Trusts in the Cultural Landscape Webinar 10 September 2019
• Please check that your audio output is working • Your computer speakers are working, or • Your headset is working, or • You have dialled in using a telephone • Please mute yourself on the GoToMeeting platform. It helps reduce background noise • We will manage structured questions and discussions at the end of the webinar’s presentation • In addition, and if you have specific questions or remarks, please use the ‘chat’ window to ‘Jennifer Huygen presenter, organiser’ – and I will pick these up Please note that this webinar will be recorded to share with those unable to dial in.
Introd Introduction uction • Community Leisure UK’s Cultural Development Strategy • Increase resilience of culture trusts • Create more membership value • Strengthen membership support through tailored programmes and activities • Expand culture-based membership • This webinar • Background of culture trusts • What are culture trusts? • Reviewing the cultural landscape • Culture trusts within the cultural landscape • What’s next? 03
Background of culture trusts Community Leisure UK’s culture -based membership Introducing an integrated trust model between culture and leisure 04
Our culture-based membership Culture-based membership is increasing 58% of the Community Leisure UK membership has cultural assets and/or services as part of their portfolio of work. Two years ago, this number was still estimated to be around 30%. 43% of our culture-based For Scotland alone, our culture- membership responded to our based membership is even Culture Survey. higher – 60%. Our members work right across the country 05 Map only shows those who responded to the culture survey.
Delivering public culture through the trust model The foundation of the trust An integrated model model Two members are main inly or r wholly cul ultural. All Trusts are able to develop innovativ ive, , qua uality others have a mix ixture of f cul ulture and sp sport/leis isure in pro rogrammes s and se servic ices, have the ability to their portfolio and may also have oth ther diversif ify the their income str streams and access specific facil fa ilities/se servic ices. pots of funding, and through their charitable pur urpose se have the best interest of the community at heart while having the autonomy to make agil ile decis isio ions in res response to to communit ity needs. What does integrated mean? • Shared back office systems – finance, payroll, IT “ A Trust will align itself with the cultural • Shared senior management and strategic teams strategy of the local authority putting purpose • Joint staff training • Multi-use spaces before profit. The Trust will actively seek ways • Sharing equipment to engage with stakeholders and the • Joint community engagement events and health community. Profit is a byproduct of this programmes collaboration and not the reason for it. ” • Cross-promotion of work 06
What are culture trusts? Cultural Portfolio Target Groups Operations 07
Cultural Portfolio Cultural assets and services Other services 477 Theatres ¦ Town and Community Hall ¦ Libraries and Adult education and cul ultural employment skills training Archives ¦ Museums and Galleries ¦ Visitor Centres ¦ 17% ass ssets Coding and other digital skills Art Centres ¦ Cinemas ¦ Concert Halls 33% 43% of culture- classes based 13% Health and wellbeing membership Amateur and professional theatre ¦ Dance classes sessions and shows ¦ Film screenings ¦ Music concerts and 1109 Meeting and conferencing 17% festivals ¦ Arts and Craft programmes ¦ Drama and space rental 29% cul ultural acting workshops ¦ Reading and literature groups ¦ Other (still culture- related) ass ssets family history workshops Expected across culture-based Community Outreach work membership Schools Heritage buildings Nursery, care and residential homes Trusts manage over 60 herit itage bui uildin ings. This Village Hall/Community Centre excludes Carnegie libraries. In England and Wales, Parks/squares most of these buildings are Grade 2 listed. In Town centre/high street Scotland, most are Grade A or B listed. Libraries 08
Target groups “ Our communities are comprised of people with all backgrounds and General audience Tailored programmes experiences ” Children Children “ These groups represent the Teenagers Teenagers population of the Borders. Middle aged people Older people Older people Our policy is access for all, People with low income and the People with low income and the so we include access for unemployed unemployed those with mental or physical People with physical disabilities People with physical disabilities People with poor mental health impairments, but don't People with poor mental health People with long-term conditions specifically target them.” Women and girls, BAME communities Talented individuals Talented individuals “We run programmes and “Because we can LGBTQ communities events to engage the general demonstrate clear need People with long-term conditions public and we support local Women and girls within our community and it artists to develop their fits our charitable objectives careers and networks." to do this work.” 09
Operations Scotla land Engla land Wale les Welsh Government and the Scottish Partnerships and Future Generations Office Government DCMS collaborations Arts Council of Wales Arts Council England Welsh Local Government Within their Local Government Creative Scotland Association communities, most Association SLIC Creu Cymru trusts work closely CLOA Museums and Galleries Theatrical Management with: English Heritage Scotland Association local authorities • National Trust Historic Environment NODA local businesses, • Scotland UK Theatre Mus useum Ass Associa iatio ion primary and • Mus useum Ass Associa iatio ion Mus useum Ass Associa iatio ion CIL ILIP secondary schools CIL ILIP CIL ILIP Libra Lib rarie ies Con onnected universities and • Lib Libra rarie ies Con onnected colleges Natio tional l Arch Archives Natio tional l Arch Archives other third sector • organisations local GP surgeries • ASD Wales NHS MacMillan Cancer Support • Local community groups NERS local health boards • Health and Social Care CCGs Partnerships NEWCIS 010
Operations Staff, volunteers, and apprentices 63% • 74% Across our full culture-based membership, culture trusts are estimated to employ over 63,0 ,000 paid id sta taff (FT/PT/contract), more than 12 12,0 ,000 volu lunteers and 400 apprentices . 22% • Scottish trusts work with more volunteers than anywhere else in the country – on average, , a 52% One-off event help tru trust in in Scotland works with ith 390 volu lunteers . Manage and run long-term activities/programmes Administrative support (office work) Other - incl. stewarding, archiving/cataloguing, support on specific programmes, general support 011
Operations Finance • • Additional funding mainly comes from Creative On average, more than 50% of a culture trust’s Scotland, Arts Council England, Big Lottery and income stems from local authority management philanthropy giving. fees. • • New revenue stream using Gift Aid and Non-cultural work brings in more income than crowdfunding. cultural work. 012
Reviewing the cultural landscape Challenges Opportunities Culture Trusts Community Leisure UK 013
Landscape - Challenges In response to public sector budget cuts, members respond to have increased Reduction in public admission costs (70%) and are undergoing subsidy and general internal reorganisations and refocusing of reduction for public services (61%). sector support Expectations for funding and the In Scotland, most culture trusts (87.5%) are reduced value placed now charging admission costs for on culture previously free of charge events. Trusts are further changing or reducing innovative events to decrease risks (43%), and expanding activities that increase short-term revenues (48%). Dated buildings and Difficult Limited Lack of funding for general poor condition financial sustainable capital investment of arts and heritage funding streams projects climate buildings “Significant reduction in the Management Fee has meant we cannot expand the cultural / arts offer to the Reduced resources and community; Arts programmes have capacity to deliver and reduced over the last 10 years; Cannot develop programmes afford to take risks with our Reduced funding / programme.” reduction in management fees 014
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