New Landscapes: Outdoor arts development plan - Arts Council ...

New LandscapesOutdoor arts development plan2008-2011A plan to support the development needs of outdoor arts in EnglandJune 2008

1. IntroductionArts Council England works to ensure high quality art gets to morepeople in more places. Between 2008-2011, we will invest £1.6billion of public money from government and the National Lottery insupporting the arts.We believe that the arts have the power to change lives andcommunities and that outdoor arts of all types have a particularability to engage, inform and entertain audiences that might nototherwise attend an arts event.Our focus on outdoor arts activity will help artists to develop new andhigh quality work and enable more people to participate in moreplaces. Local Authorities have a unique and crucial role as supporters,funders, licensors and promoters of outdoor arts activities. We willalso work with them and other partners who seek to use outdoorarts with which to celebrate or to re-generate and animate theirpublic spaces.Our public arts debate conducted during 2006/7 demonstrated anappetite for art that is surprising, spectacular, moving, beautiful andtransformative.Outdoor arts are excellent at providing work that does all of thesethings; dynamic and engaging – and often ticketless – events thatrange from light entertainment to more sophisticated work. The workmay be intimate or spectacular and frequently offers opportunities toparticipate as well as to spectate. It is presented in public spaces andoften supports local communities or highlights local agendas, egneighbourhood renewal and urban regeneration.The outdoor arts sector in England has burgeoned in recent years andinvestment has been made in artists, producers, festivals and one-offevents. Recent events have encompassed a wide and diverse range ofwork including: rapping poets in ‘da park’, free running across cityrooftops, the City of Birmingham Symphony Orchestra’s dawn chorusin hot air balloons, an Islamic graffiti street art project, thousands offire and music sculptural installations in public gardens, a three-storeyelephant stopping the London traffic, strange figures appearing onbeaches, rooftops and other horizons across the country, floatingoperatic sculptures on the Tyne, opera screened outside in citiesnationwide, and the world of Bollywood re-enacted in market squares.Cover image: WorldFamous’ Full Circle showperformed at Big inFalkirk, Scotland’sNational Street ArtsFestival.Photo: McAteerPhotograph

There is an opportunity for British artists to deliver a range of highquality outdoor arts activity across all scales throughout the CulturalOlympiad 2008-2012 and other major national sporting and culturalevents are on the horizon, eg Liverpool 08, the CommonwealthGames in Glasgow 2014 as well as the long term Culture10programme in the north east. It is important that these opportunitiesare well used and that the events leave a legacy benefiting the sector.Image: Dancers fromTwo Thirds Blue performat the Port EliotLiterature Festival, 2007,Photo: Kevin Clifford

Image: IOU Theatre.Photo: Porl Medlock.

2. ContextOver the last 10-15 years the Arts Council has explored the broaderremit of the Outdoor Arts Sector. New Landscapes is a series ofpriorities, recommendations and actions relating to the developmentof outdoor arts, demonstrating Arts Council England’s commitmentto the growth of this sector across all art forms and cross cuttingpriorities. It sets out a framework for collaboration with partners andfor investment in the development of the sector and production ofevents for the period 2008-2011.The first Theatre Policy, published in 2000, identified a number ofpriority areas including a first time commitment to the developmentof street arts and outdoor performance. This was followed in March2002 by a Strategy and Report for Street Arts, and in July 2006 theStreet Arts Healthcheck, which gave an update on the state of streetarts in England. As well as pointing to a number of emergingopportunities, this report described important developments acrossoutdoor arts practice and the continuing need for the strategicstrengthening of the infrastructure. Arts Council published its firstcarnival strategy through the combined arts unit in 2003, andcontinues to develop a strong focus on supporting and developingthe infrastructure for outdoor mixed arts festivals and related events.In January 2007 the Arts Council refreshed and re-published itsTheatre Policy, prioritising, amongst other areas of practice, street artsand outdoor performance.In 2006 Arts Council England published The Power of Art, whichexplored the value and impact of art in the public realm. In the sameyear it also published Turning Point, its ten-year strategy forstrengthening the visual arts. Within this strategy is a focus onbringing more art to new and unexpected places, including those inthe public realm, as a way of engaging new audiences. Across theregions, Arts Council England has long worked in this area with arange of partners from local authorities, regional developmentagencies, and regeneration agencies through property developers.National initiatives such as a new partnership with the National Trustwill present greater opportunities in the future to show contemporaryart and crafts in outdoor settings.Arts Council work in the learning and skills agenda spans acontinuum from work with and for children and young people,progression into the arts through qualifications for 14-19 year olds,

higher education and skills development and continuing professionaldevelopment for professionals working in the arts sector. Progressionroutes into the creative industries are key to Arts Council’s learningand skills strategy and work with partners to support newqualification developments continues.Through our ongoing work with local authorities and keystakeholders we are continuing to look at outdoor arts as a viableand essential part of the arts ecology, reaching new and moreaudiences and increasing engagement in the arts whilst supportingour partners in meeting their own agendas.This Outdoor Arts Action Plan is informed by a consultation periodin 2007 with a cross section of artists, organisations, producers,promoters, Arts Council colleagues (including diversity officers),local authorities and other stakeholders. It especially recognises theongoing investment being made by local government in outdoor artsand the potential of this work to meet the agendas of other broaderstakeholders including Higher Education and national organisationssuch as English Heritage. It sets out a framework for collaborationwith partners and for investment in the development and productionof outdoor arts events for the period 2008-2011 with the intentionof maximising the number and range of people who have highquality experiences of the arts.

3. DefinitionsFor the purpose of this development plan we have adopted thefollowing definition of outdoor arts work:Outdoor arts activity is accessible, time-limited performanceand installation work that happens in outdoor locations in thecommunity, in rural and urban environments, on rivers andbeaches and in the air. Some outdoor arts activity focuses onattracting larger and diverse audiences, some are focussed onexploring and experimenting with critical artistic practice, someoffer opportunities for participation and some positionthemselves to deliver very well against school, higher andfurther education objectives.There are specific areas of work within the overarchingdefinition of outdoor arts, including (but in no way limited to):street arts, tented circus, carnival, celebratory and participatoryarts, spectacle, community arts and art in the public realm.The work is often free to the public and can be presented aspart of a programme, festival or as a standalone event, egCarnival and Mela. The work uniquely links its audience to thelandscape in ways that cannot happen within buildings. Thequalities of the work, its aesthetics, and the nature of theparticipatory experience reflect the relationship with theenvironment in which the work is presented.Like arts practice generally, outdoor arts incorporate a range ofgenres and styles ranging from light entertainment tosophisticated arts-based practice. The economics of outdoor artsactivity is complex; a mixture of publicly supported andcommercial work. Many individuals and companies thrive in acommercial sector that develops and presents outdoor workwithout the need for public subsidy. Arts Council Englandrecognises the importance of this mixed economy and will focusits support on practice that is artistically developmental andambitious as well as investing in innovative partnership projects.

4. Results of our consultationConsultation across the arts sector, with regional and national ArtsCouncil colleagues and with other stakeholders, has resulted in anumber of recommendations for action by Arts Council Englandintended to strengthen the outdoor arts sector and support itslonger-term sustainability.4.1 Continue to prioritise investment in high quality artistic practice.i.e. understanding creative patterns and processes in supporting thedevelopment of new high quality work, for example ensuring thatthe sector embraces new opportunities such as new media and digitaltechnology.4.2 Work to remove existing barriers to development – eg lack ofsuitable creation space, producers, and critical debate.4.3 Arts Council England makes a commitment to prioritiseinvestment in work that aims to involve participation from a widerangingand inclusive audience and general public.1. Artists Taking TheLead – Cultural Olympiadbid project2. Art In the PublicRealm – has replacedthe Arts In The Parksinitiative led by theArts Council’s visualarts team.3. Priority Places – AnArts Council priority forincreasing participationin the arts in areas ofthe country wherethere is an historicallack of provisionand engagement.4.4 Use its influence to broker new investment in the outdoor artsinfrastructure (eg through new commissioning opportunities such asArtists Taking The Lead¹ and Art In The Public Realm²) in order tostrengthen professionalism, improve leadership, enable opportunitiesfor career progression and ensure broad reaching access andparticipation in the work.4.5 Support and enable better distribution of the work, nationallyand internationally, and identify and invest in touring networks aimedespecially at priority places³.Image: Waste Manby Anthony Gormley.Waste Man formedpart of the filming of‘Margate Exodus’, afilm by commissionedby Artangel and madeby Penny Woolcock.Photo: Roger Bamber

4.6 Identify, strengthen and build sustainable partnerships across thearts, cultural, educational, heritage, voluntary, community andcommercial sectors with local, regional, national and internationalstakeholders in order to create a sustainable working environment forartists and organisations.4.7 Campaign and advocate for outdoor arts at all levels todemonstrate the transformative powers the work has and its abilityto engage communities, influence thinking, inspire and innovate.4.8 Work within the industry to raise the status of outdoor artsthroughout the wider arts community, including encouraging moreopportunities for the sector to advocate to colleagues across otherdisciplines and sectors.10

5. Arts council investmentprioritiesArts Council England will focus its engagement on artists,individuals and organisations that display vision, characteristicsof good practice and sustainability. Work that is excellent,diverse and supportive of Arts Council values will be prioritised.In particular, the Arts Council will:5.1 Only support the development of artistic practice that hasthe potential to be, or is, of the highest quality and willendeavour to support the widest sustainable distribution ofthis work across England.5.2 Prioritise support for artists and organisations workingcollaboratively across the broader arts sector and formingsustainable partnerships with other sectors.5.3 Support strategic artistic and sector development, as well asthe infrastructure that allows this to happen.5.4 Prioritise investment in artists and promoters who aspire tochallenge stimulate, engage, provoke and increase diverseaudiences and participation.5.5 Ensure that we support internationalism and understandthe need for international partnership and collaboration forthe sustainability of the work.5.6 Support work that is relevant to emerging agendas insociety eg Climate Change and ongoing Leadership agendas.11

Image: Lifelines: publicart exhibition, Southendon-Sea,Essex, 2006.Photo: Dougal Waters12

6. RecommendationsIt is recommended that the outdoor arts sector:6.1 Works in partnership with Arts Council England, and otherstakeholders, to increase participation and strengthen practice.and that Arts Council England:6.2 Continues to invest in the development of high quality artisticpractice in order to improve the quality, delivery and distribution ofthe work, thus increasing the sector’s long-term sustainability.6.3 Builds a clear picture of current participation and investment inorder to demonstrate the reach of the work and advocate for furtherinvestment from funding partners.6.4 Increases understanding within the environments in which artistsand organisations are creating and presenting outdoor arts work.6.5 Campaigns and advocates for an increase in the opportunities foroutdoor arts work to take place and therefore improve the longertermsustainability of the outdoor arts sector.6.6 Establishes a working group to oversee the finessing,implementation and evaluation of this plan and, in consultation withthe sector, to agree the prioritisation of the recommended actionsand identify ways in which they can be resourced.13

Image: The Mayor’sThames Festival’s annualNight Carnival.Photo: Kelvin Webb14

7. Continue to invest in thedevelopment of high quality artisticand managerial practice in orderto improve the quality and deliveryof the work, thus increasing thesector’s longer-term sustainability.7.1 Prioritise investment in:• High quality cross-art form and inter-disciplinary practice• A sustainable infrastructure of national hubs that comprises arange of existing artists, agencies, producers, festivals, buildingsand related networks to develop, produce and present highquality outdoor arts work across a range of scales; nationallyand internationally• Opportunities to increase artistic quality through training,skills development, cross sector dialogue and professionaldevelopment opportunities for practitioners working outdoors,through dissemination of best practice and support for criticaldebate on environmental sustainability and arts practice• Maximising access to existing training and leadershipdevelopment opportunities and existing spaces for the creationof new work, eg Learning & Skills Academy, Cultural LeadershipProgramme• International showcasing and networking opportunities• Opportunities for continuing critical debate within the artsindustry, the media and with the general public• Opportunities to develop practice with the disability arts sectorand culturally diverse artists• The establishment of a UK archive with Higher Education sectorsupport, eg University of Winchester supporting the South EastArchive for 2012.15

Image: The Sultan’sElephant, streetperformance byArtichoke Productions,London, 2006.Photo: MatthewAndrews16

• New progression routes for young people wanting to work in theoutdoor arts sector working with schools, the Higher Educationsector, DCMS and clients eg internships, apprenticeships,bursaries, accreditation and so on. Through specific programmesof work Arts Council will support the spaces for outdoor arts,progression of young people into work in outdoor arts and thedeveloping of skills of those working in this field. The Creative andMedia Diploma has the potential to increase young people’sengagement in the outdoor arts through organisations offering workbasedlearning and practical projects for young people, and CreativeApprenticeships offer new routes into outdoor arts. Supporting skillsdevelopment for those already working in outdoor arts is paramountto high quality artistic practice.4. Legacy Trust UKrepresents a uniqueopportunity to createa lasting legacy of theLondon 2012 Olympicand Paralympic Gamesin communities acrossthe UK.www.legacytrustuk.org5. LOCOG – LondonOrganising Committeeof the Olympic Games(2012)www.london-2012.co.uk/LOCOG/7.2 Research current creation and storage facilities, identifying theneed for developing further creation and storage space in Englandand potential partners for delivering this. Identify how to encouragethe use of existing and found spaces by artists from across thecountry.7.3 Lever additional investment for large-scale work from otherfunders (eg The Cultural Olympiad Artists Taking The Lead bidproject, the Legacy Trust 4 proposals and Art In the Public Realm.)7.4 Work with partners such as the British Council to scopeinternational showcasing and networking opportunities. Work withthe sector and other partners to find cost effective ways ofdistributing work internationally.7.5 Working in partnership with LOCOG 5 , identify and encouragemedia partners to share work across the UK via Live Sites. Researchnew opportunities for increasing coverage via Broadcasting (Film, TV,Radio & Internet) and Print Media.7.6 Invest in commissions in partnership with the heritage, tourismand commercial sectors (eg Cape Farewell & National Trust), todevelop key areas of practice and to support audience developmentwhere possible or practical.7.7 Encourage the development and sharing of expertise about howbest to optimise the sector’s exposure to VAT – with particularreference to ticketless events.17

Image: Niki McCrettonand digital artist KathyHinde’s 2005 Relative,PhoenixCentre, South West.Photo: Kevin Clifford18

8. Build a clear picture of currentparticipation and investment inorder to demonstrate the reach ofthe work and advocate for furtherinvestment from funding partners8.1 Identify existing research, and develop and pilot standardisedframeworks for qualitative and quantitative analysis in partnershipwith local and regional government and regional developmentagencies.8.2 Building on current processes, develop and implement internalevidence gathering processes using regularly funded organisation andGrants for the arts programmes to collect data on activity andparticipation funded by Arts Council England.8.3 Identify barriers to access and pilot access/audit programmes foroutdoor arts events and diversity tool kits with/for promoters,producers and other key stakeholders.8.4 Commission an economic impact study working with the outdoorarts sector, DCMS, local government, regional development agenciesand European partners.19

Image: Ed Grew, KordianTetkov and Pippa Kirbyof Kagemusha Taiko,Dartmoor, 2004. Photo:Simon Burt/Apex20

9. Increase understanding withinthe physical environments in whichartists and organisations arecreating and presenting outdoorarts work9.1 Publish a set of case studies that highlight best practice in a broadrange of partnership projects with public/private sector partners,across artforms/area of practice working and with public realmagencies, eg The Royal Society Arts project which includesinternational fellowships, a range of discussions, critical debates andworkshops.6. CABE – Commissionfor Architecture andthe Built Environmentwww.cabe.org.uk9.2 Collate previous research and, in partnership with key localauthorities and in collaboration with CABE 6 , develop guidance forarchitects, developers and planners when working with artists,producers and arts organisations on regeneration projects and morebroadly in the public realm.9.3 Encourage regularly funded organisations to engage more fullywith the outdoor arts sector agenda and to find ways in which theycan develop stronger working relationships to realise joint objectives.9.4 Identify possibilities for working together with both the ArtsCouncil public realm working-group and regional public realmdevelopment agencies, especially in relation to the Cultural Olympiadand 2012 – eg audience access consultation.21

10. Campaign and advocate foran increase in the opportunitiesfor outdoor arts work to takeplace and therefore improve thelonger-term sustainability of theoutdoor arts sector10.1 Consider ways of facilitating the sector’s relationship with localauthorities and other agencies in order to obtain licences andpermissions for staging events, eg models such as the Film Londonlocations agency for filming on location in London.10.2 Explore the possibilities for outdoor arts within the CulturalOlympiad with the Vision 2012 team, to include investment,opportunities and legacy.10.3 Encourage the recruitment by Arts Council England, regionalcultural consortia and within the arts sector of key people from theoutdoor arts sector onto committees, decision-making groups anddiscussion panels etc.10.4 Ensure that the recruitment of Arts Council staff withknowledge of outdoor arts activity and that the training andknowledge building of existing staff remains a priority10.5 Encourage diverse artists to engage and develop skills in outdoorarts practice through commissions and advocacy programmes.10.6 Lobby the government on issues that affect the sector: eglicensing, work permits, health & safety, noise pollution.10.7 Develop a Communications and Media strategy, with appropriatepartners, to raise the profile and awareness of the broad diversity ofthe sector. Seek discussions with broadcasters about making adocumentary to demonstrate the role of outdoor arts in regeneration,the building of and engagement with communities; developing newand larger audiences and supporting the cultural offer of a particularlocality eg the Castleford Project (Talkback Productions, CH4) whichdocumented the regeneration of 5 towns in Yorkshire.Image: Redcastle,Walk on the Wild Side,Durlston Castle.Photo: Cleo Evans23

11. What success would look like11.1 More and better quality work produced collaboratively bydiverse, more confident and robust professional artists andcompanies, working when appropriate with managers and producers.11.2 A network of regional hubs supporting the development ofknowledge, artistic practice, skills and training opportunities,marketing and PR, and distribution, encouraging critical debate andconnecting with other sectors and agencies.11.3 A clear focus on outdoor arts work throughout the development ofthe Cultural Olympiad and other major celebratory events nationwide;measured by levels of new activity and opportunities for artists.11.4 An evidence base of participation and investment and clearframeworks for collecting and evidencing impact.11.5 Case studies and tool kits which reflect the range of work andpartnerships and highlight the unique experience of audiences andparticipants11.6 More identified routes for young and emerging artists/producersinto the sector.11.7 Greater understanding and knowledge within the Arts Councilof the value and impact of outdoor arts work and strengthenedpartnerships with the outdoor sector.11.8 Greater awareness of the challenges for diverse and disabledaudiences and participants and solutions that improve access.24

11.9 More intelligent and thoughtful critical debate about the work,brought about through increased representation on committees anddecision-making panels of leading people from the sector and wellinformedcoverage by national press and media.Image: Bhangrafest,Artsfest, Birmingham,2006.Photo: Adrian Burrows11.10 Stronger cross-sector partnerships and stronger foundationsfor collaboration between the outdoor arts sector and the wider artsworld, especially the network of arts buildings and institutions.11.11 Greater investment in the sector, especially in work of scale.11.12 An increased international market place for the work.11.13 A plan for 2011-2014 identifying the next phase of strategicdevelopment and investment priorities.25

Image: Debbie FionnBarr taking part inDance SCAPES project.Photo: Kevin Clifford26

12. In conclusionThis plan is designed to meet the needs of the sector and delivergreat art for a larger number of people, many of who may not haveengaged with it before.Implementation of the recommendations will bring about a stepchange in the outdoor arts sector, preparing it for the opportunitiesthat lie within the Cultural Olympiad and increasing longer-termsustainability.This document should be used as a tool to provoke further discussionand action among various departments within Arts Council England,as well as with/by artists, promoters, producers and otherstakeholders.It is proposed that the working party be established by July 2008 andthat their first task be the costing and prioritising of the action plan.Data and evidence collected between 2008-11 should be used todevelop a further development plan for 2011 onwards.27

Arts Council England14 Great Peter StreetLondon SW1P 3NQwww.artscouncil.org.ukPhone: 0845 300 6200Email: enquiries@artscouncil.org.ukTextphone: 020 7973 6564Charity registration no 1036733You can get this publication in Braille, inlarge print, on audio CD and in electronicformats. Please contact us if you needany of these formatsISBN: 978-0-7287-1400-7© Arts Council England, June 2008We are committed to being open andaccessible. We welcome all commentson our work. Please send these toAndrew Whyte, Executive Director,Advocacy and Communications, at theArts Council England address above.Designed by Andrew Clare:andrew@infinitechug.com28