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DONE 30/06Cultural Policy (DCMS The Culture White Paper 2nd one ever! (If…

- - - - This white paper builds on what has gone before. It is not a revolution but an evolution
      - . It is a vision of culture in action – of culture that is rejuvenating our society and our national and local economies.
      - It is auspicious that this white paper should be launched in 2016, in which we will be commemorating 400 years since the death of William Shakespeare.
        We look at how culture can be used in place-making – and if ever a town was shaped by culture it is Stratford-onAvon, where every year Shakespeare brings 4.9 million visitors to the town.
        We talk about the contribution culture makes to our soft power. This year the British Council and GREAT Britain campaign launch Shakespeare Lives, bringing his work to millions of people in 140 countries
      - Everyone should enjoy the opportunities culture offers, no matter where they start in life
        In particular, we will ensure that children and young people from disadvantaged backgrounds are inspired by and have new meaningful relationships with culture
        We need a more diverse leadership and workforce in the cultural sectors.
      - Heritage action Zones (national orgs advise communities. Bring Natonal Arts and HLF fundwrs together great place schemes
      - Technology offers many opportunities to bring our culture to many more people in many different ways. We will work with our cultural institutions to make the UK one of the world’s leading countries for digitised public collections and use of technology to enhance the online experience of users
      - The power of culture can increase our international standing
        The UK is a leader in soft power. We are respected for our strong and stable democracy, our belief in individual liberty, our diversity and our freedom of expression. Our culture celebrates these values. We will build on initiatives such as the GREAT Britain campaign and the work of the British Council to create new opportunities for our cultural sectors to promote trade, exports and cultural exchanges. We have increased investment in the GREAT campaign and will use GREAT funding to attract world-class events to the UK. We will promote a global cultural export programme with UK Trade & Investment to open up new markets, and ensure that the cultural sectors are able to participate in UKTI’s High Value Opportunity programme.
      - textThe value of culture
        Culture brings many benefits. In this white paper, we are concerned with three areas in particular:
        – the intrinsic value: the enriching value of culture in and of itself;
        – the social value: improving educational attainment and helping people to be healthier; and
        – the economic value: the contribution culture makes to economic growth and job-creation. This section sets out evidence of the benefits of cultu
        
        The intrinsic value of culture Evidence shows that engaging in Culture creates inspiration, enriches culture can increase the likelihood of a lives and improves our outlook on life. young person going on to further and higher education5. One study showed Evidence suggests that culture has an that 16-18 year olds who participated intrinsic value through the positive in the arts and those who visited impact on personal wellbeing. Data heritage sites or libraries were more shows that engaging with culture likely to go on to further education in (visiting, attending and participation) subsequent years6. significantly increases overall life satisfaction3. There is a range of data showing a clear relationship between culture and The social value of culture educational attainment7. Culture has important social benefits There is evidence to show that cultural in terms of health, education and participation can contribute to social community cohesion. relationships, community cohesion, There is considerable evidence of the and/or make communities feel safer beneficial effects of the arts on both and stronger. Research has found physical and mental health. This positive links between cultural includes improvements such as positive participation and improved social skills physiological and psychological changes and engagement with the wider in clinical outcomes; decreasing the community, and evidence that culture amount of time spent in hospital; and can play a role in tackling crime8. improving mental health4.
        fter controlling for other factors such as income, gender, age and location of residence. https://www.gov.uk/ government/uploads/system/uploads/attachment_data/file/304899/Quantifying_and_valuing_thewellbeing impacts_of_sport_and_culture.pdf 4 https://www.gov.uk/government/uploads/system/uploads/attachment_data/file/416279/A_review_of_the_ Social_Impacts_of_Culture_and_Sport.pdf 5 Participation in the arts was associated with a 14% increase in 16-18 year olds reporting that they were very likely to go on to further education. https://www.gov.uk/government/uploads/system/uploads/attachment_data/ file/304896/Quantifying_the_Social_Impacts_of_Culture_and_Sport.pdf. 6 https://www.gov.uk/government/uploads/system/uploads/attachment_data/file/446273/Health_and_educa tional_benefits_of_sport_and_culture.pdf 7 http://eprints.qut.edu.au/69164/1/69164.pdf, cited in https://www.gov.uk/government/uploads/system/ uploads/attachment_data/file/416279/A_review_of_the_Social_Impacts_of_Culture_and_Sport.pdf 8 Research studies have found positive links between cultural participation and social inclusion https://www.gov.uk/government/uploads/system/uploads/attachment_data/file/416279/A_review_of_the_ Social_Impacts_of_Culture_and_Sport.pdf
        
        The economic value of culture In 2014, the economic contribution of museums, galleries, libraries and the arts9 was £5.4 billion, representing 0.3 per cent of the total UK economy. This is up 59 per cent (in nominal terms) since 2010 – a massive increase compared to total economic growth of 16 per cent (nominal terms) over the same period. Heritage tourism accounts for 2% of GDP10, contributing £26 billion per year. The number of people employed in the cultural and creative sectors has been increasing since 2011 and now stands at 321,000.
        The UK is number one in both Portland’s The Soft Power 30 index for 201513 and the Institute for Government-Monocle soft power survey for 201214.
        
        I want every single young person to have the opportunity to discover how the arts can enrich their lives. Access to cultural education is a matter of social justice. Rt Hon Nicky Morgan MP Secretary of State for Education
        
        DIVERSITY
        
        Diversity is essential to success. Genuinely diverse cultural sectors will use all our national talent, will challenge and rejuvenate themselves, and will increase their audiences. Young people from minorities and with disabilities will believe that these are sectors with which they identify and in which they can work.
        Achieving greater diversity has been a problem for many years. While progress has arguably been made on addressing gender balance and LGBT representation within the cultural sectors, there remains some way to go; and the overall figures on diversity do not reflect national averages.
        Arts Council England has recently made a big change in its approach, launching The Creative Case for Diversity. This asks the organisations which it funds to make themselves and their work more reflective of the communities they serve. Progress on this will influence their future funding.
        What we will do
        W e will ask Arts Council England, Historic England and the national museums and galleries to develop and share strategies for tackling the lack of diversity in leadership across the cultural sectors and to provide regular reports on what has been achieved.
        We will examine the role of networks to make pathways into the cultural sectors easier for people from black and minority ethnic groups and for disabled people.
        W e will ask the heritage sector to build on the foundations of successful programmes such as the Heritage Lottery Fund’s Young Roots programme to create more opportunities for young people outside formal education settings to enjoy and learn about heritage or to lead heritage social action
        Taking Part:
        https://www.gov.uk/government/uploads/system/uploads/ attachment_data/file/495586/Taking_Part_2015-16_Quarter_2_Report_2.pdf
        our culture
        
        SPORT
        We are in th“e middle of a devolution revolution. We want our national and local cultural institutions to work together to support places to harness the power of culture to drive economic growth, education and wellbeing. Rt Hon Greg Clark MP Secretary of State for Communities and Local Government.
        Culture is strongly rooted at a local level; it draws on and reflects the rich diversity of our communities.
        
        FUNDING
        This chapter considers how public funding can help to support the most effective cultural investment models and help to give our cultural institutions the best basis on which to thrive
        Since the Second World War, we have developed a unique model of cultural investment in which public funding sits alongside private investment, philanthropy, and earned income.
        This mixture of income streams provides the basis for a thriving cultural sector.
        Government-sponsored organisations alone have increased their ratio of fundraising to grant in aid as a proportion of total income from 22% in 2009/10 to more than 55% in 2014/15. For every £1 in grant in aid, they generate more than half again from fundraising or earned income20. Resilience remains a key issue, particularly at regional and local levels. Cultural organisations need to ensure that every pound of public investment goes as far as possible. They must also think more broadly how they will adapt their business models and financial strategies to deal with potential challenges to funding.
        , building on the legacy of the 10-point philanthropy plan for culture,
        What we will do
        We will invest a further £2 million in the Museums and Galleries Improvement Fund, which will be matched by £2 million from the Wolfson Foundation.
        We will establish a crowdfunding pilot scheme, to be delivered jointly with Arts Council England and the Heritage Lottery Fund, to provide match-funding for cultural organisations which raise funding by this means.
        We will establish a new virtual Commercial Academy for Culture to support the extension of commercial expertise across the cultural sectors.
        We will work with Arts Council England, the Heritage Lottery Fund and other partners to support cultural organisations to diversify their funding, including exploring non-grant sources of income and innovative means of fundraising.
        We will work with Arts Council England, the Heritage Lottery Fund and other partners to rejuvenate the approach to stimulating interest from key donor groups in developing relationships with cultural organisations, including identifying ways to improve the cultural sectors’ corporate engagement.
        
        KPIS Increase in the amount of non-public investment into cultural organisations which are in receipt of public investment
        Increase in the amount of private investment to cultural organisations outside of London
        Increase in the amount of total investment to cultural organisations outside of London
        More work is required to understand the impact of culture on some of the high level outcomes, in particular subjective wellbeing and young people’s educational attainment and life chances. Bespoke evaluations to measure the impact of a number of proposals outlined this paper will greatly add to this evidence base.
        
        Cultural Citizens programme In this white paper we propose a new Cultural Citizens programme to increase the number of children and young people from disadvantaged backgrounds having high quality cultural experiences. Measuring the impact of this scheme requires bespoke evaluation, similar to that already in place for evaluating In Harmony nationally. Such an evaluation would consider changes in the numbers of young people engaging with culture, but would also look at the impact of that through monitoring participants’ educational attainment, ambitions for their future and self-reported indicators of confidence and ability such as self-efficacy. In order to assess whether any changes are down to the scheme it will be necessary to pilot the scheme in a few areas and then match these to non-participating ‘control’ areas. Bespoke surveys would be used to obtain the data on the suggested indicators in pilot and control areas at baseline and at regular intervals after the scheme is in operation to assess change over time. Indicators measured could include level of educational attainment, level of engagement with culture, intended destination after completing education and levels of self-efficacy.
        
        addition the Government will work with cultural institutions to make use of wellbeing and contingent valuation techniques, tested in the recent publication by the Arts and Humanities Research Council on measuring the economic value of the Natural History Museum and Tate Liverpool25, in order to better measure the impact these organisations can have on wellbeing and quality of life for both users and non-users
        
        Developing new output measures
        
        3 more items...
        
        Public bodies reform-t.
        Between 2010 and 2015, the government reduced the number of public bodies in the cultural sectors mostly by abolishing bodies and transferring their functions to other existing bodies. The bodies removed from the public sector were
        Review of MUSEUMS 2016/7- last one was 10 years ago, much has changed
        3 strands-
        big questions around the national infrastructure for museums: what it is; what it should and could be; the roles of government, Arts Council England and the Heritage Lottery Fund in nurturing it; how the infrastructure in England relates to those in Scotland, Wales and Northern Ireland; the role of museums in delivering against the themes of this white paper
        museums sponsored directly by the government: what they should deliver for their core funding; how they could work better together and with other museums; – local and regional museums: challenges and opportunities; how these museums might work more closely together; the roles of Arts Council England and the Heritage Lottery Fund in supporting museums which are not directly funded by the government.;
        
        Measuring IMPACT
        The measurement framework seeks to consolidate evidence on the value of culture, and measure how successful we are in achieving our aims of enabling more people to benefit from culture – whoever they are and wherever they live
        more work is needed to refine how we measure the specific impact that culture makes.
        what works center
        
        Increase in the percentage of the overall adult and child populations engaging in culture over the last 12 months
        
        Increase in the percentage of the overall adult engaging in culture digitally over the last 12 months
        Increase in the proportion of children and young people from low income backgrounds engaged in culture
        Increase in the proportion of cultural organisations who make existing recordings or exhibits available digitally (either through social media platforms or organisations’ own websites), who simulcast or live stream and who provide online interactive tours of real world exhibitions
        
        Improve or maintain the UK’s soft power ranking in terms of culture
        SP30
        Increase the exchanges the number of cultural Uptake of events in the culture diary Increase exports in the number of UK cultural New data collected in conjunction with ALBs (new) Increase in the value of UK cultural exports
- - - - RECO- need to turn museum specific evaluation into longer term resarch about bigger questions that are rele vant across the whole sector
        political ageda- museum agenda- and cshool agenda, three sides to discussion
        ROWING - very well set up for museum visit- ciruclum fit, intreraction and involvemnt , vairiety, staffinf, atmospher and paractical matters pg 163
        
        all children wanted more hands on exhibits
        inquiory based learning, teach provides questions whcih support pupils- too see connections
        vs DICOVERY BASED LEARNING pg 167
        'dwell points'
        mori 2001 found that 1/3 pupils partiicpate in school visit return with familes in uk pg 171
        applying the priciple of interpretin gmuseums to develope museums diplays- tilden intepritng our hertiage 1957: 9 is 6 princiuples
        Beck, L. and Cable, T. 1988 Intepretation for 21st century took 6 to 15
        . Ham., SH 1993 envriomental intepration, a practical guide= built on lewis tathat concept of the theme as ce tral to interptative appraoch
        WHO , WHAT WHERE WHEN HOW -basis of an interptive plan black 196
        inerpretation empahseses the voeral visitor experience cannot be seen in isolation pg 189 - we must map the normal visit to ensure that everything possible is done to suport the user -METHODOLOGYY WHY VISITED x2 , atmohsphere matters
        physcial , clear orientation , organised and clear so know where entering so can select for themselves, concpetual frame of referncem, what it has to do with them etc,
        contrast listeining pg 193 audio in isolation cs communical feeling of say a tour
        what do we want our audeince s to leave with?- interpetation must be selective and themed
        sound inptreation requires sound research and recognises multiple points of view
        Bolsolver catle derbyshire- best example of visitors treated equally- atour little castl admit to mistakes made in conservation and difficulties as new techniques came in! pg 198 ME= TRANSPARENCY
        and acive visitor partcupation
        W.J. Lewis (1994:27) it is generally recognised that people retain abpput 10% of what they hear, 30% what they read, 50% of what they see , 90% of what they do. ,
        not necessarily about pulling leavers , about enaging mindand a sense of discovery = WELL ACHIEVED IN RIVER pg 198
        
        'museum fatique'- speed up through visit= definately witnessed pg 201 , change of mood stimulates visitors = rugby does this well. , R&R = rest and recovery video room= reflection, same with olympic space . lots of places to sit
        encoragin social interaction = encoraging converastion , enabling people watching between groups so can watch , spaces to interact wth staff, varying hieghts of exbits for childfren,= multi sensory , sensory involvement , layering of content , different learning styles , use a "palette of interpretive media to enagae differnt usesrs = yes. texts wich are short active and inclusive
        = rowing, activity backpacks, program of activites
        audeiunce centered appraoch and ses th museum visit as opp for museum and its visitors to take part in a journey and in a conversation togeher pg 208 = intpretive phiosophu
        
        allow for different points of VIEW= ISSUE RUGBY AND ROWING
        
        Interpretive master planning - developing a stratgy - evaluation and revision
        
        being parrt of my report, self evaluation= act of where are we now - asside from museum as a service it is a vision
        
        need to redefine strategy tofor contempray collecting or reintreration to meet needs of todays comnites
        dificult to evalueate egagement, sense of inclusion, enjoyment etc= KNOW AUDIENCE, -need to define tartget audeicne,
        DELIVERY- how going to take it forard apprisal , - need to be rasliitic based on funding - need for project management
        'pacing displays'- how paced?!
        collections audit, statement of sig, need for further evaluation, andhow re-diplay can ensure learning
        how practical and realsiitc= role of PM anger , how evaluate effectiveness?
        n
        
        Inepretive planning is complex need = process mapping
        briefly-
        Master plan project brief
        What vistor routs / oriatio
        
        Concept development for museum gallerys
        Who youa re tagetting teh approach a,t, nature of audeinces, expectaions and perceptions of audiences
        What : Collections audit, outline those most likely to attract a response from the visitor.
        Why- aims and objetives,
        how you wish to present the matieral
        Who -secific target audeince
        
        does it have a communications straegy?
        Devloping themes, - should be able to sumaries the theme in one short sentence te big idea
        themes are link to mission statement, strengths of colection, piority audeinces
        RUGBY LINKED TO RUGBY FAMILY
        must be broken into sub themes 7 plus or minus two the magic number.
        theatic approach encorages connections betwen - make connections between displays and make ttaeents , paces teh displays
        ISSUE THAT RUGBY MUSEUM IS ALL PERMENANT DISPLAYS CAN T BE EASILY CHANGED
        " museums must change or die. The must compete i the modern world for their audeinces and their resoources agains other lesuire activities and - in a time when wthere are too many museums and other heritage attractiond eith new ones still opening and teh audience at best static- against each othr
        =RUGBY MUSEUM ATTRACTION WITHIN ATTRACTION
        the devil is in the detail- what matters is the individual encounter with the real thing....direct engagement with objets.. =OPEN UP CALCATTA CUP? NEED FOR STAFF?
        ROWING= object orientated, colelctions central to displays
        rugby OBJECT display- intrinci value speak for themselves . Theamtic .
        Concept object, foucs on ifo or messsage, obejcts with supporting roles.
        ISSUE RUGBY AND WOME IOS COMEPTITOM, WAY PLACED OBJECTS , womens narrative not piority
        rugby = social experience, and congitive, understanding / information, obejct experiences, rseeking the real think,....less introspecive experiences...reflection..but did have sense of belonging pg 285