Evaluating the Success Factors for Establishing a Thriving - Scottish ...

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1.52 As part of the arrangements senior staff members (the original directors of the trading company) will continue to serve as executive directors of the charitable company (an unusual but by no means unique structure in the third sector). This is regarded as important to provide continuing sense of ‘ownership’ and responsibility among the senior staff, and ensure a close working relationship between senior staff and other voluntary directors. This is seen as the right structure to release rather than constrain the entrepreneurial talents of the management team. 1.53 This builds on the platform already provided by highly capable and mature voluntary board of directors. Senior staff have reported the expertise and networks of board members as central to the success of Impact Arts during this stage of its development. 1.54 External support through this period of transition is regarded as important by senior staff, whose approach has always been to draw on available professional advice where available and beneficial. Current support valued by the organisation includes: • change management support from CEiS to the Impact Arts board, this offering particular expertise in social enterprise growth; • business advice from Scottish Enterprise, supporting Impact Arts as a growing business like any other; and • continuing guidance and advice from Inspiring Scotland performance advisors, providing a highly engaged and supportive funding relationship. Managing in a time of recession 1.55 The impact of the recent economic recession has triggered a much more challenging operating environment for Impact Arts. 1.56 Senior staff have monitored closely the changing economic conditions and any resulting changes in purchasing behaviour of public and third sector customers. Some detrimental effects began to emerge during 2009, with planned projects not being initiated and some existing ones cancelled. This suggested some ‘tightening of belts’, with one public sector partner also highlighting that funders and commissioners had began to increasingly “look for more bang for their buck”. 1.57 As a result Impact Arts began to introduce tighter financial controls, monitor cashflow more closely, and streamline costs where possible. At the same time it secured major financial investment from the Inspiring Scotland Fund, which provided a cushion on which to build financial strength, and one which would help guard against any short-term financial shock. 1.58 However, the recent rapid growth of Impact Arts and the formation of associated investment plans occurred against the backdrop of the looming recession. With turnover approaching £2m, and ambitious income targets ‘locked in’ for subsequent years, this brought a new form of pressure – as one staff member puts it “we now need to be on top of our game”. This has been brought into stark focus as the full scale of the reduction required in public 13
spending has become clearer, and given the vulnerability of the arts as a discretionary area of spending. 1.59 Impact Arts has reacted to these challenges in a buoyant and optimist fashion: • the management team in the organisation have chosen to focus on the opportunities (rather than threats) likely to arise from the ‘shake out’ in the market and the loss of capacity or outsourcing possible in the public sector; • staff have highlighted the ability of the organisation to adapt positively to change suggesting that, “we are always able to roll with the punches” and “we have an ability to problem-solve at an incredible rate”; and likewise • partners and funders have reported an underlying resilience on the part of Impact Arts that is likely to see it thrive during difficult times, citing its determination and self-reliance and noting that “they don’t act like victims, and don’t ask for hand outs, they just get on and deliver”. 1.60 Most importantly, Impact Arts has reacted decisively. New plans, programmes, partnerships, and propositions have been developed quickly. Aggressive sales plans are in place and are now set in motion. Looking to the future 1.61 Over the medium term, Impact Arts will pursue a strategy based on continued growth and development. 1.62 Key elements of the strategy will include: • scaling up – including the roll out of proven programmes and services to new local authority areas and clients; • new enterprise activities – exploring opportunities to develop new social enterprises, franchise established services, or acquire new businesses; • organisational infrastructure – developing premises, strengthen branding, improving IT, and introducing new core staff posts; • asset acquisition – purchase of the main Impact Arts base in Glasgow, together with other property holdings to create an appreciating asset base, reduce indefinite rental costs, and generate longer term rental income (from sub-letting arrangements); and • innovation – investing in the development of new ideas that will be the big programmes of the future, this as part of Innovation Space programme. 1.63 This is a strategy that is likely to lead to Impact Arts operating on a stage covering the whole of Scotland and beyond. Impact Arts continues to remain open to all possibilities for service and geographic expansion. 14
Page 1 and 2: Voluntary Issues Evaluating the Suc
Page 3 and 4: This report is available on the Sco
Page 5 and 6: INTRODUCTION Context 1.1 The Scotti
Page 7 and 8: CASE STUDY 1: IMPACT ARTS Profile o
Page 9 and 10: flexibility to pursue this goal tha
Page 11 and 12: 1.32 The new structure enabled the
Page 13: 1.44 This period required determine
Page 17 and 18: Timeline Timeline Event 1994 Impact
Page 19 and 20: The Story of Success An early form
Page 21 and 22: • an underlying perseverance and
Page 23 and 24: needs and were required by local au
Page 25 and 26: 1.34 Since the start of the current
Page 27 and 28: Summary of Key Success Factors and
Page 29 and 30: CASE STUDY 3: ABERDEEN FOYER Profil
Page 31 and 32: An Empty Vessel 1.8 In 1995 the Abe
Page 33 and 34: should not be dependent on individu
Page 35 and 36: customer group, are spending less o
Page 39 and 40: CASE STUDY 4: ALLOA COMMUNITY ENTER
Page 41 and 42: Growing up in an emerging market 1.
Page 43 and 44: • the willingness of some local a
Page 45 and 46: 1.33 ACE has also continued to cult
Page 47 and 48: 1.45 One public sector customer has
Page 49 and 50: Timeline Timeline Event 1984 ACE es
Page 51 and 52: The Story of Success Birth 1.1 The
Page 53 and 54: Deal. The Claverhouse Group quickly
Page 55 and 56: and white goods. These enterprises
Page 59 and 60: CASE STUDY 6: DIAL A COMMUNITY BUS
Page 61 and 62: that meet local needs and stresses
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organisation in rational business d
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• DACB is planning to work across
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Timeline Timeline Event 1993 DACB s
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The Story of Success The community
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1.13 Early attention was paid to th
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Realising the potential 1.28 Over t
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Looking to the Future 1.42 There is
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Timeline Timeline Event April 2002
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The Story of Success Birth - Blackf
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Taking Control - New Street 1.18 On
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• Phase 1: making the building ha
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1.48 Out of the Blue operated its c
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Timeline Timeline Event 1994 Out of
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The Story of Success Getting starte
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1.14 One new staff member at the ti
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that’”). A serial entrepreneur
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1.36 These conditions have brought
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Summary of Key Success Factors and
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CASE STUDY 10: THE ISLE OF SKYE FER
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1.8 This unsuccessful process, serv
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the voluntary directors in the face
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1.37 In any market, price is an iss
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CASE STUDY 11: THE BREAD MAKER Prof
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1.11 In 2005, the company employed
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safety, environmental health) and t
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ISSN 0950 2254 ISBN 978 0 7559 9760
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