City of Openness, Imagination and Originators

A Strategy for Culture

@CulturalBristol

tom fleming / creative consultancy /

Contents Foreword: Why this Matters 3

1. Bristol – a City of Culture 5 1.1 The Challenges we Face 6 1.2 The Opportunities we can Embrace 8

2. Building the Conversation 11

2.2 Three Themes 12

3. A Cultural Framework for 14 Bristol 3.1 Cultural Cultural Leadership Group 15 3.2 Cultural Investment and Infrastructure 15 3.3 Cultural Pathways 17 3.4 Districts of Culture 18 3.5 Cultural Place-making 19 3.7 Unlimited Collaboration 20

4. Next Steps 22

Appendix 1 Investment Options Paper 23 Appendix 2 Four Pillars 23 Appendix 3 Overview of workshops and list of Consultees 24

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festivals, and a buoyant creative industries sector. Bristol is an international cultural city, reaching out and connecting with cities, Why this matters artists and audiences across the world. Bristol is a city undergoing transformation, with a youthful population drawn from across the world generating new distinctively Bristolian identities. With Brexit, it Bristol is a city of culture. In Bristol, culture is who people are, what is all the more important that Bristol is open – tolerant and people do, and what people want to be. Culture is every day and for accepting at home and connecting internationally to build the special occasion; at home, on the streets and across every relationships. district. It has been a catalyst for economic diversification and growth, for talent attraction and retention, for inward investment and Bristol is also a city with a particularly principled and socially driven tourism, and for innovation and competitiveness. Culture greatly cultural sector. Its cultural organisations include some of the best in improves the quality of life for people across the city, with cultural the country for engagement, education and inclusion. They operate participation in activities which go far beyond what might be as part of an ecosystem with an increasing number of passionately recognised as ‘the arts’. It provides access to ideas, to community, engaged artists. Bristol is then becoming known as a city that to fun and to employment. It is impactful for confidence, cohesion, positions culture for inclusion, environmental and social health and wellbeing. It is, put simply, the thing that makes Bristol sustainability. and that offers so much potential for Bristol’s future. However, there is much to do if Bristol is to fully embrace a This Strategy is for the city and of the city. It is the culmination of a progressive future. It is a city part-built on slavery which is yet to period of critical discussion and research which has provided a set develop a more inclusive collective memory that fully recognises the of fresh perspectives on the role of and how culture suffering by so many for the wealth of so few. It is a city of can shape the city’s future. Led by the Mayor, it has been created economic, social and physical disparities, with communities severed with the people and in many ways by the people. It is a new type by poor post-war planning, inadequate transport infrastructure and of strategy where the City Council is a partner alongside others, and housing inequality. where the recommendations of the strategy set out some challenges and opportunities for which we share a collective Like other big cities in the UK, Bristol faces a set of systemic social responsibility. With a steering group of committed people and a and economic challenges. The city has some very successful, wider community of stakeholders drawn from across the city, this is distinctive and prosperous districts where culture has played a key a strategy for an inclusive and ambitious city of culture where role in their transformation. It has a city centre which has embraced everyone has a role to play and where no single organisation owns culture as a resource and shows so much potential to grow into one the city’s cultural agenda. of the best cultural destinations in the UK. But the city centre has not yet reached its cultural potential and some parts of the city Bristol has a very active and high quality cultural offer driven by a demonstrate multiple indicators of deprivation. Such places may cultural sector that includes many individual artists, world-leading feel disconnected, yet every part of the city is very cultural – imbued organisations, brilliant museums, exciting and critically engaging 3 tom fleming / creative consultancy / with its own distinctive cultural identity, housing many different types of cultural practice.

As the Mayor of Bristol, Marvin Rees, makes clear, there is a real and pressing need to address inequalities of health, wealth and opportunity in the city, supporting everyone to reach their potential by creating successful places to live, work and play:

“…my mission is to make sure the world sees a Bristol where every citizen is participating in our city’s success; and not a Bristol held back by the price of inequality. The city must not succeed only for the benefit of the few, at the expense of the many.” Culture can play a transformational role for Bristol – giving every community in every district a role to play in re-shaping the ways the city talks about itself and is understood by others. It can provide purpose and enhance confidence, connect people across generations, genders and ethnicities; and it can reinvigorate senses of place and belonging. It can also provide jobs, offering pathways into economic as well as socially impactful activities; helping to build a stronger and more inclusive economy for the future. This Strategy identifies how culture in Bristol can deliver a better future for the whole of the city.

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- The cultural economy is able to grow and in turn add value to other parts of the economy – such as in the creative 1. Bristol – a City of industries, tourism, digital and science – by providing ideas and experiences that attract people to live, work and play in the city Culture - The identity and experience of the city improves – as a more dynamic, open, distinctive and gratifying place to be. “Bristol is creativity and innovation…if ever there was a British city on the rise, it's Bristol…the south west's largest city has reinvented So what do we mean by culture? itself as a hub of culture and creativity. From Clifton's iconic suspension bridge to Brunel's ground-breaking steamship, the Culture is our lives, identities and communities SS Great Britain, it's a city that's awash with historical interest. But It is the way we see ourselves and our place in the world. It is Bristol is also known for its offbeat, alternative character, and you'll where we live and who we are. It is how we live our lives. It is how find a wealth of art collectives, community-run cafes and music we dress, communicate, eat and drink. It is how we build and venues dotted around – not to mention murals left behind by the decorate our homes. It is how we express ourselves – from music city's most notorious son, the mischievous street artist ”. to sport. It is how we design and inhabit our streets and open (Lonely Planet). spaces. It is how we dress, celebrate, work and play. It is what we

do and why we do it. It is who we were and who we are becoming. In Bristol, culture is everywhere. The city itself is a cultural proposition: an amalgam of people and places, memories and identities. Our Strategy is for every citizen to be able to express Culture is Heritage themselves, to feel involved, to be. Get this right, then the whole It is our memories and stories, lived through our friends and city benefits: relatives here and elsewhere. It is what we imagine ourselves to be. It is our possessions and artefacts. It is the built and natural - Communities are less isolated and more connected landscape. It is our story and how we re-tell it. It is who we were - People are happier, more engaged, more active and and who we are becoming. therefore more healthy - Young people are able to more effectively navigate Culture is museums, galleries, cinemas, music pathways from cultural participation at home through school venues, theatres, libraries, festivals and events and college and into employment It is how we record, collect, curate and present our identities. It is - Artists, creative businesses and cultural organisations can how we preserve and bring to life our stories. It is how we perform reach new and larger audiences and markets; and they can our distinctive senses of who we are, what we have and what we access talent that is more diverse and expressive of all that can become. It is how we express our world to others. It is about Bristol has to offer the conscious experience of culture. 5 tom fleming / creative consultancy /

it has achieved this bounce in quality and status without the whole Culture is practice city benefiting. Issues here include:

It is the applied imagination of artists, writers and performers. It is the (sub)conscious act of making – ideas, text, code, objects, Reach and coordinated provision paintings, sound and vision. It is performance. It is active Despite many incidences of excellent practice, the cultural sector participation. It is innovation and renewal. has struggled to reach and engage people everyone in this complex and changing city. Limited capacity and the challenge of connectiveness are daily challenges. As a consequence, the Culture is industry cultural sector has not yet been able to deliver to the impacts most It is the economic value generated by culture. It is the jobs and organisations passionately strive for in improving the quality of life revenue. It is the added value – to innovation, productivity and for disadvantaged communities, providing pathways to productive brand. It is the creative and digital businesses. It is the design, activities which in turn improve life and job chances, and thus production and trade of intellectual property. It is tourism and retail. ultimately tackling inequality. It is the competitiveness of the wider economy. Inclusion Culture as our shared future(s) The cultural sector as a whole has not had access to or effectively It is how we connect and exchange. It is what we have in common engaged and recruited the full array of talent that Bristol has to offer and how we differ. It is our neighbourhood, ethnicity, gender, age, – the diversity of perspectives and ideas, the skills and aspirations. sexuality, religion, values and politics. It is our city. For example, the cultural workforce is not as diverse as the city as a whole and is from relatively prosperous backgrounds. In addition, audiences, while increasingly diverse, city-wide and intergenerational, tend toward relative homogeneity for certain art forms, organisations and venues. There are plenty of exceptions – 1.1 The Challenges we with the festivals, live music and club scene, and targeted education and audience development activities opening up Bristol culture and face showing what is possible when the city is more connected.

Bristol is a city of culture, but it is not yet a great city of culture. A Investment and Austerity great city of culture is not one of such inequality – in access, As one of the UK’s ‘core cities’ Bristol is relatively prosperous, with participation and ownership. Bristol has one of the most progressive a growing economy and population. Culture is a big contributor to and attractive identities of any UK city and culture has played a the city’s economic success and its brand and identity. Bristol City transformational role, dragging the city from its rather sleepy and Council has for many years been a genuine champion of the city’s marginal image to one in which creativity, innovation and quality of cultural sector and the role of culture in city-making more generally. life are to the fore. It is for many, a great place to live and work. Yet 6 tom fleming / creative consultancy /

It has, for example, developed and retained a strong culture team private sector sources will increase. With opportunities to invest in which plays a vital enabling and nurturing role for the city’s cultural infrastructure through the West of England Local Enterprise ecology. It has also made some major investments – in capital, Partnership (WELEP) and West of England Regional Spatial such as through the 2011 transformation of the city’s industrial Strategy (WERSP), for different types of private sector contributions museum to MShed; or in kind – such as by offering long-term (with Section 106 investment key), and through new ways of leases to key cultural institutions such as Watershed, Spike Island working together, this is a Strategy for growth which will deliver an and SS Great Britain. It has also, by establishing a Deputy Mayor enhanced, inclusive and sustainable cultural offer. for Culture, or by positioning the culture team to the heart of an overall Place Directorate, politically and strategically backed culture. Partnership Bristol has a strong track record of cultural partnership. Broadly, its Yet local authority investment in Bristol’s cultural sector is relatively cultural organisations work well together – to problem solve, share small: in terms of revenue, Bristol City Council spends less than a ideas and explore how they can deliver more. Shared platforms, quarter than Liverpool City Council and less than a third than networks and intermediary organisations play a vital convening role Birmingham or Leeds. It also spends less than smaller cities such 1 for the city - such as Bristol Cultural Education Partnership, Bristol as Coventry and Leicester . Moreover, the City Council is set to Cultural Partnership, DIY Arts Network, Bristol Festivals and Events reduce its cash investment in culture, as it seeks to bridge a £100m Forum, Theatre Bristol, and the many networks and gatherings budget gap over the next 5 years. This will include a 20% cut to the 2 which give the city such energy and foster trust and shared city’s key arts providers in 2018-19 and a further 20% cut in 2020- purpose. Both universities are increasingly active partners and 21. This is, unfortunately, the painful reality of drastically reduced leaders across the city – in culture and for the wider social, investment from central Government, with austerity set to continue. economic and civic life. There is, broadly, a recognition that great cities of culture are made not by the city council but by many people Bristol City Council is one of the most proactively culture friendly working together with a collective responsibility to the city’s future. local authorities in the country and its commitment to culture is unwavering. To deliver on this commitment, in a context of reduced However, with, on the one hand, austerity biting and Brexit looming; public sector funding, the Council and partners such as Arts Council and on the other, major city centre developments, a new metro-bus England, are exploring a range of options which could unlock system and new housing on the way; are our cultural partnerships resources for culture, generate new investment pipelines and equipped to effectively respond and to take a lead? Success here introduce new partnership models. As this Strategy sets out, even will be shaped by the cultural sector working well together, whether while the proportion of City Council money will reduce, its role as an this be for knowledge and skills exchange, data capture, joint fund- active partner in leveraging investment via a blend of public and raising, and advocacy. But it will also be shaped by the cultural sector working well with other sectors and internationally to ensure

1 the role of culture is explored in health and wellbeing, education, 2014/15 taken from Source: Department for Communities and Local Government: Local authority revenue expenditure and financing England. science and technology, business and planning. 2 The city’s portfolio of regularly funded cultural organisations for which a funding agreement is in place. 7 tom fleming / creative consultancy /

can make much more of its growing diversity advantage – whether this be for innovation, economic development or cohesion.

For the cultural sector, this means shaping new narratives that 1.2 The Opportunities resonate with the city’s changing population. It means co-creating experiences with different communities and developing audiences we can embrace of active participants who can help re-orientate the city’s cultural scene. Bristol is a fast-changing city – demographically, economically and culturally. The city’s population is set to pass half a million by 2027 But this can’t be without substance. For example, the distinctive and the wider urban area and city region are also growing. The topography and socio-cultural landscape of the city means that demographic profile is also changing – with influences from a range multiple, often thriving communities, co-exist but do not always of distinctive East African and Eastern European nations set to cohere as a whole. This limits pathways – whether this be to blossom into new types of Bristol culture. cultural participation or to a job. Bristol can build on its existing

cultural strengths and generate new levels of participation and The city’s economy is expanding and diversifying, with 17,973 new business if it can find a way of generating new pathways for cultural business start-ups in the 5 years to September 2015, a growth in participation that are linked to pathways for learning and skills, and the working population to above the levels before the financial in turn to pathways to employment and continuous professional crisis. And there are many examples of inward investment, development. expansion and the introduction of key infrastructure, hubs, clusters and festivals to catalyse innovation and competitiveness, not least in technology, creative and science - such as in Engine Shed, A Burgeoning Creative Economy Bottleyard Studios, Hamilton House Festival of Ideas, and Unit-DX. The Bristol and the wider city region (covering the area of the West of England Local Enterprise Partnership and West of England Bristol Talent Combined Authority) is one of the UK’s major creative economy clusters. Powered by two major universities, it has particular Bristol is a city of creative voices and originators – of artists, writers, strengths in telecommunications, TV, networking, gaming, virtual film-makers, designers and makers. Bristol is also an increasingly reality, hardware, robotics, silicon chip design, digital production & young and intercultural city. Its two universities contribute to almost marketing and cloud computing3. The cluster is made up of many 20% of the city’s population, with many graduates remaining, different types of business and organisation, from the two returning and thriving. The proportion of the population who are not universities playing a very significant role in talent development, ‘White British’ has increased from 12% to 22% of the total research and knowledge, to the multinationals and microbusinesses population. In Bristol, there are now at least 45 religions, at least 50 which connect Bristol internally and to the world. The gross value countries of birth represented and at least 91 main languages spoken by people living in the city. This is approaching a level of hyper-diversity akin to that of a global city such as London. Bristol 3 A Creative Tech Manifesto for Bristol 2016, prepared by TechSpark and Bristol Media. 8 tom fleming / creative consultancy / added in the region by these creative, tech and digital businesses University in generating knowledge and nurturing talent which plays stands at £1.8 billion a year, and grew 26% between 2010 and such a dynamic role in producing and consuming culture; in its 2014. The creative industries is the fastest growing sector of the UK collections; and in its role as catalyst to major city developments economy: at 8.9% a year (against an average of 4.6%). Bristol and such as Temple Quarter. This paves the way for a partnership- Edinburgh are the only UK cities outside the London/South East driven approach to cultural development, with universities operating region to appear in the top 20 for their concentration of both as custodians and as investors in culture, connecting agendas in creative industries and technology, defined by location quotient4. talent development to culture-led place-making.

The cultural sector and the distinctive culture(s) of Bristol have This opportunity was also vividly set out in a new Creative and Tech played a critical though unquantifiable role in supporting innovation Manifesto, prepared by TechSpark and Bristol Media with in and attracting jobs to creative, technology and science activities contributions from across the creative and technology sectors. This in Bristol. The city has a distinctive ecosystem of talent, facilities, sets out an ambitious agenda for Bristol and Bath to grow as a businesses and organisations. These have, through the practice “globally recognised city leading the combination of creative and they have inspired and businesses they have launched, given tech”. The Manifesto emphasises the importance of cross-sector Bristol a longstanding reputation for innovation, especially in the collaboration to the Bristol creative economy, with businesses of fusion of art and science, creativity and technology. different sizes and sectors converging, often facilitated by the city’s creative and innovation hubs and networks – such as the Pervasive The cultural sector has played multiple roles here – delivering R&D, Media Studio at Watershed, an acclaimed catalyst for inspiring talent, generating content and experiences, and shaping interdisciplinary and experimental practice. The Manifesto also those branding and inward investment narratives where Bristol tells emphasises how economic success in the creative and tech sectors its stories to the rest of the world. There is much to build from here. is intertwined with social impact and responsibility; where innovation Bristol’s strengths in advanced engineering and aerospace is geared toward enhancing health and wellbeing, smart cities or technology, its pioneering animation and wildlife film clusters, its environmental sustainability; and where the sector is inclusive, with convergence of science and arts (in centres such as At-Bristol), and skills development and career pathways delivering workforce its independent and often radical arts can, if played right, be the diversity. catalyst for a city-wide push to be the ideas and innovation capital of the UK.

This opportunity was endorsed in 2016 by a new Memorandum of Understanding between Arts Council England and University of International Culture West of England to champion and develop Bristol as a city of arts In Bristol we often talk about our world class cultural offer and many technology. It is also demonstrated through the role of Bristol of us are connected to audiences, artists and organisations overseas. We also have signature brands which have resonated 4 http://www.nesta.org.uk/sites/default/files/geography_uks_creative_high- internationally – in our cultural organisations, artists and musicians. tech_economieswv20151.pdf 9 tom fleming / creative consultancy /

Our increasingly diverse population, with networks in many In Bristol, culture has contributed enormously to the character and countries, opens up the world to Bristol and Bristol to the world. As texture of the city. This is how the city feels and looks; how we a port city, Bristol has always had to go global – for good and for navigate through it; and what different districts, streets, parks, bad. But do we make the most of these connections? Does every squares, even buildings, signify. Culture is how we view the city, community share the benefits of international collaboration? Do we live it, visit it, remember it. Where culture is purposefully positioned cherish and support those artists and cultural organisations which to improve and animate the landscape, planners refer to this as do so much work internationally while staying loyal to Bristol as place-making. Bristol has a long tradition of cultural place-making. home? And, in a time of new borders, Brexit and the stigmatisation This is evidenced in the grand Georgian terraces of Clifton, the of cultural difference, are we passionately open? drama of its suspension bridge and sweeping open spaces of the Downs. It can be felt in blend of heritage and contemporary uses Bristol’s cultural success can only be viewed if the local and which define harbourside. And it is at its most strident in the international are viewed collectively. This means enabling cultural confidence of the City Museum and Art Gallery, Wills Tower, City organisations to lead Bristol’s relations with the rest of the world, Hall, and other major civic buildings of prominence. making the most of their symbolic power. And it means building international connections through the city’s communities, following Culture’s role in place-making can also be subtle, often intangible – the routes of diaspora, promoting Bristol as a city of sanctuary and such as in the ways festivals and events help us to reimagine a openness, and investing in cultural learning activities that inspire place and give it new meaning; in the ways signage, street new generations of Bristolians to be proud of their city and its role in engineering and public art can enhance quality and legibility; or as the world. In addition, digital technology, an expanded airport, an outcome of artists working closely with planners and engineers twinning agreements with other cities, and a cultural sector and to develop places which are more sensitive, immersive and workforce which works in every region of the world, mean that the evocative. connections are there to be more extensively explored. Bristol has then, at times over its long history, embraced culture for Europe will remain a central priority for Bristol. The city is, after all, place-making. But it hasn’t always. As with many UK cities, post- European. In the coming years, Bristol, as an inclusive, trading city war planning worked as much to disconnect communities as to of culture, will need to show its commitment to collaboration, improve their living conditions and mobility. However, the approach respect and shared purpose. The city’s cultural organisations, to place-making in Bristol is changing, with a Place Directorate that universities and key businesses, are well placed to deliver the type values culture as a core contributor to the city’s distinctiveness, its of cultural diplomacy which will be required. Bristol’s role as quality and future success. One opportunity is in housing, where a international lead in the Core City Group provides an opportunity to commitment to imaginative, well-designed housing which offers a demonstrate commitment to culture-led international relations. high quality public realm, amenities which encourage citizen participation, and affordable workspace in accessible locations; is a Cultural Place-making cultural statement.

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Another opportunity is in transport and major developments, where includes Bristol City Council and partners from the cultural, new or improved cultural infrastructure can work to anchor and education and community sectors5. connect parts of the city, signage can be transformed (e.g. to include digital signage and new wayfinding technologies), public To develop this Strategy has involved over 150 conversations spaces can be serviced to be able to cater for sport, festivals and (staged as interviews), and a workshop programme which has events, and affordable creative workspace can encourage talent to played a vital role – in engaging with a wider range of people and in actively produce new culture for the city. This includes the exploring key issues in a more inclusive way. A summary of imaginative use our heritage assets – such as via meanwhile use in workshops and list of consultees is provided in Appendix 3. buildings for which there is appetite for a cultural use, or in how we invest in our cultural buildings to ensure we leave a legacy to future This Strategy is all about crossing boundaries: generations. - From the role of culture in schools to its role in generating But growth also brings challenges. This is where confidence is key new research and knowledge in partnership with the higher and a joined up cultural offer with strong leadership and a clear ask education, technology and media sectors, to how it delivers can help ensure that the next generation of place-making in Bristol those tacit skills and critical pathways which enable is one that actively connects the knowledge, skills, ideas and vulnerable people to shape their own lives. inspiration of culture. - From the role of culture in developing Bristol as a destination for visitors that generates economic value to the city, to its role in building capacity and confidence for different communities to feel part of this ‘offer’ and tell their stories as part of the Bristolian cultural experience.

- Or from the role of culture in giving texture and energy to the commercial creative industries to its role in improving the health, wellbeing and life chances of the wider population. 2. Building the

Conversation This Cultural Strategy is based on extensive interaction with the city’s culture: its cultural workforce, partners in other sectors such as education, health and business, and culturally active Bristolians 5 Steering Group Members are drawn from Bristol City Council (staff and elected Members), Wesport, VOSCUR, Watershed, Bristol Cultural Partnership, and a sample of Bristol’s from across the city. It is supported by a Steering Group which professional creative community. 11 tom fleming / creative consultancy /

pillars identified by a range of consultees at a Bristol Culture Inquiry day in late 2015 (see Appendix 2). They draw from Bristol’s unique 2.2 Three Themes cultural identity and sense of place, while challenging the city to The three themes of this Strategy are designed to connect with and think and do differently amplify the main narratives which were described through the consultation exercise. They are also influenced by the four strategic

.

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Theme 1: City of openness

The cultural sector in Bristol has thrived through its openness and generosity – it is This theme focuses on opening up cultural participation across the city through a new level of cultural relatively informal, networks are organic and the overarching sense of identity is one of partnership and leadership, through the development of capacity and infrastructure across the city; tolerance, inclusion, sharing and environmental sustainability. on a more connected city; and through a passionate plea and clear offer of cultural education and pathways into employment. As the city’s population changes, so will its culture. This brings new However, individual organisations and artists have limited capacity to reach out and voices, types of cultural practice and identity to a constantly changing ‘Bristol culture’. ensure Bristol culture as a whole is open. Plus approaches to planning and The theme also focuses on the role of culture in place-making: expanding notions of a cultural development have been too closed to the possibilities of a culture-led approach. intervention so that culture shapes our approach to sports provision, housing, transport, health, wellbeing and public space.

Theme 2: City of imagination

The cultural sector in Bristol has thrived across the city’s vivid and interactive spaces This theme focuses on re-imagining the city through culture. To deliver this, Bristol will need and places, many of which have been produced, curated and actively encouraged by to build out its lab and studio culture across the city, with smart brokerage and some quite visionary and passionate Bristolians. They have given Bristol a longstanding commissioning in trust-based environments incredibly important. The city can also be a reputation for innovation, especially in the fusion of art and science, creativity and place that champions the unlimited imagination: where, for example, disability is not a barrier technology. But do we make the most of our creative talent when we plan for Bristol’s to active cultural participation. For Bristol to be both inclusive and ambitious, reaching out future(s)? Can we position culture to fire the imagination of all our communities in all of and sparking the imagination is a necessity. This will involve championing the messy, our districts? And can we utilise culture as a resource for re-imagining the city’s marginal, radical, and avante garde. It will involve commissioning the unknown, finding new economy, its transport and housing infrastructure, and its identity? uses for heritage assets, and trusting our cultural organisations to re-imagine with their audiences and users Bristol’s constantly evolving Culture.

Theme 3: City of originators

Bristol is a city of artists, creatives and makers. Often small-scale and fiercely This theme focuses on championing the city’s originators to develop productive and independent, such enterprises fuel a creative economy where high growth technology, sustainable careers in Bristol and to open up pathways for the city’s full talent base to creative and science businesses have given the city a leading edge in the UK. Bristol’s contribute to success. It attends to the enabling conditions for creative practice, where there strengths in advanced engineering and aerospace technology, its pioneering animation is a real danger that growing inequality, increasing social fragmentation, and heightened and wildlife film clusters, and its independent and radical arts all exemplify the city’s property and operating costs will prevent the types of collaboration which Bristol thrives on. power of origination. The universities and larger cultural organisations are playing a vital It is vital that Bristol nurtures an ecosystem of diverse practice – from artists’ studios to new enabling role, convening collaboration between networks of originators, encouraging festivals, neighbourhood-based events, to internationally significant cultural commissioning. R&D and catalysing innovation and growth. But not enough originators are able to scale It is also vital that new ways of working and investing enable organisations and businesses up their activities beyond R&D and the creative economy of Bristol is not accessible to to grow so that talent stays in the city. his is to enable the city’s originators to define13 Bristol’s many originators from across the city’s diverse communities. Cultural Future(s). tom fleming / creative consultancy /

commitment of both universities to aligning institutional, civic and cultural interests; the expressed commitment of 3. A Cultural Business West and the Local Enterprise Partnership to culture as a driver for economic development; and the Framework for Bristol maturity of the conversation amongst arts organisations regarding a changing investment landscape for culture. This Strategy heralds a different approach to partnership and investment. The old certainties where the City Council operates as the primary public funder and lead body have been replaced by a - The approach to cultural leadership is positive. With the City new reality where mission critical are sharing, openness, Council’s declared commitment to culture through the Mayor collaboration and a more mixed economy for investment. What is and Deputy Mayor, with many examples of real leadership certain is that Bristol is operating from a position of relative strength: and commitment from the universities, and Arts Council England’s steadfast support for Bristol as a nationally - The economy is resilient and growing, with new jobs being important centre for the arts (e.g. via its National Portfolio created, new investment in the pipeline and a degree of Organisations and the new MoU with UWE), it is certain that confidence in spite of Brexit. Forthcoming interventions such culture will not be squeezed to the margins of policy and as the Metrobus, the proposed electrification of the main action. The city’s key arts and cultural organisations are also train line into Temple Meads, and major development sites leaders in their field, championing new ways of working in the city and across the city region – including the Temple across different art forms and unwavering in their Quarter and Filton Airfield; all contribute to a dynamic commitment to inclusion. economy and prosperous future. - The city has the raw materials: the talent, heritage, - The population is growing, getting younger and more organisations, businesses, audiences and attitude to diverse, giving the city a youthful and international energy embark on a very exciting period of culture-led city-making. and providing opportunities such as via housing-led growth. It has an economy of scale and ecology of excellence and This will also help to evade skills shortages across every innovation capable of transforming opportunities across the sector and secure audiences for culture. city and of taking Bristol to the next level in terms of its national and international standing as a city of culture. - The brand and identity of Bristol is breaking-through into the UK consciousness with some impact internationally. This is To build from these qualities and for culture to play a evidenced by growth in the visitor economy and continued transformational role in the future of Bristol, there are 6 priority popularity of the universities. intervention areas:

- The approach to culture-led partnership and collaboration across the city is, relatively at least, exemplary: the 14 tom fleming / creative consultancy /

3.1 Bristol Cultural Leadership Group - It takes guidance from the wider cultural sector through active partnership and engagement. City of openness; city of originators; city of imagination

What? A new cultural leadership group for the city in which cultural 3.2. Cultural Investment & Infrastructure organisations come together with the universities and business to City of Openness, City of Originators, City of Imagination align strategic agendas and be a clear platform for cultural partnership and investment. What? A commitment to becoming a leading city for innovative approaches to cultural investment. Led and driven by the city’s new One option is an adapted Bristol Cultural Partnership – operating as Cultural Leadership Group, this explores a range of measures the champion for culture-led city-making and the critical friend to which will increase the flow of alternative sources of finance (i.e. partners across different sectors for all things culture. non-grant-funded).

It is the accountable body for culture in Bristol and reference group Why? To transform the investment landscape for culture in a time for this Strategy. It would be tasked with developing an Action Plan of structural, political and technological change – toward a growing, for this Strategy. resilient and agile cultural sector. It will diversify and grow sources of revenue and capital for culture, enabling culture to play a transformational role for the city. And it will find sustainable Why? To ensure there is a shared cultural platform for the city; that solutions for the city’s cultural infrastructure – attending to partners know where to go to explore cultural opportunities; and renovation needs, expansion plans and gaps in provision. that there is clear leadership in times of crisis or opportunity.

Key questions to explore: - It will operate as the platform for culture-related policy and

investment agendas across the city. - How to increase the investment going into Culture in Bristol

at a time when public funding is being squeezed? - It leads advocacy and strategic engagement activities – - How to widen the funding base for cultural organisations so prioritising culture and economy, education, health and well- that they better connect with the opportunities of a more being, and planning. diverse and youthful population? - How to widen the funding the base for cultural organisations - It plays a leadership role in fund-raising and attracting so they can better connect with the wider economy, private different types of investment and partnership for culture. sector and philanthropic giving? - How to support cultural organisations to take advantage of new and emerging forms of investment including crowd funding social investment and equity funding?

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- How to support cultural organisations so that they can Infrastructure working group (to which partners are increase the investment and revenue they generate from committed) and targeting investment through the WELEP commercial and earned income stream and explore new Infrastructure Fund. business models? - How the public Sector (including Bristol City Council) can 3.3 Bristol Cultural Pathways bring use its resources and powers to unlock new revenue City of openness; city of originators; city of imagination streams (e.g. via planning gain)?

- What can be done through collaboration at a City and city What? Consolidation and growth of cultural education and region level? participation across the city – prioritising inclusion; advocating for

arts, culture and creative activities to the heart of the curriculum and Considerations are introduced in Appendix 1 – a paper which school experience (so that STEM becomes STEAM); and nurturing explores different types of investment and partnership for culture. clear pathways between cultural learning and participation into skills

development, further and higher education, employment, and Partners can explore opportunities such as: continuous development throughout working lives.

- Private sector investment – e.g. in corporate giving and Why? Bristol is the first city in England to become part of the sponsorship, equity investment in leading edge cultural UNESCO Global Network of Learning Cities, affirming the city’s organisations and creative businesses, and in-kind support strong commitment to lifelong learning. If Bristol is to flourish, then through technical expertise and space. partners will need to commit to arts, creative and cultural education. - Cultural investment through Business Improvement This is to enrich the lives of young people and build a culturally Districts (BID) and in major new developments. active population for the future via continuous access to culture and - Cultural back-office and systems: options for shared cultural education. In turn this can generate pathways for long-term services (e.g. accounting and insurance) identified so cultural participation, technical and professional development, and cultural organisations can reduce costs overall. routes to employment in the cultural sector and creative industries. - Audience and IP testbeds – collaborative R&D activities

with the university sector to unlock commercial and Priorities to explore, which would deliver on Bristol’s role as a knowledge assets across the cultural sector. Learning City, include: - Meanwhile use of property (from across the commercial

and public sectors), with astute use of community asset - Cultural and creative pathways: positioning Bristol as the transfers (and parallel capacity-building activities); and most joined-up creative economy in the UK. This would strong culture-led commitments to workspace provision in include a committed and coordinated approach to arts, new-builds. creative and cultural education (see below); the - A coordinated approach to cultural infrastructure development of clear and accessible skills programmes investment– in line with the priorities set out by the city’s which link talent to employment (including self-employment); 16 tom fleming / creative consultancy /

and a continued learning and skills offer which enables the - Bristol Plays Music (BPM) – as the national government- talent base to constantly re-skill, adapt and explore funded music hub - is delivering enormous benefit to the opportunities throughout their careers and across the city. cultural life of the city and is having a transformational impact for many harder to reach young people. It can though Vital here will be stronger partnerships that connect cultural be more readily allied to other types of cultural activity – e.g. participation, education and pathways. One step is for leading in film, performing arts and visual arts. This would offer a cultural organisations and creative businesses to work with the proposition of scale and diversity, encouraging active universities to set out their skills and workforce development needs participation in creating and making culture (e.g. singing, (based on a skills and workforce audit). This will in turn help to playing an instrument, dance and digital production); joining identify blockages in existing pathways and skills gaps which can up early years’ provision with curriculum-led cultural learning be bridged to enable a more inclusive and higher skilled cultural and skills development for the creative industries. It would sector. Other steps might include: also provide opportunities to join investment with other organisations delivering cultural education. - Science, culture and technology education pathfinders – led by a cohort of cultural and science organisations and 3.4. Districts of Culture schools that connect STEM subjects to the arts and cultural City of openness; city of originators; city of imagination sector as part of the Bristol Cultural Curriculum (see below). This will trial the convergence of science and cultural What? A city that embraces its full diversity and the transformed learning and commission scientists and artists to collaborate culture this brings. An annual Districts of Culture programme where to generate new learning tools and experiences. two districts per year feature as the ‘priority areas’ for investment and partnership from across the cultural sector (in addition to - The Bristol Cultural Curriculum (driven by Bristol Cultural normal core business considerations). This will shine a light on Education Partnership - BCEP) is an excellent idea based culture in different districts of the city, provide a platform for cross- on a shared cultural education offer for schools. Co- city cultural exchange, and enable two districts per year to benefit designed by cultural organisations and participating schools, from intensive culture-led change. this is a way of building in culture and the arts so that STEM becomes STEAM and young people can embark on a Why? To positively embrace our changing cultural landscape by pathway that links cultural participation and education to building cultural capacity and confidence – mobilising civic lifelong cultural participation and potential employment in engagement and inclusion by intensive culture-led support for cultural and creative industries. The Bristol Cultural Bristol’s districts. To celebrate the city’s diversity, its hidden gems Curriculum has scope for expansion across the city and to and under-valued amenities. To connect the city across its diverse feed directly into the research and skills development physical and cultural geography. To generate long term cultural activities of the universities. capacity in the city’s districts and enhance mobility between them.

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Districts of Culture is where partners can trial and demonstrate best to inward investment and talent attraction / retention, and ensure practice in cultural engagement, learning and skills, and the city is open and inclusive. commissioning. It is an opportunity to explore how the cultural landscape of Bristol is changing through new ways of collaborating. Why? It might involve: In Bristol place matters. This is evident in the ways senses of place are passionately and evocatively described by Bristolians of every - A touring programme from for the city’s cultural background. The places of Bristol are cultural - rippling with organisations meaning, associated with certain characteristics and continually - Inter-district residency, touring and commissioning contested. Place is a universal reference point for all citizens – activities led by each District of Culture – generating whether it be the city’s place in the UK or the world, the rivalry of dialogue between communities from different parts of the football teams from the north (Rovers) and the south (City) of city. Bristol, the psycho-geography of the city’s edgelands (such as - Cultural innovation activities in partnership with the Severn Beach, Leigh Woods or the Avon’s banks), or the distinctive universities and key organisations in health, education and vernacular of the city’s many districts. business – to trial culture-led interventions – e.g. in cultural prescribing for health and wellbeing outcomes; in workforce The city is also home to some major cultural place-makers – such and audience development; and in regeneration activities as leading arts producers Situations and the Pervasive Media such as meanwhile use cultural hubs at the heart of the Studio (which has pioneered the Playable City across the world), district(s). The Architecture Centre, and vital arts organisations which have - Cultural destinations profiling: promoting the Districts of played a transformational role in their local communities (whether Culture through Destination Bristol and Bristol and Bath these be local or communities of practice) – from Spike Island to Cultural Destinations activities. Knowle West Media Centre, to Tribe of Doris, Acta - A set of legacy commitments – to be co-defined with to St. George’s, Travelling Light Theatre to Trinity. Bristol’s communities. The importance of place is recognised at a policy level via the Place Directorate (within which the Arts and Culture team is located). This 3.5 Cultural Place-making works to ensure the city as a whole is a great place in which to live, City of openness; city of originators; city of imagination work and visit. To deliver this, it focuses on improving the quality of place, from the city centre to the districts. This includes a focus on What? A culture for Bristol place-making programme which economic development and prosperity; on inclusion and wellbeing; positions the city’s cultural sector as a resource of expertise and on planning, infrastructure and design (including one of the best art creativity which can transform the quality of the city’s public spaces, in the public realm programmes in the UK); and on culture. give energy and personality to the tourism offer, drive approaches

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The opportunity in Bristol is for each of these place-making profile cities with a ‘night mayor or tsar’. Bristol might elements to be understood as cultural interventions, and in consider a similar direction if culture is to thrive after dark. doing so value and support culture-led interventions to help improve the city as a whole. In turn this will help to build the capacity of the - Cultural tourism coordination.. Building on the work of the cultural sector, generating greater economic and social value, and it Bristol and Bath Cultural Destinations programme, will positively influence attitudes to Bristol as a place to do cultural opportunities exist for shared programming and promotion in work and as a place to live culture. Opportunities include: the festivals and events sector; cultural itineraries, and an embrace with the playful and experimental qualities of the - New ways of investing in cultural activities and cultural sector to co-produce cultural experiences across the infrastructure across the city (revenue and capital), with city. There is also a need and opportunity to more effectively clear guidelines for unlocking developer contributions (see connect the heritage assets of the city to its contemporary Section 3.2). cultural offer – via joint marketing, coordinated programming and new commissions - Cultural housing. Houses and the neighbourhoods they shape are themselves cultural interventions. Bristol can - A coordinated community offer with Wesport – the Count pioneer housing-led growth as a cultural programme. It can Sports Partnership for the West of England - aligning with also explore opportunities for a % of artists’ work-live the Wesport Strategy 2016-20: Improving Lives. Wesport’s facilities as part of the affordable housing and employment values of ‘Passion, Respect, Integrity, Diversity, Excellence’ space commitment. are of real relevance to this Cultural Strategy. Opportunities exist to coordinate activities – e.g. cultural organisations to - Night time economy review – Bristol has an incredible partner with Wesport to jointly approach schools for after- tradition as a place which nurtures strong independent school programming; a shared presence at Wesport-led scenes – for example its club scene, scene, and live community and ‘mass participation’ events; and a music scene. This is when the city is its most inclusive – coordinated approach to recruiting volunteers. intercultural, experimental, tolerant and expansive. Yet due to the pressure of development, of new communities in - Coordination in the festivals and events sector. Bristol is proximity to night time venues, and issues of anti-social a city of festivals and events. They are one of the main ways behaviour, Bristol’s current and future scenes are under the city tells its stories – about itself and to the world. Bristol threat. One option here is to audit and review the current can, with a development programme brokered by the Bristol night time economy of the city, develop a strategy for its Festivals and events Forum, consolidate, coordinate and renewal and development, and consider options to grow its festivals offer beyond its independent eclecticism. champion Bristol as a city that celebrates its clubs, bars and This can include shared skills and knowledge exchange, alternative cultural offer. Amsterdam and London are high coordinated procurement of local cultural producers and artists, and a research and development strand that cuts 19 tom fleming / creative consultancy /

across the whole festival landscape to encourage the use of and the celebration of unlimited human potential. The city’s new technologies and connection between arts, science and huge strengths in circus and outdoor arts also offer so much technology. potential in opening up the city. A re-born St. Paul’s Carnival can also, by reaching out across the city and bringing the city to St. Paul’s, and by engaging newer communities from 3.6. Unlimited Collaboration across Europe and Africa, demonstrate the city’s intercultural credentials and show that cultural participation City of openness; city of originators; city of imagination can be an unlimited in many different ways. What? A commitment to supporting collaboration, talent development and innovation with the aim to position Bristol as a - A culture for health and wellbeing platform – a priority globally recognised city for the convergence of creative and role for the new leadership group will be to set out a cultural technology, culture and science. This will include a set of pathfinder offer to the health and social sectors based on genuine R&D activities to explore the relationships between the universities shared agendas and the co-creation of opportunities for and culture, technology and creativity. It will also champion and culture-led health and wellbeing innovation and provision. support the work of Bristol’s cultural sector working in partnership This can in turn mobilise new types of partnership and with health, social care, sport and other sectors which play a key commissioning as seen in Create Gloucestershire. role in the health and wellbeing of the city. - Science, culture and technology education pathfinders Why? To open up the creative possibilities of the city to all and catalysts - a city-wide response to the ACE and UWE communities. Bristol is a leading European city for the convergence MoU on Bristol as a City of Arts and Technology. This can of arts, creative, science and technology. The arts and cultural explore opportunities to build on initial outcomes of cross- sector plays a critical role in this ecosystem, infusing the city with sector collaborations: convening collaborative research, the ideas and energy of creative originators and providing the R&D prototyping, critical discussion and cultural production in which shapes innovation as well as the atmosphere and cultural life ways that connect art and science, the humanities and conducive to talent development, retention and attraction. technology. This can be through co-located lab-based This will embed the city’s successful lab and studio culture (which is activities in cultural and education institutions, plus there is a so vital to the arts and creative sectors), within community, health, major opportunity to embed collaborative practice across the wellbeing and inclusion agendas. city – e.g. in district-based hubs, businesses and education and health settings. Partners may consider: - International positioning and collaboration. If Bristol is to - Championing organisations and programmes where grow as an inclusive and ambitious city, internationalisation Bristol is showing genuine innovation – with the Para must be a priority. This can include. As the lead city for the Orchestra and Extraordinary Bodies exemplars of openness, UK core cities’ international strategy, Bristol can and must 20 tom fleming / creative consultancy /

demonstrate openness in how it supports culture-led absolutely global in their reach and relevance. development and it must recognise its local cultures as

4) Together with regional and national partners, the Leadership Group should consider what additional sources of funding might be required to connect the Strategy to a wider set of opportunities. This means ensuring that regeneration and 4. Next Steps placemaking projects in the pipeline are fully connected to culture and that early opportunities to make a difference are Delivering this Strategy will require a joined-up and concerted effort not missed. from a wide range of partners, local, regional, national and international. The next steps required to begin implementing the 5) Because Health and Wellbeing are such important elements Strategy are: of an inclusive city, it is vital that the Cultural Leadership Group begin the process of exploring how culture can be 1) For a new Cultural Leadership Group to be established. This better integrated into the commissioning process and the may include provision for a Leadership team – of existing delivery of health and wellbeing outcomes. posts given leadership responsibility – e.g. for each of the priority intervention areas of the Framework. Opportunities 6) Similarly, because the population of Bristol is changing so for funded posts can also be explored – e.g. via co- fast, the Cultural Leadership Group should set out a policy investment from partners. and process for cultural inclusion which tests every priority in terms of how it works for the whole city. 2) Members of the Leadership Group to set out a clear Action Plan for the Strategy. This will involve consultations with a wider network of partners across the cultural sector and in other key sectors. This process will also identify further shared opportunities in addition to those outlined in this Strategy.

3) For a quick win, the Leadership Group should consider introducing some pilot or test bed activities. It should also work quickly to establish practical delivery plans for favoured interventions - e.g. for Districts of Culture.

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Appendix 1: Investment Options Paper See separate document. Appendix 2: The Four Pillars

The Four pillars of Bristol’s Cultural Future(s) were initially developed through the city’s Cultural Inquiry Day, held in December 2015. They have since been adapted to ensure they are inclusive of the key ingredients of a successful city of culture, and capable of underpinning the three themes and priority actions of Bristol’s Cultural Future(s) – which are presented in the following sections of this Plan. The Four Pillars are presented in Figure i below: Figure i. Four Pillars for Bristol’s Cultural Future(s)

Equality & Inclusion Connectivity & Talent & Learning Cultural Expressions Collaboration Cultural participation: active Cultural learning: culture, arts and Independent cultural production: an cultural lives in every district, Cultural leadership: a clear creative packaged to provide a active nurturing environment for myriad contributing to healthier, happier designated group / platform to compelling offer as a STEAM locally-driven cultural events and communities. advocate for culture and ensure agenda. festivals. culture is a priority agenda for Cultural ownership: a new era of investment and planning. Cultural pathways: clearly Exchange: of knowledge and skills, increased engagement and structured and brokered plus coordinated programming and participation which opens up opportunities for progression Cultural partnership: A strong fund-raising across the cultural sector. ownership of Bristol culture to working relationship within the communities across the city. cultural sector and between the Innovation and excellence: Cultural infrastructure: continued cultural sector and the rest of civil university and culture-led R&D, renewal and development of the city’s Cultural planning: a city where society teaching and infrastructure which physical infrastructure to facilitate culture is a key influence on positions Bristol as a leading city organisational growth, scale-up festival planning, development and design – International culture: where the for creative and digital. capacity, and generate new audiences toward excellence and inclusion in international is local and the local and revenue streams. place-making. international.

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- Children and Young People. Co-hosted by the Bristol Creative Youth Network, this very interactive workshop explored different senses of identity and place and Appendix 3: Workshops and List worked to reimagine a future Bristol which is more open of Consultees and relevant to the diverse interests of young people. Digital Creatives. Co-hosted by the Pervasive Media Workshops included: Studio, this workshop explored how Bristol delivers the

enabling conditions for creative practice and creative - Bristol as an international city of culture. This business. This included a focus on the key spaces and workshop brought together cultural and educational platforms, networks and support programmes. It also partners to explore how Bristol ‘does international’, how focused on different senses of place, aspirations for the it can do better, and how it can connect international city and ideas for improvement of the city’s creative and and local activities. It resulted in a new thought knowledge infrastructure. leadership paper which is published via @culturalbristol

- Additional workshop-style interventions. These - Culture and community value. Co-hosted by Voscur, have involved participation in previously planned events this workshop brought together people from across the – where Bristol’s Cultural Future(s) has secured a slot community, voluntary and education sectors of the city. on the agenda. This includes two meetings of the DIY It focused on how we open up cultural opportunity, Arts Network and a symposium on higher education different models for procurement and engagement, and and cultural partnerships (hosted by Watershed; alternative approaches to commissioning and produced by the Bristol Cultural Development partnership. Partnership). - Bristol as an intercultural city. Co-hosted by the Black South West Network, this workshop explored how Bristol operates as an intercultural city. It discussed the city’s incredible range of cultural activities and identified the main challenges to and opportunities for diverse cultural practice to flourish.

- Bristol’s Festivals and events. Co-hosted by Bristol Festival and Events Forum, this workshop explored how the sector can grow, diversify, innovate and play a more strategic role for the city.

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List of Consultees

Neil Beddow Acta Bristol Helen Tomlin Acta Bristol Executive Director Jody Cook Acta Bristol/Stoke Park School (Drama) Drama Facilitator Annie Mentor Africa Eye Film Festival Board Member Jess Zausmer Afrika Eye Film Festival Organiser Pip Rush Arcadia Creative Director Christine Davis Architecture Centre, Doors Open Day, Family Arts Festival Kate Brindley Interim CEO Helen Davies Arnolfini Head of Finance and Operations Rosenberg Gaia Colorni Arnolfini Press Alice Tatton-Brown Artist - Interval Resident Theatre Phil Gibby Arts Council England Area Director Jaswinder Singh Asian Arts Agency Director Nicole Bullock At-Bristol Marketing Lina B. Frank Audform Director, Executive Producer Benjamin Woods Bath & NE Somerset Council Group Manager for Economy and Culture Mina Drobna Black South West Network Project Manager Sado Jirde Black South West Network Director Adam Rees Bristol Ageing Better Director Hannah Clark Bristol Biennial Co-Director Lerato Dunn Bristol City Council Arts Development Officer Elise Hurcombe Bristol City Council Arts Development Officer Melissa Inman Bristol City Council Arts & Events Manager Laura Jones Bristol City Council Arts Development Assistant 24 tom fleming / creative consultancy /

Barra Mac Ruairi Bristol City Council Director of Place Esther Mars Bristol City Council Events & Film Avril Marshall Bristol City Council Transitions Information Co-ordinator Shelly Nania Bristol City Council Service Manger - European & International Lynn Parfitt Bristol City Council Health Improvement Practitioner:Public Health Jane Porter Bristol City Council TBC Laura Pye Bristol City Council Head of Culture Marvin Rees Bristol City Council Mayor Alistair Reid Bristol City Council Service Director - Economy Aldo Rinaldi Bristol City Council Senior Public Art Officer Amanda Sharpe Bristol City Council Arts & Events Victoria Holden Bristol City Council Arts & Events Zoe Walmsley Bristol City Council Arts & Events Arilda Tymko Bristol City Council Arts & Events Jackie Winchester Bristol City Council Mark Pajak Bristol City Council Head of Digital Philip Walker Bristol City Council Head of Engagement Shona Dunning Bristol City Council Records Manager Victoria Harding Bristol City Council Museum Development Manager Zak Mensah Bristol City Council Head of Transformation Kye Budd Bristol City Council Councillor Estella Ticknell Bristol City Council Deputy Mayor and Deputy Leader of Labour Group Philip Walker Bristol City Council Head of Engagement Amy O’Beirne Bristol Cultural Development Partnership & Festival of Ideas Project Coordinator & Researcher Bristol Cultural Development Partnership and Bristol Festival of Andrew Kelly Ideas Director Amanda Edmonson Bristol Cycle Festival Director Anna Farthing Bristol Doors Open Day & Cary Grant Festival Producer Louisa Fairclough Bristol Experimental and Expanded Film Experimental & Expanded Film/Sound 25 tom fleming / creative consultancy /

Sam Francis Bristol Experimental and Expanded Film Experimental & Expanded Film/Sound & Music & Visual Arts Liz Harkman Bristol Festivals Executive Director Claire Ladkin Bristol Food Network Director Paul Appleby Bristol Media/LEP Chair Gail Boyle Bristol Museums, Galleries & Archives Senior Curator Ray Barnett Bristol Museums, Galleries & Archives Head of Collections & Archives Valerie Harland Bristol Museums, Galleries & Archives Head of Development David Martin Bristol Museums, Galleries and Archives. Operations Manager Louise Mitchell Bristol Music Trust Chief Executive Emma Bettridge Ferment Assistant Producer: Emma Stenning Bristol Old Vic Executive Director Tom Morris Bristol Old Vic Artistic Director Phil Castang Bristol Plays Music Head of Bristol Plays Music Siggy Patchitt Bristol Plays Music Education Manager Daryn Carter Bristol Pride Director Eamonn Kelly Bristol Radical Film Festival Founder Timothy Corner Bristol Regional Environmental Records Centre Manager Anna Starkey Bristol Science Centre Creative Director Phil Winfield Bristol Science Centre CEO Kate Newnham Bristol's Museums, Galleries and Archives Senior Curator of Eastern Art and Culture James Durie Business West Director of Bristol Chamber of Commerce & Initiative Janie Chesterton Cabot Learning Group Director Robin Peters Circo Media Projects & Development Manager Nicolas Young Circomedia Managing & Artistic Director Geraldine Giddings Cirque Bijou Business Development / Producer Robin Hambleton City Leadership/Centre for Sustainable Planning and Environment Emeritus Professor Sue Giles City Museum and Art Gallery Senior World Cultures Curator Bristol Richard Jeffrey-Gray Clifton Festival of Music Chairman Lesley Lee Clifton Festival of Music PA to Artistic Director 26 tom fleming / creative consultancy /

Kimberly Rogers CoExist Director, operations Mansger Rosa Corbishley Colston Hall Development and Marketing Kate Rowland Colston Hall Head of Development Pippa Jones Create Gloucesteshire Development Director Derek Pickup Creative Youth Network Estate Development Director Nick Young Creative Youth Network Creative Director Sandy Hore-Ruthven Creative Youth Network CEO Emily Bull Creative Youth Network Creative Producer Kathryn Davis Destination Bristol Head of Tourism John Hirst Destination Bristol Chief Executive Martin Pople Destination Bristol The Bristol & Bath Cultural Destinations Project Manager Becky Chapman Diversity Executive Director Frances Kelly EBC - East Bristol Contemporary Arts/Exhibition Alice Cabanas Encounters Festival Director Rich Warren Encounters Festival Director Rich Warren Encounters Short Film and Animation Festival Festaival Director Nick Sturge Engine Shed Director Ruth Hecht Exhibitions and Events at Bristol Museums, Galleries and Archives Senior Officer Savita Custead Chief Executive of Bristol Natural History Consortium Jo Bushnell Freelance Independent Community Researcher Eugene Byrne Freelance Writer/Journalist Bertel Martin Freelance Michael Tew Freelance Artist Theatre Edson Burton Freelance Artist Writer, historian, programme-curator Suzanne Heath Frelance Project Manger/Curator Public Realm Stephen Barnes Future DiverCities/Superact Artistic Director Jim Hodgson Hartcliffe & Withywood Community Partnership Neighbourhood Partnership Manager Helen Cole In between Time Company Director Kate Ward In Between Time Executive Director 27 tom fleming / creative consultancy /

Kate McIntosh In Between Time Edwina Benford Independent Judith Davis Independent Nick Dean Independent Tessa Fitz John Independent Public Realm Ismail Fozia Independent Malik Vandna Independent Lisa Whitehouse Independent Julian Warren Independent Sculptor Nod Knowles Independent - Bristol Plays Music (YM Strategy) Consultant Luke Emery Independent Creative Producer Theatre, Performance, live art, site specific, events Theresa Bergne Independent Producer Independent Producer

Tessa Jackson Independent Writer, curator, cultural advisor Visual Arts Jo Bannon Interval Resident Live Art/Performance Rachael Clerke Interval Resident Live art/performance Colin Gorrie & Blues Fest Co-founder Carolyn Hassan Knowle Media West Centre Director Martha King Knowle Media West Centre Arts Producer Melissa Mean Knowle Media West Centre Head of Arts Programme Debbie Wills Linkage Operations Manager Danny Prosser Massive Owl Co-Director Arts/Theatre Matthew Austin Mayfest Artistic Director Kate Yedigaroff MAYK Co-Director Michael Earle ME Ltd Noha Nasser Mela Social Enterprise Founder Finn White MShed Engagement Officer Gaie Delap Palestinian Film Festival Alix Hughes Palestinian Film Festival Director 28 tom fleming / creative consultancy /

Alison Sterling Palestinian Film Festival Director Jonathan Harper Para Orchestra/No Boundaries Executive Producer Victoria Forrest Pervasive Media Resident Graphic Design/Book Publishing Charlie Harman Pervasive Media Resident Cinema Charles - Producer Louise Hebson Pervasive Media Resident Project Manager - Calvium Simon Johnson Pervasive Media Resident Game Design Tom McDonagh Pervasive Media Resident Interval - Theatre Maker: Light/Shadows Tom Metcalfe Pervasive Media Resident Product Interaction Design Simon Moreton Pervasive Media Resident Researcher - Creative WorkingUWE Rosie Pobright Pervasive Media Resident Interactive/Embodied Stories Sabrina Shirazi Pervasive Media Resident Visual artist focusing on colour, food Duncan Speakman Pervasive Media Resident Artist at Circumstance Jen Stein Pervasive Media Resident UWE Professor of Media Arts - Ambient Storytelling Rachel McNally Puppet Place Executive Producer Katy Noakes Re-Staged Arts Professional Alex Drozd Re-Think Support Worker Dominik Ljubic Red Fest Organiser Jak Boyden Redfest Event Health & Safety Manager Ben Hardy REM ( Festival and Balloon Fiesta) Operations Director Shamil Ahmed RIFE & Independent Filmmaker Matt Little RIO - Real Ideas Organisation Co-founder of RIO, and Head of Impact and Research Alison Bevan RWA - Royal West of England Academy Director Sid Sharma Shambala Festival Co-Founder Sheila Hannon Show of Strength Director Marcus Brown Signifier Director, Head of Strategy Jake Applebee Simple Things Festival Organiser Tom Simple Things Festival Organiser Claire Doherty Situations Founder Director Jenni Parkinson Soundcastle Creative Facilitator 29 tom fleming / creative consultancy /

Vince Baidoo South Blessed Director Janet Pritchard South Bristol Group Unlocking Potential Co-ordinator Lhosa Daly Spike Island Deputy Director Helen Legg Spike Island Director Lizzie Watson Spike Island Assistant Curator Christine Doel SQW Consultancy Director Matthew Tanner SS Great Britain Chief Executive Suzanne Rolt St George’s Chief Executive Trish Brown St Georges Bristol Events & Operations David Apuuli Morag Massey STF Theatre Producer Gareth Simons Stoke Park Schools Headteacher Mike Pony Submerge Festival Director Ursula Billington Superact Project Manager Matilda Kay Superact Junior Project Manager Richard Jones Tangent Books Publisher Sophie Bowden Taste Chocolate Festival Festival Director David Pyne Taste Chocolate Festival Tom Paine Team Love Partner Dina Ntziora The Island Project Manager Ravi Pandya The People's Cultural Palace Campaigner Sarah Kingswell Theatre Bristol General Manager Mel Scaffold Theatre Bristol Co-director Jo Bligh Thorny - Performer/Producer Music/Theatre Club Night Lauren Scholey Tobacco Factory Arts Trust Executive Director Mike Tweedle Tobacco Factory Arts Trust Artistic Director Jude Merrill Travelling Light Theatre Artistic Producer Ali Sully Travelling Light Theatre General Manager Rachel Achol De Garang Tribe of Doris Outreach & Arts Development 30 tom fleming / creative consultancy /

Deasy Bamford Tribe of Doris Co-Director Bryan Richie Tribe of Doris Emma Harvey Trinity Arts Centre Manager Rhiannon Jones Trinity Arts Programme Manager Julz (Julian Davis) Davis Ujima 98fm/St Pauls Carnival External Relationship Manager Madge Dresser Honorary Professor Catherine Littlejohns University of Bristol Senior Curator of Social History Judith Squires University of Bristol Pro Vice-Chancellor Guy Orpen University of Bristol Deputy Vice Chancellor Alice Maltby University of Bristol Botanic Garden Marketing and Publicity Officer Stacy Yellans Up our Street Manager Stephen Hayles Upfest Founder & Gallery Owner Helen Lewis UWE - Univeristy West of England KTP Project Manager Partnerships Project Manager Faculty of Arts, Creative Industries & Alison Davis UWE - University West of England Education Jon Dovey UWE - University West of England Lead REACT Programme Marie-Annick Gournet UWE - University West of England Roger Griffiths UWE - University West of England Louise Jennings UWE - University West of England Associate Dean - Strategic Partnerships Vice-Chancellor, President and Chief Executive Officer for UWE Steve West UWE - University West of England Bristol Helen Farmer Voice by Volume/Bristol Urbanistas Founder/Director Ruth Pitter Voscur Equalities & Development Zahra Ash-Harper Watershed Studio Producer Rachael Burton Watershed Network Producer Jo Lansdowne Watershed Creative Programme Manager Clare Reddington Watershed Creative Director Dick Penny Watershed Managing Director

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Steve Nelson WeSport CEO Lucie Muir Wild Screen Director Monique Jivram Willis Newson Project Manager Jane Willis Willis Newson Director Anna Ralph Windmill City Farm Cafe Manager Jazlyn Pinckney Wyldwood Arts

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