Can the arts recover from coronavirus? (part 2)

The first part of this blog series looked at the impact the coronavirus has had on the arts sector so far, and at the help being offered to alleviate it.

In social isolation, many people turn to art for entertainment and comfort and as a means for connecting with others, and the importance of the arts for wellbeing becomes increasingly apparent. Despite the huge strain the sector is under, its organisations and professionals are finding innovative ways of overcoming the challenges they face, to continue creating and engaging with the public.

How is the sector responding?

With venues closed and in-person events cancelled, the arts have moved online, and the sector is essentially undergoing an imposed digital shift.

Galleries and museums across the world have digitised and moved online, allowing the public to explore their collections virtually, and often for free. Several galleries have been experimenting with virtual reality platforms, allowing them to arrange and display their collections as they would onsite. The Getty Museum in California has even made its collections available via “Animal Crossing”, allowing gamers to view and display artworks from the Getty on their own virtual islands.

Theatres and performing arts companies have responded to the crisis by making performances available for free via streaming platforms. London’s Royal Opera House have been streaming free opera and ballet performances, Shakespeare’s Globe theatre has made a large collection of its recorded stage productions available for free, the English National Ballet have been offering remote ballet lessons, and the National Theatre have made a collection of its productions available through YouTube.

Artists, like many people, are working from home. Well-known artists including Anthony Gormley, Grayson Perry, David Hockney and Tracey Emin have been sharing their work during lockdown using social media.

Musicians have also been using social media and streaming platforms to share performances and collaborate with one another. New music has been created in response to the pandemic, and many artists have participated in live stream events to raise money for music venues which are at risk because of the crisis. Major global broadcast events such as ‘Together at Home’ have included performances from well-known artists like Lady Gaga and Elton John, to raise funds for frontline workers and the World Health Organisation.

By going digital, the arts sector is successfully keeping the public engaged, but concerns have been raised about the sustainability of this new model where most content is being offered for free, and there is uncertainty about how the public will choose to consume arts and culture in a post-coronavirus world.

What is needed going forward?

Despite the funding efforts and the hard work of the arts sector, as social distancing continues, concerns are growing about how the sector will withstand the financial pressures as the crisis moves into its next phase. As the emergency funds offered by Arts Council England (ACE) are quickly running out, their CEO Darren Henley has emphasised that ACE simply do not have “the resources needed to secure the income of individuals or the future of shuttered organisations through an extended lockdown, nor the ability to support the costs of reopening”. He argues that finding a solution going forward will require close engagement between government and arts organisations.

A recent letter, written by the Creative Industries Federation (CEF) and signed by 400 of the UK’s leading artists, has warned that the UK is in serious danger of becoming a “cultural wasteland” despite the funding that has been offered so far, and called for urgent funding from the government to support creative industries.

The Culture 2030 Goal Campaign have argued that the arts and culture sectors are “too often compromised in budget allocations”, and have called on governments to take immediate action to protect the sector which will play a fundamental role in helping communities to recover from the crisis. This argument has been echoed by United Cities and Local Governments (UCLG), who have also emphasised the vital role of arts and culture in making sense of the world post-crisis.

Hans Ulrich Obrist, the artistic director of London’s Serpentine gallery, has argued that a multimillion-pound public arts fund is needed, similar to the programmes offered by Franklin D Roosevelt to support the arts during the Great Depression.

Final thoughts

The arts are finding ways to adapt, create, and innovate during the coronavirus crisis, despite serious financial strain. Arts professionals recognise that the sector has recovered from crises before and will find a way of doing so again. It has also been argued that the crisis has given the sector a chance to slow down, reset, and develop a more sustainable way of working together in the future. ACE have pointed out that, while the hardest part may be yet to come, they now have “an emerging sense of what the months ahead may look like and a chance to prepare”. Like most other sectors and areas of society, the arts will move into its own “new normal”, but just what that will look like remains to be seen.

Part one of this blog post was published on Monday 11 May.

Further posts on our blog concerning the arts and culture include:

Can the arts recover from coronavirus? (part 1)

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No part of society or the economy has been untouched by the coronavirus outbreak, but as the situation develops globally, it has emerged that the arts, culture, and heritage sectors may be among the hardest hit. Organisations and individuals are working hard to adapt and deliver art in more creative ways than ever, but there is real concern about the lasting effects the pandemic could have on the cultural and creative industries, and the extent to which they will manage to recover.

The impact of coronavirus on the arts, culture and heritage sectors

Back in March, the UK government’s implementation of lockdown and strict social distancing measures led to the sudden and indefinite closure of cultural spaces such as theatres, museums, galleries and cinemas, and the cancellation or postponement of pretty much all events, performances, and festivals across the country. This suspended the usual operations of most cultural institutions, leading to uncertainty and potentially devastating financial losses for those working in the sector, particularly freelancers.

Many involved in the creative industries have expressed concern about financial sustainability, and about how a crisis like this may deepen the sector’s existing inequalities. In the UK, the creative industries employ around two million people, and approximately a third of these are freelancers – the group likely to be the hardest hit by the cancellation of events and projects.

The cancellation of summer festivals and gigs has particularly affected freelance musicians, comedians and performers who often rely on the festival circuit for a substantial proportion of their income.

On top of the immediate financial concerns, artists have expressed worries about the effect of the coronavirus on their visibility, as long-planned projects grind to a halt.

A recent report published by the Arts Council of Northern Ireland estimated that the average loss of earnings for individuals in Northern Ireland’s arts sector was £3,756 between March and May 2020, and the total income loss for organisations was approximately £3.97 million during the same period. Arts Council England have been conducting similar research to gauge the impact of the crisis on the arts sector in England, and are expected to publish their findings soon.

A series of recent webinars delivered by OECD addressed the impact of the coronavirus crisis on museums, and the wider cultural and creative sectors. Museums are at immediate risk due to the dramatic reduction in revenue and charitable donations, and the livelihoods of their staff and freelance professionals are in jeopardy as a result. The loss of income across the wider arts sector has the potential to wipe out a significant proportion of its creative framework. In the longer term, museum ecosystems may be seriously damaged by the loss of smaller creative companies and professionals, on whom museums rely for creative outputs. OECD also warned that the sudden withdrawal of museums from local development projects could have a lasting negative impact on their local communities.

Similar concerns are raised in the Arts Council of Northern Ireland report, which emphasises that the suspension of public classes, workshops, community outreach initiatives and work within schools, usually provided by arts organisations, is likely to have a profound impact on Northern Ireland’s local communities and place vulnerable people at risk.

What is being done to help?

Across the UK, emergency funding programmes have been launched to support organisations and individuals at risk.

Arts Council England has offered £160 million of emergency funding (almost all of its reserves), to protect England’s arts, museums and libraries. The funding package aims to support individual creative practitioners, as well as organisations at risk. As part of this programme, they are continuing to fund their existing National Portfolio Organisations, even where agreed projects cannot go ahead.

Arts Council Wales has allocated an initial £7 million to an urgent response fund, with the hope that  funding will increase through collaboration with other trusts, foundations, and charities who are able to contribute. Arts Council for Northern Ireland has combined £500,000 of their own funds with £1 million from the Department of Communities to create an emergency fund for artists and creative organisations.

Creative Scotland have launched three new emergency funding programmes, as well as guaranteeing that all previously committed funding awards will be honoured regardless of event cancellation. They have also encouraged recipients of their funding to honour their pre-existing agreements with artists and freelance professionals.

Businesses and employees in the sector are receiving support from the government’s furlough scheme, and freelancers can apply for government grants as part of the Self-Employed Income Support Scheme.

A variety of independent funding schemes have also been set up by charities and non-profit organisations across the UK to support organisations and individuals.

What next?

The arts sector is in serious danger as a result of the coronavirus crisis. The assistance on offer has the potential to help individuals and organisations to stay afloat for the time being, but as lockdown persists and social distancing measures seem set to continue for the foreseeable future, there are already concerns that the funding on offer at this stage is not going to be enough. The second part of this blog series will consider how the arts sector is responding to the crisis, and what is needed to help its recovery going forward.


Part two of this blog post will appear on Wednesday 13 May.

Further posts on our blog concerning the arts and culture include:

Guest post: Three things I’ve learned in my local coffee shop

By Steve MacDouell

If you were to walk into my neighbourhood coffee shop, you’d see the usual suspects: Joey, a body and mind professional, who would be talking to someone about Finnish saunas, metal music, and the human condition; Arielle, the local city councillor, who would be conversing with her constituents about their ideas and hopes for the neighbourhood; Alexis, a writer, who would be sipping an americano, plugging away at her book, and scrolling through funny dog gifs; and Brittney, Jen, and Emily, three friends who, on a weekly basis, come together to talk about the joys and complexities of life all the while trying to keep their pre-school aged children occupied. This coffee shop, like many others, is a place where people are invited to sit, to catch up on some email, and to, potentially, encounter a few of their neighbours — all while enjoying a hot, caffeinated beverage.

Third places — that is, places where people can enjoy the company of others outside of their workplaces and homes — are critical to the well-being of our neighbourhoods. From public parks and libraries to pubs and playgrounds, these places are impacting our localities in both subtle and significant ways. For our communities to thrive, we need third places where ideas can be shared, where everyone is welcome to belong, and where relationships, over time, can be fostered. Ray Oldenburg, urban sociologist and author of The Great Good Place, emphasizes the importance of these kinds of places in this way:

“Most needed are those ‘third places’ which lend a public balance to the increased privatization of home life…Though a radically different kind of setting from the home, the third place is remarkably similar to a good home in the psychological comfort and support that it extends…They are the heart of a community’s social vitality, the grassroots of democracy.”

After a few years of sitting in the same coffee shop, I’ve come to realize that third places have much to teach us about our neighbourhoods and the people we share them with.

In the spirit of celebrating the third places in our cities, here are three things that I’ve learned in my local coffee shop:

People want to linger in places where they can be seen, heard, and known

There is something about your local barista knowing your coffee order that grounds you in a place. It’s one of the small, subtle ways that I started to feel like a character in the story of my neighbourhood. This vague familiarity would go on to spark brief conversations between the staff and I, which led to more robust exchanges around our unique interests, our vocational endeavours, and our shared hopes for the neighbourhood. They began to introduce me to other locals in the shop which led to more conversations and to a broader network of connection. Additionally, the shop is small, so sharing tables with my neighbours became a normal practice. At times, these shared table experiences sparked meaningful interactions, and at other times, it just led to more spilt coffee. As weeks turned into months, strangers became friends, a sense of community started to be formed, and feelings of familiarity began to take root.

It’s often within the relational ecosystem of a local coffee shop that we encounter the people we’ve actually shared close proximity with for a long time. We start to put names to faces that we’ve seen in passing, and we begin to feel a little more noticed ourselves—which taps into our human longing to know others and be known by others. In this sense, coffee shops provide far more than local economic benefits and enjoyable products; they offer a space where trust can be formed — and where hospitality can be extended — between neighbours. While turning up, sipping coffee, and being open to connection seems like a small act, the cumulative impact of doing so can’t be quickly dismissed.

People long for places where contextual ideas—for the common good of the neighbourhood—can be inspired

The collision of humanity that occurs in a local coffee shop has a way of catalyzing ideas that, if leveraged well, can go on to improve the well-being of our neighbourhoods. This occurs, in part, because the individuals who spend time in these places will have some sense of the contextual opportunities that exist locally and because the social nature of a coffee shop can lend itself to a high concentration of neighbourly interactions. Over the years, spending time in my local coffee shop has opened up different collaborate engagements with my neighbours: from cocktail nights, dinner parties, and social clubs to playgroups, TED-style events, and tactical urbanism projects. The seeds of these ideas were planted and cultivated through ongoing conversations over lattes and laptops.

The local impact that can come out of a coffee shop is nothing new; historically, these places have played a key role in shaping the social, political, creative, and intellectual pursuits of cities. Take, for example, the coffeehouses of London in the 1670s. The open, political dialogue that occurred in these places was subversive enough that it caused nervousness in the powers that be, so much so that Charles II tried to have them shut down. If you were looking to be involved in political dialogue during the French Revolution, you could find it in a Parisian café, and if you were an anti-Communist dissident in Prague after the Soviet Union invaded Czechoslovakia, you could conspire with kindred spirits at Café Slavia. Some, like German sociologist and philosopher, Jürgen Habermas, have even gone on to argue that the coffeehouses of the seventeenth and eighteenth centuries helped lay the foundation for the liberal Enlightenment.

While revolution might not break out in our local coffee shops, these important places still inspire dialogue, ideas, and collaboration, all of which can go on to make a tangible impact on neighbourhoods and cities.

People are attached to the places that they experience with all of their senses

Over the past few years, I’ve taken a number of road trips across the United States. Whenever I’m in a new city, I try to sit in a few local coffee spots to taste their product, to meet a few locals, and to get a sense of what’s happening in the neighbourhood. While I’ve enjoyed some great coffee and met some interesting people along the way, I’ve always felt like a visitor in these places—and this makes sense. The coffee tastes a little different than what I’m used to; the aesthetic, while often similar, is not quite the same as my local coffee shop; and the people are friendly, but I’m not connected to their stories in the same way that I am to those of my neighbours. Visiting these places is always a welcomed experience, but it never quite feels like home.

The hours I’ve spent in my local coffee shop have increased my level of attachment to my neighbourhood and the people who inhabit it—which, over time, has made me less likely to dream of being somewhere else. While I love to travel, being elsewhere has made me more appreciative of the people and the places that are familiar, reminding me of just how much I continue to receive within the ordinary rhythms of life in the places I call home.

Third places play a critical role in the strength, resilience, and interconnectedness of our cities. Whether your third place is a coffee shop, a community centre, or a local McDonald’s, spending time in these places can move us toward the people, the stories, and the opportunities that exist all around us. While these places will not solve all of the urgent problems that our cities face, the tangible benefits that they offer our communities should be celebrated.


Steve MacDouell is a professor at @FanshaweCollege in London, Ontario, and a senior community fellow at @TheGoodCityCo, a civic organisation that creates projects to help citizens take greater ownership over the places they call home. Steve also writes posts on community formation, place and neighbourliness. This post originally appeared on Steve’s own blog.

“We’ve updated our privacy policy”: GDPR two years on

by Scott Faulds

Almost two years ago, the General Data Protection Regulation (GDPR) came into force across the European Union (EU) and European Economic Area (EEA), creating what many consider to be the most extensive data protection regulation in the world. The introduction of GDPR facilitated the harmonisation of data privacy laws across Europe and provided citizens with greater control over how their data is used. The regulation sets out the rights of data subjects, the duties of data controllers/processors, the transfer of personal data to third countries, supervisory authorities, cooperation among member states, and remedies, liability or penalties for breach of rights. However, whilst the regulation itself is extensive, questions have been raised regarding the extent to which GDPR has been successful at protecting citizens’ data and privacy.

Breach Notifications and Fines

Critics of GDPR have argued that whilst the regulation has been effective as a breach notification law, it has so far failed to impose impactful fines on companies which have failed to comply with the GDPR. National data protection authorities (such as the Information Commissioner’s Office (ICO) in the UK) under the GDPR have the ability to impose fines of up to €20m or up to 4% of an organisation’s total global turnover, whichever is higher. Since the introduction of the GDPR, data protection authorities across the EEA have experienced a “massive increase” in reports of data breaches. However, this has yet to translate into substantive financial penalties. For example, Google has been issued a €50m fine, the highest issued so far* by CNIL, the French data protection authority. CNIL found that Google failed to provide sufficient and transparent information that allowed customers to give informed consent to the processing of personal data when creating a Google account during the set-up process of an Android powered device. This is a serious breach of multiple GDPR articles and CNIL argued that the infringements contravene the principles of transparency and informed consent which are at the heart of the GDPR.

*  The confirmation of record fines issued by ICO to British Airways (£183m) and Marriott International (£99m) has been delayed until 31st March 2020.

However, the fine imposed on Google amounts to approximately 0.04% of their total global turnover, which some have argued is simply too small an amount to act as any real deterrent. Therefore, it could be said that while GDPR has been effective in encouraging companies to be transparent when data misuse occurs, national data protection authorities have yet to make use of their ability to impose large financial penalties to act as a deterrent.

In recent months, the German and Dutch data protection authorities have both created frameworks which set out how they intend to calculate GDPR fines. Analysis of their fining structures indicates that both models will operate based on the severity of GDPR violation. However, both structures allow for the data protection authority to impose the maximum fine if the amount is not deemed fitting. The International Association of Privacy Professionals believes this will result in significantly higher and more frequent fines than those issued previously, and has suggested that it is possible that the European Data Protection Board may consider implementing a harmonized fine model across Europe.

Brussels Effect

The effects of the GDPR can be felt beyond Europe, with companies such as Apple and Microsoft committing to extend GDPR protections to their entire customer base, no matter their location.  Even the COO of Facebook, Sheryl Sandberg, admitted that the introduction of GDPR was necessary due to the scale of data collected by technology companies. The ability of the EU to influence the global regulatory environment has been described by some experts as the “Brussels Effect”. They argue that a combination of the size, importance and regulatory power of the EU market is forcing companies around the world to match EU regulations. Additionally, this effect can be seen to be influencing data protection legislation across the world, with governments in Canada, Japan, New Zealand, Brazil, South Africa and California all introducing updated privacy laws based on the GDPR. As a result, it can be said that the introduction of the GDPR has enabled the EU to play a key role in global discussions regarding privacy and how citizens’ data is used worldwide. 

Brexit

Following the UK’s exit from the EU, the GDPR will remain in force until the end of the transition period (31st December 2020), after this point it is the intention of the UK Government to introduce the UK GDPR. However, as the UK will no longer be a member state of the EU, it will require to seek what is known as an “adequacy agreement” with the EU.This allows businesses in the EEA and UK to freely exchange data. The UK government believes that this agreement will be signed during the transition period, as the UK GDPR is not materially different from the EU GDPR. However, it should be noted that the most recent adequacy agreement between the EU and Japan took two years to complete.

Final Thoughts

The introduction of the GDPR almost two years ago has had a variety of impacts on the current discussion surrounding privacy and how best to protect our personal data. Firstly, the GDPR has forced companies to become more transparent when data misuse occurs and gives national data protection authorities the power to scrutinise companies’ approaches to securing personal data. Secondly, the influence of the GDPR has helped to strengthen privacy laws across the world and has forced companies to provide individuals with more control over how their data is used. However, the effectiveness of GDPR is limited due to a lack of common approach regarding fines in relation to GDPR violations. In order to develop fully, it will be important for the European Data Protection Board to provide guidance on how to effectively fine those who breach the GDPR.


If you enjoyed this post, you may also like some of our other posts related to GDPR:

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Diversity and precarity: a conference on Scotland’s places of creative production

It might come as a surprise to learn that Scotland’s creative industries make up the country’s second biggest growth sector, after energy. But as well as making significant economic contributions, the creative sector is important on its own terms, with practitioners deploying their imagination, skills and expertise in a wide variety of sub sectors, from architecture and advertising to design and music.

Last month, The Glasgow School of Art (GSA) hosted a conference focusing on the ambitions of Scotland’s creative community. The organisers chose the perfect setting for the conference: for the past 20 years The Lighthouse in Glasgow has been a beacon for Scotland’s creative industries. As well as serving as Scotland’s architecture and design centre, the building has a direct connection to one of Glasgow’s cultural heroes. Designed in 1895 for the Glasgow Herald, The Lighthouse was the first public commission for Charles Rennie Mackintosh.

Scotland’s creative community has a lot to be proud of, but as well as acknowledging success stories in television, computer games and the visual arts, the conference also addressed the shadows that threaten to undermine Scotland’s creative sector.

Defining design and the challenges of precarity

One of these issues was raised by Janice Kirkpatrick, founding director of Graven, one of Scotland’s most successful design studios. Janice observed that the creative community’s difficulty in defining creativity has made it hard to communicate its work to the wider world. This is important, especially when trying to attract young people into the sector. She noted that in England between 2000 and 2018 there was a 79% fall in the number of people studying design. The situation in Scotland isn’t quite as bleak, with a 16% increase in design students. But Janice argued that there is a need to introduce children to art and design at a much earlier stage in their lives so that they can regard the creative sector as a serious career option.

Katrina Brown, founding director of The Common Guild, agreed that schools have a vital role to play in nurturing an affinity for and awareness of the arts. She observed that other countries have adopted a different approach, noting that a friend living in France had complained that their daughter’s school organised visits to art galleries just once a month.

The Common Guild is a dynamic visual arts organisation in Glasgow, and Katrina referenced her experiences to highlight the precarity of the sector. The arts have not been immune to the impact of austerity following the global economic crisis. Galleries have closed, programming has been reduced, and opportunities for artists, invigilators, educators and technicians have shrunk. This matters, Katrina argued, not only because the arts have such positive economic effects, but they also enrich our health, wellbeing and quality of life.

Despite the harsh economic climate, many public bodies recognise the value of the arts, and Katrina offered the example of Dundee Contemporary Arts (DCA), which has become a world class centre for contemporary art and culture. The University of Dundee has demonstrated the importance of supporting the cultural life of the city by investing in DCA, which supports individuals in their artistic endeavours, but also provides them with an income through jobs in the centre’s café and cinema.

Place makers: Glasgow’s Meanwhile Spaces

The conference’s title – Places of Creative Production – took on a special resonance during a presentation by Richard Watson, Commercial Lead at City Property Glasgow, a subsidiary of Glasgow City Council. Like many UK cities, Glasgow’s city centre has been struggling to cope with the impact of online shopping and out-of-town retail centres. Closures have hit the city harder than any other in Scotland, with an alarming rise in the number of vacant properties. In response to these challenges, City Property Glasgow has been working with the council and other agencies to create ‘Meanwhile Spaces’ from empty shops in the city’s High Street and Saltmarket. After being made structurally safe and ready for new tenants, a new leasing strategy was developed, offering the properties for one year, rent-free (all other service, utility and business rates charges still apply).

Since June of this year, the first Meanwhile Space tenants have been moving in, and many of these are members of the Scotland’s creative community, including:

SOGO: a Scottish based bi-annual lifestyle and arts magazine, which promotes and provides a platform for Scottish creative industries and communities.

WASPS: the UK’s largest non-profit studio provider for artists, which will use a Meanwhile Space to support activities in which creators can prosper.

SALTSPACE: a new co-op launched by students and graduates from Glasgow School of Art to support young creatives in their transition from art school into professional practice.

Although the project is still at an early stage, Richard explained that the response of tenants and local residents has been positive, and City Property Glasgow is already working on plans to create Meanwhile Spaces in other parts of the city, and to develop longer-term spaces.

The conference heard a variety of voices and experiences, giving participants the opportunity to learn about a rich diversity of creative activities in Scotland and beyond:

  • Professor Andrew Brewerton from Plymouth College of Art, described the establishment of a free school specialising in the creative arts;
  • Video games artist and lecturer Andrew Macdonald compared his experience of working in Sweden’s games industry with the games sector in Scotland;
  • Writer and broadcaster Stuart Cosgrove explained the approach taken by the Glasgow team in forming a successful bid to become one of Channel 4’s creative hubs.

Forward thinking

Closing the conference, Professor Irene McAra-McWilliam, Director of The Glasgow School of Art, said that the GSA would be happy to organise further events that might build on the ideas arising from the day’s conversations. And she reminded participants that although Scotland’s creative community faces significant challenges, it also has the skills, experience and passion needed to meet them.


Further reading from The Knowledge Exchange blog on culture and creativity:

ARLGS library visits: the Royal Conservatoire of Scotland and the National Piping Centre

The Whittaker Library at the Royal Conservatoire of Scotland

Late last month, Academic and Research Libraries Group Scotland (ARLGS) held an afternoon of visits to the libraries of the Royal Conservatoire of Scotland (RCS) and the National Piping Centre (NPC) in Glasgow. Both venues hold fascinating collections, and the visits were a great chance for library and information professionals from across Scotland to see the collections and meet the librarians behind them.

The RCS and the Whittaker Library

Co-ordinated by ARLGS’ event planner, Isabelle Bridoux, the afternoon began at the Royal Conservatoire of Scotland, where librarian Dr. Karen McAulay gave a talk on the history of the performing arts school and its Whittaker Library. Founded in 1847 as the Glasgow Athanaeum, the school quickly became one of the largest and busiest performing arts schools in the country. It has been based at its current site on Glasgow’s Renfrew Street since 1988, and is now considered one of the world’s best performing arts schools.

Dr. McAulay’s stories about the foundation of its Whittaker Library were particularly interesting – it was set up by the school’s janitors and began as a small, closed access collection, which has adapted over the years into the expansive, comprehensive collection of music, drama, dance, production and film which serves the RCS’s students and staff today.

The Whittaker Library’s LP collection

Dr. McAulay spoke about the challenges the library team have faced over the years, including some difficult decisions they have had to make in limiting their collection of physical resources to cope with demands on space. It was apparent how much work has gone into adapting the collection to keep up with the rapidly growing student base and the new courses the school launched in recent years, and Dr. McAulay emphasised that the increasing availability of electronic resources had helped to facilitate this. However, the unique value of their print and physical resources was also evident, and it seemed that striking a balance was important. The library has retained an impressive collection of CDs, LPs and DVDs, and Dr. McAulay emphasised the continuing value of these formats – there are many unique recordings which do not end up available online.

The New Athenaeum Theatre at the Royal Conservatoire of Scotland

The visit to the RCS ended with a tour of the rest of the school (including the New Athenaeum Theatre, the opera school, and an impressive wall of fame).

The National Piping Centre

On arrival at the National Piping Centre, a presentation (and bagpipe performance!) was given by librarian James Beaton. The piping centre operates as an educational charity, promoting the study and the history of piping in Scotland.

The centre has a small internal lending library for students and staff, which holds a large collection of material for studying piping, including printed books, manuscripts, sounds holdings, and teaching tapes. The collections held in the library are truly unique. James Beaton’s talk covered the oral tradition of piping – there was no literature on piping at all until the 18th Century, and older resources relating to piping are rare, making the collection of older material presented during the visits particularly special.

Examples of the collection at the National Piping Centre

The talk covered a varied and interesting range of topics, touching on the complexities of indexing such specialist and valuable material, and the process of and issues around digitising such resources for the library’s online catalogue.

 

Final thoughts

This event showcased the value of libraries in creative and academic institutions, as well as the challenges faced by the librarians who run them. A particular theme which ran through the afternoon’s discussion was the importance of the creative arts in education. Concerns were cited about the decline in subjects like music and drama in schools and the potential impact on the arts industry, and it stood out that libraries like these are playing a vital role in facilitating the continued study of the creative arts.

Helping people to reconnect: positive projects for people with dementia

This Photo is licensed under CC BY Via Microsoft Word images

Every three minutes, someone in the UK develops dementia. Over 850,00 people in the UK are currently living with a form of the disease; 40,000 of these are people under the age of 65.  This week (20th– 26th May) is Dementia Action Week 2019. This year the focus is on encouraging people to talk about dementia, and to talk to people with dementia in order to help tackle loneliness and isolation among those who suffer from the condition, as well as to raise awareness and improve understanding around the condition and the impact it can have.

The power of music

You may have recently come across the BBC programme featuring Line of Duty’s Vicky McClure Our Dementia Choir (if you haven’t you should try and find a copy).  The documentary follows a group of people who suffer from varying degrees and types of dementia and highlights in sometimes painfully sad detail the changes and challenges that can occur when someone develops the disease. However, it also shows the great joy and relief that music brings to dementia sufferers and their families. We blogged a few years ago about the benefits of music therapy in dementia care – and since then the literature and research on its usage in different settings has only grown.

Research shows that music, in various forms can help encourage participation and trigger positive associations which can be really helpful for people suffering from dementia, particularly if they feel like a lot of other things may have changed. In our previous blog we highlighted a Care Inspectorate backed scheme called ‘playlist for life’ which encourages care homes to integrate music into their care for patients with dementia. Moving beyond just allocating a time to place headphones onto a patient and leaving them to listen alone (although at times this may be helpful too), the aim is for music to be a vehicle for connected care. It allows carers to use music as a tool to find out more about the person they are caring for and encourage them to engage through the music.

Tackling isolation with art, culture and the natural environment

Research has shown that it is not only music that can have a positive impact on quality of life for people with dementia. Painting and drawing, making use of the natural surroundings by encouraging gardening or light walking in safe spaces, and games like dominoes and draughts can all help in their own way to improve the quality of life for people living with dementia and provide an opportunity for loved ones to re-connect.

In a 2014 study researchers examined the experiences of people with dementia and their carers when they participated in an 8 week programme based in an art gallery designed specifically to tackle social isolation and improve quality of life for both the person suffering from dementia and their carer. The study found that while the impact in terms of qualitative measures was negligible, participants were unanimous in their enjoyment and satisfaction with the programme. They highlighted that the interventions at the galleries helped to foster social inclusion and social engagement, enhance the caring relationship between the carers and people with dementia, and stimulate cognitive processes of attention and concentration. In a similar study, looking at the impact of art and gallery settings and programmes delivered within these settings, similarly positive emotional effects on study participants were found.

In Liverpool, they are making the most of their city landscape and the fact that specific locations, building and objects around the city can act as positive triggers for people who suffer from dementia, stimulating memory and interest. Those individuals who are mobile enough can participate in “memory walks” (different from the Memory Walks convened by the Alzheimer’s Society, which are sponsored walks designed to help raise money and offer a public show of support for people with the illness). This not only helps to improve physical activity, it can also be an opportunity for people with dementia to connect with other people as the walks are usually carried out in small groups, they are also linked to befriending schemes across the city to help reduce social isolation among multiple groups.

Similarly, many care homes now also promote interaction with nature and outside spaces for residents with dementia, with many developing specifically landscaped “sensory” gardens for residents, while other innovative supported living accommodation projects have gone a step further and created entire villages on site, which allows residents to perform tasks such as shopping or visiting a hairdresser. (This project is based in the Netherlands, but there are suggestions that a similar scheme could also come to the UK in 2020.)

VR and creating virtual experiences for people

Using digital technologies has also become increasingly popular, particularly in care homes. Apps and VR headsets which allow people to be immersed in an experience they perhaps once enjoyed, such as flying (if for example they had previously been a pilot or air crew) or driving have been shown to have a significant positive impact on people’s wellbeing allowing them to reconnect with their past and memories and freeing them from the sense of being trapped and losing their independence which can sometimes come with moving away from home into supported accommodation.

Tablet computers and touchscreen technology can also sometimes be easier for people with dementia to use as they do not require the same level of dexterity as writing. Apps have been developed which can help with word association or use pictures which can be helpful in allowing people with dementia to communicate when their use of language becomes more of a challenge. While the technology its self is relatively new, research has shown definite scope and benefit of further development of this in the future, as well as relevant training for staff and carers on digital literacy to help support users.

A support to clinical interventions

Dementia is a cruel illness – 1 in 3 of us in the UK will develop a form of the condition at some point in our lives. As yet there is no cure and as the population ages, and life expectancy improves more generally, the number of cases is expected to rise dramatically in the coming years. However, where science is trying to cure, art and culture is trying to supplement and support the clinical interventions and, where possible, provide opportunities to improve the quality of life for people suffering with the condition and provide opportunities for people to re-connect with loved ones.

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Museums as facilitators of health and wellbeing in communities

GNM Hancock, Newcastle

Great North Museum Hanckock, Copyright Rebecca Jackson

It’s estimated that there are over 2500 museums in the UK, ranging from world-famous collections in major cities to small local ones on niche themes. Over 50% of adults have visited a museum or gallery in the last year and there were an estimated 7.5 million visits by children and young people under the age of 18 to the major museums in England.

As well as their educational and leisure value, and their role as drivers of the tourism economy, there is a growing body of research which is considering the wider societal role of museums and in particular, their potential positive impact on health and wellbeing.

Museums and the rise of social prescribing

Within health and social care, we have seen increasing recognition and interest in the role of psycho-social and socio-economic determinants on health and wellbeing. Treatments now often look at the whole person and their lifestyle, not just at the specific medical condition to be treated. This awareness of the impact of lifestyle has led us to view spaces like museums and theatres in a new way and consider how they can be used as a tool to help people to live well.

March 14th was social prescribing day in the UK. And Museums on Prescription is one of a number of culture-led projects which encourage people to use assets in their local communities such as museums, galleries and theatres to help manage conditions linked to depression and social isolation, in combination with traditional clinical medicine.

Arts-for-health settings can have an impact across a number of different areas, including supporting children who have been exposed to trauma and abuse, helping communities integrate and improve social cohesion through the co-production of exhibitions, and helping support people with mental or cognitive illnesses, as well as those who suffer from dementia and Alzheimer’s.

V&A Dundee

V&A Dundee, Copyright Rebecca Jackson

Helping people feel better

As the number of projects increase so does the evidence of positive benefits. There is a growing body of literature highlighting examples of how cultural experiences are supporting both physical and mental health.

A report from Art Fund looking at the calming impact of museums and galleries found that 63% of people surveyed have (at some point) used a visit to a museum or gallery to ‘de-stress’, however, only 6% visit a museum or gallery regularly (at least once a month). Over two thirds of survey respondents (67%) agreed that taking time out for ourselves and choosing to pursue a leisure activity is good for our personal wellbeing and this is where museums and galleries, along with a whole host of other providers like theatres, music venues, public gardens and parks can step in.

Funding is a challenge

A report (2018) from the English Civic Museums Network highlights that services often deemed  “non-essential” (like museums and libraries) actually encourage and foster personal and communal resilience: they stop the crime, the illness, the loneliness from happening in the first place.

However, despite the significant and positive preventative role that participation in cultural activities can play, over the past five years spending on culture in England and Wales has fallen by over 30%, and this has had an impact on museums and the services they can provide.

Natural History Museum, London

Natural History Museum, London, Copyright Rebecca Jackson

Galleries and museums must keep striving to do more

The growing realisation of the potential of museums and galleries to have a positive impact on the health and wellbeing of communities presents a significant opportunity for them to develop programmes and exhibitions which reflect the diversity of experiences within communities and look to develop new ways to engage new audiences. Ensuring that people feel represented and that exhibitions appeal to a broad base of the community is also important in making sure people feel they are able to visit exhibitions and can feel the benefits of doing so.

In their 2015 report, the National Alliance for Museums, Health and Wellbeing, led by UCL, outlined the priorities of the alliance and showcased some examples of the work being done by partner organisations. In February 2019 it was announced that some schools in London are planning to give pupils “theatre vouchers” which entitles them to one free theatre visit per year. Museums themselves are also trying to do more to help engage members of the community and encourage them to engage with new exhibitions.

Are healthy people more culturally active, or does being culturally active make people healthier?

Museums and galleries have the potential to make an enormous contribution to improving people’s lives and enhancing physical health and mental wellbeing. The body of research around the role cultural activities like attending museums can have on health and wellbeing is growing, but there is still scope to do more, and work is ongoing with a number of high profile museums across the UK to promote the link between cultural activities and health and wellbeing.

The question of which comes first – being well initially which allows you be more culturally active, or cultural activities facilitating wellbeing in their own right – will be discussed and disputed by academics and clinicians. But the existing studies highlight the significant positive impact that engaging with museums and exhibitions has had on study participants, particularly those who suffer from mental ill health or degenerative cognitive diseases like dementia.

Museums and galleries, it is clear, have a far greater communal role to play and can evidence their value far beyond being a source of knowledge transfer or a leisure activity. Museum curators and funders need to recognise this as they prepare and plan for exhibitions and outreach projects in the future and clinicians need to be aware of the potential positive impacts for patients when considering care and treatment plans.


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Autism-friendly cities: making a world of difference

At this time of year, high streets and shops across the country are bustling, decked out with lights and colourful decorations, and of course, the familiar Christmas tunes.

For many, this is part and parcel of the exciting run up to Christmas.  However, for autistic people, the added crowds, lights and noise can turn an already challenging experience into a sensory nightmare.

Indeed, although more than 1 in 100 people in the UK are on the autism spectrum, many still struggle to access local shops and services.  Places that many neurotypical people may take for granted – shops, theatres, cinemas, cafes and restaurants, hairdressers, libraries and museums, public toilets, and public transport – can be particularly challenging environments for autistic people.

Unpredictable and unfamiliar noises, lights, smells, crowds, queues, and other events can be overwhelming, and may cause sensory distress – ultimately leading to a meltdown.  Meltdowns may present as crying, screaming, kicking, biting or lashing out.  A lack of understanding and awareness of autism among the public – including unfriendly looks, judgements and comments – can further enhance the distress experienced.

In 2015, a YouGov poll found that 99.5% of people in the UK had heard of autism. However, there remains a lack of public understanding about how it may present, and the associated challenges autistic people face.  This is perhaps best illustrated by the recent case of a young woman with Asperger’s being forcibly removed from a cinema for ‘laughing too loudly’.  Unfortunately, this experience is not unique.  Research has found that as many as 28% of people have been asked to leave a public space because of behaviour associated with autism.

Indeed, many autistic people and their families have changed their own behaviour to reduce the chance of experiencing intolerance from the public.

It’s perhaps not surprising, then, that social isolation is a common issue – 79% of autistic people and 70% of parents feel socially isolated.  Almost half (44%) sometimes don’t go out because they’re worried about how people will react.

Increasing public understanding

The recent Too Much Information (TMI) campaign, delivered by the National Autistic Society (NAS), aims to increase public understanding of the five core features of autism.

Those five core features are:

  • anxiety in social situations
  • anxiety with unexpected changes
  • sensory overload
  • meltdowns
  • processing time

Creating an autism friendly city

One response has been the drive towards the creation of ‘autism-friendly’ cities.

According to Autism Together and Autism Adventures, an autism-friendly city is one in which autistic people can ‘use public transport, shop for food and clothes, take part in sports and leisure activities, visit cultural and tourist institutions and eat in restaurants.’

The NAS have established an ‘Autism Friendly Award’, which aims to help businesses make the small changes that make the most difference to autistic people.  Their Autism Friendly Awards toolkit sets out a helpful five-point checklist:

  • customer information: providing appropriate information to help support autistic people and their families’ visitor or customer experience
  • staff understanding of autism: developing staff understanding
  • physical environment: making appropriate and reasonable adjustments within the limits of the physical environment
  • customer experience: a willingness to be flexible and providing a clear way for autistic people and their families to provide feedback
  • promoting understanding: committing to helping increase wider public understanding of autism

Examples of good practice

In Glasgow, the council have been working to make the city centre autism-friendly.  The plans have focused initially upon shopping centres, transport hubs, museums, cinemas and key operational staff across the city centre.

The Glasgow Film Theatre (GFT), Scotland’s oldest independent cinema, recently became the first cinema in the UK to achieve an Autism Friendly Award for their work with children and adults.  This includes monthly screenings for autistic adults and children, with the volume slightly lowered, stair lights remaining switched on, house lights dimmed and a chill out zone provided. Trained ‘autism facilitators’ also answer questions at the end of each film.

Other organisations have followed the GFT’s lead. Glasgow Science Centre, for example, has recently introduced autism friendly hours.

In the North East, Aberdeen has also announced its intention to work towards autism-friendly status.

As well as raising awareness and making key shopping locations more accessible for autistic people, Aberdeen also plans to introduce autism-friendly libraries, including pop up sensory sessions designed for autistic children.

Research has shown as many as 40% of people with autism never visit a library – however, 90% have said they would be more likely to visit their local library if some changes were made.

Such adjustments include staff training, increased tolerance of noise and understanding from the public.  Dimensions have released free online training and top tips for libraries looking to become autism-friendly. It notes that while many people with autism need a quiet environment, they may make noise themselves – for example, by talking to themselves or others, becoming excitable or moving around. They highlight the importance of making clear to the public that the library is autism-friendly, which includes a tolerance of certain levels of noise.

Other cities that have been working towards autism-friendly status include: Bristol –  whose airport has won an Autism Friendly Award; Liverpool – where autism champions are being supported to recognise and respond to autism; and Newcastle in Northern Ireland – which has been named as Northern Ireland’s first autism-friendly town. It is anticipated that being autism-friendly will help boost the local economy and tourism.

Other ways to make cities autism-friendly

As well as organisations themselves making adjustments and promoting autism understanding among staff and customers, there are a few other ways in which cities can be made more autism-friendly.

Making public transport more accessible is a key challenge.  More than half of autistic people avoid public transport due to fears of disruption.  There are many things that can be done to help make public transport less distressing for autistic people.

From an architecture and design perspective, there are also many other things that can help to make urban buildings and spaces more accessible, in regard to ventilation, acoustics, heating, lighting, layout and outdoor spaces.

From a town planning perspective – there is currently a lack of research and guidance on the design of places for autistic people per se, however, there may be some transferability of lessons from work on the creation of dementia-friendly and child-friendly spaces.

For example, the provision of clear signage and removal of street clutter may be beneficial for autistic people.  Edinburgh City Council has recently banned on-street advertising structures in order to make streets more accessible for people with disabilities.

There have also been concerns raised that shared spaces – including the removal of road signs, traffic crossings and delineation between roads/walkways – may negatively impact upon autistic people, who may struggle with the uncertainty such schemes deliberately create.  This is an area where more research and guidance is needed.

The way forward

Creating a city that is autism-friendly requires a multi-faceted approach that includes both raising public awareness and understanding, and creating towns and places that allow for the specific challenges that are faced by autistic people and their families.

Many steps that can be taken are low cost and easy to implement – and support is available from a range of national and local autism organisations, such as the NAS.

Even just reacting with kindness and compassion when witnessing a possible autistic meltdown – perhaps offering some solution such as a quiet space – is significant.  The sum of these small changes can make a world of difference to autistic people and their families.

I wouldn’t change my son for the world but I will change the world for my son.” Julie Simpson, Founder of Autism Adventures


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How to make people with learning disabilities feel more included in society

Image: Accessible music technology OpenUp Music/Youth Music Network

This guest blog was written by Val Williams, Professor of Disability Studies at the University of Bristol.

People with learning disabilities can often find themselves feeling excluded when it comes to making decisions about their lives. This can range from everything, from shopping to making music or even bringing up a baby. Sometimes this exclusion can be exacerbated by the kind of support that they receive from social services – but it can also be countered by sensitive personal assistance or support.

In a recent research project, which brought together disabled and non-disabled researchers, we looked at ways to improve this – and how to include people with learning disabilities in decisions.

Part of the project found that by taking active roles in the arts, people with learning disabilities can lead the way towards meaningful inclusion. Beth Richards, an actress with learning disabilities, led part of the research about people with learning disabilities on TV. She found that actors with learning disabilities are often limited to roles which depict the “disability”, the tragic or dependent life of the character, or their effect on others around them. A successful actor with learning disabilities, for instance, told her:

“I wish TV makers would think more creatively and give people with learning disabilities any role – romantic, fantasy, comedy, shop assistants, office workers. I’d like to play James Bond, Romeo, Dobby in Harry Potter or a detective or many other roles.”

The Queen’s Birthday Honours in June 2018 include an MBE to the actress with Downs Syndrome, Sarah Gordy, for her “services to the arts and people with disabilities”. As Gordy said upon receiving the award, “diversity is an opportunity, not a problem”. She is good proof of that.

But there is a lack of accessible information. There is no shortage of talented actors and drama companies supporting people with learning disabilities, but the TV industry and its workings are still shrouded in jargon. Processes such as commissioning, auditioning and scriptwriting tend to exclude those who do not have someone to help them navigate all this.

In another part of the research, my colleague Marina Gall looked in detail at how music making can be transformed by the Open Orchestras approach in which young people with multiple and complex needs are enabled to learn musical skills, play in ensembles and become music makers. A new technological instrument – the Clarion – can be played on computers and iPads, using one’s hand, a small sensor on any part of the body, or via a person’s gaze. It can be adapted to suit most students’ physical needs.

One of the co-founders of Open Orchestras, Doug Bott, told our research team, that the approach is “personalised around the individual young person”. But at the same time, it’s trying to ensure that music is an important part of the curriculum for all young people, and has been immensely successful in changing perceptions of people with learning disabilities. This is not therapy, it’s a route to making music and to performance.

Making decisions

People with learning disabilities also face inequalities and problems in the NHS, as well as in a cash-strapped social care system. For instance, since the Mental Capacity Act 2005 came into force, support staff are legally required to support people with learning disabilities to develop their own capacity to make a decision. What we saw in our data was that people with learning disabilities can be proactive in seeking out this support – and we recorded conversations with personal assistants where people wanted to talk about decisions relating to safety, health or simply about future cooking plans. The skills that a personal assistant needs to have are to listen, look out and be responsive to the people they are supporting.

One of the key messages from our project is that health and social care practices sometimes get stuck. We used the word “institutionalised” for those times when professionals stick to a rigid and inflexible way of doing things, leaving the disabled person without the power to have a voice.

These difficult moments were also highlighted by actors with learning disabilities who helped to interpret our data. Our research benefited from a collaboration with the Misfits Theatre Company in Bristol, showing how sensitive interactions between people with learning disabilities and their personal assistants were often the trigger for good decisions, and giving those with disabilities a feeling of control over their own lives.

But quite small comments can create problems, spoiling an empowering relationship. The theatre company made a brilliant video called A Good Match about their own perspectives and experience of managing relationships with a personal assistant. One of the Misfits actors said: “It’s my house … and I don’t want my (personal assistant) telling me what I can and cannot do.”

 

After looking at a range of activities that can exclude or include people with learning disabilities, we concluded that inclusion happens when three things come together. Sometimes people with learning disabilities are included because of changes to technology, as in the Open Orchestras approach. At other times, they are included better because of new ways of doing something, or through new skills that they may learn – as actors, or as TV performers.

The ConversationBut at the heart of all this is a new belief in the equal value of people with learning disabilities. This is why we recommend that social care services need to focus less on what people cannot do, but instead promote a genuine belief in what people with learning disabilities can do – with the right support.


Val Williams is Professor of Disability Studies at the University of Bristol.

This article was originally published on The Conversation website and has been republished with permission under a Creative Commons licence. Read the original article.