Tag Archives: arts

Reaching out: tackling loneliness in older people

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As we’ve previously reported, loneliness is a growing epidemic with significant consequences for many groups in society. One of these groups is the elderly – loneliness has been seen to affect around 10-13% of older people, and has been found to increase the risk of premature death by 30%.

Making connections

Creating relationships and connections is an important way of tackling loneliness, and the Rural Services Network has highlighted some good examples of bringing people together

These include “Village Agent” schemes, which link people in rural areas with advice and support services for independent living. Another initiative –  the “Rural Coffee Caravan Information Project” – specifically targets rural areas of the country, where there may be fewer opportunities to meet through shopping, meeting for food or simply seeing other people. This project allows older people to meet at a caravan where they are given coffee, tea and homemade cakes, as well as providing information on helpful services.

Along these lines is also the “Talk Eat and Drink” (TED) project launched in 2015, which was initially funded by the Big Lottery’s “Fulfilling lives: ageing better” programme. This allowed older people to become involved in activities such as ‘Sing For Your Supper’, ‘Fish and Chips Friday’ and a Sunday pub lunch, which not only enabled people to bond with others, but also ensured that they were being fed properly, especially if they were struggling with cooking at home or getting food for themselves.

Artistic endeavours

Another way to tackle loneliness in older people is through the arts. A report from the Baring Foundation has found that it is important for older people to have a range of activities and opportunities to connect them to others; the arts can be effective not only in keeping people in touch with others, but also in helping with health-related issues like dementia.

The arts exemplifies the principles behind ‘five ways to wellbeing’: connecting, being active, learning, taking notice and giving. Being able to create things allows older people to use their minds and skills to express themselves. They can also have enhanced self-confidence from the feeling of doing something for themselves.

Organisations such as Arts4Dementia and Artz (Artists for Alzheimer’s) have been able to help people living with dementia, including help with their co-ordination and wellbeing. Other companies like Spare Tyre use theatre to create multi-sensory productions, while the Library Theatre Company in Manchester delivers sensory workshops for people living with dementia which provide fun with props and music.

One of the biggest issues with this form of help is that the arts tend to be overlooked by local authorities and therefore don’t have enough funding. However, Manchester City Council, has been working to make their city more ‘age friendly’ and in particular to provide cultural activities for older people.

There have also been examples of “arts by prescription” where GPs have referred patients to arts projects to improve their mental health. This is part of the wider ‘social prescribing’ approach which our blog has previously covered.

Everyday skills

Other forms of tackling loneliness in older people include helping them develop skills through, for example, volunteering. Projects such as Touchstone in Yorkshire allowed people to self-refer themselves, or be referred through GPs and Age UK, where they could learn practical skills with other older people. 91% of those taking part felt they were more involved or connected with their community, and 86% felt they had more confidence to meet people.

Another programme by the charity Open Age, in London, created opportunities for older people to keep up with the performing arts, physical activity, digital skills, lunch groups, and trips. While these did cost money, they were only £1 an hour and were pay-by-session and drop in, which made it slightly more accessible. However, even these small amounts may be out of reach for those already struggling to make ends meet.

Final thoughts

Overall, there seems to be a range of activities and opportunities for older people to not only meet others and form connections, but learn new skills they can utilise for themselves.

However, it’s important to remember that older people are not a homogenous group, and no single approach will work for everyone. But as long as careful thought goes into ensuring that the needs of older people are at the heart of initiatives to tackle loneliness, the chances of success will be all the greater.

Photo by leah hetteberg on Unsplash 

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Looking back and beyond: The Knowledge Exchange blog in 2021

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If 2020 was the year of the coronavirus, then 2021 was surely the year of the ‘coronacoaster’. From the highs of vaccine rollouts and loosening of social restrictions to the lows of fluctuating case numbers and a worrying new virus variation, we’ve all become unwilling passengers on what feels like an endless un-funfair ride.

But while the pandemic has never been far from our thoughts, it hasn’t taken over complete control of our lives. Research, evidence gathering, conferences and partnerships have continued in fields as diverse as education and housing, culture and the environment.  Which is why, this year’s reflection on The Knowledge Exchange blog in 2021 focuses on some of the issues that we covered which looked beyond the pandemic.

Saving the planet

Until the emergence of Covid-19, many regarded climate change as the greatest threat facing humanity. That threat hasn’t gone away. Last summer, the Intergovernmental Panel on Climate Change (IPCC) released its latest report on the current state of the climate crisis, setting out the already devastating effects of climate change and warning of the deadly impacts, which will intensify as the planet gets hotter.

Throughout this year, our blog has focused on this issue, highlighting the dangers posed by climate change and the efforts to tackle the problem. In April, we looked at the monumental challenge of decarbonising the UK’s ageing housing stock, and highlighted a survey showing that two-thirds of housing associations have started planning to make their homes greener and warmer.

“However, the survey also reported that lack of finance and continuing policy uncertainty remain major obstacles to decarbonising homes. That’s important, particularly given the cost of decarbonisation of social housing – £104bn by 2050.”

We returned to the issue this month, with an overview of plans by government and industry to make the transition from gas boilers to greener ways of heating our homes.

In November, the landmark COP26 climate conference took place in Glasgow, and while the major talking points included protection of the world’s forests and reducing dependency on fossil fuels, our blog focused on how important the circular economy is to tackling global warming:

“…if we were able to double the current 8.6% global circularity figure to achieve 17% circularity, that move alone would achieve the targets on global warming set out by the Paris COP meeting in 2015.”

The cultural imperative

From community murals to television drama, from open-air concerts to singers entertaining neighbours from their balconies, culture and the arts have played a vital role in diverting us from the grim news of the past two years. And although the arts have taken a severe hit during lockdowns, artists across the globe have continued to create and share their work.

In January, we highlighted some of the ways in which creative people have found new ways to express themselves and to support the wellbeing of others:

“Organisations and individuals have been doing a variety of work to reach those most in need such as projects creating new programmes or adapting existing work to reach people who are shielding or vulnerable in their homes, overwhelmingly addressing loneliness and isolation. One participant described their experience: “I found the process of drawing and painting both cathartic and healing at the most difficult time of my life.”

In April, our blog reported on efforts by cultural communities to break down some of the barriers to digital engagement. It’s estimated that seven million people in the UK don’t’ have digital access, while 11.7 million don’t have the digital skills needed to engage online. In an increasingly ‘digital by default’ society, those numbers are troubling.

Our blog post described some of the ways in which arts and cultural organisations are tackling digital exclusion:

“One project managed by Birmingham Museums involved taking digital kit out to care homes for digital arts sessions. This was not only great for wellbeing; it also showed how digital technologies can be adapted to connect with people within communities.”

Levelling up and the foundational economy

The economy is another recurring theme that we’ve highlighted in our blog. The UK is one of the most geographically unequal countries in the developed world. It ranks near the top of the league table on most measures of regional economic inequality. Fixing this is a priority for a government elected in 2019 on a pledge to address inequalities in former industrial regions, and in coastal and isolated rural areas.

In May we reported from a webinar looking at the scope for charities to get involved. On the face of it, the fact that much of the focus is on capital spending could be challenging for charities whose work involves tackling problems such as addiction or homelessness. However, our blog explained that charities shouldn’t write off their chances of obtaining levelling up funding:

“… a lot of the language used in the funding documents is ambiguous – there are repeated  references to ‘community’ and ‘community assets’ without making clear what they mean. This ambiguity could work in charities’ favour. At the same time, many charities work under the banners of skills, employment, heritage and culture. It’s up to charities, therefore, to identify elements in the funding that match what they can offer.”

In February, we shone a light on the foundational economy, which provides some of the essential services of everyday life, such as food, retailing and distribution, education, health and welfare. While these services are vital, many of the workers providing them are among the lowest paid in society.  Our blog looked at the potential value of the foundational economy for the post-pandemic recovery:

“It has been widely agreed that a return to a business-as-usual approach following the pandemic is not the way forward, and that there needs to be a shift in economic policies in order to achieve a more socially and economically just society. Perhaps if such policy change is achieved, a more balanced economy that provides a good quality of life for all can eventually be realised.”

The issues of our times

From town centres to smart cities, from Scotland’s burgeoning space sector to Britain’s hard-pressed food system, throughout the year we’ve been raising awareness of important issues that concern or impact on public policy and practice.

But we haven’t ignored the ongoing public health emergency. In November, we reported from a webinar on some of the lessons from the pandemic and the future role of public health; in July we looked at the important work of health librarians during the pandemic; and in May our blog reported on the role of behavioural insights, data analytics and “nudge” techniques in public health, and in particular during the vaccine roll-outs.

Final thoughts

As we stand on the threshold of 2022, things look uncertain. But, as our blog posts have demonstrated throughout the past year, despite the anxieties and restrictions generated by the pandemic, great work can still be achieved by the public and private sectors, by charities, communities and individuals, for the benefit of society and the wider world.

All of us in The Knowledge Exchange team – Morwen, Donna, Heather, James, Rebecca, Hannah, Euan and Hollie –  would like to wish all our readers a safe and peaceful festive season, and very happy new year.

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‘Culture towns’: how small towns are leading the way

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Image Copyright Billy McCrorie via Creative Commons

There has been no shortage of headlines sounding the death knell for our town centres over recent years as they continue to suffer from the effects of growth in online shopping, government policy and now the pandemic. But while concerns over the future of town centres is nothing new, neither are the changes that town centres are experiencing.

Changes that affect industries, technologies and the way land is used – which in turn impact on the economy – have impacted communities for decades, particularly in smaller towns. From the loss of manufacturing to new industries and ways of working, towns have had to adapt to survive. And some small towns have been leading the way in reinventing their economic bases by using other assets to spur on their local economies.

Culture as a catalyst

One such example is Wigtown, Scotland’s National Book Town. Following the loss of a distillery and a creamery in the 80s and 90s respectively, Wigtown secured its designation as National Book Town in 1998. This acted as a catalyst for regeneration and inspired the creation of the annual Wigtown Book Festival which now attracts more than 20,000 visitors to the area and brings more than £4 million to the local economy.

Other Scottish towns have also been bestowed with cultural accolades. West Kilbride in Ayrshire, a once thriving mill town, is Scotland’s first accredited Craft Town and winner of a Creative Place Award in 2012. Dumfries recently became home to a new National Centre for Children’s Literature and Storytelling which aims to “establish itself as an international visitor attraction contributing to the regeneration of the town and region and providing Scotland with a world class tourism resource”. And Huntly in Aberdeenshire has attracted artists from all over the world for residents thanks to the Deveron Projects initiative set up in 1995 to connect artists, communities and places.

In England, Farnham recently became the country’s first World Craft Town and only the third region in Europe to receive World Craft City status. Recent research estimates that the value of craft to Farnham and the surrounding area is already in excess of £50 million.

With the aim of building on Wigtown’s success, plans are being drawn up for an open competition to create further National Towns of Culture across Scotland as proposed in the SNP’s manifesto. Suggestions include Scotland’s National Live Music Town, Folk and Trad Town, or Scotland’s Visual Art Town.

Numerous towns could be in the running to become a musical town. It has been suggested that Ullapool could be a frontrunner, after playing host to the Loopallu festival for 15 years, as could Stornoway, the host of the international Hebridean Celtic Festival (HebCelt). And of course, being home to Jimmy Shand and The Proclaimers, Auchtermuchty could equally be in with a shout.

Making the most of local assets

Now may be the ideal time for small towns to make the most of their local assets, whether that is cultural or otherwise.  Research has shown that some smaller towns have actually fared much better than larger cities during the pandemic as the importance of local has been emphasised. They have experienced fewer reductions in overall footfall and there has been an increase in footfall in some small towns as consumers look to stay local and avoid using public transport.

A report from Sustrans has recommended capitalising on the increased use of smaller high streets as a way to economic recovery. It highlights that this presents an opportunity to invest in other elements unique to these areas, arguing that “re-establishing the role of a high street as a hub for social connection and reinforcing and celebrating its roots and unique character could go a long way to encourage people to stay local and spend their money where they live.”

Lessons from the US

Research from the US has also shown how small towns can succeed by reinventing themselves through emphasising their existing assets and distinctive resources. Following the loss of various industries, these communities have moved away from trying to attract major employers as a way of attracting talent. Many have moved towards investment in creative infrastructure rather than physical infrastructure to make their communities more attractive to residents and businesses.  

Following increased suburbanisation and growth in out of town retail, Paducah in Kentucky, for example, changed its approach to economic development by focusing on developing and retaining the historic integrity of the Renaissance Area, which includes the LowerTown Arts District, the historic downtown, and the riverfront. Paducah’s approach aimed to develop a cohesive identity around its core assets: art, the Ohio River, and history. In 2013, the United Nations Educational, Scientific and Cultural Organization (UNESCO) designated Paducah the world’s seventh City of Crafts and Folk Art.

While all the case study towns in this research drew on different assets, several successful tactics were identified that other communities can use:

  • Identify and build on existing assets
  • Engage all members of the community to plan for the future
  • Take advantage of outside funding
  • Create incentives for redevelopment, and encourage investment in the community
  • Encourage cooperation within the community and across the region
  • Support a clean and healthy environment.

Small towns leading the way?

All these small towns are exemplars of community-led regeneration and illustrate how drawing on unique local assets can be a real catalyst for growth. Perhaps the bigger towns and cities should be looking to their smaller counterparts for lessons on how to succeed in an ever changing world.

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Could arts and culture hold the key to the digital divide?

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The rapid shift to digital content creation, distribution, audience engagement and participation since the start of the pandemic has enabled the continued experience of arts and culture, despite cultural institutions having to shut their doors. But a significant proportion of the population still face barriers to digital engagement – 7 million people have no internet access at home, 9 million people struggle to use the internet independently and 17 million people only use the internet for limited purposes.

Previous research has shown that engagement with cultural institutions such as museums and galleries, both on-and off-line, “remains deeply unequal”. Perhaps more worrying was the finding that “the gaps between the haves and the have nots are even wider online than in the case of physical visits.”

During a recent webinar by the Digital Culture Network, presented in partnership with Google Arts & Culture and their Connected to Culture playbook, the scale of the digital divide was highlighted, as was the important role arts and culture can play in addressing it.

The discussion focused on three areas:

  • Digital inequalities, barriers and exclusion
  • Knowing your audience
  • Projects that have successfully increased inclusivity

Digital divide

Kicking off the discussion on the digital divide, Jane Mackey, Senior Research & Evaluation Manager at the Good Things Foundation highlighted three key areas when we think about the digital divide:

  • digital access (7million people in the UK are excluded on this basis)
  • digital skills (11.7million people in the UK don’t have digital skills needed to engage online)
  • motivation and confidence (people might have access and some skills but lack the motivation or confidence to use it)

The latest data from the Office for National Statistics shows that a perceived lack of need, followed by a lack of digital skills are the main reasons given for not having household internet access.  The focus has mainly been on engaging and upskilling those who already have access to digital technology. But, as the discussion highlighted, the excluded 20% would be likely to benefit more from targeted action.

Jane noted that the digital divide is not static, but is more of a spectrum that people can move along throughout their lives. Based on its current research, the Good Things Foundation recommends that the arts and culture sector commits to be digitally inclusive by default. This will help to overcome barriers to digital by engaging directly with the digitally excluded and partnering with other organisations.

Zak Mensah, Co-CEO at the Birmingham Museums Trust, similarly highlighted barriers to digital, such as the infrastructural barriers depending on people’s location. Some rural areas, for example, do not have the digital infrastructure needed for access. Even in cities, which tend to have faster broadband, much of it is focused on the centre and businesses rather than individual households.

Zak also highlighted the importance of motivation, and giving people a reason to use technology.

Role of arts and culture

While some think the key is to get everyone to have the internet at home, Zak suggested that arts and cultural organisations can help people’s access by using their physical spaces better and also by taking the technology to the excluded.

Libraries have been successful over a number of years in providing space for people to access technology with free internet and support in using it. Similarly, arts and cultural organisations are in a position to do the same through their digital tools.

One suggestion was not switching off the Wi-Fi at close of business; another was potentially reducing restrictions on what people can access using their Wi-Fi (while obviously maintaining some control) so people can use it for wider purposes.

One project Birmingham Museums managed recently involved taking digital kit out to care homes for digital arts sessions. This was not only great for wellbeing; it also showed how digital technologies can be adapted to connect with people within communities. As Zac said “ultimately we have to go out more, we can’t always get people to come to you.”

Zak also explained that collaboration is key – sharing resources, ideas and skills – to reach as many people as possible.

Inclusive practice

Jenny Williams, Project Director at Revoluton Arts in Luton, also highlighted the importance of new partnerships.

She noted that when lockdown first started the staff wanted to keep engaging, so moved online with the help of Zoom. Because they didn’t really know about how it worked Revoluton called upon people within the community to help teach others.

They now have a suite of materials online that can help artists and others.

Revoluton has also worked with Marsh Farm Outreach who ran lounge sessions every night with live music, working with local artists and reaching huge audiences. One session titled The Creative History of Marsh Farm was about reminiscence, memory, sharing stories of place, and engaged 6000 people. While acknowledging that such online communication is great for international reach, Jenny noted that it can also make a big difference locally.

They have also used digital tech to create safe spaces online to attract members of the community that might not have otherwise engaged. One of their residency programmes, Touch Commission, was co-commissioned with Wellcome Collection which explored the theme of touch through arts and creativity. The project was centred on Bury Park, a predominantly Asian community in Luton. The dialogue and understanding that was shown helped to engage with those most excluded.

Another project highlighted by Jane was the Power Up initiative, a collaboration between the Good Things Foundation and JP Morgan Chase Foundation, which aims to drive economic inclusion through digital in communities.

Other partnerships showcasing inclusive practice include:

  • Engaging older audiences – Birmingham Museums Trust & Arts Council Collection partnership programme aimed at reaching the over 75s in care homes.
  • Dance and Time with the Museum – Presented in a partnership between University of Cambridge Museums and local sheltered housing and assisted living services; this blog outlines how the project was safely moved online.
  • Bussy – Prompted by Revoluton’s experiences of creating safe spaces for everyone online; this is an example of a creative organisation doing the same.

Way forward

There were a number of key takeaways from the discussion for arts and culture organisations. These include:

  • it’s about knowing your audience, knowing what their barriers to access are and planning an approach to these from the start;
  • empathy and understanding that happens as a result can be important; and
  • it’s about understanding the resources you have and how they can be used, particularly through partnerships.

There’s no quick fix for breaking down the barriers to digital engagement: as Zak eloquently put it, “it’s a marathon not a sprint”. But, as the many practices highlighted during this webinar demonstrate, the arts and culture sector has the tools to make a difference on the digital divide.

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From rainbows to Banksy – have lockdowns created a new appreciation for the value of the arts?

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Cultural and creative sectors are among the worst affected by the coronavirus pandemic. Recent analysis suggests that jobs at risk in the sector range from 0.8 to 5.5% of employment across OECD regions. In the UK, the arts, entertainment and recreation sector saw the second largest economic decline of all sectors of the economy during the pandemic.

While the negative impact of crises is justifiably focused on, there are often positive opportunities to arise from such shocks such as widespread collaboration and innovative behaviours to find solutions. Indeed, the current pandemic is no different. Amidst the myriad of reports of the dire economic impact emerges a much more colourful picture of a resurgence in arts and creativity across not only the country but the world.

Rising creativity

From the abundance of rainbows displayed in windows across the UK to singers and musicians entertaining their neighbours from their balconies in Italy and elsewhere, the global pandemic has led to many turning to the arts and creative activities in a bid to help each other’s wellbeing and to thank those on the frontline for their heroic efforts to protect us all.

Many young people found new ways to express themselves through creativity during lockdown, whether drawing or making things, creating music or videos to share on social media. Examples of what young people in England have been creating are presented in Arts Council England’s project The Way I See It .

All sorts of artists from across the globe have been sharing their coronavirus-inspired artwork via social media.

The infamous street artist Banksy has also been joining in, creating a variety of new work from rats encouraging people to wear face masks on the London Underground to a piece paying tribute to NHS workers in Southampton General Hospital.

And the industry itself has had to get creative finding new ways to reach people. Many cultural and creative organisations have moved to delivering digital content to keep audiences engaged, which has opened the door for many future innovations. Organisations and individuals have also been doing a variety of work to reach those most in need such as projects creating new programmes or adapting existing work to reach people who are shielding or vulnerable in their homes, overwhelmingly addressing loneliness and isolation. One participant described their experience:

“I found the process of drawing and painting both cathartic and healing at the most difficult time of my life.”

Economic and social value

While there has generally been a need to make the case for the value of arts and creative activity, whether in education or business, perhaps the impact of lockdowns has afforded the opportunity for everyone to recognise their value both at times of crisis and as part of recovery.

The sector is already an economic driver and source of innovation. In 2019, the economic output of arts and culture was equivalent to 0.5% of the whole UK economy. And despite the immediate economic impact of the pandemic, there is hope that the sector will recover quickly, albeit with significant government support. Recent research from the Centre for Economic and Business Research (CEBR) predicts that the sector’s Gross Value Added (GVA) will return to its pre-lockdown level of £13.5bn by 2022 with the help of the Culture Recovery Fund, a full year earlier than was anticipated without government intervention. The research also shows the sector is set to be worth £15.2 billion to the economy by 2025.   

As well as contributing to the economic recovery, the sector can also play a crucial role in the social recovery as indicated by the many examples highlighted above.

As non-educators, many home-schooling parents have moved towards cultural and creative enrichment for their children. It has been well-documented that arts and creative activities can help improve mental health and wellbeing and at a time when there are grave concerns about young people’s mental health, surely this can only be a good thing.

As previous pandemics and disasters have consistently shown, a major focus of recovery needs to be on mental health; something that the arts and creative industries can clearly help with.

Final thoughts

At time when we might all feel like social distancing from ourselves, the arts and creative activities can provide an escape for everyone. The value of arts and culture, both economically and socially, cannot be underestimated. Perhaps the most positive outcome of the current pandemic for these sectors, will be the newfound appreciation of them from all walks of life which will hopefully translate into decision-makers thinking twice before laying the brunt of budget cuts at their door.

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The year of living differently: reviewing The Knowledge Exchange blog in 2020

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2020 has been a year like no other. A microscopic virus – 10,000 times smaller than the width of a human hair – has dominated, disrupted and redefined the way we live and work.

Although the pandemic is primarily a public health emergency, its effects have been felt in all areas of public and social policy, from economic development and employment to transport and the environment. Throughout this year, our blog has reflected on the impacts of the coronavirus and the restrictions introduced to prevent its spread.

The COVID-19 knock-on

While the coronavirus pandemic has dominated the news headlines, it has also obscured the knock-on effects on the NHS. In October, we reported on the impacts of delays to preventative healthcare measures, such as screening and routine medical care in the form of pre-planned operations for long-term chronic and non-urgent conditions.

As the blog post noted, the impacts have been wide-ranging, including not only delays in care for case of physical ill health, but also for those seeking treatment for mental health conditions:

“Research suggests that incidence of mental illness during the coronavirus pandemic increased. However, the numbers of people accessing services and being referred for treatment have not increased proportionate to this.”

The ‘hidden epidemic’

Long before the coronavirus pandemic, domestic violence had become known as a ‘hidden epidemic’ in the UK. In September, our blog highlighted the unintended consequences of quarantine for domestic abuse victims.

After the UK entered lockdown in March, calls and online enquiries to the UK’s National Domestic Abuse line increased by 25%. Three-quarters of victims told a BBC investigation that lockdown had made it harder for them to escape their abusers and in many cases had intensified the abuse they received.

Despite additional government funding, the local authorities and charities which support victims of domestic violence have been struggling with the financial fallout from the pandemic. Even so,  important partnerships have been formed between local government, educational institutions and third sector bodies to provide safe spaces for women and their children fleeing violence. Among these was an initiative at the University of Cambridge:

“St Catherine’s College formed a partnership with Cambridge Women’s Aid to provide over 1000 nights of secure supported accommodation during the lockdown period.“

‘Same storm, different boats’

As the recent Marmot review has stressed, the coronavirus pandemic has exposed and deepened many of the deep-rooted inequalities in our society, including gender, ethnicity and income.  It has also shone a light on more recent inequalities, such as the growth of precarious employment among sections of the population.

In July, we looked at the uneven economic impact of the pandemic, focusing on the heavy price being paid by young people, women, disabled people and Black and Minority Ethnic (BAME) communities.

Women often work in the frontline of care services and have had to juggle childcare during lockdown. BAME communities are over-represented in key-worker jobs, and so were particularly vulnerable to coronavirus.

And although there has been much talk about ‘building back better’, our blog post drew attention to the observations of Dr Sally Witcher, CEO of Inclusion Scotland during a Poverty Alliance webinar:

“She asks whether indeed we should want to build back, when the old normal didn’t work for a large proportion of people, particularly those with disabilities. Dr Witcher also questions ‘who’ is doing the building, and whether the people designing this new future will have the knowledge and lived experience of what really needs to change.”

The impacts of a pandemic

Many other aspects of the impact of COVID-19 have been covered in our blog:

  • How housing providers have embraced the fluidity of an emergency situation, including tackling homelessness, engaging effectively with tenants and addressing mental ill health.
  • Digital healthcare solutions for those with coronavirus and for the continuity of care and day-to-day running of the NHS.
  • Creating and managing a COVID-secure workplace.
  • How COVID-19 is changing public transport, including an acceleration towards contactless payment and mobile ticketing.
  • The additional challenges of the pandemic facing autistic children and young people.
  • The impact of the coronavirus restrictions on the arts.
  • The role of green new deals in tackling climate change and economic inequality as part of the post-Covid recovery.

Beyond the virus

Although the pandemic has been at the forefront of all our minds this year, The Knowledge Exchange blog has also taken the time to focus on other important issues in public and social policy:

We’ve also taken advantage of the ‘new normal’ experience of remote working to join a number of webinars, and to report back on the observations and ideas emerging from them. Most recently, our blogs have focused on a series of webinars organised by Partners in Planning, which included contributions on how the planning system can help address climate change.

Final thoughts

The health, economic and social impacts of the pandemic are likely to be long-lasting – restrictions on travel, work and socialising will continue into the spring, and insolvencies and unemployment numbers are likely to rise. And the continuing uncertainty over the UK’s new trading relationship with the European Union will generate additional challenges.   

But, as a frequently difficult, often challenging and sometimes distressing year draws to a close, there is cause for optimism about 2021. Vaccines to prevent the spread of the virus have been developed with lightning speed. Across the UK people are already being vaccinated, with greater numbers set to receive the jab in the coming months.

Here at The Knowledge Exchange, we’ll continue to highlight the key issues facing public and social policy and practice as we move towards the post-Covid era.

Season’s greetings

It’s with even greater meaning than ever before that we wish all our readers a happy Christmas, and a healthy, prosperous and happy new year.

Best wishes from everyone at The Knowledge Exchange: Morwen, Christine, Heather, Donna, Rebecca, Scott, Hannah and James.

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Can the arts recover from coronavirus? (part 2)

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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:

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

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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.