The Black Country Funding Network for Arts & Culture – Partnership Funding

Unknown: So Hello, everybody, I’d like to warmly welcome you to this session about partnership fundraising, which is hosted by Creative Black Country and part of the Black Country business, first of all, so we’re going to be having some discussions today about working in partnership and partnership funding. And is it the way forward? And if so, how do you go about it? And what are the considerations that we need to think about if we’re, if we’re going into partnership, fundraising. So the format today is we’re going to have a couple of opportunities for discussions in breakout rooms, we’re going to look at some three case studies and real examples of different partnerships and how you might build a partnership or consort here. Some of us in the room may have been really, really experienced at working in partnership this way others might be new to it. But if even if you’ve done it before, there were different considerations and it seems that every partnership is different So, um, I would like to introduce you this morning to my two co hosts And we have Heather Clark, give us a wave haver And Heather’s to the manager of strategic project funding in Wolverhampton Council. So she’s going to share with us some of her experiences And we also have some hope, who’s Wolverhampton cultural compact champion. He was the wave, Sam, thank you And it’s great to have your input. So I’m going to ask Heather and Sam to introduce themselves and give us a bit of context as well. Over to you, Heather. Hi, I’m Heather Clark I am the strategic projects and funding manager at the city of Wolverhampton Council. And we recognise the importance of attracting external funding to deliver the city’s priorities And in particular, the relighting the city strategy, which is our recovery strategy We’re quite a small team. So we tend to get involved in leading bids when they’re large strategic partnership beats However, we’re quite happy to work with local partners around signposting and also being a critical friend. For smaller scale beds and walls. wals really recognises that it’s got significant strengths and opportunities around culture and culture can play a far greater role in some of the economic growth and the regeneration of the city. And it’s particularly important in terms of it will be particularly important in terms of supporting the recovery and developing those vibrant high streets and economic growth. So it’s really important to us, and that’s why we’re very keen to work in partnership with cultural partners Thank you and Sam. Hi, yes, I’m Sam hope Good to see you friends in the room and hopefully, new friends, and I’m a cultural compact champion for Wolverhampton. The cultural compact came out of the cultural cities inquiries report in 2019, where there was analysis done on what made successful cities and what made culture and cultural organisations and creative industries sustainable. And from that, there was a recommendation around introducing cultural compacts to cities across England. This intervention has been supported by Arts Council England, and a number of compacts have been set up and are at different stages across England. And also they have a slightly different emphasis depending on the nature of the of the cities that they represent in Wolverhampton we very much have an emphasis on regeneration and economic growth and the importance of culture within that link to visitor economy and obviously linked to jobs and creative tech and technology. And we’ve got a wider cultural stakeholder group, which anybody here who is from Wolverhampton or Black Country, please do get in touch if you want to join and we also have a Steering Group. And these two groups feed into each other

Also, during lockdown, the West Midlands cultural Response Unit was set up by culture Central And many of you may already be aware of this, I’m on the steering board for that, and also leading a West Midlands compact plus network so that links of the compacts across the West Midlands, but also wider networks because some towns etc, don’t necessarily qualify for the for the compact, but they already have networks in place And so this wider group is looking at opportunities that might arise, particularly within cultural and creative industries funding and linking into bodies such as West Midlands combined or authority. And also local reps Thank you, Sam. And, and I, we’ve got a question in the in the chat firm RGN, about about getting involved. And we are going to share some email at the end. So So Bob will come to that. And and I just wanted to introduce the funding network, I can see we have a few people who’ve joined us on the previous two sessions, as it’s great to have you back along, but also lots of new people as well, new faces new friends. And so they’re that country, funding network for arts and culture has recently been set up. And we it’s hosted by Creative Black Country, we had a small amount of funding from the arts, fundraising and philanthropy scheme for virtual networks during this kind of strange time that we find ourselves in And we’ve had two sessions already just looking at just looking at what’s happening now the current situation and how we might be thinking about the future. And if you I can send out the links for those sessions, if you want to have a look at there’s a recording, and also the slides are available to anybody who who couldn’t join And their role or their network really is to join up and connect people in the who are working in the Black Country or living in the Black Country. And they have ideas. They’re either a creative organisation, they’re artists, or they have some creative activities, part of them a part of their services. And it’s just really to have a coordinated approach to funding and fundraising, so that we can try and avoid duplication. And so we’re not fight competing for funds, you know, actually is it better if we work together. And so we’re trying to encourage collaboration, but also losing some of the secrecy around fundraising and their competitiveness, because we want to just bring in more money to the region really, and, and to, to grow ideas and connections put people together. Because even though it’s quite a geographical spread, we were Sandwell Warsaw, Dudley and Wolverhampton And it might be quite a small area in, but it’s also quite a large area that you might not be aware of all the groups and different artists that are working. And we do have it just it’s such a creative region. And so there’s lots and lots of people to, to put you in touch with So that’s a little kind of introduction and context from from our point of view. So I’m just going to share my screen again, and just talk about partnerships. So that so these are these are the people who are contributing today, me and Sam, and we will have email details at the end. And so just wanted to talk a little bit before we started about partnership and what it means. And I found this little definition, which is partnership working refers to a broad range of actions and can easily be defined as two or more groups coming together to achieve a common purpose. It’s not necessarily a 5050 Division of power or financial literacy sponsibility, but there’s always some degree of spreading control

or influence, I thought that was quite an interesting thing just to think about as well about the different types of partnerships And that it might not be 5050, you know, might be a small partner, we might be a lead partner, and that the spreading of controlling influence is a different way of thinking, it’s not just you is how do you share? And what does that mean, when you are spreading that control and influence? And then what kind of partnerships I do, how do we define a successful partnership? I mean, these guys, and a successful partnership, they’ve been going for, you know, quite a while they seem pretty successful to me, and, and the guy’s been from the north, and a lot probably lasting longer than, you know, most marriages And, and then it says, also surprising partnerships aren’t there that you don’t imagine people things to go together very well. And, and this example, from nature I just really liked. It’s an Egyptian crocodile and a pullover bird And the you would think that the birds would be slightly brave to put itself into the crocodile’s mouth, but the bird picks out all the little bits of food from the crocodiles teeth. So it’s a partnership of mutual benefit The polar bear gets the food and the crocodile gets his teeth cleaned. So surprise that sometimes you don’t imagine things to get together and work in a partnership. But actually, they do So we’re going to start our first discussion group, and we’re going to split it into breakout groups, one of us so either myself, Sam, Heather, or Rosalind will be with you in your group. And we’d love it if some from the discussions if somebody else from the group reports back just so that we’re hearing different voices and opinions today. So we’re just looking, first of all at the hallmarks of a good partnership, what what are they? Do we consider? And what could you or your organisation bring to a partnership? So when you’re thinking about yourself, are you a venue that’s looking for performers? Are you an art or craft maker that’s looking for a space to exhibit? Are you something really niche that you can bring that other people might not have? So and if Rosalind, you can work your magic, and put us into breakout rooms, we’ll have that discussion, and then we’ll be back in a moment Who was great one, I can’t remember. Is it Sam or her this group? Have a so Heather Gee, what do you view or the person? You’re your representative? You’re on the agenda. Yeah. Ian was going to feed back from the hospital. I got a feedback. Yes, I’m, here I am. Hello. Um, we came to the conclusion that one of the most important things was clear. Communication, working partnerships. Also space to play was important for us, and creating something that’s bigger than the sum of its parts That’s the phrase I was trying to get to in the conversation we had bigger than the sum of its parts. Also, Terry mentioned, I think, clearly defined objection, objectives, and creating something in which both parties benefit Is that a fair appraisal of what we said Heather and everybody else? Yeah, yeah. Yeah Brilliant. Brilliant. Who was who was breakout room too? Is that Sam? Yes, that’s, that’s me. Yes. Funny, we came to the same conclusion with regards to the some some of the parts being you know, greater Zoe, is going to talk on our behalf. Hello. Um, so yeah, very much building on what you were saying about getting something as the as the purchase as bigger than the sum of its parts. But we also talked about the importance of having different perspectives and how useful it is to make sure that you have other people to kind of bring to what you’ve been doing. And within that, how important it is to identify skills really early on to make sure that you’re having those conversations to make sure that you’re including people that do come from different backgrounds and will be able to bring different opinions to the table, we talked about how, or Neil specifically talks

about underutilised people. So people, for example, on box office or in front of house that may have skills that aren’t being utilised. And the importance of having really deep conversations with effective listening, I think is part of it, but to ensure that you have truly identified what’s on offer, and what it is that you have to work with, and to set things up from that foundation very early on Great, thank you. So we are with your point number three wrestling, it was I’m afraid I had to pop out of the room. So I’m, I’m not sure who note took in the end of room three. But if you’d be happy to share your name and your thoughts, please It was me So, again, there’s people have kind of a Venn diagram in terms of people saying what we’ve kind of come to bear in terms of things that haven’t been highlighted and what makes her What are the good hallmarks of a partnership is ensuring that the partnership is future proofed So that idea of once a project is an initial project with people involved is created that the ability to come back to those people once more for recurring projects, recurring works really important, I made the I made the point that I think the construction industry has parallels in that respect with the creative industry in the sense that, you know, one of my things is you should always know a good builder, you should always know a good cluster, you should always know a good plumber, and so that you know all those people with all the skills you can rely on. And once you’ve known that, that is future proofing I think the idea of clarity of communication from the outset as well, I think if you if you’re going to be holding things back for whatever individual reasons that doesn’t make that doesn’t lean towards the hallmark of a good partnership, you’ve got to have that clarity of communication in the Great, thank you, Thomas. And chameleons going to feed back from group four. Thank you So, so we talked a bit about each partner, being transparent about what the expectations were And being honest about those things upfront that partnerships need to be based in a real need to do something that perhaps times without bigger than the sum of its parts, rather than just it would be nice to partner with someone You know, there’s got to be a task that the partnership is engaged in beyond itself We talked a bit about how partnerships can sometimes become too complex and unwieldy So they need to be fleet of foot unable to respond to changes and developments in the work. I think most of our other points have probably already been covered Yes, thank you very area, we talked about that authentic nature, partnerships, and how actually you can’t kind of shoehorn something, it doesn’t tend to work as well, it needs to be authentic. And there was already I don’t know if that happened in the other breakout rooms, but already people kinds of connecting, or you can see how that connection can happen And oh, yes, we missed the chat afterwards. So um, so I hope that’s happening for you guys in in your rooms as well. So, um, thank you very much for your for your input onto that. And, and if we want to get in front out, we’re kind of almost halfway through, we’re just going to do some little case studies. So we’re just going to take if you want to do like a two minute comfort break, and then come back. Is that okay with everybody. So what we’re going to do now is just have a little kind of five minutes each. And like example, case studies, real examples of either current or recent partnership projects that are taking place. So I’m going to kick that off actually And so I’m just going to set my slide and start with some really good news And everybody hope everyone can see that. And so, I’m just going to talk a little bit about shine a light project, which was We have just gonna say we CBC and some other partners have won

an award for 200,000 pounds for the next three years. And it’s a collaboration between spirit of 2012 and Birmingham 2022 to get the right dates there. So it’s them is Creative Black Country, and we’re working with the Deaf, some deaf community partners, and some of the artistic partners as well. And there are deaf scope. Deaf Explorer, dash, which is disability and consult are going to act as our disability consultants, and Black Country touring, as well And, and the shining light is a working title, because we’re hoping to shine a light on the Black Country during the Commonwealth Games and the 2022 cultural programme. And it’s a performance and film project And like I said, we definitely disabled and non disabled groups And this came about and through the way that Creative Black Country works, so it started from a seed idea. So we’ve been working with some deaf artists And they were talking about, we’ve been lovely to do a project where we kind of try and build bridges between the Deaf and the hearing world. And, and, you know, work together creatively, but we didn’t have any money. So along came the spirit of 2012, which is, it’s a legacy funder from the Olympics And they announced the West Midlands challenge fund In collaboration with Birmingham 2022 I don’t know whether anybody else looked at this fund. But when we looked at this spend, it was called the challenge fund, because it was quite a challenge to apply in time. And it needed to work to have a creative partner you needed to work with disabled partners, you needed to link with the Commonwealth theme, create work that coincided with the cultural festival in 2022 And yet very tight turnaround to get your expression of interest in so that was the challenge Plus the fender is a quite a specific Fender, they’re an outcomes vendor, they’re looking for certain outcomes as part of a part of the firm. So it was just it was quite a challenge to get it all together in the in the short timeframe. But the advantage that we did have is that we already had those partnerships, and that that link at that grassroots level. So we had the ideas, and we have the relationships. So it seemed doable. So we kind of built it from the ground up. And we looked at what else other partners we might need in order to, to be able to deliver. And we did our expression of interest We got through to the second round and went into we went into lockdown And so we were put on zoom with, which was also quite a challenge. We then had our Deaf partners, and interpreters, and all of us we all have to go through that stage didn’t we’re learning all this new technology. And this is the new way we’re going to work with interpreters. And yes, so that was so that just it made the process also a little bit more complex And when we kept the communication going, we kept it going That because we were communicating with different you know, there was almost a language barrier because that deaf, some of our Deaf partners are BSL sign so that we found that some of the written communication sometimes was lost a little bit So we really had to reinforce that and have these kind of live face to face talks as much as we could. And we developed an accessible consultation tool to because we have to demonstrate demand for the project. So we have to build on that and the funders will very supportive, because the the application process was quite

complex. So we were assigned a person from the funder, which was really nice. So that we could ask questions we could go, what do you mean by that? What do you want by that? Could we, you know, is this what you’re looking for? They couldn’t comment on the on the content of the application. But they could say, we could say, actually, does this budget, you know, does that make sense to you? Is this the kind of thing you’re looking for? So that was really helpful And because it was quite a beast of an application. And it went off with 12 supporting documents and reports on top of the actual application. And so we weren’t successful at second stage, which is brilliant. So on one of three organisations, where the other organisations is Coldfield, working with children and young people and Warwick Arts Centre. So it was quite a competitive, firm. So we, previous to this meeting, we’ve just had our first partner meeting since finding out we’ve got the funding. So now the work really starts, as well. But in terms of our learning, it was definitely about time and allowing that time and having that patience to work with all the different partners and wait for what you put out for some information, you need to wait for that to come back in order to get the application kind of built. And you need to share it, you need to wait for comments, then you have to amend. And we set our own deadline ahead of the deadline. But this is something that I always do. And it was a Monday deadline. And I did not want to be working through the weekend. So I set myself a Friday deadline. And we were like we will have you know, it also just gives you time to if anything does go wrong. But we we sent it in on the Friday And yeah, absolutely what we were saying before about communication being key. And the part we had to set up a partnership agreement is for the funders to send a draft draft one off with the application And that I think these are really important And also needs to be kind of set out from the start. And we the partnership agreements kind of sets out the essence of this is, you know, this is the kind of culture that we want to this is how we want to work together And everyone needs to sign up to that. And then we also have like individual kind of contracts or individual agreements with all the different partners that is the nitty gritty, this is who this is what you will deliver, when and for how much. And so that was like done an individual. And that’s actually being able to be being done now But if you want to, if you if you’re interested in you kind of need a partnership agreement, there are templates that you can use. And also wherever you’re based in the Black Country, you have a council of voluntary service. And they if you get in contact with them, and you can do that through me Or you might have direct contact already. But they also should have templates and be able to help you with that kind of thing if that’s what you need. And the budget. And the other thing is that just something to bear in mind We were the leader but sick CVC was the lead organisation However, we are not getting the 200,000 pounds, 200,000 pounds is going out to all our partners, it’s coming in and going out. And in fact, and we’d still need to fundraise for a later part for the actual performance part. And it’s just being aware of how much time it takes making sure you put in your time for the work that you’re going to do on developing the application and then managing it when it comes through. And I think sometimes that gets lost. So just something to think about. But, um, so I’m hoping that this is the kind of project that and seed thoughts that we can do through the funding network. And this would be a kind of example of how how we can work. If we can connect and you know, we and have those friends have those people that we Do all those different roles and can add different elements to a

partnership, then when the tight deadlines come through, you’re kind of already starting on the journey, you’re not trying to get it together or at the last minute. And that really helped us I don’t think that we could have, we could have been successful with this if we didn’t already have those kind of seed ideas. So that is just something that I would take away from from that. So I hope that’s slightly helpful. And I’m going to pass over to Sam now who’s going to talk to us. So and then and then to Heather, and then we’ll have some discussions if that’s okay. Just going to set up the slides for you, Sam Well, thank you, Yvonne Great, looks like we’ve got it Thanks very much, Yvonne, for for that I agree with a lot of what Yvonne has already been saying about the the partnership, working in the way that she’s gone about it with regards to their recent wind, which is a fantastic news for Wolverhampton and Black Country. And before taking on the role of cultural compact champion, I was associate dean at University of Wolverhampton and I was asked today to talk a little bit about international perspectives of project working. And I’m taking, for my case study a suite of projects that fall under the banner of sign media I first one signed media project in 2009, and was principal investigator of that project And this was an Erasmus Leonardo project at the time, which has since moved now to Erasmus plus strategic partnerships. And the purpose of the Erasmus funding is very much around collaborations with impact towards knowledge exchange of vocational skills and training And the consortium was set up across Europe, with partners and the project was about it was a creative industries project. And it was around developing online resources for Deaf media professionals. And through our research, we we found that a lot of the feedback we were getting was that there were glossaries, etc, available, but not with a specific or specific vocation or profession in mind, so we set about developing this and also there were barriers around prediction paperwork, as Yvonne touched on that sign language users and it’s a very different grammatical structure, and therefore can often struggle with written text. So again, the the work was based around about sort of production paperwork. So there was a need, which I think is something that Trevelyan touched on earlier from his group, there was a definite need. The consort here, consistent consisted of higher education provider, which was University of Wolverhampton but also in Australia as well. There were charities and businesses also involved. And as the project grew, because it became a suite of projects, we expanded. So we built on that core consortium and then expanded to include other countries. As you know, Yvonne said it takes a lot of time or it can take a lot of time to build a consort here, particularly in those first instances. So, you know, if you are able to build beyond the project, then a lot of that groundwork is done and it’s so much easier than to bring in new partners. So the actual project itself, the initial project delivered a very innovative programme, game based activity And, as I said device designed around Deaf media professionals across Europe So Iran if you’d like to switch the slide, please

So yeah, what was what was interesting about these projects, it was that combination that range of stakeholders, which did involve deaf and hearing participants And, and as Yvonne was saying about, about their project, obviously, taking, that needs to take into consideration those different languages. And in our case, you know, we had the different native languages spoken, but also the different native sign languages, because each country has a has a different, a different language And so that can make it quite complex. So, you know, it’s literally in the case of this particular project, but also in general, take into account, if you’re working across sector, for example, that you know, language is used can be can be very different. So it’s taking that into consideration as you’re, as you’re building your consort here, as well, what was really good as well as to have commercial partners involved. And I think, again, that can bring a different perspective. So that worked really, really well. And those link local links into your communities, but also maximising the impact and working with, for example, in Wolverhampton, we’ve got deathfest International Film Festival. But we were also involved in festivals in Europe, as well. And the emphasis on skills and training the social and economic benefits, it’s really important to to talk about those within your applications, the you know, the the wider impact And I think what was really great about these particular projects was that there was a snowball effect, so that, you know, one project led to another because of user feedback and more needs that were identified. And there, therefore, there were other opportunities to, to create really great innovative work, technological changes, that was another thing that, again, move the projects on. So, you know, we went from the original sign media to assign media smart, which was a glossary on mobile using mobile technologies, so that people could use it on location, they could use it in pre production, post production, and then expanding that into a blended approach. So training and, and those opportunities, and then into a different area Because obviously, with creative industries, a lot of people are either micro or small businesses. And so it was that expertise then for sign major enterprise, which is around, you know, how you how you go about setting up and running your business. So we were able to build on the expertise of the consortium, and it created this multiplier effect. And, and as I said, you know, the technological developments, also, you know, move the project along. And I was asked to go and advise that EU EU parliament in Brussels around platforms for democracy and voting opportunities for deaf people. And we’re also nominated for the major in Education Awards, which is a prestigious award ceremony in in Europe. And if you’d like to move on, please, Yvonne Yvonne, can you change the slide, please? Great, lovely, thank you. Um, so yeah, I just like to touch on on a few few tips really around taking the lead because the university was lead organisation, and has been now the most recent projects have only just finished this year And it’s quite a responsibility, obviously taking on the lead And as Yvonne was saying, it’s great if you can set up those relationships even before the funding comes along. I mean, that’s the ideal is to have friendship before funding. But that’s not always possible. We know that and you know, sometimes you have to bring people in because you’re missing that bit of expertise. But hopefully through your networks or through your partner’s networks. You can find those people I mean, we have one really great partner who was originally

subcontracted to one of the projects who then became a partner. So, you know, there’s, there’s ways of finding partners as you go through through the projects. And, and as we were talking about earlier, you know, what is it that you can bring to the party, and, you know, who’s who’s, who’s bringing what, and what’s missing, you know, yet there has to be, you know, a need for those people to be in the, in the partnership. And that’s really, you know, really important, but we also in our group, earlier, we talked about those other skills that might not be your actual practice, that you might also be able to bring, so example, you know, marketing or social media skills for, you know, for dissemination, and they and those other activities that you have to do on the project. So, you know, bear that in mind as well, that’s something else that you could bring to bring to the table. And cooperation, obviously, we spoke a lot about this in the groups Didn’t we that two way development and building on people’s strengths That’s really key. And that communication, you know, clearly set out partners responsibilities, and structure, clear structure of the project, whether that’s working in work packages, you know, allocating days, you know, where, where your Gantt chart, where you expect to hit certain milestones for that, for those particular strands of work, you know, they, they, those things will change, but at least you can monitor where things are and pull things back, allow time for piloting, and an audience user testing where you can, because that’s really critical. I’m mentioned about language and the cultural differences, obviously, in the, in the project I’ve just spoken about that was very literal. But you know, if you’re a cultural organisation, and you’re talking to, you know, an engineering business, then you’re going to have very different approaches to things. So it’s just thinking about those cultures, and, and the kinds of language when you’re dealing with those, you know, those different maybe industrial sectors, but also cultural differences, when you’re working with different communities. It’s, you know, it’s, it’s making sure that you’re sensitive and open to that. And, and also people are at different stages, not, you know, some partners really need nurturing, they may not have worked in this way before. And sometimes, you know, you have to pick up the pieces that they if they aren’t fulfilling what they’ve been asked to fulfil, and if you’ve had, you know, those very open conversations and very transparent relationships, sometimes you have to do is lead have difficult conversations. But those difficult conversations are so much easier if you’ve had those relationships, because the trust is there. And if people trust, then then you know, then that you can have those those difficult, open conversations and be flexible, you know, things do change in projects, they always do. The creative problem solving is really key But within the consortium, don’t you know, as lead, you know, it’s not about trying to solve all those problems yourself, it’s working with, with your team with your consortium to solve those problems in the best possible way. And sometimes, you know, some of those responsibilities may need to change. And, you know, you might need to move a few of the pieces of the jigsaw puzzle around. But you know, nothing is insurmountable. And you can always always solve these problems. And together, that’s always easier Avoiding the project creep, I think, you know, obviously, having those clear objectives really helped you to do that And so just keep bringing people back to the deliverables But you know, it’s fine to have those conversations and get excited about another idea because that other idea might be that you bank that and you save it for another project, you know, on your project, you don’t have to do it all at once. You know, there’s an opportunity to do it later come back together and and build and use that snowball effect. But if but with the project that you’re working on at the time, keep coming back to to the deliverables, and that will help you to avoid the project creep. And I think what’s essential, absolutely is a good sense of humour. You know, I think we’ll consort your projects can be up and down. You know, they they can have their difficulties But I think, you know, if you’ve got a good sense of humour and

you approach it in that way, you know, and you have fun working together and getting getting the job done, it can be serious work that you’re doing, but there’s never any harm in having fun doing it And so thanks very much. If you want to know a little bit more about the sign media projects, as I said, these, these are based at the University of Wolverhampton and if anybody wants to know more, I’m more than happy to pass you on to the team there that are continuing to do a great job. So that’s the website there for you to have a look at. And, and also, I should just make sure very briefly, Yvonne, about a British art show nine, that’s a fabulous event that’s coming to Wolverhampton in 2021. And there is an opportunity to find out more about that next week on the 13th of October. And please do sign up to that again. It’s it’s with the Black Country business festival. Thanks very much Thanks, Sam. And yes, I will share if you can. Just let me know about that the link for that. I’ll share that with everybody after the session Thank you so much. And now we’re going to Heather. And I’ve just had a little time wrecking And we are getting a little bit behind time. And I don’t know whether that was me chatting too much. But anyway, well, we’ll, we’ll carry on with Hebert Thank you Okay, I’ll try and be very quick. So we still have some time for the breakout area. So my case study will cultural development fund round one. Now, this is a weird one, because we weren’t actually successful. We were recommended for funding, but unfortunately, the Minister had the final judgement. And so we weren’t put into the final few that got the funding. But I think what what comes out of it for me was sort of building those relationships with the project partners around project pipeline. So that’s basically what I wanted to this quickly go through. So basically, in 2018, the city submitted a cultural development fund, we called it animate wolves. And it was all around driving culturally led economic growth maximising impact of arts and culture in revitalising the city. Now, it was very much a place based approach. So it was focusing on the place but it bought in all different elements of culture, physical venues, event skills development, visit creative businesses, so it really tried to pick up all the different areas and it was aiming to use culture to kick start regeneration really boost the culture offer linkie, Aries and change perceptions of the city So if you’ve just move on to the next slide Okay, I think what really worked for me is partnership, we bought together a range of partners This included cultural partners, many which are on the call, but also non cultural sectors, and each of them bought in particular areas of speciality knowledge and added value. So for example, rebellion, they much lead on sort of the cultural leadership elements of the bed. The support from the non cultural partners was fantastic Benson area to own the manda Centre in in Wolverhampton, they offered space for both events, but also creative workspace. And it was a place based approach, I have a particular focus on the city centre. And this meant we could maximise the impact and cover that whole range of cultural activities in one bit. And that’s very much the focus, we started our bid which this will create this amount of economic benefit, so very much focused on that. But it also built on existing regeneration plans. So there was a city realm scheme, which was known as Westside link. But that created the basis of what we called event city And part of the bid was to build capacity to inventing events infrastructure, which should have helped all partners put on events in the city. And it also supported improvements developments of existing cultural assets and looked at that embedding that talent development to support the whole vision. So if you move on to the next slide This despite the fact that the bill itself wasn’t funded in the end. To me, I think it was a real success because what it showed was it showed our commitment Culture and since then the Arts Council are very committed sport

activities within Wolverhampton including the funding for the cultural compact. Unfortunately, pre covid, there was a strong encouragement to go for cultural development fund, round two, which unfortunately, has been superseded by several COVID in emergency works. And it also demonstrated that role culture can play in economic growth and regeneration. So that’s the quarter our cultural compact team has also been much included in our broader funding asks, so recently, coaches been part of the future High Street ask, which is about 23 million, I think, and also the town’s funders, which is 48 million. So a lot of the elements of that are now being built into our bids. So what we’ve got, we’ve got this strong project pipeline, and to meet future needs and opportunities and before masks The partnership itself has formed the basis of the cultural compact work for Sam is leading on, but we will also have a couple of successes, I think so the office I mentioned that Benson Elliot offered for crate workspace, Eagle works have actually been able to, we’ve actually managed to make that arrangement with Eagle works, who were going to be made homeless in the city. And so we’ve retained all those artists in the city we’ve got, we’ve got a empty buildings are now being reused for creative workspaces And I think that’s really positive. And also the event city element has remained priority, and there’s a town’s been funding request for an events programme. And part of that funding request is also for infrastructure that partners can use to put on events in city, which would make things a bit a lot easier for partners to put on events. So I went through that very quickly to give us a chance for the breakout. So it’s back to 11 Thank you so much. And just a note there about you know, even when you’ve done the work anything Oh, that was all for nothing. But actually it wasn’t you still keep those you can you can keep it going. And so that’s that’s really brilliant. And, sir. And next discussion discussions at kind of, we’ll put it into one question, I think because we’re in this kind of strange time. And just a little bit about how have you been developing partnerships during this kind of strange time that we find ourselves in? And are there any tips? So again, we’re going to go into the breakout rooms, Rosalind if that’s okay Hello, everybody. Are we are we all back? Sir? So, yeah, I heard you got on. Okay with that. Just do doing a really, really quick, quick And some of this before we go on. So we’re basically summed up that it’s been a bit crap last few months, but we’ve gone through like three stages, crisis mode, cautious optimism And then back to we feel like we’re going back into reverse and everyone’s having to do that six month kind of like readjustment that things might, you know, we’re going to be in this for the for the long term And, on the upside, we also talked about the gifts that lockdown has given us. For example, Adrian mentioned the quarter central zoom meetings, and having that how the sector actually has become more open. And now you find can find yourself in a room with people who you couldn’t normally get to speak to or see, because their doors are so full. So it’s always had some kind of like equalising, because it doesn’t matter who you were, or, you know, how big you were, how much money you had. Everybody kind of like had to go through the same process. So that was a little conversation, but ended up saying spit crap So how do you want to wear feedback? Yeah, um, very quickly, I think there was a couple of mixed experience one person found out that initially when everything went online, meeting overload, and then it will got slow, but to other people reported that actually what’s happened is quite positive. They’ve found new partners. They’re working very closely with smaller community organisations, charities, charities, Others reported that actually it meant they could concentrate

more on doing the cultural activities. And and there was some challenge in terms of some of the organisations that we would normally deal with, actually, we focusing their efforts on COVID. So they weren’t too easy to reach during this during this time Yeah, sorry. We also had that, that some that one of our participants lost their partner because they closed down and we’re all furloughed. So there that’s that has been Another consequence. So yes, thank you for that, Sam Yes, very quickly, obviously touched upon elements of what you’ve both spoken about. But we also had Arena in our group, and obviously, there’s a venue, then the concentration has been very much on keep that venue afloat. And, you know, just maintaining partnerships, rather than looking for new partnerships. And also, another part of what was able to access the emergency funding, and has been able to carry on doing creative work and work with a number of creative practitioners around work around heritage canals, particularly women’s role within that. So I think, you know, there, there have been some opportunities opened up, as well as, but yeah, I think with regards to the partnership, working, it’s working in different ways, isn’t it is working in these ways, virtually. And also, it’s maximising those networks, I think at the moment, that is the wam crew Thank you, um, Rosalind, your group? Um, Tom was going to speak on behalf of our group Yeah, so sorry, he only keep me into look at the question. In terms of the developing the partnerships, it’s been touched on again, it’s that looking inwards to strengthen the existing relationships and being more trustworthy and the people that you interview slowly bring in And again, that leads back to that idea of future proofing Because to put it in a context, in terms of pandemic, it’s that case of you know, you’ve been through it together, you’re going to trust the people that you’re with. And that’s not to say that you’re not going to trust new people But things like this, it will build character will definitely build character in terms of mental and physical resilience As I also said, in terms of, again, it’s because of what I do in terms of the in terms of the medium and the format. It’s that ingenuity to expand the horizons remotely. So I think I’ve got a list of about eight or nine different arts organisation websites and job conditions and vacancies in terms of what you look for, there will be some overlap in terms of what was posted and what’s posted. But it’s that ability to look out from your area, but still maintain the fact that yes, we are West Midlands based artists. But we have worked further afield. And I think that’s really important for establishing oneself for a company’s self within the region. So for example, I said, I had a commission from a, an Art Centre in hexam, which is Newcastle away for a day’s work And that was for a video piece for an online gallery. But it’s that fact that you know, I’m not I’m not hexam based, but it’s that I am a West Midlands based creative and I have worked in this area Great. Thank you. Yeah. And obviously, that what has it doesn’t matter? You know, the geographic spread is also meant that you you can kind of join in meetings that are and work because we’re working remotely, you can be anywhere, can’t you? Okay, so we’ve run over time. Of course, we have we, you know, there’s lots to say. And I am, I just want to the link for the British art show. session next week is in the chat, but I will share it afterwards. And so there’s other opportunities coming up, obviously, for us in the future, you know, long term, these things don’t happen overnight, but we’ve got British art show coming up we have in our region we’ve got at the Commonwealth Games. And there’s always there’s also an opportunity around the British festival 2022. And I know Sam’s involved in in something, but I don’t know whether we’ve got time to talk about that or whether we can do that in the chat afterwards by any way that anybody else is thinking of applying because that is another complex application process And if anyone here or you know, anybody who’s a first or second

time applicants or thinking of applying to the Arts Council into the project grants, we also have two sessions, some one to one sessions, if anybody’s interested. And then do let us know just email me and I’ll pass you on to Rosalind modern in organising this, there’s a few sessions left, which is obviously really good opportunity to get 20 minutes with face to face with an Arts Council advisor future sessions, we’re going to have Rachel maxon from Birmingham 2022 coming to talk to us and hopefully by the time she does come to talk to us, there might be some information about future, you know, print their programming and the commissioning of that programme And, and also the National Lottery, who are advocates of partnership working as well, we’re going to have a speaker talking to us about applying to the National Lottery So I wanted to leave you guys with this with a quote that, I found really interesting that if you want to go faster, go alone, if you want to go further go together. And I think that’s quite poignant, especially for some of the things we’ve been talking about today Those are out there, our email addresses are on the screen, if you if anybody wants to get in touch, but also we will, I will email everybody afterwards and kind of and share all this as well. So but do feel free at any time to get in touch. And if you can also, I think rosalinda in the chat has put up a link to the survey. And obviously, for our funders, we need to feed back to them. So if you’ve if you found it useful, and then that’s great, please, please let us know. Or if there’s things that we can do to improve, because we’re all working through this. You know, we know that actually in passing, this would kind of have a totally different vibe. So we’re trying to you know, we’re all trying to work through it together. So any, any feedbacks really helpful. And if people have to go, then please dash off. And thank you so much for your input. Thank you so much to Heather, and to Sam for your input today. Thank you so much And to Rosalyn. But if anybody does want to stay just to have a little chat to ask a question, or to say who was that person that was from wherever that you know, or have an idea, then, you know, we’re just going to stay for about five minutes. So So yeah, but if not, thank you so much for your your time. But if, as I say I’m here if there’s any questions or chats that anybody wants to have. Thanks for another meeting. Thanks, everyone. Nice to meet you. Bye Thanks, thank thank you. Lovely to meet you do do get in touch that that was great. Thanks Thanks a lot. Bye. Yeah. Thank you. Thank you guys