the awareness of our new contemporary identity, promoting the Festival as a major unique multi-cultural and cross-disciplinary arts event, capturing attention of press and media by premiers of new creative innovative artistic work, unexpected site-specific performances and ground-breaking fusion of dance styles and other arts forms. We are very passionate about Dance and World Cultures and we strive to reach and involve the maximum range of people and communities and encourage participation at all levels.

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Keith Bartlett, Director of Culture Durham University

1. Economy – what has culture got to offer the economy of the North East? (250 words)

• Positive international profile: Raising awareness of the region to prospective visitors, students, businesses and investors across the World. This happens through ongoing promotion of our outstanding assets, such as the World Heritage Sites, or collections designated as having international and national significance. Or through one-off energizing events that cause the region to be seen in new light, as with Lindisfarne Gospels 2013. Working in an international context is bread and butter for universities, such as Durham.

• Creating a skilled workforce for the new economy: Through new departments, Northern Bridge doctorates, Leverhume scholarships &c universities are creating new ways of working with the cultural sector to generate both innovation and develop a creative and appropriately skilled future workforce. Initiatives such as CNE’s Fuse / LEP innovation project aimed at graduate retention are one example of ensuring the quality of research experience, with the aim of improving graduate retention.

• Collaborating to compete: Reducing funding means that new partnerships are supporting the delivery of culture and producing new models of working.

• Engagement: Taking part in cultural activity is a well-documented way of raising people’s aspirations, opening their eyes to what is possible and placing them on the route to learning and playing a full role in society, whether through work and employment or within their community.

2. Health and wellbeing - how can culture contribute to the health and wellbeing of people living and working in the North East? (250 words)

• Participation: The sector provides a myriad of opportunities for individuals to engage with others, learn new things, be inspired by new interests and play a part in their community. This participation is proven to contribute to improved mental wellbeing – predicted to be a greater drain on funding than physical inactivity. (see UK Government Foresight report: Mental Capacity and Wellbeing, 2008 https://www.gov.uk/government/publications/mental-capital-and-wellbeing-making-the-most-of- ourselves-in-the-21st-century)

• Quality of Place: For example the historic building stock owned and maintained by Durham University as part of the World Heritage site and its Durham city environs enhances the city and makes it a more pleasant and uplifting place in which to live and work. Heritage buildings and the historic environment are part of the fabric daily life, as homes or offices, as well as iconic visitor attractions.

3. Sense of place and community – what has culture got to offer the North East as a ‘place’ and its communities? (250 words)

• Glue: Culture helps creates communities and places that people value, bringing together buildings, landscapes, people and stories. This can be seen by the passionate and enthusiastic community response to the Lindisfarne Gospels Festival in 2013 with in excess of 500 community events of all scales responding to the iconic manuscript – from the community choir to specially commissioned dance performances.

• Meaning: Culture helps people new to the North East make sense of it and creates a sense of belonging. This happens both by for those who have always lived and worked in the North East. But is also

A Case for Culture Responses from Writers (March 2015) 79 important to those relocating here. Whether from elsewhere in the UK or abroad. Universities in particular have connections with international communities welcoming international students and relocating academics. Durham University’s history, partnerships and collections means it provides support and networks for Japanese and Chinese communities and businesses in the region.

• Learning: Understanding artefacts, discovering localities and exploring stories and linking these to wider contexts enables people to engage with their heritage in new ways – from under 5s to 75+s. This means removing barriers to accessing culture and broadening horizons as to what is possible starts from the earliest age and its influence continues throughout life.

4. Distinctiveness/ image and profile of the region - how does culture contribute to making the North East a distinctive and attractive place? (top 3 examples please – 250 words)

• Built heritage: Provides the background to our daily lives. It provides stunning and memorable backdrops to key events. However, it can also fade into the background and be taken for granted until it is threatened, or brought to life by community and arts events.

• World Heritage sites: International recognition that what we have is special.

• Portable and Intangible: The stories we tell about ourselves and where we live, the traditions we maintain - interpreting and reinterpreting and communicating that distinctiveness – whether the Durham Miner’s Gala, or the manuscripts which track our importance as a centre of learning through the centuries, &c.

5. National/ international work - what are your ambitions to develop national/ international work, links and collaborations in the future? (top 5 priorities please – 250 words)

• Exhibitions: Sharing our research and collections through touring exhibitions; continuing our current track record in and increasing our national and international loans

• Research partnership and general networks: With national and international heritage professionals and organisations and beyond. For example around 2020.

• Enterprise – Building on our reputation and expertise

• MOU with Japanese Institutions and partnerships beyond: Supporting relocation of multi-national businesses to the region. And targeting other key markets, such as the Middle East.

• Education: We wish to build on our track record in delivering high quality cultural heritage education, in order to improve attainment and make pupils realise the educational opportunities open to them.

• Archaeological Services: We host the UNESCO Chair in Archaeological Ethics and Practice in Cultural Heritage and professional services available include archaeological services, expertise and analytical facilities.

6. Vision -what are your ideas and aspirations for developing your sector over the next 15 years? Max 300 words.

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• World class: We continue to raise our game, looking to the world rather than to London. Cultural organisations aspire to be not just the best in the North East but the best in the UK – and further afield. This requires work with other partners and agencies – for example world class marketing, accommodation, and a ‘Team North East’ ethos – to enable us to match the rhetoric with experiences. (This also means acknowledging and accepting where we haven’t been delivering and playing rapid catch up).

• Part of something exciting that everyone wants to be part of: We are known for our innovation. We want others to feel that they are missing out if they’re not engaging with culture in and from the North East - whether communities, Businesses, or cultural organisations. We want to create a vibe of excellence, ideas and energy. Be known as a testbed for new ways of working through cross-sector ideas generation and collaboration.

• Incubator: Culture brings people together from all sectors for creative thinking to address issues that affect our lives. Universities, arts, creative industries and heritage organisations all have contributions to make and particular roles to play, as well as providing spaces to allow people to come together and creatively debate and generate new solutions. Universities in particular support cross-disciplinary research capacity.

• Funding: As a sector and region we need to broaden our financial footprint. Widening and redefining philanthropy. Our communities should expect the best cultural heritage and have pride in it to an extent they are willing to support it financially too.

• Major creative projects and step change: There remains capacity and opportunity for infrastructure projects, for example to bring the WHS in line with international visitor expectations, and able to punch above its weight. Additionally we see the opportunity for greater partnership working and creating new ways of working enable us to build and retain leadership, expertise and skills within the region.

• Multi-channel delivery: The best see the North East cultural sector as partners of choice, enabling us to create multi-channel access - e.g. CBBies, Dorling Kindersley, international digitisation consortia, exhibitions, learning packages, local focus, community activity. Private and public sector partnerships ensuring the widest possible audience, creative industry innovation and cross disciplinary integration.

7. Realising your vision/ aspirations for your sector - what specific interventions (rather than just ‘more money’) could help make this happen? (250 words)

• Thematic focus points that allow collaboration and critical mass of activity that attracts people to the region. The Lindisfarne Gospels festival is a successful example of distributed collective activity – collaboration doesn’t just happen by chance.

• Improved and new networks of support, partnerships, collaborations and funding to give sustainability, confidence and resilience to support the success and failure associated with risk taking on an international and world class scale.

• Relationship with businesses, so that culture is embedded in all parts of its local community – e.g. Durham City.

• Involving the student community in creating and experiencing the North East’s culture. Across the 5 Universities we have significant audiences that are in the region for a short time, before taking their experience into their future lives. This needs to go beyond those engaged in courses with cultural content. One small example might be improving links between theatre groups and local theatres.

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Anne Besford, Middlesbrough Council (Middlesbrough Consultation response)

1. Economy – what has culture got to offer the economy of the North East? (250 words)

Investment (and all the subsequent benefits) doesn’t come to an area without culture – persuaded LEPs of this.Cultural Quarter (Town Hall, mima, Library, event square, Baker/Bedford Street development) – developing into a destination of regional significance.

Large number of creative businesses in Middlesbrough, growing independent sector – these broaden the economy and support a vibrant town centre. Growth of SMEs in the sector (creative industries fastest growing sector). Boho projects, Animex etc supporting creative economy as part of a sustainable economic mix. Expansion of creative / digital skills into the wider economy, exploiting new technology eg virtual reality tech. Need to retain expertise in the region – encouraging graduates to live and work in the area.

Digital City – gaming, animation, critical mass leads to collaboration opportunities (applies to other sectors too eg vis arts) Events bring people in and encourage residents to visit other parts of the region – develops positive image and messages, and encourages spend in the economy.

Compelling case for the economy around developing people, skills and aspiration through culture – connections to health and wellbeing.

2. Health and wellbeing - how can culture contribute to the health and wellbeing of people living and working in the North East? (250 words)

Culture as a great leveler – way to communicate and understand. Contribution to building resilience, confidence, and ambition. Example of Arts Award giving young people a voice. Creating something is very powerful.

Greatest benefits in starting engagement young – early creative education and participation in schools and communities. Change4Life campaign is a good model of starting young, but also using whole family approaches.

Physical benefits obvious through eg Dance, but also potential through interventions that keep people active (eg heritage trails etc) Mental health /social isolation – big issues in an ageing population, lots of potential for cultural interventions.

Social prescribing and Public Health commissioning are huge opportunities. Singing for the Brain and Dementia Café models – participants don’t necessarily identify as culture. Also benefits of sharing skills, developing self-worth.

Volunteering is a huge resource – lots of people passionate about arts and heritage. Need a focus on access / engagement and reach (in the widest diverse sense) in the sector – empowering people with the ability to attend / take part, those who need it the most. Need to be better and more joined up telling people what we do.

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3. Sense of place and community – what has culture got to offer the North East as a ‘place’ and its communities? (250 words)

It is a region rich in landmarks, from Cathedral to contemporary art. Strong heritage identity.

Sub-regionally speaking what is the place? Tees Valley? Cleveland? Teesside? North Yorkshire? But there is a strong sense of identity and pride from local people. However that can lead sometimes to segregation and resistance to change. Increased diversity of communities – incomers need to feel welcome and have ownership.

Culture is a powerful tool in helping to define, reshape and bring together communities. It can help reflect and explore diversity. Sector has a high level of engagement from ‘Friends’ and interest groups. Lots of volunteering opportunities. Potential from these to grow ambassadors for the region and for culture. Cultural ambassadors push against the notion of a homogenous mainstream and apathy, creating distinctiveness.

Profile of culture could be stronger / more positive in communities, need greater celebration of the local. Need to recognize that the word ‘culture’ is off-putting to some. Must think about relevance, audience needs, authentic connections to communities, starting off from an area of interest or commonality and exploring it differently. Better approaches to access and interpretation.

Need to target people where they are – out of institutions and into communities.

4. Distinctiveness/ image and profile of the region - how does culture contribute to making the North East a distinctive and attractive place? (top 3 examples please – 250 words)

1. Celebrating Tees Valley as an area of innovation and change. Strong sense of place through heritage, this sets the scene – built steam, national papers, rail, steel and engineering. Local creative and innovative forces: Cook, Christopher Dresser, Ridley Scott, MacKenzie Thorpe, Stephenson, Waterhouse etc etc. Contemporary strengths in visual arts, music, digital etc and an Art and Design education and training strength.

2. Festivals – locally there is the international profile of SIRF, Animex, Festival of Thrift, celebration of diversity through Middlesbrough Mela, emerging Teesside International Poetry Festival, potential to grow the Crossing the Tees book festival etc. Festivals and events connection across the wider region.

3. Nurturing region for emerging talent and start-ups – Generator, Live Theatre, Digital City, mima Visual arts network etc. Small but strong cultural ecology in the south of the region, We are a place where we do things differently and in our own way. Ability to be ‘nimble’ and ‘playful’. Exploiting the national mood that the most interesting things are happening outside of London!

In addition to these examples, lots of discussion around geographic and social distinctiveness. Culture in landscape – Tees Valley urban background with close proximity to dramatic landscapes (industrial, natural, seascapes, etc) and to wildlife (Seal Sands for eg). The three riverscapes as a regional feature. Distinctive character of the region, resilient, hard working, thriftiness, resourceful, friendly, authentic sense of identity.

5. National/ international work - what are your ambitions to develop national/ international work, links and collaborations in the future? (top 5 priorities please – 250 words)

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Important for Middlesbrough to look out rather than in. Assumption that we ‘bring culture in’ (importing as a way of validating quality.) Need more focus on development of cultural exports. Exporting can communicate identity / place messages to a wider range of people and change perception. Building international export relationships eg showcases, art fairs etc and building a local emotional investment in cultural exports.

Attracting people into the region to make work, eg through specialist facilities, commission opportunities, platforms and showcases. Should enhance home-grown rather than replace it though – add to the mix.

Mapping of international relationships that already exist and have potential to be grown. Noted that region often has closer physical / geographical connections to Europe rather than other areas of the UK (existing twin town links, Ruhr Valley etc, and also international academic links).

Building whole package of offer and brand, to support the development of Middlesbrough – Tees Valley – region as nationally and internationally recognized destination. Use other assets (eg football) to attract people to the area and take away positive perception. Development of area as film and TV location – use of cultural and heritage assets as a key part of this.

There is a danger in always defining self in relation to somewhere else – Middlesbrough is the new... – need our own identity. National / international work must have a connection to grass roots or risk being superficial.

6. Vision -what are your ideas and aspirations for developing your sector over the next 15 years? Max 300 words.

Growth of Tees Valley as a city region (Middlesbrough / Stockton as the urban centre) with a city scale cultural offer to match this status. For Middlesbrough this includes development of a vibrant Cultural Quarter, and a coherent central heritage offer running from the Transporter Bridge to a reimagined Dorman Museum.

Shared focus (focuses?) to bring Tees Valley together - City of Culture 2025 for example. Likewise for region.

By 2030 Middlesbrough is a place where culture is really embedded in all aspects of the running of society, starting with the development of mima as a useful museum. Culture strategically placed within health and well-being, housing, planning, care, business etc and benefits understood at the highest level. Culture is there by default.

Facilities / bodies of practice that are ‘national centres of excellence’ exist in the sub-region and wider region. Build on our strengths and USPs – where are we sector leaders?

Support mechanisms for cultural entrepreneurs – support willing to talk and listen. Culture should be finding ways of making the most of LEP focus on direct employment, EU and other models of support.

Cultural Change4Life type campaign, embedded approach to engaging children and young people

Celebrating heritage / history, but have a shared vision for the future.

Sector shouting louder about its achievements, no longer parochial about PR, but joined up.

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7. Realising your vision/ aspirations for your sector - what specific interventions (rather than just ‘more money’) could help make this happen? (250 words)

Specific ‘brand’ identity for whole region developed, with culture at the heart of it. Needs a master- planning approach. Be careful not to lose what is special / distinctive though. Support for development of individual packages and destinations within it.

Joined up approach to PR / promotion of the sector – need clear messages and co-ordinated marketing, speaking with one voice.

Development of cultural networks- where organisations of all sizes have a voice.

More collaborative and consortium based approaches to developing cultural infrastructure, programme, opportunities. More potential when we are all rowing together. Children’s theatre consortium is a good example.

More opportunities to be part of cultural packages and themed events eg Local History Month, Year of Visual Arts etc (but more notice than Festival of NE). Platform and showcase opportunities.

Expectation that organisations with a regional remit should really be regional in their approaches.

Interventions at a regional strategic level to ensure culture is placed within wider social policies – health and wellbeing and economic development for example. Build evidence base, develop non-culture champions.

Creation of specialist development and support teams for specific areas of practice eg support for creative and cultural social enterprises, festival development, etc

Funding related issues: So little funding there is a need to be more joined up and ambitious in our thinking, we are too modest when there is potential for bigger impact and more value.

Ability to be flexible with the funding that does exist – some regional discretion to invest in what is important in the region, to respond to distinctiveness, to match fund where others have prioritized investment and to ensure fair distribution.

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Visual Arts Sector session facilitated through CVAN.

1. Economy – what has Visual Arts got to offer the economy of the North East? (250 words)

Being free to access but internationally ambitious, the visual arts is a real offer to the Economy of the North East in terms of tourism and inward investment. Since 1996 Year of Visual Arts, the region has become known nationally and internationally for its visual arts offer, from capital investment into BALTIC to Mima, and ambitious biennials such as the International Print Biennale, to the AV Festival, more people are visiting the region, spending within cultural institutions and putting money into the economy through hotel stays, restaurants and public transport. In 2009 the International Print Biennial attracted 94,000 visitors to the region and exhibited 700 artists from over 42 countries, bringing inward investment to the region. Av Festival in 2014 created £3.98 of net economic impact for every £1 of public funding received, bringing an audience of 80,000, 50% were new audiences to festival partner venues, 28% were incoming visitors to the region. Workplace Gallery, the only gallery outside of London ever to be selected for Frieze Art Fair, now a regular presence at International Art Fairs, provides a route to an International Art scene that provides the sale of works to museums, galleries and collectors for the artists that they represent. In 10 years ago, approximately £1.4 million in sales has been generated for their stable of north east artists. BALTIC as ACE’s largest visual arts NPO client brings £3m annual funding to the region, enabling a international regarded exhibition venue comparable with capital cities.

2. Health and wellbeing - how can visual arts contribute to the health and wellbeing of people living and working in the North East? (250 words)

The National Trend of school visits to galleries are down yet in the North East, BALTIC is bucking the trend and seeing figures increase year on year. In terms of the educational offer being a contributing factor to positive wellbeing, this free education provision has helped support over 700 artists/teacher professional develop opportunities and over 211,000 people made use of the free educational space Quay at BALTIC in the last year alone. The visual arts are free for all to access, and provide opportunities to engage through participatory workshops, events and exhibitions that contribute to health and wellbeing mostly due to their social interaction within a visual arts setting and all are delivered across the wide provision of visual arts in the region. The visual arts provide an educational offer to all ages that compliments and bolsters existing education provision in the region.

3. Sense of place and community – what has visual arts got to offer the North East as a ‘place’ and its communities? (250 words)

Visual arts are firmly placed within the communities of the North east. The visual arts are free to engage with and therefore are open to all. Whilst the visual arts nationally secures only 11% of ACE funding nationally, it returns 28% of all artform cultural engagement nationally and in the north east has a huge offer for its communities. The is also a sense of pride that comes from the iconic Angel of the North, a visual arts initiative that generates 150,000 visitors per year and 90,000 drivers pass it on the A1, providing a clear example of the cultural ambition of the region and in particular the visual arts and creates a unique sense of place. The ambition of the visual arts through the Angel and BALTIC alone demonstrate how a council’s investment can reap benefits through reviving a community and inward investment has resulted in a complete redevelopment of Gateshead Quays. These iconic investments are now used to promote the region and its ambition, Northumbria University now invests directly into BALTIC to use its iconic building and ambitious programme to attract students internationally, bringing direct investment into the region.

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4. Distinctiveness/ image and profile of the region - how does visual arts contribute to making the North East a distinctive and attractive place? (top 3 examples please – 250 words)

A long association with cutting edge creativity via artists such as Victor Pasmore and Richard Hamilton and the Basement Group alongwith hosting Year of Visual Arts in 1996.The region has been known for ambitious and challenging, internationally regarded contemporary visual arts production that attracts people to the region and which provides a unique and unrivalled cultural offer to our north east communities. New contemporary art venues BALTIC, Mima, BALTIC 39 and a refurbished National Glass Centre have contributed to the visual arts infrastructure and regeneration of the region and hosting the British Art Show, Turner Prize have placed the region firmly on the map in terms of national and international profile being the first region and gallery outside of TATE to host it. In 2011 the Turner Prize at BALTIC attracted 150,000 visitors over 7 weeks to the region, 70,000 more than Tate Liverpool , 100,000 more than TATE Britain. Our International ambition is evident through the programme at BALTIC, NGCA, Locus +,the International Print Biennale, AV Festival, Workplace Gallery, Mima and its International ArtFUND collection, alongside emerging organizations such as CIRCA, New Bridge Studios and Platform A. All of this ambition translates into a distinctive and attractive place, offering a wide visual arts offer that not only meets the needs of the North East communities but also attracts inward investment and tourism. With such high quality visual arts offer, the North east is an attractive place to live or locate to and rivals many international cities.

5. National/ international work - what are your ambitions to develop national/ international work, links and collaborations in the future? (top 5 priorities please – 250 words)

Build on our historical success, forging new ambitious activity that retains our profile as the leading visual arts region nationally. Support the development and profile of the 5 Universities in the region and their Art schools to attract and retain a pool of strong and ambitious artists in the region. Invest in affordable studio provision for artists across the North East to retain graduates. Connect to an International Art scene via existing organizations such as BALTIC, Workplace, Mima to create opportunities for artists and emerging organizations within the region Grow more commercial galleries in the region, to provide commercial outlets for artists in the region. Develop our gallery collections and continue to collect high quality contemporary art. Ensure that our ‘ladders of development’ organizations who invest in artists through residencies, small exhibitions, exchange and studio provision are well supported. These organizations are crucial for the ecology of the sector but are often under resourced due to the investment into the larger, more public institutions. Investment into culture cannot solely about audiences, it has to be about innovation and risk in the artists themselves and we need more investment and support from both ACE and local authorities to keep our region ahead of the curve in terms of ambition.

6. Vision -what are your ideas and aspirations for developing your sector over the next 15 years? Max 300 words.

Potential International focused collaborative visual arts exhibition hosted with another country every 5 years Annual Open exhibition similar to EAST International Contemporary Art be seen as the Heritage of the future, providing an alternative way of the North East creating a sense of place and community and a new post industrial identity, looking forward rather than backwards. Larger institutions taking a larger role in supporting the ladder of development organizations. This could be by:

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• Helping to negotiate studio space/ venues / rates with local authorities • Advocating for the investment in innovation and risk to enable ambitious programmes to take place. Share learning from the successful model of Workplace Gallery to encourage more commercial venues to develop. Connecting and working internationally on an ongoing basis, partnering with ambitious international institutions and programmes. Increase international critical review of visual arts programming Create Associate Programmes for the graduates in the region, to provide a safety net post University that would enable artists to stay in the region.Studio/live rentals for artists. Grow International Biennales further – AV and International Print Biennale to attract more International visitors to the region. Expand outreach into communities to grow generations of visual arts lovers through engagement that will ensure support for the sector long term.Increase audiences on a year by year basis. Secure our first Turner Prize Winner from the region.

Export more regional artists internationally and host more international artists in the region.

7. Realising your vision/ aspirations for your sector - what specific interventions (rather than just ‘more money’) could help make this happen? (250 words)

Continued support and sustained investment for key leading organizations that help connect the region Internationally. Greater business/corporate support for the sector to help enable organizations to be more ambitious Increased support from the 5 Universities within the cultural sector to enable ambitious projects Long term commitment from local authorities in terms of revenue funding, reduced rates and studio provision.

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Gateshead Council

1. Economy – what has culture got to offer the economy of the North East? (250 words)

The experience in Gateshead illustrates the significant impact culture can have on the economy; directly and indirectly in terms of regeneration and jobs, profile and attractiveness, but also critically in terms of confidence and aspiration. Gateshead Council continues to see culture and creativity at the heart of our future strategy for growth. Creative Gateshead – Gateshead’s Culture Strategy (2014) has two key strands - Creative Economy (economic growth) and Creative Communities (strong cohesive communities). This is based on the strong evidence base proving that culture led regeneration has had an economic and social benefit for the region. Gateshead has a legacy of 40 years investment in culture. The economic impact includes: • In 2013-14 NewcastleGateshead cultural venues generated £85million, providing 2068 jobs • Over £500million has been invested in culture in Gateshead Quays over the last 15 years • The Great North Run millionth runner (2014) generated £32million into the North East economy • The Economic Impact of Rugby World Cup 2015 is estimated to be £93million • In Gateshead, the economic impact of Sport is £60million and 91566 jobs; the economic impact of volunteering in sport is £16million; and the wider health impact is £80million • The economic impact of the Rugby World Cup 2015 is estimated at £93million for the North East • There are 18 sports partnerships in Gateshead, which have levered in £6million investment in Sports Clubs in the last 5 years • Culture provides festivals, performances, events and participatory activity which attract audiences – adding to the visitor economy. • Culture provides employment for artists and cultural organisations, growing the sector, developing creative communities and supporting other aspects of the economy to be innovative. Culture has been fundamental in this region being seen as vibrant and dynamic; with a profile that promotes us nationally and internationally – ‘the Angel Effect’ (Blackman 2014).

2. Health and wellbeing - how can culture contribute to the health and wellbeing of people living and working in the North East? (250 words)

• A sense of wellbeing is, we believe, at the heart of fulfilling lives and successful places. Gateshead’s 5 year plan focuses on sustainable economic growth; wellbeing and culture and creativity are key to this approach. Examples include the following: • Gateshead has an Arts in Health and Wellbeing programme with a track record of projects over the last twenty years, including art commissions in hospitals, artists in GP surgeries, creative health walks, lantern festivals, cultural volunteering, artists in residence, intergenerational activities and projects to get people active. We aim to continue to improve health and wellbeing through a strong and accessible cultural offer. Active participation in the arts and culture are proven to have beneficial effects on health and wellbeing, both from direct activity and from the creative experience • Libraries contribute extensively to informing the public about health issues – allowing local people to be better informed about their medical conditions. Gateshead Council offers a ‘Books on Prescription’ scheme providing access to self-help titles selected by medical professionals for a range of mental health problems, including stress and anxiety. Libraries are intrinsically a wellbeing service. Many library activities allow people to meet, engage, discuss and learn. All these activities have been proven to contribute to wellbeing. • Gateshead Council has a volunteer network for culture with over 3000 volunteers in Gateshead for sports, culture, libraries, heritage and community centres – which enables wellbeing for residents, making a positive contribution to their communities

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• Gateshead-based Equal Arts has built a national reputation and awards for work with older people, perhaps most notably through “Hen Power”. The project brings together older people and hen-keeping to combat loneliness and depression and improve wellbeing. With loneliness said to be as damaging to our health as smoking, HenPower helps vulnerable older people gain a sense of purpose and being part of something worthwhile. • The health impact of sport and physical activity, in particular on long term conditions, is well evidenced (Public Health England 'everybody active, everyday' and Royal College of Physicians report 'Exercise for life'). Gateshead Council’s Culture, Communities and Volunteering Service is commissioned by Public Health to deliver Live Well Gateshead (Integrated Wellness Model).

3. Sense of place and community – what has culture got to offer the North East as a ‘place’ and its communities? (250 words)

• The connection between culture and place is fundamental and has been at the core of Gateshead’s approach. • Art in the public realm has been one of Gateshead’s strengths for the last 30 years. Public art in neighbourhoods has been a key strategy for improving our sense of place in Gateshead. Following 30 years of investment in public art in our communities, this culminated in the Angel of the North, one of the most iconic and most viewed pieces of public art in the world (researched and referenced by Blackman 2014) • Libraries provide year-round opportunities to engage with local heritage. Promotions, such as Local History Month, allow local people to learn more of their heritage and develop a stronger sense of place. • Gateshead has high quality countryside and a track record in environmental project delivery, such as Northern Kites, and a popular rural tourism offer with 300,000 visitors per year to Derwent Valley Country Park. • Gateshead has had 30 years of investment in a community arts programme, engaging with residents of all ages, often to reflect, share or celebrate at a local level. Gateshead Family Sculpture, which attracts over 1000 visitors each September to Saltwell Park to make their own artwork in a day, celebrates its 30th anniversary in 2015. • Taking part and volunteering in the voluntary cultural sector (for example, choirs, clubs, sports, arts and crafts groups) has had a significant impact on Gateshead communities with high satisfaction rates in communities (73%) and an increasing number of residents feeling that they belong to their neighbourhood in Gateshead.

4. Distinctiveness/ image and profile of the region - how does culture contribute to making the North East a distinctive and attractive place? (top 3 examples please – 250 words)

• Gateshead is internationally renowned for culture-led regeneration. NewcastleGateshead was listed as one of the world’s eight most Creative Cities (Newsweek 2002). Visitors come to Gateshead to see the Angel of the North; visit BALTIC Centre for Contemporary Art; see concerts at Sage Gateshead; cross the Gateshead Millennium Bridge; visit Gibside, Saltwell Park, Dunston Staithes and see the Red Kites in the Derwent Valley. • Gateshead’s involvement in the annual cultural festival programme – sporting events, Juice Festival, Late Shows, Local History Month, Northern Children’s Book Festival, Gateshead Family Sculpture Day, Enchanted Parks, VAMOS, GIFT – is a great way to develop new audiences across venues with additional marketing and profile, and provides interest for both visitors and residents across the calendar year. • Gateshead has a track record of 40 years of investment in sport and hosting high impact sport and cultural events at Gateshead International Stadium, which have significantly contributed to the profile of the Region – these are wide-ranging and include International Grand Prix Athletics (1988-2006);

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International Rugby League (1993; 1994; 1996; 2000); Diamond League Athletics 2009 and 2010; European Athletics Team Championships 2013 and British Transplant Games 2015.

5. National/ international work - what are your ambitions to develop national/ international work, links and collaborations in the future? (top 5 priorities please – 250 words)

Vision 2030 highlights Gateshead Goes Global as a key big idea for the area, supported by an international strategy, building on links across the globe, including Komatsu, Eastern Europe and South Africa. Creative Gateshead – Gateshead Council’s Culture Strategy identifies 5 Ambitions (priorities), all of which involve developing national and international collaborations. These are listed in Q6 below. In addition to this, other projects include: • Enchanted Parks - developing a light festival network ‘Lighting up the North’ with support from Arts Council England and NGI, to share best practice in the wider northern region. There is potential for European and international funding/partnerships in the future • Potential for further developing Gateshead schools’ international links with Shanghai, to include a cultural programme • Working in partnership with local organisations to deliver festivals with local, regional, national and international impact. For example, working with GemArts, developing an arts programme leading to 2017 to mark the 70th anniversary of Indian independence and Gateshead International Festival of Theatre for 2016 onwards.

6. Vision -what are your ideas and aspirations for developing your sector over the next 15 years? Max 300 words.

Gateshead’s Culture Strategy, Creative Gateshead is based on Creative Economy (economic growth) and Creative Communities (strong cohesive communities). Gateshead has five big ambitions in its Culture Strategy. These are: 1. A network of creative hubs and community hubs to drive economic growth and strong cohesive communities 2. Talent retention and attraction, to build the skills and successes of our residents and the cultural sector 3. A stronger visitor economy in our towns and countryside 4. High profile international cultural and sports events and conferences 5. Strong partnerships – with businesses and international partnerships, community and voluntary organisations, local authorities and NewcastleGateshead Initiative, North East culture organisations, universities and colleges

7. Realising your vision/ aspirations for your sector - what specific interventions (rather than just ‘more money’) could help make this happen? (250 words)

• The strategic case: It’s important that the both the economic and community benefit of culture is evidenced and recognised by key stakeholders, including Government departments – HMT; Department of Health; Department for Education. • Strong partnerships – It’s important that there are strong partnerships at the local level with key institutions and organisations, including local authorities, universities, businesses and the voluntary and community sector. • Build capabilities in securing external funding - developing joint projects and funding applications – to pool resources of local authorities, universities and cultural organisations. • Profile and impact: Visual Arts Year in 1996 successfully showcased the North East’s ability to deliver quality arts projects across the NE region, attracting local, regional and national audiences. Festival

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Desk based research. Can you highlight any strategies/ impact studies documents specific to your sector we should review within our desk-based research? Please send to [email protected] • Gateshead Council’s Vision 2030 • Creative Gateshead – A Culture Strategy for Gateshead (2015) • The Angel of the North: Public Art and Community Wellbeing Maeve Blackman (2014) Making Gateshead a great place for culture: Quotes from Gateshead residents from the Culture Strategy consultation

“ Culture is about having the opportunity to be entertained, energised (and exercised), to learn and be creative, to try new things and think new ideas about yourself, the area in which you live and the world beyond – on your own or with others” “ Gateshead has proved time and time again that investment in cultural activities enhances and enriches the lives of those who live in and those who visit the area. It promotes a sense of belonging and a feeling of pride in the area. It ensures our region is known beyond the boundaries of the North East.”

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Gateshead

Voluntary Arts Sector (Friends of Whickham Library and Whickham Theatre Group) Freelance Artists/Designers (Corinne Lewis-Ward, Jennifer Douglas, Karen Rann, Kate Eccles) Northern Cultural Ambassador Network (Caroline Gregoria) Landscape Design – Economic Development (Emma Farr) ESA studios

1. Economy – what has culture got to offer the economy of the North East? (250 words)

• Culture offers the North East a vast amount, allowing the economy to compete with other regions in the country, boosting tourism and gaining revenue from the local population, benefiting businesses both directly and indirectly. Culture is a commodity, it promotes international connections - look at what the Tour de France has done for Yorkshire! • Culture adds to the experience and strengthens the attraction of the area to potential new businesses and tourism. • Tourism, reputation, more jobs, access to the arts for individuals from all walks of life. • Education – enabling children /young people to have access to the arts and creative industries through participation, visits and practical workshops. Offering insight into how working in the sector is a viable possibility and can contribute to the growing number of businesses in the cultural sector. • Potential to draw people from outside the region to a thriving creative community with cultural events, art markets, general tourist attractions such as Baltic and Sage Gateshead. • Creative and cultural sector groups, organisations, businesses and sole traders through income generation and tax paying re-invest in the local economy. • As a result of the success of creative and cultural sector groups, the potential for new job generation is more likely. For example where possible using local suppliers and manufacturers to supply materials or items makes other companies in the region more sustainable and therefore feeds into the local economy. • Creative thinking • Vibrant environs • Tourism • Brighter children and young people • Pride in locale • Healthy populace • Sustainable Business • Retail opportunity at the Angel of the North to showcase work by local makers

2. Health and wellbeing - how can culture contribute to the health and wellbeing of people living and working in the North East? (250 words)

• Health and wellbeing are closely linked to the environment and its benefits - places to visit; quality environments – routes, paths roads, public realm, squares, high streets; a sense of local identity benefits mental health; cultural events/participation with projects to stimulate creativity and curiosity. • Engaging in culture is a motivator for activity, it helps people become active, motivating people to be part of a group and part of society. It reinforces local identity and being part of something worthwhile, promoting physical and mental wellbeing. • Visiting cultural ‘hot spots’ improves wellbeing - socially and morally as well as culturally. All ages benefit from visiting cultural activities and for students it contributes to their all-round development. It is

A Case for Culture Responses from Writers (March 2015) 93 proven that students with a rich cultural heritage do better at school and are more creative. Creative people are more successful in life. • Creativity is a process underpinning a much broader application of learning that supports individuals/groups from all backgrounds allowing them to flourish, be happy and have pride in what they do. I am passionate about making work, gaining enormous satisfaction when I am doing so. Sharing this experience with others, through developing arts and community projects offers me further satisfaction as I see first-hand the thrill, sense of achievement and pride it brings to the well-being and positive outlook of others. • Cultural activities unite dispersed communities benefitting health and well-being. Organisations like NECA, Gateshead Crossroads and Equal Arts are essential to support vulnerable members of our community. Giving people the opportunity to work with artists broadens their horizons, supporting training, skill development, potential employment opportunities or assists people to feel less isolated helping reduce health issues.

3. Sense of place and community – what has culture got to offer the North East as a ‘place’ and its communities? (250 words)

• Culture helps to create a strong sense of place by celebrating the area’s heritage. It tells the story of the area and represents the past in new and contemporary ways whilst offering new experiences in the arts. It enriches the lives of people who live, work and visit the area. • There is a rich heritage in the North East, from personal heritage, to general heritage which all lends itself to a sense of place. The North East has changed dramatically since many of the industries that this area was built on have been dismantled. • Culturally, the North East offers such a variety of things to see, do and experience that are relatively close by and which are easily accessible by car and public transport; museums, art galleries, music venues, cafes, bars, restaurants, the coast, cycle routes, country parks, sports grounds, shopping and lots more. Whenever family visit us (from the South East), they are always astonished at how much is going on, what is going on, and how close and easy to get to it all is. • Culture can make it easier for people outside of the region to engage with the North East and provides a platform for people to have a greater understanding of the area, while also encouraging the promotion of the area as a tourist attraction. • Good iconic infrastructure to build on: Baltic, Sage, Millennium Bridge, Angel of North • Strong Gateshead Arts Team • Iconic projects inc. Gateshead Sculpture Day • Juice - Festival for Children. Exploring the city.

4. Distinctiveness/ image and profile of the region - how does culture contribute to making the North East a distinctive and attractive place? (top 3 examples please – 250 words)

1. Cultural Venues and Attractions Including Sage Gateshead – world class music; Beamish Open Air Museum – domestic and industrial heritage; Art galleries- Baltic, MIMA – Internationally recognized arts venues, Workplace Gallery – a contemporary art gallery based in Gateshead UK representing a portfolio of emerging and established artists through the gallery programme, curatorial projects and international art fairs; The Centre for Life; Discovery Museum; National Trust and English Heritage sites. The Angel of the North – a distinctive ‘gateway’ to the region.

2. Heritage & Architecture

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Grey Street- in the top 10 aesthetically pleasing streets in the world; Gateshead Millennium bridge; Celebrating local heritage to attract national and international tourists; The River Tyne - the heart of the North East, running through the city and out to sea; Saltwell Park’s offer throughout the year.

3. Cultural Events and Festivals Regular/annual cultural events and festivals are a great success for example Lumiere, The Late Shows, Open studio events, Enchanted Parks. The great North Run – promotes a healthy lifestyle, events surround the day, brings in tourism. Walks, talks, events such as Bridges festival, Juice, Music festivals - Evolution.

5.National/ international work - what are your ambitions to develop national/ international work, links and collaborations in the future? (top 5 priorities please – 250 words)

Environment • Get involved in the Living streets initiative - green infrastructure – new street trees – healthy living - artwork National/International Opportunities • Artists in residence, which have made a really big difference to the lives of the students I teach. Giving students the confidence to go on to study further education courses/ university, which they would otherwise not have done. It has literally changed their lives. I would love further opportunities to develop collaborative work on a local, national and international level. • Look to develop collaborations with national projects. Unlock Democracy - Magna Carta project http://www.unlockdemocracy.org.uk/projects/magna-carta Strengthening partnerships with international groups and organisations - The Youth Parliament / Gateshead Youth Council • Creating and seeking opportunities to exhibit work nationally and internationally, within art galleries and museums, in order to raise profile and career. • Working on commissions and projects that tour nationally and internationally, to raise my profile and the profile of the organisations that I work with in the region. Professional Development • Having an online presence through social media raises my profile and highlights the interests and connections that I have in the North East. • Professional development sessions for artists to raise their profile and have a greater understanding of their potential clients and the arts market nationally and internationally. • Providing affordable studio space alongside the professional development to give artists the skills to further their careers and make their practice more sustainable.

6. Vision -what are your ideas and aspirations for developing your sector over the next 15 years? Max 300 words.

• Reverse the deterioration in the maintenance of the public realm and address the loss of street trees. • Develop contacts with similar organizations (voluntary arts sector) as a way of self-supporting one another in terms of marketing, sustainability/capacity building, future development and creating a strong identity. • To work with more artists in residence (in schools), and offer more courses and experiences to students from a deprived area that can bring such a level of enjoyment, confidence and make a big change to their lives. • More quantifiable evidential reports made publicly available to see the far reaching positive impact that the arts has on local communities and case studies of highly successful projects in the region. • More interactive engagement through technology to reach a wider audience culturally

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• More joined up thinking with regards to all of the cultural activities that go on in the region and maximizing the marketing potential of all of the activity and therefore putting the North East on the map • Working with partners such as design and marketing leaders Wayne Hemingway and Mary Portas to inject new ideas and approaches to the development of the cultural sector in the region • Having a more pragmatic approach to the partnership between business and the cultural sector to develop new ways of working and promoting what we do well culturally. And therefore exploring the potential for new sustainable markets. • By staying here in the NE, proving that there is a creative future for the region • That Gateshead Council values creativity, culture and the knock on values of a vibrant creative scene. • To promote, through the arts, sustainability, outside learning, recycling / up cycling to equip and inspire children and young people to value and work with our environment. • A new Arts Centre for Gateshead with exhibitions, performances, venue hire, a cafe, retails shop for art and artisan products, studio spaces, workshops and tourist information.

7. Realising your vision/ aspirations for your sector - what specific interventions (rather than just ‘more money’) could help make this happen? (250 words)

• Raise awareness in the need to love our streets, the importance of green space, street trees and artwork to improve health of residents. • Reverse the deterioration of parks finding new ways of raising revenue - make links to the health service to realise the preventative medicine of green space. • Maximise future benefits by valuing what we already have and what makes a positive difference to the public realm. Decisions need to be holistic in favour of high quality environments and horticultural skills need to be valued. • Establish a voluntary team of expert enablers/facilitators that could advise local voluntary arts groups in their specialism. • Provide voluntary arts groups with marketing opportunities in centres which local people can access. • Maintain relationships with people from other sectors in order to maximize any opportunities for schools and students. • General business networking for the arts sector to seek out new partnerships. • Create a bank of cultural ambassadors and a comprehensive cultural directory as a resource to draw upon in terms of mentoring, advisory panels, and general networking resources, marketing individual skills, organisations and local information. • Making sure inefficiencies within the cultural sector are identified swiftly and managed effectively in order to make sure that they do not waste limited resources. • Be inspired by cultural projects in Europe and adapt our working methods to incorporate their success and learn from their failures. • People higher up the ‘food-chain’ acknowledging and singing the praises of creativity and culture in the region. • Additional support/funding for networks such as the Arts Teams in councils and artists to have longer term projects to strengthen relationship with communities. • Continue to strengthen festivals and events that are in their infancy. Reference docs: Landscape Institute: Public Health and the Landscape Creating Health Places Landscape Institute: Green Infrastructure An Integrated Approach to Land Use Landscape Institute: Why Invest in Landscape Landscape Institute: Local Green Infrastructure A guide for communities Landscape Institute: Green Infrastructure connected and multifunctional landscapes

A Case for Culture Responses from Writers (March 2015) 96 http://www.landscapeinstitute.co.uk/publications/downloads.php

The Farrell Review http://www.farrellreview.co.uk/download

Living Streets – Website - promoting the rights of pedestrians http://www.livingstreets.org.uk/

The Dutch Cultural System by The Ministry of Education, Culture and Science

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Durham County Council

1. Economy – what has culture got to offer the economy of the North East? (203/250 words)

• Culture is the key ingredient for expressing local distinctiveness, the ambition for the region and quality of life, to national and international audiences • Culture helps with attractiveness of place which makes the area a good choice to live, invest and relocate • Employs lots of people – culture is a big player, contributing to the regional and national economy – helps to fill the gap left by heavy industry • Sections of the cultural workforce are highly skilled and high value • Contribution to the innovation agenda – the nature of culture is often to try new ideas – the north East has a heritage of innovation – this drives and develops expertise • Supports its own supply chain • Creates vital secondary spend – people visit then stay, eat, shop • Large proportion of the cultural sector comprises SME and micro businesses, the bedrock of the business base in the North East • Production of a cultural products across the region to market, brand and showcase nationally (e.g. World Heritage Sites) • The North East is a host for nationally recognized events which attract people to the region (Great North Run) • Increases participation in the creative industries through events, activities and festivals • Drives improvements in literacy, mental and physical wellbeing and collective wealth for local residents

2. Health and wellbeing - how can culture contribute to the health and wellbeing of people living and working in the North East? (205 / 250 words)

• One of Lumiere’s proudest boasts is the large proportion of its audience that says it makes them feel happy - the feel-good factor created by our cultural offer is very important to positive health and mental wellbeing. • All of our landscapes and natural environment are expressions of our collective cultural past, places that we can explore and use to promote social awareness, cohesion (civic pride), isolation and loneliness • Provides opportunities outside everyday life for self- expression and personal development – Durham has many examples e.g. Tin Arts • Culture changes the perception of place for the communities of the area and can drive aspiration, especially amongst young people • Provides places to go and things to do to “escape” everyday life – emotional wellbeing • Sports activities and festivals bring people together and demonstrate how taking part can change lives – encourages people to get active and feel good • Provide interventions to address health related concerns such as dementia in a softer way (Social prescribing e.g. Books on Prescription , Arts on Prescription) • Promotes intergenerational relationships – brings together people generations who may not typically mix together • Builds confidence – some young people are not academic but are extremely good at sport – culture validates their talent and contributes to their pride and wellbeing.

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3. Sense of place and community – what has culture got to offer the North East as a ‘place’ and its communities? (203 / 250 words)

• Creates a sense of pride and collective drive. Lindisfarne Gospels is a stand out example. The whole North East was proud of its heritage and got involved in the event and festival • Has the ability to define the place. Many of the high profile activity in Durham has strong roots in the county’s heritage e.g. Brass, Gospels, Beamish, Locomotion, Bowes. All have a story to tell which is based in the traditions and heritage of the North East. • Distinctiveness – there are few places where you can touch and feel the heritage – you can in County Durham and the North East! • Through the use of shared stories, delve into their family history and place themselves strongly as residents and people of the region • Culture has the unique way of reframing a place and getting people to look at their own area in a different way • Re-discovery of “hidden gems” through joined up working and highlighting what exists that is lesser known • A way to reach deprived areas, a conduit to change and education through many opportunities to engage on their own terms • The natural environment is exceptional with many areas of special scientific interest and beauty – over 4m visitors annually in County Durham alone

4. Distinctiveness/ image and profile of the region - how does culture contribute to making the North East a distinctive and attractive place? (Top 3 examples please – 255 /250 words)

• Places o For areas where natural beauty is not so apparent, cultural beacons such as Beamish, Bowes and Locomotion play their part in helping people today to understand their industrial history, or the history of the place that used to exist – somewhere that has its own historical position in the development of the region. o Natural heritage – portraying the County as a success in coastal regeneration and reinvigorating forgotten areas into vibrant visitor attractions o Cultural icons such as Durham Cathedral, Hadrian’s Wall and the Angel of the North identify the North East, nationally and internationally.

• People o Culture is a major factor in changing perception both within and outside of the region. We have changed the perception of County Durham through our cultural product especially through World Heritage Sites and events o The important figures in history change – the North East has an amazing array of historic characters that depict inventions, friction (invaders) and the innovative nature of north east people. o Visitors are welcomed in a warm and friendly manner – encouraging positive feedback and positives images of north eastern folk • Creativity o Provides the major hooks on which to build the profile of the region nationally and internationally. We have done a great job so far of positioning ourselves for sport (Great North Run, Olympic venues etc), and are on the way with heritage (Gospels). See point above about cultural events and venues that are rooted in tradition and heritage of the place. o North East seen as a strong location for film investment – Vera, George Gently, Beowulf.

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5. National/ international work - what are your ambitions to develop national/ international work, links and collaborations in the future? (Top 5 priorities please – 161 / 250 words) o Build on Gospels, Magna Carta and Yves Saint Laurent to both showcase and host internationally important events in County Durham. o Through work with Auckland Castle, bring world class Spanish Art to the region and establish links with Museo del Prado for local enjoyment and academic study o Ambition to attract a major cultural institution to locate an outpost here – one that has relevance to Durham o Creation of Durham as a “home of sport” – creating world class athletes through partnership working and build on the momentum created by the Ashes to attract world class sport to the region

6. Vision -what are your ideas and aspirations for developing your sector over the next 15 years? Max 300 words. (251 /300)

• In 2030 to have recognition that local people are at the top of their sporting field nationally and internationally • To have a national reputation for being the home of ‘x’ – x being whatever sector(s) we choose to focus on • Increase participation rates in culture that exceed the national average – be ambitious in all we do • Create new skills to deliver cultural development • For the under 25 population to be culturally switched on, proud of their heritage and communities. • For culture to be a recognized and valued sector in which to pursue a career. • To have achieved local decision making on funding – decentralization and pass porting to regional responsibilities • To develop libraries that enable local people to connect to ideas and with one another. Providing connections as well as collections. • Create a cultural offer that young people can relate to – dynamic, virtual and fun • Build up a self-sustaining local base and interest in culture to be successful and appeal to others beyond the region • Develop a thread where people can see themselves staying in the North East upon completion of their education • To develop regional volunteering pathways in which local people can develop their skills, increase confidence and take part in local cross boundary opportunities. • To develop cultural programmes where local people can be involved in their concept, development and delivery. • To generate networks of professionals from all sectors to collaborate on and direct service delivery through sharing of ideas, skills and resources – maximizing what we do and designing out extraneous costs.

7. Realising your vision/ aspirations for your sector - what specific interventions (rather than just ‘more money’) could help make this happen? (250 words)

• Cultural activity to be required component of any public sector consultation

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• Better recognition of the value of culture and its role in maintaining a healthy and productive society • Turning some of our major cultural strengths into something more tangible that can be marketed with the result of increased investment for the sector • Enhanced support for creative apprentices – creating a cultural “army” • Provide opportunities for all to be engaged with the sector – a “can do” approach • More robust links to the voluntary sector • Support of emerging talent to create cultural leaders • Develop innovative approaches to engaging audiences who may not traditionally attend cultural events • Improve the profile of cultural advice that is available to the cultural sector • Removal of NNDR from cultural venues, irrespective of operator status

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NGCV

1. Economy – what has culture got to offer the economy of the North East? (250 words)

The cultural sector creates a significant amount of employment in its own workforce, provides ongoing training and development and is also generating a range of higher skilled positions. In addition, many cultural organisations support and nurture creative talent and the development of new creative businesses, as well as creating opportunities to showcase and profile these. There are a large number of existing and emerging small and micro business in the cultural sector, generating significant economic impact and with the potential to form part of a more resilient economic base.

The sector also creates opportunities for those who are socially excluded or far from the labour market to engage in activities which increase their confidence, skills and employability and enable them to make progress.

People are attracted to live in the region by the quality of place and sense of authenticity and depth of culture available. A higher and more diverse cultural offer and a creative environment attracts and supports retention of skills and employees – graduates and other skilled professionals from all sectors are more likely to be attracted and retained in an area which is seen as culturally vibrant and dynamic.

In an area with a good cultural infrastructure and iconic cultural facilities, other investment follows, including in the hospitality, retail, creative industries, housing and other sectors. High quality cultural events and activities attract local, business and tourism visitors, generating multiplier effects on spend in the local economy. Increasingly conferences are held in cultural venues, which generates profile and increased visitor spend in the local economy.

2. Health and wellbeing - how can culture contribute to the health and wellbeing of people living and working in the North East? (250 words)

There is a wealth of evidence showing that culture can contribute to the improved physical and mental health and well being of people in general, as well as with particularly disadvantaged groups – from the very young to the very old, to those who may be socially excluded due to challenging personal circumstance, deprivation factors or by virtue of their race, religion, interests or beliefs.

“The arts, creativity and the imagination are agents of wellness: they help keep the individual resilient, aid recovery and foster a flourishing society.” The Charter for Arts, Health and Wellbeing

The ways in which culture and cultural organisations can support this are: o through the main cultural programmes/activities on offer and supporting more people to engage with these, encouraging them to try different things across cultural forms and with more frequency o through learning and participation outreach programmes within communities, giving access and an introduction to cultural activities, as well as promoting engagement in positive and life affirming activities o through specific and targeted projects which support particular groups of place, identity or interest to validate their experience and help them engage or express themselves in a creative way o through cultural interventions in healthcare settings, which take creative activities and approaches and apply these with sensitivity to enhance the well being of the people in those settings o through specific and targeted projects which support those who may be socially excluded, isolated and vulnerable to become more engaged in activities and help to build confidence and self esteem, whilst having fun and doing something creative

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3. Sense of place and community – what has culture got to offer the North East as a ‘place’ and its communities?

Engagement in culture and cultural activities can help reveal and enhance the identity of a place and its communities and help people to explore the meaning, value and character of their own community and where they live. This is not static, but will change over time and evolve. Culture helps to define the character of a place and helps people and communities define their own story and for new narratives to emerge. Through cultural activities and creativity, people are able to explore and articulate the historic, social, cultural and economic context of the region and its communities and develop this.

Culture can help people engage in society, help them develop confidence and the ability to express themselves in different ways. It has the power to inspire and generate awe and wonder, to challenge existing norms and thinking, but also to celebrate community character and ultimately create, reinforce or enhance the sense of place.

4. Distinctiveness/ image and profile of the region - how does culture contribute to making the North East a distinctive and attractive place?

The critical mass of world-class cultural infrastructure in NewcastleGateshead and the diverse range of cultural and heritage sites, attractions and activities across the region, makes this region a distinctive destination for visitors and an attractive place to live.

The world-class cultural offer available in the region across a wide range of cultural forms creates a sense of interest, vibrancy and dynamism and makes the area an attractive place to live, work, visit and do business.

The deep and rich cultural heritage of the North East makes it distinctive, from its Roman history, to Christian heritage and through to industrial innovation, which have influenced and shaped the wider country and world .

5. National/ international work - what are your ambitions to develop national/ international work, links and collaborations in the future?

As a partnership, NGCV is keen to develop links with key policy and decision makers, build relationships and engage in key debates to promote the recognition of the sector’s contribution to the development of culture, our society and the economy and to influence future policies and strategies, investment and support. NGCV members also develop and test new approaches and innovative ideas within the partnership, sharing learning regionally, nationally and, increasingly, internationally. We would like to build on our strengths and explore potential partnerships and collaborations which would extend the benefit and impact of innovative and collective activities, in particular around the following key areas: o Audience development – new approaches to nurturing relationships and engaging people in the cultural offer, increasing the effectiveness of shared data joint marketing, as well as exploring collective approaches to learning and participation to benefit communities o Exploring new economic models and diversification of income streams to support, sustain and develop our cultural assets and offer and improve resilience

A Case for Culture Responses from Writers (March 2015) 103 o Training and employment – investing in and upskilling our future workforce and creating opportunities for employment in the sector, or access to employability support and supporting those who may be far from the labour market In addition, additional common priorities across the partnership members are: o Presenting excellence in the artistic and cultural programme (including across cultural forms, touring, making and producing work) o Increasing digital content, presentation and engagement of audiences o Increasing national and international visitors o Nurturing talent, supporting professional and business development and providing platforms to promote and showcase new work

6. Vision -what are your ideas and aspirations for developing your sector over the next 15 years?

NGCV members work together to maximise the artistic and economic potential of the cultural sector in the North East. We seek to achieve this by developing strategic and creative initiatives, sharing practice and resources and by being a strong collective voice.

NGCVs’ shared aims and aspirations are: o To offer world-class cultural experiences and to sustain the rich cultural fabric of the region o To develop audiences and encourage participation in culture in the North East o To attract visitors, artists and producers to come to the North East o To ensure the strength of culture in Newcastle and Gateshead is recognised in the national and international conversation o To support innovation and nurture the next generation of cultural producers o To contribute to the social and economic well-being of the North East o To pursue training and educational opportunities to ensure ongoing expertise and leadership in the sector o To protect the current and future physical assets of each of the cultural forms o To develop sustainable organisational and financial models across the membership of the consortium o To share good practice and opportunities with the wider cultural sector o To collaborate in the realisation of international partnerships

7. Realising your vision/ aspirations for your sector - what specific interventions (rather than just ‘more money’) could help make this happen?

Developing and implementing supportive policies and strategies, backed by adequate resources would nurture the cultural sector and maximise the impact and benefit of the sector to the society and economy – across education and learning, skills and enterprise, cultural excellence, digital and social inclusion policy areas. This includes, at regional level, recognising the cultural sector and its contribution in key devolved area strategies and funding streams being developed and overseen by the Local Enterprise Partnerships and Local Authorities.

Developing more flexible support and investment opportunities for the cultural sector to encourage the exploration of new economic models and larger-scale collective action to generate alternative and diversified income streams to support more sustainable organisations and sustainable investment in culture.

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Ensuring skills strategies and resources recognise and support the sector to build a stronger, more skilled and enterprising cultural workforce and creating new opportunities for employment and experience in the sector will benefit the region both in terms of the cultural workforce, but also local employment and the wider visitor economy.

Creating a more conducing environment and approach to commissioning public services, to enable the sector to use our creative assets and collective approaches more effectively to tackle inequalities and improve social inclusion and health and well being.

Working better together across the public, private and voluntary sectors to create a joined up approach and support systems, which welcome visitors to come to the area, enable everyone to experience the breadth of culture and heritage on offer and build a relationship with audiences and visitors which is deeper and more sustainable and will build over time (requiring co-operation and collaboration between transport, marketing, cultural venues and attractions, local authorities and the hospitality industry and potentially digital initiatives to underpin the approaches)

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North East Culture Partnership - Universities Steering Group

1. Economy – what has culture got to offer the economy of the North East? (200 words)

• Creativity and Innovation play a huge role in driving the economy. Universities support this activity through their business schools and faculties, knowledge exchange mechanisms, engagement stemming from design as well as entrepreneurship education and graduate start-up support. Forthcoming regional funding bids to the Arts and Humanities Research Council and ESIF will seek to build on these strengths and deliver a universities-led creative industries workforce development programme. • In the 2011/12 academic year there were just over 38,000 students studying Creative and Cultural Sector related courses in the NE: 25,450 at FE and 12,920 at HE level. (TBR regional report 2011 – Commissioned by Northern Film and Media). • The universities’ business schools are a major support for creative businesses, especially SMEs, while creative programmes are a major attractor of talent to the region from across the UK and internationally.

2. Health and wellbeing – how can culture contribute to the health and wellbeing of people living and working in the NE?

University led cross-disciplinary research and engagement projects outline the positive impact that creative thinking and creative and cultural activities can have on health and wellbeing, as well as to the design of health services and initiatives. These projects, often involving marginalised communities, offer vital evidence to lobby and shape policy as well as research methodologies that can support effective evaluation.

Newcastle: Several research projects have explored the impact of creative interventions on the wellbeing of older people and dementia sufferers, some in partnership with the world-leading Institute for Ageing. Social inclusion through the Digital Economy (SiDE) investigated how arts practices and young people could use digital technologies to co-create, combating marginalization. Durham: The Research Centre for Medical Humanities leads the Health, Imagination and Creativity research programme, which aims to assess the contribution of creative imagination to medicine, healthcare and public health within a shared reflective practice that establishes effective arts in health as a hybrid rather than specialist activity. Northumbria: Several research projects have investigated the impact of the arts on promoting the well- being of marginalized and vulnerable communities, including the effects of engagement in the arts on reducing re-offending (Research Centre for Offenders and Offending); and the use of documentary and verbatim theatre in exploring trauma and resilience. A number of design research projects have worked in partnership with healthcare providers to improve the delivery of services to patients. Sunderland: Research focused on developing therapies for children with special needs (including autism), and the elderly in residential homes, sheltered accommodation and day care using sound and musical therapies. The research established iMUSE rooms in a range of institutions, such as special schools, specialist institutions for autism, day care centres, and an NHS intensive care centre. The Sunderland-led Hamlyn Artsworks research project has revealed the growing importance of participatory arts (working with communities, prisons, youth clubs etc) to the careers of artists and performers. Sunderland is leading the ACE-funded Creative People and Places project - The Cultural Spring, which is seeking to revive the well-being of communities through participation in arts, music and performance.

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There are further opportunities to apply this research and play a role in advising and informing approaches to clinical commissioning – shaping the public health provision of the future and ensuring the positive impact of arts and culture in wellbeing and health are not overlooked.

3. Sense of place and community – what has culture got to offer the North East as a ‘place’ and its communities?

- The region’s Strategic Economic Plan recognises the importance of the creative industries and creative and cultural heritage in shaping the regional image, identity and quality of the place offer .Demos, in their Northern Soul report, outlined that people had been attracted to live in the NE by ‘a quality of place and sense of authenticity, magnified by the excitement of a place that is in the throes of change’. This was echoed by a ONE report which identified that 20% of respondents stated that arts and cultural provision was a significant influence on their decision to move to the region. This sense of place is enhanced by the universities – e.g through the Great North Museum as a ‘gateway to the North East’ or Durham’s Lindsifarne Gospels exhibition - attracting visitors, students and workers. - The cultural distinctiveness of the NE with Durham UNESCO World Heritage Site and University’s recent UNESCO Chair in Ethics and Cultural Heritage, Hadrian’s Wall, Beamish as a world famous museum, and more recent cultural icons such as the Angel, BALTIC, Sage Gateshead, National Glass Centre and MIMA, play a huge role in creating a unique regional sense of place. The universities offer expertise in this area, with research groups on sense of place and range of AHRC Connected Community and co-production projects, exploring these issues in a creative city and a rural context. - The Cultural Spring led by the University of Sunderland, alongside consortia members The Customs House Trust and the new Sunderland Music, Arts and Culture (MAC) Trust. It is one of 17 projects nationwide seeking to encourage long-term collaborations between local communities and artists, arts and cultural organisations, museums and libraries, and the private sector. It aims to empower them to experiment with new and radically different approaches and to develop inspiring, sustainable arts programmes that will engage communities.

4. Distinctiveness/ image and profile of the region - how does culture contribute to making the North East a distinctive and attractive place? (top 3 examples please – 200 words)

Local distinctiveness is what makes one place different from another. It’s the essential details, large and small, natural and man-made which combine to create a “sense of place". Major landmarks and famous sights can mark one place out against another, but it’s not just big features that are important - impressions are formed through other aspects of an area’s character, such as produce and industry – food, drinks and craft as well as words, dialect and stories. However, we have summarised 3 key examples that interpret our post-industrial landscape and articulate the distinctiveness of the North East:

- Built heritage, heritage attractions and the natural landscape (including flora and fauna) – eg, Hadrian’s Wall. Durham UNESCO World Heritage Site; attractions commemorating the North East’s industrial past, offering narratives sensitive and relevant to post-industrial communities, such as Woodhorn Colliery Museum in Northumberland, Discovery Museum in Newcastle, Beamish and Locomotion in County Durham; National Trust and English Heritage sites as well as cultural and creative interpretations of the landscape.

- Public art works – Angel of the North in Gateshead, Temenos in Middlesbrough, Couple the UK's first permanent off-shore sculpture in Newbiggin and more recently Northumberlandia near Cramlington.

- Iconic buildings – Sage Gateshead, BALTIC, MIMA.

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5. National/ international work - what are your ambitions to develop national/ international work, links and collaborations in the future? (top 5 priorities please – 200 words)

1) Regional University programmes to support creative industries workforce development – Creative Fuse North East, ERDF/ ESF supported work. Also, the University of Sunderland is launching a FabLab will be part of the global FabLab Federation, enabling businesses, students, and stakeholders to engage with a global network around 'making' and 'innovation'. 2) Building on the excellent regional cultural programmes that engage young people (this is a real strength) – Hullabaloo Children’s Theatre (Teesside University), Seven Stories Centre for Children’s Books (Partnerships with Newcastle University and others), Sage Gateshead , TWAM programmes– these are unique and offer models of best practice to national and international audiences. 3) Universities are key players in forging international relationships, eg Durham University’s international work with their recently appointed UNESCO Chair and the national profile of their Palace Green exhibitions linked to Durham Cathedral and Newcastle’s new Confucius Institute. Major artists come to the University of Sunderland from all over the world to study or make art at the National Glass Centre – which is part of the university and a recognised leader in glass and ceramics. (NGC is currently completing a project for Ai Wei Wei) 4) Continued research excellence – both nationally and internationally significant. 5) UKTI trade visits and increased strategic internal work and collaborations. There is also a role for universities to play in addressing the shortage of language skills as well as providing training and insight to harness inter-cultural understanding and build diplomacy skills – vital when building new business relationships, collaborations and exchanges.

Also worth noting that the University of Sunderland has worked with the city council to create an ambitious new Cultural Strategy for Sunderland which has led to the city announcing its bid to become the UK's City of Culture in 2021.

6. Vision -what are your ideas and aspirations for developing the sector you work in over the next 15 years? What headline impacts could we include in the Case for Culture) Max 200 words.

- Strong regional infrastructures are vital to support collaborative working. The Universities Steering Group is committed to working collaboratively as opportunities arise. - Key partners that will shape these collaborations are NGCV, Northern Bridge Doctoral Training Centre, the N8 Universities consortium as well as the North East Creative Partnership. Working more strategically (at a regional level) with bodies like the Arts Council, NESTA, Innovate UK, etc will be important; the universities can provide the evidence base for new developments, and their importance, especially as anchor institutions in the post- RDA landscape, needs to be acknowledged more strongly by some influential national organisations . -Universities will continue to develop their key role in funding and running, partly in collaboration with partner organisations, some of the region’s key cultural attractions such as the GNM, BALTIC39, the National Glass Centre, MIMA as well as Palace Green developments in Durham. - Closer alignment of UK Research Councils’ investment in university research with needs and aspirations of the NE cultural sector. An example of this is the newly established Institute of Advanced Research Computing at Durham University which is promoting digital humanities (the integration of humanities with digital technologies), and Durham academics are engaged in cutting edge research, for example, using social computing and visualisations. - Working with regional and national stakeholders to influence policy with regards to increased devolution that is specifically focussed on delivering an improved regional economy with the governance and autonomy to achieve that, in order that our creative and cultural sectors grow and prosper.

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- Continuing to 'punch above our weight' so that the North East and Tees Valley are seen as exemplars in the production and delivery of arts and culture, cultivating talent, and developing a profile and national and international reputation for quality and innovation, ensuring that both our local populations and in- bound visitors to the region consume and celebrate our distinctive creativity.

7. Realising your vision/ aspirations for your sector - what specific interventions (rather than just ‘more money’) could help make this happen? (Max 200 words)

More coherence and co-ordination at a regional level – NECP has done much to help this. This kind of regional partnership, along with others such as NGCV, are ways to increase efficiency without extra funding, although these kinds of partnerships can also be more effective at levering new funding sources. Communication across and between sectors is also an area that can be improved, and we need effective action plans to underpin the plethora of strategies! The sector needs to find new creative ways of responding to the austerity agenda, and from a universities perspective, more recognition from senior management about the significance and value of creative and culture activity would be welcome to empower colleagues to pursue more ambitious opportunities. Greater impact on national policy decisions is an important goal (not least around Rebalancing Our Cultural Capital), and this requires greater engagement with policy makers and national bodies (ACE, BBC, NESTA, etc). More concerted work by the universities jointly with the cultural sector could achieve this.

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Mark Hickson, Palace Arts CIC

1. Economy – what has culture got to offer the economy of the North East? (250 words)

The case for investment in the arts was made eloquently by Arts Council England (ACE) in May 2013. An analysis commissioned by ACE from the Centre for Economics and Business research found that, in 2011, the arts and culture sector generated more, per pound invested, “than the health, wholesale and retail, and professional and business services sectors”. Arts and culture make a 0.4% contribution to Gross Domestic Product, but receive only 0.1% of government spending.

Culture can offer the North East an increased economic diversity leading, in turn, to greater economic resilience.

Increasing the attractiveness of the region to cultural tourists will bring money directly into the area.

The establishment of a thriving cultural ecosystem will encourage cultural industries to base themselves in this region and export their work to elsewhere in the UK and beyond.

2. Health and wellbeing - how can culture contribute to the health and wellbeing of people living and working in the North East? (250 words)

A growing body of evidence indicates that access to the arts increases wellbeing and improves health outcomes. A number of regional networks (see, for instance, http://www.artsandwellbeingsheffield.co.uk/resources-2/) has been established to support development in this area but not, to my knowledge, in the North East.

Arts in the healthcare environment are understood to contribute to therapeutic measures.

Participatory arts programmes can aid the recovery of the unwell, the self-esteem of the unemployed and reduce loneliness and isolation, particularly for the elderly and those living alone.

Galleries, theatres, cinemas, book shops, public art installations – all of these contribute to a shared sense of civic pride which has been lacking in recent years in many North East communities. This heightened sense of personal wellbeing reduces demand on (particularly mental) health services and may also lead to lower rates of criminal behaviour.

3. Sense of place and community – what has culture got to offer the North East as a ‘place’ and its communities? (250 words)

See last point in 2, above.

Major cultural landmarks (Durham Cathedral, Newcastle/Gateshead riverside, The Angel of the North) establish a strong identity for both local communities and those living further afield. Some sections of the North East (Teesside, for example) have a low or non-existent cultural profile when viewed from beyond the region. It may not be necessary to invest in major projects but instead support a thriving network of artists and creative businesses through initiatives similar to North Yorkshire Open Studios which has established an image of that region as artistically rich and worth visiting for a residential stay.

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In the British Council’s report, As Others See Us, cultural and historic attractions rank 1st and arts rank 3rd as characteristics which make the UK attractive. If we are to establish the North East as a ‘Place’ to visit and, indeed, to invest in then we would do well to support and shout loudly about our cultural offering.

4. Distinctiveness/ image and profile of the region - how does culture contribute to making the North East a distinctive and attractive place? (top 3 examples please – 250 words)

As a recently arrived (2007) North East resident I have found culture to be a crucial part of what I have come to appreciate about the area. Major attractions, publicly funded ‘local’ institutions and a network of grass-roots practitioners all contribute to a rich cultural landscape where visual arts, performance, industrial heritage and stunning geomorphology add up to a largesse all-too-often unrecognized beyond the region.

If forced to choose just three outstanding, and recognised, examples I would opt for:

Durham Cathedral Newcastle/Gateshead quayside (Sage/Baltic) Angel of the North

5. National/ international work - what are your ambitions to develop national/ international work, links and collaborations in the future? (top 5 priorities please – 250 words)

Establish cultural exchanges with European twin towns. (From a Redcar perspective, there seems currently to be no activity on this front. If there is, I would seek to engage with any such initiatives from my position of working (primarily) in the visual arts.)

Bring major national and international touring exhibitions to Teesside. There is such collaboration at the ‘higher’ level (Sage, Baltic, mima…) but less at community arts and street level.

Export the work of NE artists and creative businesses in a co-ordinated way through the development of both online routes to sales, and attendance at arts fairs and other cultural market places.

Ensure that coverage of the region’s cultural events is extended in the national media to more than just events taking place at major venues. There is much to see, hear and do in the area besides what takes place on only a few occasions during the year.

6. Vision -what are your ideas and aspirations for developing your sector over the next 15 years? Max 300 words.

We need to establish a co-ordinated, real-time communication network covering all aspects of cultural life in the region. This would be of considerable help to practitioners and institutions and also to cultural tourists and consumers. For instance, it should be possible to visit a single internet site, type in a postcode, refine a search (to, for example, visual arts or classical music concerts), enter a date and then be given information and further links to what is on within 5, 25, 50 and 100 miles of your location. We need to establish an economically viable cultural ecosystem such that the region is seen as a good place to live and work as an artist and to visit as a cultural tourist. At present, arts graduates from the region’s universities tend either to cease their practice and seek employment in another sector or move out of the area to develop their careers. This should be turned around by finding suitable workplaces, exhibition/performance opportunities and routes to market.

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Cultural practitioners must feel connected to their peers across the region and to all cultural institutions from pop-up galleries in disused buildings to museums of national repute. Organisations (such as the RSA) need to actively extend their interest in communities beyond those established around big cities and higher education establishments.

7. Realising your vision/ aspirations for your sector - what specific interventions (rather than just ‘more money’) could help make this happen? (250 words)

A reliable cultural communication network must be established and maintained. This needs to be placed on a more sustainable footing than a reliance on voluntary activity and so, I’m afraid to say, will require some funding.

Local government, national organisations and the private sector will need to work increasingly hand-in- hand in order to build an agile support structure to develop cultural profitability.

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Redcar and Cleveland Borough Council

1. Economy – what has culture got to offer the economy of the North East? (250 words)

Culture plays a dual role in society. Besides its intrinsic social value reflecting society's identity, spiritual health and advancement, culture has an explicit economic value as measured by the employment and wealth that it creates. Cultural activities span a number of industries and involve many creative processes. Market opportunities for cultural industries are diverse and include both local and export. For example, the area's culture plays an integral role in defining its tourism product. Trends which are expected to impact the demand for cultural products in the future include a change in the average retirement age, an older population structure, higher education levels, and changes in incomes. Cultural, tourism and leisure activities attract over 3m people a year to Redcar and Cleveland bringing in over £100m of income to the local economy. Approximately 1,900 FTE’s (equivalent to 5% of all employment) are supported by visitor spend in the Borough. Creative Industries is one of the swiftest growing economic sectors in the UK, and Redcar & Cleveland is focused on supporting and nurturing emerging cultural businesses. The Council’s commitment to this is demonstrated in the building of the Palace Hub, a new facility created primarily for the creative community.

2. Health and wellbeing - how can culture contribute to the health and wellbeing of people living and working in the North East? (250 words)

The provision of employment and the creation of more opportunities have a real impact upon the general health and well-being of those working within the cultural sector. There is a vital role for culture and leisure to play in improving the health and wellbeing of local communities. Engaging in accessible, affordable cultural activity or contributing as a volunteer can play a major role in supporting independence, providing an opportunity for people to socialise, which is vitally important as loneliness can speed up mental illness, decline and memory problems. There are also significant health benefits of tailored exercise and physical activity for older people, leading to improvements in cardiovascular fitness, muscle strength, balance, mood and cognitive function. It is important to note that culture does not play an independent or isolated role. In times of financial challenge it is important to highlight the advantages of collaborating on the health and wellbeing agenda. To achieve this, local authorities will need to work closely with their leisure operators, voluntary groups and organisations to support and enable them to welcome people with the poorest chances of good health outcomes.

3. Sense of place and community – what has culture got to offer the North East as a ‘place’ and its communities? (250 words)

The industrial and maritime heritage in the borough together with Yorkshire countryside establishes real empathy with local people. Therefore it can be stated that the diversity of the Borough is one of the areas main strengths. From historic buildings and ruins in Kirkleatham and Guisborough to its coastal landscape including one of the longest unbroken stretches of beach from South Gare to Saltburn. Events such as Oden’s Glow demonstrated the passion local people have for their ‘place’ with attendance far out-reaching expectations. Future events will also act as a platform for people to express their personal and communal identity with the place.

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The communities of the Borough strongly identify with their local heritage, particularly the ironstone mining heritage, which instills a sense of pride and ownership in local people. Communities regard their cultural heritage as unique, and recognize its importance in shaping their lives and their landscapes in the present day. There is a real desire within our communities for people to celebrate their heritage, either through events and festivals or through the Borough’s network of museums.

4. Distinctiveness/ image and profile of the region - how does culture contribute to making the North East a distinctive and attractive place? (top 3 examples please – 250 words)

The area and its people have long been acknowledged as having a rich history and distinctive qualities that shine through cultural activities. The areas contrasting natural assets and resources together with its industrial heritage have been instrumental in developing these qualities. A great deal of this heritage is captured by the growing number of locally based artists and the continued development of key attractions such as the Kirkleatham Museum, The Zetland Lifeboat Museum (home of the oldest lifeboat in the world) and the Ironstone Museum (birth place of Ironstone mining in the area). It is the uniqueness of the areas culture that defines its competitive advantage in many markets and will, no doubt, play an important role in the tourism industry.

Culture has the power to transform opinions based on superficial information. Visitors primed with the Borough’s prevailing image as an environmentally unsound location for heavy industry are often genuinely surprised to find some of the most attractive countryside and unspoiled beaches within our boundaries. People in the Borough are eager to share their cultural attractions with visitors, determined to ensure that the place they live is not misrepresented and that ill-founded opinions are changed forever.

5. National/ international work - what are your ambitions to develop national/ international work, links and collaborations in the future? (top 5 priorities please – 250 words)

1. Kirkleatham Walled Garden Project will mark a watershed in cultural development within the Borough. The re-development of the walled garden will not only provide valued training opportunities but also a national visitor destination. This project will be a central pillar in the regions cultural offer complementing current ventures like Alnwick Castle and Beamish. 2. Furthermore the development of the historic Kirkleatham Stable Court will establish a creative and sustainable community at Kirkletham. Bringing together rural and creative industries, education and the arts, this will provide new opportunities for people to work, live, learn and create. The aim of this project is to establish the facility as a nationally recognised venue for creative arts developing a prominent position not only as a place of work but also a major visitor attraction. 3. Further development of Redcar seafront, incorporating the Coatham sands area (an area which has SSI status) as a prominent visitor’s attraction which will celebrate the maritime heritage of the town and the unique shoreline. 4. Expand and promote the cultural offer in East Cleveland. Focusing upon the industrial heritage of the area and the historical impact this area had upon world trade and development 5. Enhance the Saltburn visitor offer. Through work with Welcome to Yorkshire establish Saltburn as a visitor destination and part of the Yorkshire Coastal offer.

6. Vision -what are your ideas and aspirations for developing your sector over the next 15 years? Max 300 words.

The development of a regionally and national recognised arts and creative industries facility focused in and around the Kirkleatham Estate. The facility will provide an ideal location for training and educational

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In addition the authority aims to pursue a meaningful and productive relationship with National Galleries and Museums. We aim to develop the Kirkleatham Museum as the main northern partner for any touring exhibitions from other galleries/museums from other parts of the country. Therefore increasing the opportunities for local people to participate and enjoy and in addition further increase the number of tourists to the area.

This Council has recently commissioned a Visitor Destination Plan to kick-start the process of attracting more visitors to the Borough through developing and promoting both our cultural and natural heritage offers. We recognize the economic benefits of attracting visitors and will develop our visitor infrastructure to accommodate increased numbers over the next 5-10 years. To deliver this vision the Council will make the necessary changes in resources to ensure the objectives of the plan are deliverable. In addition the Council recognizes that it cannot deliver this plan on its own and will develop a robust partnership arrangement to ensure the plan is owned by all stakeholders.

7. Realising your vision/ aspirations for your sector - what specific interventions (rather than just ‘more money’) could help make this happen? (250 words)

In order to realise our vision for the future 15 years there needs to be a significant shift in the prominence culture plays in economic development, education, skills, health and wellbeing. As previously the authority will develop a local focused local offer, through working with local partners, to establish culture as a main driver for economic development, community cohesion, learning and development and well- being. In order to complement these local interventions clear and robust acknowledgement from National and European Government needs to be established to drive the benefits of the Case for Culture. One particular area would be ensuring Local Enterprise Partnerships and future Combined Authorities play an active role in recognizing and embracing the role culture plays in the economic development and well-being of the areas. Consequently this needs to be incorporated in all future strategic documents relating to the development of economic areas.

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Nazli Tabatabai-Khatambakhsh, ZENDEH

1. Economy – what has culture got to offer the economy of the North East? (250 words)

Culture is how we tell and share the story of the North East, and it is significant that the collaborative and partnership driven nature of the culture sector enables this to happen on a local, international and national scale. The heartbeat of this is people involved and their values and ethics regarding creativity, equality, and diversity – each bringing and sharing their expertise and developing areas of interest.

Culture has a legacy and a continued presence as the thread that connects the pearls of other sectors such as Education, Health and Well Being, and within Social Development. This can be identified through the diversity of programmes offered by the culture sector that take place in a range of formal and informal setting and geographies across the North East.

The multitude of micro and small creative businesses who are manufacturers are by their nature employers of considerable number of local talent across disciplines and crafts, and through this are able to be the force that circulate local talent nationally and internationally.

There is a pioneering of leadership in the development of resilient and forward thinking models of mixed economy from the culture sector making use of physical assists, intellectual property, and in the area of philanthropy.

2. Health and wellbeing - how can culture contribute to the health and wellbeing of people living and working in the North East? (250 words)

I was fortunate to be invited by Jim Beirne to facilitate the Health and Well Being session of the Theatre meeting of Case for Culture at Live Theatre. The key themes that were offered, discussed, and shared that day are shared by ZENDEH. The responses were recorded and passed to Jim Beirne.

Taking this opportunity to make an offer on behalf of ZENDEH I would offer that theatre is an art form that enables through language and through the act of bringing people together the distinct opportunity to share their experiences: either through the creation process facilitated by theatre artists and their diverse practice; the act of coming together and seeing theatre with the opportunity to then meet the artists and engage in socio-political debate through the lens of theatre; to see their voices represented on our stages and in other spaces and places to dare to take a stand, and look over the horizon by learning about our hidden histories that have led us to our modern lives.

3. Sense of place and community – what has culture got to offer the North East as a ‘place’ and its communities? (250 words)

Theatre and the act of making an authoring theatre through a range of methods and with a spectrum of people is part of our heritage and our human right. The diversity that exists in the North of England is complex and shifting and will continue to be a place where there is a dialogue between tradition and innovation. The sense of place is informed by our geography being the most northerly part of England that meets with Scotland in itself is a powerful metaphor for resistance and solidarity.

But to take a moment to make a case for the unique way that theatre can and does take place in communities is made possible by the imagination of the public who are engaging with artists who are in

A Case for Culture Responses from Writers (March 2015) 116 their practice take a genuine approach to public engagement that is about looking at both: what makes us familiar and what makes us distinct; the powerful and fertile occurrences that happen on the fringes and how this informs and renews the perceived centres of critical mass.

4. Distinctiveness/ image and profile of the region - how does culture contribute to making the North East a distinctive and attractive place? (top 3 examples please – 250 words)

Small Scale- The eclectic range of theatre companies ZENDEH, Open Clasp, Lawnmowers, Theatre Hullabaloo, Curious Monkey, Alphabetti Spagetti, Tender Buttons, Theatre of Moths, and the Empty Space.

Midscale-Large Scale Northern Stage, Live Theatre, ARC Stockton, and Arts Centre Washington each play a role in the creation of a range of scales of theatre and in particular the work of Northern Stage and Live Theatre in developing and touring work of mid-large scale.

Epic Scale - The FLOW commission for Artists Taking the Lead as part of the Cultural Olympiad, followed by the Cultural Ceremonies of the Great North Run, and the work of The Cultural Spring have each in turn attracted a mix of broadcast media both online and through national networks – also to take note of festivals the work of SIRF contributes as regards and in particular to outdoor work that involves a range of art forms, and the growing presence of GIFT.

5. National/ international work - what are your ambitions to develop national/ international work, links and collaborations in the future? (top 5 priorities please – 250 words)

To share our ZENDEH plays with partners overseas through;

- Touring the ZENDEH residency model of sharing, exchange and training with productions - The ZENDEH Method shared, developed and taught in world leading economies in order for ZENDEH to make leverage into aspiring world leading economies - ZENDEH plays being produced by others in world leading economies in order for ZENDEH to make leverage into aspiring world leading economies - Translation of ZENDEH plays into world leading economies in order for ZENDEH to make leverage into aspiring world leading economies - Sign Language Interpretation and Performance Surtitles in world leading economies in order for ZENDEH to make leverage into aspiring world leading economies

6. Vision -what are your ideas and aspirations for developing your sector over the next 15 years? Max 300 words.

ZENDEH is focusing on the following five themes but not limited to these as follows during 2015-2018 enabled by the intersectional qualities of the Creative Case: - Craft of Small Scale Touring, the development of The ZENDEH Method, Talent Development and the raising of Employment in the Theatre Sector by strengthening through diversity the quality of theatre manufactured in the North East - New Economic Models for Theatre, in particular the circulation and distribution of high quality small scale touring with big ambition, making a change nationally - The Creative Case for Diversity through Creative Case NORTH, developing the national conversation, and involving international partners from developing economic countries - Data that unlocks and unleashes our potential and informs our innovation, manufacturing processes and distribution networks

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- More range in our reach and engagement across borders through our digital methods in compliment to analogue methods

7. Realising your vision/ aspirations for your sector - what specific interventions (rather than just ‘more money’) could help make this happen? (250 words)

ZENDEH is the main contact for Creative Case NORTH (www.zendeh.com/blog), which is a consortium of 9 organisations from the North of England: Across art forms, Bridge North East and from Museums convened by Ann Fletcher-Williams Diversity Relationship Manger, Arts Council England. Creative Case NORTH is a movement committed to the intersectional opportunities of exploring how the Culture sector through the Arts and Museums experiment and enshrine an eclectic approach to art and heritage, ethical practice, and a duty of care. Creative Case NORTH is dedicated to enabling and valuing the space for tradition and innovation; promoting a progressive community of continued learning; and championing the relationship with the public that can only be created by the arts and museums in meaningful dialogue with 21st Century Britain with an international outlook. Creative Case NORTH through a programme of activity will enable and facilitate the new, continued, and deepening exploration of partnership models between creators and facilitators of artistic and participatory practice, and the range of spaces in which they make and share work with the public. To mutually explore the one another’s practice, and in doing so work together to become an even more progressive movement of arts and culture in the North, that connects Internationally and Nationally.

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North East Historic Environment Forum

1. Economy – what has culture got to offer the economy of the North East? (250 words)

• Quality of historic environment – a place where people want to live and work, delivered through flexible approach to conservation – encouraging on adaptive reuse (historic environment is equal to transport infrastructure as a factor when businesses are relocating) • Opportunity to expand tourist season through extended offer and richness of content – turn seasonal jobs into permanent ones • Quality of build – aesthetic of vernacular architecture cultivates a sense of longevity and permanence and stability • Direct marketing, regional profile and distinctiveness – identifiable icons, landscapes and landmarks • Creating markets, supporting production and digital content – by linking galleries, museums and heritage to artisans and the creative industries • Partnerships with the private sector – to maximise benefits of mixed economy • £7.4bn Heritage value to British Tourism (£12.4bn including natural heritage) – and a growth market - 30% inwards tourists come for heritage

• Potential to stimulate cross-sectoral innovation think tanks, leading to new enterprises – e.g. DOTT’07 • See also North East Historic Environment Forum (2014) Heritage Growth - attached • See also North East Historic Environment Forum (2015) Heritage Impact Toolkit - to follow

2. Health and wellbeing - how can culture contribute to the health and wellbeing of people living and working in the North East? (250 words)

• Assumptions about the region’s biggest issues: obesity; smoking; dementia; loneliness / mental wellbeing; most linked to poverty / indices of deprivation, high unemployment, poor educational attainment

• Volunteer opportunities – support physical activeness; mental wellbeing and socialising. There is opportunity to widen reach to secure volunteers from across the social spectrum • Access to culture – raises level of education, knowledge, skills which has a knock on impact on health, and then earning potential • Exercise and being in the outdoors in our natural environment, also supported by investment in urban parks • Reminiscence therapy and more specialised dementia engagement, e.g. Beamish • Bring people together – engaging in cultural heritage is usually a social activity, bringing people together and dispelling loneliness • It has low barriers to access - anyone can engage w heritage, it doesn’t require a skill – e.g. ability to dance, draw, sing &c • Our life-long and informal learning opportunities engender confidence and promotes mental welbeing • Heritage creates a sense of belonging and being valued – again important for identity, confidence and metal wellbeing • Heritage breaks down the hierarchy of culture, valuing it in its diversity from our sporting heritage – pigeon crees and football, to traditional music. It is found where you live, on your street corner – this engages across all sectors of society.

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3. Sense of place and community – what has culture got to offer the North East as a ‘place’ and its communities? (250 words)

• Hope – external recognition of the value of our heritage promotes a sense of self worth in communities and identifies that a different future is possible, beyond current challenges. This builds on our history of innovation and invention – Stockton-Darlington to Hitachi. • Roots and belonging – antidote to rootlessness; tradition of migration and welcome unifies communities and is important to those living here (and those who have left) • Visible assets – vast quantity and variety of surviving heritage assets • External marketing: innovation; beauty and aesthetics of the North East landscape; strong identity

4. Distinctiveness/ image and profile of the region - how does culture contribute to making the North East a distinctive and attractive place? (top 3 examples please – 250 words)

• The North East has a running narrative from pre-history to today – and we now have the change to shape the future and create the heritage of tomorrow – we should ask ourselves what do we want others to value about our regional narrative • Again – our breadth of heritage this ranges from oral tradition (Beowulf, Geordie dialect, pitmatic), prehistoric Rock Art, iconic World Heritage sites • We are genuinely culturally different – shaped by being a border land and a seafaring region – importing and exporting influences to Scandinavia and beyond. • Our narrative of regional firsts and inventions (passenger railways; electric lighting; safety lamp) is an important narrative for our future

5. National/ international work - what are your ambitions to develop national/ international work, links and collaborations in the future? (top 5 priorities please – 250 words)

• World heritage sites operate within an international context – e.g. Hadrian’s Wall is part of the Roman frontiers network • Much of our vernacular heritage shares roots with Europe and Scotland • The sector has expertise, for example in traditional skills training and heritage at risk that could be shared more widely

6. Vision -what are your ideas and aspirations for developing your sector over the next 15 years? Max 300 words.

• Removing buildings from at Risk registers and securing a viable community, private or commercial reuse • Addressing gaps in traditional skills – needed to maintain our historic building stock – the market for repair is larger than that for new construction • Growing leadership at all levels • Supporting the reinvention of historic town centres – maximising the use of historic infrastructure and exploring new models that overcome the drive to online • Ensuring the historic environment is understood as regional infrastructure and maintained as such • Continued improvement and step change in the visitor experience to improve connectivity, depth of offer and coordinated promotion – to realise the predicted tourist growth across urban and rural parts of the region

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• A self-sustaining and locally valued sector – where people champion and ensure it thrives and remains relevant

7. Realising your vision/ aspirations for your sector - what specific interventions (rather than just ‘more money’) could help make this happen? (250 words)

• Cross sector innovation forums to share practice and generate new ideas and products – to recreate an environment that nurtures innovation, building on our track record • What if … every child at birth / start of school was given part of the region’s heritage – an item or building, or traditional song for example to look after. Taking it with them through school, linking it to the curriculum, explaining it to parents, friends and relatives. One paper it sounds understated – but it could be a powerful and imaginative way of embedding a sense of entitlement, ownership and understanding and more, bringing together heritage and arts partners and connecting them with NE residents wherever they live. • Themed festivals across the region – allowing all to participate, with history, anniversaries and heritage as back drop for contemporary and cutting edge content • Coordination, collaboration and capacity building to give critical mass for funding streams (EU; commissioning; LEP) • Communication networks to enable flow of information and facilitate flow of creative ideas – within and across the sector and beyond into business • Heritage is understood and accepted as an asset for the arts • Promotion of what heritage delivers, challenge preconceptions with positive campaign – as Passionate Places, Passionate People did • Wider awareness and benchmarking against competitors – raising our game • High quality architectural reinventions of buildings and creative reuse, and a building sector that acknowledges heritage as an asset

We also asked participants:

What inspired you to get involved with heritage?

• It’s all pervasive and therefore difficult to unpick and articulate as separate from everyday living • Helps me make sense of who I am and where I come from • Climbing trees and exploring derelict buildings as a child (hide and seek in Fountain’s Abbey) – excitement; imagination • Inspired as a child • Hobby turned into profession • So much of it, wanted to understand it • Built heritage is ‘in our face’ we encounter it everyday as we go about our lives • Depth of North East heritage – continuum from the past to today – sense of rootedness; emotional connection • Landscape • It’s a lifestyle choice – inspiring, stimulating

Think back to 2000 and identify the key events and activities that influenced heritage over the past 15 years?

• Local / Regional decision-making • HLF regionalised – 2002 • ONE appointed Head of Culture / Creative Industries; Culture embedded in RES and IRF

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• CNE born (and died); Regional Cultural Strategy • Moved beyond silos – conservation, archaeology, museums and beyond

• Capital redevelopments: Discovery; Hancock; Sunderland Museum; Bowes; Heritage Coast • New sites: Alnwick Gardens; MIMA; Hadrian’s Wall Trail; Segedunum; Woodhorn … • Major money available: ERDF; ESF; Leader; ONE; Lottery; Northern Rock; Renaissance • Grainger Town and THI initiatives – restoring urban centres

• Heritage got sexy rather than dusty – BBC / Media as well as sector approach • Industrial heritage reworked for arts – people saw it differently – revalued • HLF definition of heritage – inclusive – what a local community decides – intangible; portable and built • Sector increased in confidence – and still remains despite cuts (in 1990s people we were apologetic for working in sector)

• Renaissance and investment in education / young people

• Planning policy context – PPS5 / NPPF gave more flexible and significance-led constructive conservation • Heritage at Risk register introduced • Early digitisation – Durham had the first Historic Environment Record online • Understanding of the role of heritage in place making and sustainable communities

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