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Business Plan
2015 - 18
Deveron Arts I The Studio I Brander Building I The Square I Huntly I AB54 8BR I 01466 794494
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CONTENTS
EXECUTIVE SUMMARY
BACKGROUNDHistory and Recent Developments1. Community2. Hospitality3. Criticality
VISION, STRATEGIC AIMS AND OBJECTIVESVision statementAimObjectivesSWOT AnalysisArtistic Programme 2015-18Staff, Leadership and SkillsProgramme Plan and Targets
FINANCE, FUNDING AND BUDGETValue for MoneyBudget 2015-18FundingOwn IncomeFinancial Controls and Audit
APPENDICES
Huntly branding, A96
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EXECUTIVE SUMMARY
Deveron Arts is a catalyst for contemporary arts based in the community of Huntly in the
North East of Scotland, aiming to develop a transferable model for arts development in the
rural/remote context through collaborative arts practice.
Deveron Arts’ the town is the venue strategy nurtures arts production and presentation taking
place in existing spaces (rather than any specified buildings) as well as – now - the natural
surrounding and commits to working with local people while ensuring that highest artistic
standards and excellence are maintained.
To achieve this, we apply a stringent 50/50 approach, where the community and working
locally have equal weighting with global vision and artistic criticality. This 50/50 approach
forms a thread which runs through all aspects of Deveron Arts’ artistic and organisational
operations.
The organisation’s creative vision recognises the need to produce high quality work and
positive models of experimentation both within the area and further afield and through
promotion nationally and internationally. A rigorous artistic selection and the production of
high quality work, a commitment to engage with local people, and the development of diverse
partnerships and international contacts are the mechanisms of Deveron Arts’ work. Deveron
Arts does this work mainly through dedicated artist in residence programmes focusing on
collaborative art production and experimentation.
Community, Criticality and Hospitality are the spine of the artistic vision of Deveron Arts, both
as part of the welcoming character of the place as well as an active part of the methodology.
The crosscutting inter-generational themes Identity building, Environment, Heritage and
Socio-Economics are maintained in the future work of the organisation. These are
investigated through the notions of Hospitality / Hostipitality as experienced through the three
elements of a journey: travelling, hosting and understanding.
A new component now embedded into the town is the venue methodology is the
engagement of the Cultural Health Visitor. Tested out with great success both in terms of
numbers and depth during 2013/14, this is a new model of linking artistic endeavours with a
wide range of individuals and groups in the community.
Another recent Deveron Arts innovation is the Walking Institute, which we set up in 2013
thanks to the Creative Place award. Walking – as a tool for engagement - serves not only in
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a practical sense in relation to health, environmental and rural economic development
concerns, but also as an opportunity to connect people with art as well as other relevant
fields of knowledge, experiences and working strategies. Essentially, after 18 years of
operation Deveron Arts has ‘grown up’ and we are now taking our model for a walk out of
town, to other places in the North East of Scotland and further afield. The Walking Institute
provides the methodological next stage of the 2015-18 programme, allowing us to test
whether the town is the venue leitmotive can be applied geographically to other towns and
places, and conceptually to the human heritage of the landscape.
This means, after almost two decades of working with Huntly as the main venue, Deveron
Arts is expanding its terrain always keeping its 50/50 approach in mind: in/out, here/far,
artist/community, local/global. Walking offers a new methodology to infiltrate and activate
other localities; to use our way of working as a reference point and increase the engagement
with and adaptability of people for their place.
Huntly however, appears always as a starting point and at some point en route, both
physically as well as conceptually. We will always keep in mind how we will give something
back to this place; everything we do can and must have a repercussion in the community and
place where everything started and where we are now.
This extended way of working is complemented by a set of actions, tools and strategies,
which help to develop a permanent organic growth of the organisation with the social space it
is part of. The Cultural Health Approach and Cultural Audit, the Shadow Curator, the Intern
Programmes, the Friday Lunches, the Town Collection, the Farmers’ Market, our homely
office, the Slow Marathon, the discussions, festivals and seminars we organise, the
publications we make, all of them are means to gather and disseminate the town is the
venue here, there and elsewhere for the benefit of the artists from near and far, the
communities we engage with, and our small team. Also for Scotland, a nation that punches
well above its weight in producing ground breaking socially engaged and collaborative arts
on the international arena. These methodologies and their relationship with the place are the
means to keep Deveron Arts alive, sharp and kicking.
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Huntly, inside / outside
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Aberdeenshire WaysIn 2013, Aberdeenshire Council commissioned Deveron Arts to find out what people in the area think about their place, with a view to feed into a new branding strategy for the Shire. Following the great Aberdeenshire philosopher Patrick Geddes’ footsteps we involved the Caravan Gallery/UK and Jacques Coetzer/ South Africa to travel the area’s 15 towns by caravan, foot and bike to unearth the identity of the place through a local/global approach.
BACKGROUND
History and Recent Developments
Deveron Arts is a contemporary arts organisation based in Huntly, a market town in the North
East of Scotland with a population of 4,500. We have worked here with the history, context
and identity of the town since 1995.
Deveron Arts defines its uniqueness through the town is the venue programme and its
deliberate positioning of itself as being rooted in a place while remaining actively global.
Taking Aberdeenshire born community planner/philosopher Patrick Geddes mantrum ‘think
global - act local’ as a starting point, we strive to be both a local
as well as an international arts organisation.
Unlike other residency centres in Scotland and further afield
Deveron Arts has to date concentrated solely and deliberately
on the locality (i.e. Huntly), which provides the context, thematic
inspiration and collaboration.
While Huntly is still our base, playing and testing ground, in
future we aim to roll our programme out:
1. geographically to test our model in other places in North
East Scotland, and beyond
2. conceptually through applying our methodology to the
human heritage of the landscape
The 2015-18 programme will build on this approach through a curatorial strategy that
combines community, hospitality and criticality - informed through artist led social
engagement and walking.
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Walking the Hielan’ Way, 2013
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1. Community
the town is the venue
Deveron Arts has no building - instead the town is the venue - acting as studio, gallery and
stage for artists of all disciplines invited from around the world to live and work here. For this
we use found spaces throughout the town and its surrounding areas: supermarkets,
churches, garages, and bothies, to name just a few.
Engaging with local people and the community through
topics of both local and global concern, Deveron Arts works
through a 50/50 approach. This brings together artistic and
social relationships in a global network that extends
throughout and beyond the geographic boundaries of
Huntly.
Deveron Arts places local issues within the context of global
perspectives, and inversely, situates national and
international topics within the locality. We focus on
collaborative, socially engaged practices, bridging
disciplines and sectors and exploring the relationship
between artists and community. Our 50/50 approach frames
our work through the relationships between local/global,
community/artist, hospitality/criticality, inside/outside,
contemporary/heritage ...
Each artist in residence offers an engaged and process-
based project, working with topical issues that affect both
this location and the wider world, through a range of social,
economic, environmental and political perspectives. The
projects address specific groups of the community yet also
resonate beyond Huntly and surrounding area.
We have worked through this methodology in Huntly since
1995 with more than 80 artists from over 20 countries.
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Our Venues In town…Somerfield SupermarketThe Gordon SchoolsGordon Primary SchoolDrumblade SchoolBattlehill LodgeCuldrain HouseDouglas Forrest ArchitectsBusiness CentreLearning CentreGartly Tin HutHuntly CastleCooper ParkLinden CentreMaryfield HouseStrathbogie ChurchEx-Servicemens ClubDeans Shortbread FactoryTESCOHuntly FCHuntly Sports TrustMarket Muir PavillionStewarts HallBrander MuseumBrander LibraryMarshall GarageRose and Thistle PubCrown BarEpiscopalian Christ ChurchHuntly HotelSt Margaret Catholic ChurchBattlehill QuarryMany private houses …
Out of Town …Portsoy old Railway stationCoynnachie GuesthouseRSA EdinburghBanff Coast FestivalBlackwater LodgeSummerhall EdinburghMAC Niteroi ….
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Cultural Health
Since 2013 we have been testing the idea of Cultural
Health through the engagement of a Cultural Health
Visitor.
Cultural Health, as we define it, is the condition of a
person or a community’s cultural orientation, and their
capacity, or willingness, to explore new ideas and
behaviours.
The Cultural Health Worker strives
to nurture cultural health by working with the immediate
social complexities of the local community, engaging
individuals and groups in cultural activities that can influence their situation and
hopefully empower them. At Deveron Arts we see cultural health sitting alongside physical,
mental and social health and contributing to the general wellbeing of a person, as well as that
of a community.
The role of the Cultural Health Visitor (CHV) is to explore cultural health conceptually as a
means of identifying and nurturing the way in which people interact with commonly perceived
cultural activity, existing and potential, related to the arts and other manifestations of
academic, philosophical or creative interest. It is the CHV’s job to encourage engagement
with new experiences and the adoption of new and different social behaviours and habits.
The CHV’s methodologies are modelled on tried and tested approaches of community health
practitioners, including the NHS Health Visitor, Family Nurse and School Nurse. These
approaches include:
Cultural Health promotion – outreach to local community groups and schools,
facilitating lectures, workshops and one-off expertise sessions.
Early interventions – providing baby clinics and supporting new parents as the first few
years of a person’s life can influence the child’s attitudes and behaviour.
Prescribing for preventive care – connecting with the local health centre in order to
increase the public’s access to cultural activity and sociability.
From cradle to grave – working with all ages but creating opportunities for them to
come together over mutual interests.
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Nurturing Cultural HealthTo tie in with Deveron Arts’ Oaks and Amity project, Catrin Jeans started a recruitment office, in a WW 1 aesthetic to get 142 people, as a means of connecting people with the artist/pacifist/environmentalist Joseph Beuys oak planting (mother oaks come from Kassel-Documenta 11) organised by French artist Caroline Wendling. This will take place on 13 November 2014 to commemorate the 142 men who didn’t come back and those who opposed the war as pacifists.
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Nurturing Cultural HealthScientist and Mechanic Alexander MacKay went out as a missionary to Uganda where he set up a workshop and became known among the local population as a wizard (lubare) for all his technical traits. Tying in with the Lubare and the Boat project, Catrin is setting up a Fixing Café which brings together – often older – people, who have now often seen as magical skills in repairing things (like electrical goods, furniture, clothes), with other people in exchange for coffee, cakes and chat in a communal pop-up café set up. The initiative will also help promote our environmental policy and our general interest in a healthy community.
The CHV’s role is to build strong relations with individuals and the community in order to
listen, support, and advise. The aims of the Cultural Health Visitor are to look at the broader
picture and explore what are the Cultural Health needs of the community and individuals.
The CHV works within the Deveron Arts programme to help facilitate tangible outcomes and
to provide continuity for Deveron Arts after their artists have finished their residencies by
developing projects further and by integrating them into the town.
The artist Catrin Jeans is piloting this role over a period
of 18 months. The project will culminate in the
production of guidelines on how the CHV can function in
and beyond Huntly.
Our audience and participation in Huntly, since the start
of this post in July 2014 has not only taken a sharp rise
in numbers, it has also engaged entirely new
participants in our events, in particular people from hard
to reach groups, such as young mothers, older people,
church-goers, commuters and people with mental health
issues. Catrin has set up a Cultural Health Visitor blog to
document her activity.
Catrin Jeans receives mentoring from Pam Johnston an
Aberdeenshire NHS Health Visitor.
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Catrin Jeans, Oaks and Amity Recruitment, April 2014
Wellbeing and Creative Learning
This is what the town is the venue is about. While ensuring – through the 50/50 approach –
that artistic excellence is maintained, our Outreach and Education activities are embedded in
the individual projects through its curatorial approach and the work of the Cultural Health
Visitor. Working with groups of interest, this allows us to work across the community
regardless of age, social background or ability. For this we work with many partners in the
community. We have excellent relationships with the local schools who participate in our
interdisciplinary projects regularly, we fit with the strategies for town regeneration of the
Huntly and District Development Trust and we work with the many local cultural groups, as
evidenced through the Huntly Cultural Fund (which funded 37 local groups and artists from
the Creative Place Award to undertake creative activities), set up through the Creative Place
award in 2013. Through the Cultural Health Visitor we also work regularly with other groups
from the social and health sector – our final aim being the introduction of cultural health on
prescription from the local health and social services.
We now want to build on the success of Huntly’s ‘room to roam’ branding and the creative
place award and spread our wings to other areas. This will prove the transferability of the
town is the venue as a methodology in other places. Some of this can already be evidenced
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Hospitality / HostipitalityAs we all know, our common nettles are hostile, covered in hollow stinging hairs, injecting a mixture of ‘stinging’ chemicals into anyone that comes into contact with them. The Rhynie Woman collective take delight in serving their guests foraged ingredients; things that have perhaps been overlooked, unwelcome on most plates – such as the nettle. A stranger, a foreigner on the table, here given the opportunity to become a guest ingredient, to be hospitable once baked into a cream cake, but does that stinging potential ever truly disappear?
(e.g. Aberdeenshire Ways project; Timespan, Helmsdale winning the Creative Place Award
in 2014 – for which we have written the strategy). We hope to do this with the help of an
audience development officer that incorporates walking, outdoors and the environment as
well as health as a way of reaching new and different people.
2. Hospitality
Deveron Arts since its inception, as a residency place, has
by its very nature engaged in a great deal of hospitality,
offered to/by both invited (guest) artists/visitors who come
here to work and live, and the local community – ourselves
becoming both guest and host through this process.
Although already a part of the way in which we have chosen
to operate, it was in 2013 that we made the explicit choice to
investigate further the complex and ambiguous nature of
hospitality and the challenge it presents for us as an arts
organisation. Developing from our previous work, we want to
investigate the notion of hospitality further, particularly
hospitality as an ethical problem in the arts; using the
structure of our previous model, made up of three essential
elements that constitute a journey:
Travel – Walking / Slow Transport
Hosting – Food, Eating and Accommodation
Understanding – Language, Conversation and Learning
We will continue to explore the programme clusters of identity building, socio-economic
issues, heritage and environment through the involvement of artists and professionals from
other disciplines.
To investigate hospitality as ethics further we turn to Derrida's term 'hostipitality' which helps
us to reveal the complex relationship between enmity and generosity at play in acts of
hospitality. Derrida noting, “the close etymological proximity between hospitality and hostility,
both of which are derived from the word foreigner (hostis)”, alerts us to the delicate con-
fusion - between stranger/guest, economic/non-economic relationships,
location/displacement, homesickness/wanderlust - held in suspension when host/guest are
engaged together through hospitality. This conceptualisation of hospitality, or hostipitality,
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acts as fertile ground for us to actively investigate the power relationship between ourselves,
our community and our guests.
The problem of hospitality is historic, being among one of the most fundamental concerns of
both religion and philosophy, it has played an essential role in defining the very basis of
social relationships. Hospitality remains an issue today, both politically and philosophically;
over the last twenty years we have seen, through commercial globalisation and an increase
in tourism and long distance travel, economic hospitality – 'the hospitality business' – grow
rapidly. This alongside the recent movements in population within Europe and from other
continents into Europe, i.e. economic immigration, refugees and asylum seekers -
contributing to the growing anxiety and xenophobia felt both in the UK and Europe towards
strangers, or, 'foreigners' – has seen traditional notions of hospitality thrown into question.
We believe this makes investigating the ethics and implications of hospitality all the more
critical for us as a hosting arts organisation.
Walking
Since the project 21 Days in the Cairngorms with Hamish Fulton (2010), Deveron Arts has
increasingly engaged with walking as a method to engage people in its projects. Walking has
been identified as a great way to experience and understand a place, how people relate to it,
and to each other; and how it links to the notion of hospitality as a virtue of place in political
and environmental terms. Thanks to the Creative Place award 2013 this has now led to the
development of the Walking Institute (WI) programme, a programme that celebrates ‘the
human pace for and with people from all walks of life’.
Building on Huntly’s Room to Roam brand, we have in the past year undertaken a number of
walking related projects with artists, which have allowed us to access entirely new audiences
for a longer period of time. The Slow Marathon for example – now in its third year running
with different artists – was booked out in under two weeks, despite having a cost attached,
with only 30% of the participants having attended Deveron Arts activities before.
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Hielan’ Way Deveron Arts has invited walking artist Simone Kenyon, renowned fiddler Paul Anderson, local artist Gill Russel and poet/artist Alec Finlay to respond over a longer period (2013/14) to the Hielan' Way, a network of ancient lifelines that run through the NorthEast of Scotland. Local historian Ron Brander is contributing with further research on the area and its ancient human heritage.All this culminates into comprehensive investi-gation and celebration of a very remote and depopulated place, the Cabrach, often descry-bed as the largest WW1 memorial in the world. Outcomes will be presented and published at our Hielan’ Way conference in Nov 2014. Speakers in-clude, mountaineer Doug Scott and artist Richard Long.
Walking is widely recognised as an opportunity to address mental and physical health, it has
a positive relation to the environment, and brings communities together. By working with
artists and other specialists (e.g. anthropologists, foresters, botanists …) it allows people to
see their surrounding through a new and different lens. Hence we want to – through artist led
initiatives – engage both potential and seasoned walkers; including those that find walking
difficult or even impossible (more on this in our WI vision document).
The Walking Institute programme's key aims are:
Activities & Path-Making: to identify and develop walking
activities and new paths & trails which connect to the
broadening networks and dialogues across the globe.
Research & Mapping: to research and map the concepts,
philosophies and notions surrounding walking and linking them
to the walking & art discourse.
To do this, we will address opportunities in relation to health,
environment and rural development in Huntly and further afield
through walking art and related disciplines, for example geography,
architecture and history. The cross cutting themes of Politics &
Ethics, Community & Place and Seasons & Time will inform the
programme and selection of artists.
For the coming three years, walking and other forms of slow travel
will also serve as the exploration process for new contexts, outside of
the town, bringing dynamics and critical inputs to the local and
remote. The Walking Institute is not a separate entity, but is ‘nested’
within Deveron Arts, as an integral part of both programme and
methodology in Huntly and beyond.
The engagement of an audience development specialist that helps
us in accessing people outside of Huntly, will add significantly to the success of this new
development.
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Our artistsPrevious artists we worked with range from Norma Hunter, Anne Murray and Jake Williams from Huntly AB54 area to Stuart McAdam, Kenny Hunter, Jacqueline Donachie, David Sherry, Roderick Buchanan and Dalziel + Scullion from Scotland; to Jacques Coetzer and Senzeni Marasela from South Africa and Thierrey Geoffrey/COLONEL from France, Hamish Fulton/UK, Roman Signer from Switzerland, Maider López from Spain and Celia-Yunior from Cuba, Mihret Kebede from Ethiopia, Sanaa Gatja from Uganda and photographer Baudouin Mouanda from Congo. Planned are: Rhynie Woman from Huntly, Pester & Rossi from Scotland, Tim Knowles/ UK, Anthony Schrag/ Scotland, Wochenklausur/ Austria, Ania Bas from Poland, Mariam Koné from Mali, Hassan Hajjij from Morocco, and more….
Simone Kenyon, In the footsteps of Nan Shepherd, Hielan’ Way programme, 2013
The Artists
Artists engaged with Deveron Arts often,
though not always, work in the field of
collaborative art. Alternatively they are artists
who wish to develop a collaborative project.
Many of the artists we have worked with in the
past come from a visual arts background, but
we also work with craft artists, writers,
performance artists and other creative
professionals such as chefs. Every year we
have one musician complementing the
thematic programme.
The artists come – often with their families and
partners - from our own place and from all over
the world; the balanced mix ranges from
emerging to established, local to internationally renowned artists. The vital dimension of
conversation and interaction between artists, and the various echelons of the public, is
central to these aims. Particular effort is made in identifying the right artists for a chosen
theme, through studio visits both at home and abroad, inviting artists to see the place before
they join us.
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Sanaa Gateja, The Lubare and the Boat, 2014 Simon Preston, the Town is the Menu, 2012
Each residency is centred around a particular issue or interest of the locality. Hence an
interest in the chosen theme must be evidenced by the appointed artist. Once identified,
artists are invited to develop and negotiate proposals that respond to the identified theme
and the above criteria. The selection should cover broadly the following points:
Distinctive Project: in collaboration with the artist we identify and develop a focus
and/or relationship of the project unique to life in Huntly or other chosen place; outlining why the work can only exist within the context of the exchange with that
community; and what the artist brings to the thematic.
Collaboration and Public Involvement: the visibility and accessibility of the artist in the
community is vital and community involvement is essential. The artist is requested to
show how he/she will develop a relationship and dialogue with the community or a
particular part of the community. The artist should also demonstrate how he/she will
take inspiration from this place, and how they will fit into the community.
Promoting Excellence and discourse: artistic track record and excellence is vital in the
selection. The proposal should outline how it fits into current artistic discourse, and how
the artist would use the opportunity to develop his/her work professionally.
3. Criticality
All the above curatorial elements – the town is the venue, cultural health,
hospitality/hostipitality, walking - are underpinned by a range of Deveron Arts’ approaches to
criticality:
Research and Model Development - Deveron Arts is taking an interest in research relating
to the development of new concepts of the role of contemporary art in rural locations and
their socio-economic impact. This is done through a number of means:
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Previous Shadow CuratorsNuno Sacramento, Francois Matarasso, Katy Nicoll, Tessa Jackson/INIVA, Dave Beech/Chelsea School of Art, Mary Jane Jacob/Chicago School of Art, Sarah Worden/National Museums of Scotland, David Harding, Jonathan Baxter, Pauline Burman/Thami Mnyele Foundation, Christine Eyene/ University of Central Lancashire.
publication of articles on the town is the venue and the Walking Institute models
participation in artistic dialogue through conferences, seminars, etc.
a socially engaged art library and a walking specialist library
development of critical discourse events (seminars, symposia, conferences on socially
engaged art, on walking, and on the topics we engage with)
in-house discussions between the team, local experts and our board of advisors
Shadow Curator - is a critical methodology that strives to strengthen the mission of Deveron
Arts and its curatorial practice. Since 2007 we have attached Shadow Curators to our
projects.
In parliament, the opposition party appoints an MP to ‘shadow’ each of the members of the
Cabinet, to keep the Government in ‘check’ through a process of thorough and continuous
questioning. Like the Shadow MP, though in a less antagonistic way, the Shadow Curator
offers a critical enquiry into Deveron Arts’ curatorial model. This form of peer review and self-
reflection maps the curatorial process through querying and critiquing the assumptions of the
organisation and its projects.
The collaboration between the invited Shadow Curator and the Director/team is an
opportunity to interrogate the artists' projects and their connections. Deveron Arts engages
Shadow Curators from across the world; they attach
themselves to individual projects and not only bring a
critical element as described above, but also a network of
contacts. They often become ambassadors for the
organisation back in their country and on their travels
across the globe.
Deveron Arts also engages Shadow Curator interns,
young aspiring curators who receive the opportunity to
critique through this unique methodology.
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FernwehIn early 2013 Deveron Arts organised Fernweh in collaboration with curator Mary Jane Jacob from School of the Art Institute of Chicago, USA, a train travelling-curator project that aimed to investigate notions of travel and hospitality within community and socially engaged art. Its objectives were to consider the notions of art in community (rural/urban) through a hosting, visiting and travelling programme in collaboration with a series of communities and institutions across Scotland. This format was reproduced later in November 2013 in Brazil in collaboration with MAC Niterói.
Documentation and Archive - High quality
documentation is a vital aspect of the work of Deveron
Arts. This normally focuses on professionally designed
printed materials, but also filmic and photographic
documentation and keeping press files. Detailed archives
are kept for all projects in specially designed archive
boxes. These feature an archive template with a project
description, and all files and items that relate to the
project. A comprehensive archive of all projects, events,
strategies and other aspects that relate to the work of
Deveron Arts is also kept on our website: www.deveron-
arts.com and www.walking-institute.com. Images are kept
on our flickr account, with a selection on Facebook.
Videos are kept on a vimeo account. All such accounts link with our website.
Exchange and Dialogue – Deveron Arts places a lot of importance on exchange and
dialogue between local and international people; between art professionals and community;
between artists and specialists in other disciplines. Each project includes a discursive event,
which may range from a key note speaker event followed by a discussion, to an artist’s talk in
the community. In addition we have an annual conference as outlined in our events plan.
Increasingly we are invited to talk about the town is the venue and the Walking Institute on
inter/national platforms.
Curators Traveling Symposium, Fernweh, 2013.
Monitoring and Evaluation – we have a multi-facetted approach to evaluating our projects
using a participant observation methodology derived from social anthropology. This results in
an extensive project report outlining achievements and problems encountered; including:
artists’ and participants’ comments, archive of printed materials, press file, photo/film
documentation and any other materials available, as well as all artists delivering a written
report. As part of the evaluation process we are keen to monitor our work against our key
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goals of developing the town is the venue programme and are dedicated to applying new
evaluation techniques that avoid forms and questionnaires (which we perceive as obtrusive).
In the past this has included informal activities such as tea parties, picnics and writing
sessions. Projects are evaluated according to set qualitative criteria (as set out by François
Matarasso at the conference ‘On the Edge’, Duff House): inclusive, rather than exclusive to
the community: making it work in a rural/remote area; making it work without a dedicated
venue, gallery or arts centre; maintaining artistic vision and quality albeit within the above
‘constraints’.
VISION, STRATEGIC AIMS AND OBJECTIVES
Vision StatementDeveron Arts / the town is the venue: a place for community, hospitality and criticality
Aim
The core aim of Deveron Arts is to develop the town is the venue model as an internationally
recognised, transferable model for contemporary collaborative arts development in the
rural/remote context.
Objectives
1. To evolve a programme of artists residencies with a focus on collaborative arts
2. To engage and encourage participation of people in contemporary art projects in their
community
3. To provide professional development opportunities for artists/arts professionals
4. To facilitate and form local/global relationships by forging links with international artists
and art partners
5. To achieve excellence in all areas of artistic and organisational development
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Slow Marathon, 2014
SWOT AnalysisSTRENGTH WEAKNESSESArtistic Quality
- Unique curatorial model of the town is the venue with reputation for high quality
- 50/50 approach: over 15 years’ experience- Hospitality / Hostipitality: an opportunity to explore
community and criticality though the notion of a journey
- Walking Institute: a unique new initiative, nested within Deveron Arts
- Experienced and skilled work force- Active range of Board members, including artists,
community members and professionals.- Professional support from Creative Scotland- Strong Scottish and international network of peers
Community + Participation- Huntly's compact size, facilities, demography and
location on strategic road and rail links- Central position in the region, making it a natural
hub for rolling out our model- Creative Place award and Claudia Zeiske awarded
citizen of the year; accolades offered confidence and evidence of strong community support
- Focus on interest groups cutting across socio-economic and generational divides
- Strong commitment to the outdoors, local ecology and environment
- Expertise with community network rated by artists- Support from local/regional newspapers (Huntly
Express and Press + Journal)- Good working relationship with local schools- Power of ‘word of mouth’ within rural environment
Artistic Quality- The curatorial elements - Walking Insitute and
CHV - are still in a testing phase and might be confusing to the audience
Marketing- The name given at the start of the organisation is
seen as old-fashioned within the arts world, and is not conducive for marketing as a contemporary product.
- Various curatorial models (town is the venue; Walking Institute; hospitality) confusing for the audiences
- Deveron Arts is less experienced with non-art audiences outside Huntly; in particular the outdoor and environment sectors.
Funding- Funding from Aberdeenshire Council always
precarious- Constant need for fundraising for matching
funding is taxing for small staff base- The need to be opportunistic about chasing
project funding could result in it dictating the shape of the programme
Location- Remote location is expensive to travel to- Remote location makes it difficult to recruit new
skilled staff if needed- Remote location makes diverse board
membership expensiveStaffing/Expertise
- Lack of skill in marketing and audience
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- Good local press coverage- projects under the Walking Institute banner have
increased numbers; 70%+ of new participantsNetworking
- Strong links with Scottish Art Network and Art Colleges
- Strong international links with galleries and profession- Increasing national press coverage
Finances- Core funding enabled secure planning and gives
confidence to partners, funders and artists- Professional support from Creative Scotland- Annual funding / premises in kind from Aberdeenshire
Council- Strong track record in attracting project funding from
public and private sources- Successful in attracting in kind support from local
business- Low overhead costs, as there is no building to run and
maintainInfrastructure
- Good accommodation for artists living / studio space- Centrally based well equipped, cost free office space
International Working- Director speaks 8 languages and has excellent
international contacts- Scotland spearheading work in socially engaged art is
an opportunity for profiling the countryLocation
- Rural location gives a transferable model to similar communities in Scotland and beyond - testing and demonstrating innovative contemporary art models outside the city centres, and without a gallery
- intriguing and attractive to visiting artists and professionals
Professional Development- good training programmes for aspiring curators in place
development for walking / outdoor programmes
OPPORTUNITIES THREATSFunding
- The potential for an increase in support on a multi-year basis through new thematic funds –1. Hospitality: travel, hosting, understanding2. Walking Institute: environment + ecology, health +
wellbeing, tourism + rural development- Creative Scotland projects forming programmes
funding secured till March 2015; AC funding indicated from April 2015
- Initial matching funding secured for programme funding beyond 2015
- Fundraising strategy in placeNetwork
- Director has a good network of international contacts, which could be exploited for partnerships
- Good working relationship with Creative Scotland and Aberdeenshire Council, as well as HDDT locally
- Walking Institute opens new network opportunities both locally, nationally and internationally
Staffing- Good team structure; succession Plan in place- Well trained project manager that can take over if
required- Cultural Health Visitor, a successful new approach to
community participation- Artistic, community and environmental values in daily
Funding- Deveron Arts needs to continue to secure
funding for both local and further afield programming should it have a chance to succeed
- Deveron Arts needs to make more effort to attract sales and other own income
Location / Community- Huntly residents have a relatively low income
and are therefore potentially less inclined to attend arts events.
- Huntly community has a perceived lack of sensibility towards issues affecting the world due to its relative remoteness
- The public has a lack of understanding of socially engaged art practice (wonders ‘what does it have to do with art?’)
- Locally based arts audiences are used to travelling to population centres for cultural activity, they may overlook local activities because of this
- It is very costly and time intensive to engage in effective networking due to remote location
Government- Budget cuts in cultural funding- Visa regulations for foreign artists are costly and
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team lifePositioning
- Current general interest in socially engaged programmes and renewed interest in public art
- No comparable organisations in Scotland or even the UK and internationally
- town is the venue and Walking Institute fit with Aberdeenshire Arts, Economic Development and Town Planning Strategies
- According to The Aberdeenshire Audience Atlas, around 3000 people who live in Huntly and surrounding area may be interested in attending culturally led events
- Estimated 20000 people in Aberdeenshire who could benefit from a rolling out of our models
- Huntly’s position on main transport routesCommunity
- Potential to contribute to the wider economic development of the Huntly area by changing external perceptions of the town
- Creative lace award and Huntly Cultural Fund Huntly & District Development Trust a good provide good opportunities for partnership working
- Tourism strategy for Huntly in place- Promotion of area as a destination
International collaboration- Clear vision of the value of local/global links- Good international contacts- Opportunity to put Scotland on the map of cultural
innovation for socially engaged art
at times prohibitiveManagement
- Current effective staffing structure might be difficult to fund in future
Audiences- New vital markets among walkers, outdoor
enthusiasts and environment sector cannot be tapped due to lack of audience development expertise outside Huntly
Artistic Programme 2015-18
Activity
Deveron Arts’ artistic programme focuses around the following overlapping areas of activity:
1. residencies with artists interested in collaborative practice that respond to our
hospitality related themes
2. engagement of the community through thematic projects employing conversation and
dialogue across socio-economic boundaries
3. fostering critical engagement, inter-disciplinary working and international connections
4. organising a lively events programme integral to the residency programme
5. evolving a Town Collection, hosted in all kind of shops, schools, churches and other
venues across the town and beyond
6. linking with academic research
We have described the outline programme below, but feel it is vital to always leave room for
the unexpected, to allow opportunities for the experimental nature of work.
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Following the pilot phase in 2013/14 we want to continue with the full-time Cultural Health
Visitor position to complement our work in the community. This is fulfilled by an artist with a
distinct, socially engaged practice assisting in community communication and education;
similar to the tried and tested traditional NHS Health Visitor but looking after people’s cultural
health. In the long-term future we want to work on this with a partner of University of
Aberdeen through the Knowledge Transfer fund (see section finance).
Residency Projects
Based on the above described curatorial strategy, Deveron Arts proposes to implement a
strategic 3-year programme 2015-18 of 4 thematic artist led residency programmes per year,
which encompass each:
professional artist residencies; averaging at 3 months
invitation of a specialist in the field of investigation (e.g. food or walking expert, forester
or anthropologist)
collaboration with local artists (both visual and others like musicians, writers,
performers, chefs, craftsmen and artisans) where appropriate to assist and compliment
the project
invitation of a Shadow Curator/producer, normally working from a distant position
a Shadow Curator Intern which encompasses 2 projects per annum
an Intern, normally a young recent graduate either in art or a related discipline
an education programme focusing on local schools and life-long learning in the
community; often including an academic partner
a programme of events focusing on each residency theme and project; each project will
have at least one artists talk, 4 school workshops, a specialist talk, final presentation,
and discursive event
a walking related element that encourages physical participation, mapping and/or
navigation
a contribution to the evolving Town Collection built up from traces of DA’s work with
individual works by former artists in residence (paintings, photographs, murals, plaques
etc) are on display in pubs, shops, schools, garages, offices and other spaces
Residency Themes and Artists
The programme will be structured annually through the following 3 elements:
1. Year-long programmes over the three year funding/planning period; each year
encompassing four artists residencies and a number of other specialist commissions. The
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suggested topics based on themes identified with the community and informed by the
curatorial strategy outlined above for the 2015-18 period are:
Year 1: Pilgrimage and other journeys of moral, spiritual and cultural significance; journeys
made to achieve something more than geographical relocation; The tourist trail; Landuse and
Landusebills
Sub-Topic ArtistInverse tourism: how to make a place known for something of significance?
Wochenklausur/Austria, tbc
Shadow Curator: Nina Möntmann
The Tourist Trail: Leisure markets today Exploration Aides: Tim Knowles/UK
Shadow Curator: Barbara Steveni
Art Pilgrimage: The Grand Tour today: referencing 19th Century travel to acquire the necessary cultural polish, also the bringing back of artefacts. Pilgrimage ethics: e.g reference to ancient writing
Anthony Schrag/Scotland
Shadow Curator: David Stevenson
Access and land use in a new Scotland Stile Awards: Andrea Geile/Scotland
Shadow Curator: Duncan Bremner, tbc
For Year 2 and 3 we propose the following suggested themes:
Year 2: Neolithic sites and their spiritual, environmental and economic magnitude:
Comprehending the earth’s power; Networking and time travelling; UNESCO registration;
Communal spaces/local museum. Artists we are talking to: Tim Knowles/UK (together with a
digital cartographer); Angelo Bellobono/Italy; Richard Long/UK; Pester & Rossi/Scotland;
Atull Bhalla/India
Year 3: Work-Walk-Wellbeing: Walking at the Work place: Digital Health; Commuting and
Work environment aesthetics. Artists we are talking to: Ania Bas (in collaboration with
London Business School); Hassan Hajjaj/Morocco; Rhynie Woman/Huntly; David Bade/NL.
We are also aiming to work on a collaboration with Aberdeen University/Anthropology
Department (Prof Tim Ingold); facilitated trough AHRC funding to have one long-term PhD
artist fellow working with us over the 3 year period.
2. Traditional / World Music: The programme will be
accompanied by an annual music residency that brings together
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CeilidhcatuIn 2012 we hosted Brazilian musician Allysson Velez; who joined with renowned Scottish fiddler Paul Anderson and six local musicians in the area forming a band that linked ceilidh rhythms with
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musicians from across the globe with the wealth of folk traditions in Scotland. New sounds
crossing oceans, eschew politics and embracing the global village can be forged through
such links that will also in particular connect with our rich local folk traditions in the North
East of Scotland – in particular known for its unique bothy ballads.
Artists we are talking to are:
Year 1: Aidan O’Rourke/Scotland: Landuse from Neolithic times till today.
Year 2/3: Mariam Koné, whom we are linking with Celtic Connections festival and Festival du
Niger; Hannah Tuullikki/Scotland/Finland; Omar Afif, a Gnawa musician and dancer from
Morocco who now lives with his family in Aberdeenshire.
Allysson Velez/local musicians, Ceilidhcatu, 2012
3. Events and Critical Discourse: A lively events and education programme will
accompany each project. This includes more community events facilitated through the
Cultural Health Visitor, as well as the critical discourses outlined below. The content of those
events will be informed by our hospitality programme, bringing together the various aspects
of travel/food and communication. They will be balanced by an element of hostipitality,
always bringing an edge to the niceness.
Annually we will walk the Slow Marathon, now a very popular event that rediscovers the
landscape surrounding Huntly casting a new light on it (Year 1: Stuart McAdam through his
Lines Lost project). During the course of the 3 year period we want to test the Slow Marathon
idea outside Scotland in a very different environment (e.g. a big city, or a politically
challenging environment – like Palestine, South Africa).
Annually we will also have at least one major presentation abroad. In year 1 this will be at the
Museum of Uganda with artists Sanaa Gateja and Xenson presenting the Lubare and the
Boat project developed in Huntly in 2014; in collaboration with the Ugandan Arts Trust.
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CeilidhcatuIn 2012 we hosted Brazilian musician Allysson Velez; who joined with renowned Scottish fiddler Paul Anderson and six local musicians in the area forming a band that linked ceilidh rhythms with
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In 2016/17 we will again take part in the Skills Biennale, a collaboration between the arts
organisations of the North East including Scottish Sculpture Workshop, Woodend Barn,
Sound Festival and Grays School of Art.
4. Hosting Critical Dialogue: The programme will be complemented by the following annual
discursive events in Huntly and surrounding. These will be clustered as follows:
a. Annual event surrounding socially engaged practice with the following suggested themes:
Year 1: What is Cultural Health?: In collaboration with NHS Grampian (1-Day symposium in collaboration with Roelf Dijkhuizen, CEO NHS Grampian)
Year 2: 20 Years of Socially engaged practice in Britain – celebrating 20 years of the town is the venue at Deveron Arts: with curator Jason Bowman (subject to funding)
Year 3: Praktika 2: critiquing socially engaged practice with David Harding (2-day workshop,10 years after Praktika1 in 2007)
b. Every year will also see one project related seminar/symposium relating to the above
long-term themes: Pilgrimage; Neolithic sites/Landuse; Work-Walk-Wellbeing. These will
link with our hospitality in art discourses, informed by one of the projects in relation to the
three journey making subthemes: travel/hosting/understanding
c. In addition every individual project will also see one discursive event (e.g. a key note
speaker, a panel discussion).
d. Each year will also see one discursive event at a Scottish Central Belt platform; e.g.
Glasgow International; Edinburgh Arts Festival. Year 1: Andrea Geile/Stile Awards.
e. In 2016 Deveron Arts will be 20 years old. Since we started we have had over 80 artists
working with us. We would like to celebrate this anniversary with a bang by bringing
many, or even all, of the artists back that have worked with us since 1996. This event will
be organised in a symposium style event, document the history of Deveron Arts and what
it has brought to both community and artists practice; this will be done in the context of 20
years of socially engaged art in Britain, bringing key note speakers to the event (e.g. Art
Angel, Collective Gallery, Grizedale Art; Situations). However, this project needs a lot of
funding, we may have to shelve or reduce this ambition for the time being.
All such events will be documented through web and printed materials; the larger events will
be made accessible through live streaming.
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Curator Luiz Vergara, Fernweh, 2013
Place and Quality of Life
This Creative Scotland ambition is our mandate, and core to our success - evidenced by
winning the Creative Place awards in 2012 and 2013. It is further evidenced by the selection
of the Director and her team as the Huntly Citizen of the Year in 2013. All of our strategies
look to develop this goal; specifically addressing it through the town is the venue, the
Walking Institute and the Cultural Health Visitor.
Since our inception we have been working closely with the town and its many groups and
organisations. It was important for us to begin with a cultural audit, something which is now
revised annually. Our track record in mounting projects of environmental, heritage, socio-
economic and identity building relevance has led to the commission of the town branding, for
which we worked with South African artist Jacques Coetzer and many community groups.
This led to Huntly’s now guiding principle – in geographic and spiritual terms - Room to
Roam, taken from a poem of Huntly’s Victorian writer George MacDonald. A perfect starting
point for DA’s new strategy that includes walking as a methodology to bring in more people
to participate with our projects in Huntly and other places we want to role the town is the
venue methodology out to.
We strive to fit with the strategies for town regeneration of the Huntly and District
Development Trust (HDDT: town center regeneration, sports and outdoor hub, improving
image of the town) and we work with the many local cultural and non-cultural groups.
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Alec FinlayIn 2013 we engaged Alec Finlay, an artist deeply interested in nature, for the Hielan’ Way project. Due to his long-term illness he has little ability to walk the remote Cabrach area. We teamed Alec up with Alexander (Twig) Champion, a young aspiring walking artist, who walked on Alec’s behalf and to his instruction. Alec produced The Golden Mountain, a book of poetry based on what Twig brought home, written for people that can now only walk in their imagination.
Huntly is and remains our place. In future we want to work further with HDDT to improve
Huntly’s image for people to visit and come and live here. A tourism strategy to which we
contributed has been put in place.
Equalities and Diversity
Deveron Arts has a strong commitment to Equality and Diversity for artists, staff and our
communities.
We work with artists from all ages and backgrounds. To accommodate artists with families
we provide adequate housing, we arrange schooling for the children and try to facilitate –
where possible - opportunities for partners.
Our premises are now fully accessible for wheel chair users. This has recently enabled us to
take on an intern with multiple health issues. The work of
the Cultural Health Visitor pioneers access through
cultural health irrespective of peoples’ ability, age or
social background – crossing all social boundaries and
fostering a healthy community.
Also our new interest in walking as a tool and as a
methodology for people from all walks of life has given
ample consideration to people who have problems with
walking or who maybe cannot walk at all. We have
engaged artists with such issues and have developed
facilities for people who would like to walk but cannot. We also run projects for people who
have reduced ability.
Our great interest in working internationally is reflected in our commitment to ethnic diversity.
Huntly itself is still largely a ‘white-Scottish’ place; bringing people from other backgrounds to
the place does not only benefit their integration, but also our community’s accolade as a
creative place with ‘room to roam’ in the widest sense.
Further details are available in the Appendices: Equality & Access Policy; Child and
Vulnerable Adult protection policy; Health and Safety Policy. An Equality plan will be written
in accordance with Creative Scotland guidance in the course of this business plan.
Digital Media
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The use of digital media is vital to the work of Deveron Arts. Working in a rural area we
understand the importance of digital media in providing an alternative platform for our work,
both broadening our audience and making our work more accessible. Recognizing the
importance of new digital tools, we strive to look for new and innovative ways to deliver our
work to a wider audience.
Networking: Digital media has a central role in recruiting and communicating with artists and
other professionals from across the globe through Skype. Skype is also used for conducting
interviews with artists; and for getting interviewed by the increasing number of researchers
interested in the town is the venue.
Celia – Yunior talk to Prof. Robin Dunbar, University of Oxford, on Skype, Faceloop, 2013
Deveron Arts recognised a need to explore further opportunities for artistically exploiting
digital means for the forthcoming programme - in particular in relation to mapping. We have
done a lot of ground breaking work in relation to this with our www.walking-institute.com
website, which is nested within the www.deveron-arts.com website. We have also started
working with BING software to make human heritage of the landscape information accessible
to the public. During the coming period we want to further advance this work by bringing
together a digital cartographer with an artist.
We are also – and this may be the antithesis of working with digital mediums – interested in
the notion of digital health in our and other communities as well as our own office. For us
digital health refers to balancing time spent using technology, in a virtual world, against real
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life experience. The Cultural Health Officer is tasked to work on this in the forthcoming
period.
In future we will increase efforts in capturing data of our web and social networking traffic.
Environment and Ecology
Living and promoting a holistic life is important to us. As such we have launched a number of
lifestyle and environmental related projects, such as Slow Down (addressing traffic issues),
Red Herring (looking into counting the carbon footprint of our food chain) and the now annual
Slow Marathon.
We also integrated environmental policies in our office and daily working lives. As such we
grow some of our food for our Friday lunches in our garden and compost our food leftovers.
Artists and staff are all given a second hand bicycle; we use only unbleached, recycled paper
and in the office we print on both sides of the paper. We buy ecologically approved cleaning
materials and fair trade goods such as coffee and tea and are an active member of the local
Fair Trade town set up. Where possible we travel by train and our office is largely furnished
with second hand furniture from Huntly's charity shops or
otherwise made by local tradesmen.
Stephanie Bourne, Red Herring discussion in Greenhouse, 2010
Our artists have a contractual obligation to consider the
reduction and disposal of any waste that might result
from their artworks. Deveron Arts operates a stringent
environmental strategy, which beside operational
aspects outlines how environmental concerns can
influence artistic decisions. See Appendix:
Environmental Policy.
Both the natural and physical heritage of a place are important factors that inform the
thematic choice, artist selection and creative projects of Deveron Arts and its use of the town
is the venue. This important part of our work and how the methodology can relate to the
human heritage of the landscape is further reflected in detail upon in the Walking Institute
Vision paper.
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Wandering WasteArtist Gayle Chong Kwan - as part of the North East Scotland Skills Biennale - is currently developing a project with us exploring the role of archetypes, ideals and waste in food growing, production and consumption in Huntly.She will work with Dean’s of Huntly Shortbread and growing communities in Huntly to collect recipes and processes, which use waste ingredients and to explore how waste can be reduced in domestic, artisanal and factory food production. In collaboration with Stills gallery Edinburgh.
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MberekoNancy Mteki won in 2012 the Deveron Arts residency award at DAKAR Biennale. Her project Mbereko created photographs based on the theme of ‘Materialism in Childhood’ in Huntly. The work was shown a year later at the National Gallery of Zimbabwe, where she also set up a mother and toddler group, a completely new way of getting together in Harare and elsewhere - through socially engaged arts in a gallery.
Mihret Kebede / Norma HunterIn 2012 Ethiopian Artist Mihret Kebede undertook her residency in Huntly, where she worked with locally based artist Norma Hunter on the project Slow Marathon which took place in Huntly and Addis simultaneously. In 2013 Norma was invited to Addis Abeba to attend the international workshop Wax and Gold at Netsa Art Village.
International working
Deveron Arts considers pluralism to be vital and is
committed to international exchange and dialogue,
providing a home for international contemporary arts. It
is a forum for current developments and discourse that
develops artistic productions with artists from both
Scotland and around the world, with a special focus on
non-European cultures and societies. Visual arts, music,
literature, performing arts and digital media are all linked
through our interdisciplinary programme that brings
together artistic, social and poetic relationships throughout and beyond the town of Huntly.
To achieve this, about half of the annually invited artists should be international to balance
the 50/50 approach. In turn we endeavour to show work created in Huntly on international
platforms and contribute to international conferences, seminars, etc. through international
partnerships.
International working for Deveron Arts does not merely mean bringing international artists in,
or sending local artists out, but creates strong partnerships among artists, between artists
and community and between community members – bringing the local onto a global level
and vice versa.
We see this also as an opportunity for Scotland to promote itself as spearheading socially
engaged arts in an increasingly complex world, reflecting societal and global processes from
an international perspective.
As the organisation’s confidence and ambitions for the future and its positioning within the
Scottish, wider UK, and international arts scene have
grown, the methodology used here has begun to
disseminate to other arts organisations in the North of
Scotland and further afield. This can be evidenced for
example in Citric Art, an embryonic organisation
currently being set up by former DA intern Ioannis
Tsagkarakis in his home town of Crete. While our
unique approach has gained a reputation among the
international artists community, with a strong history of
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Our InternsDeveron has had since 2007 almost 30 interns from Scotland and 6 other countries. Anna Vermehren worked with
us after her internship for 3 years, she is now the Director of Timespan in Helmsdale which won a Creative Place award in 2014
Ashley Branston is now a
applications from artists who wish to come and work here, Deveron Arts needs to expand
further on how to communicate its work and model effectively to the international arts circuit
as a transferable possibility.
With this international strategy in mind we want to assist in Scotland’s ambition to ‘export’
cultural innovation. Through our residencies the international artists that have lived here for a
while can become ambassadors for our country and it’s culture.
Nancy Mteki, Mbereko, National Gallery of Zimbabwe, 2014
Staff, Leadership and Skills
Deveron Arts believes in a happy, diverse, skilled and connected team.
The key workers currently are:
Claudia Zeiske studied Economics and Anthropology and is a founding member of Deveron
Arts, who has been running the organisation as Director since 2004. Since moving to
Scotland, she has worked for a variety of arts organisation, including Duff House/National
Galleries of Scotland, Peacock visual arts, SSW, Royal Scottish Academy. She also set up
the acclaimed artist in residence programme at Glenfiddich Distillery. Claudia is a dedicated
internationalist with a great passion for working with artists as well as the outdoors.
Kate Sargent, a trained mathematician has a life-long passion for the arts and the outdoors.
Kate joined Deveron Arts in 2012, after working for 10 years in the IT department of an
international Bank; from here she brought a lot of vital transferable skills to her Project
Manager position.
The core team is complemented by:
Catrin Jeans, who came to Deveron Arts first in 2007 as an intern after graduating at
Duncan of Jordanstone School of Art. She joined
the team in 2013 to pilot the Cultural Health Visitor
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Our InternsDeveron has had since 2007 almost 30 interns from Scotland and 6 other countries. Anna Vermehren worked with
us after her internship for 3 years, she is now the Director of Timespan in Helmsdale which won a Creative Place award in 2014
Ashley Branston is now a
idea in Huntly. Cat has a great passion for all things sporty and an endless enthusiasm
for people from all ages and walks of life.
Interns: Deveron Arts runs two internship programmes for recent graduates who are
aspiring towards a career in socially engaged practice:
- 4 annual Project Internships for Young artists/ graduates @ £50 per week +
accommodation
- 2 Shadow Curator Internships for aspiring young curators who wish to take up a
career in socially engaged art; through the SC methodology they get the opportunity
to critique the Director/team @ £10000 per annum pro rata + accommodation
During the period 2015-18 Deveron Arts also aspires to engage Shadow Curators to
accompany the programme. Shadow Curators are experts in the field of socially
engaged art, and act similar to a mentor, but with a critical hat on.
Further, Deveron Arts engages other freelance workers and volunteers as and when
required. This includes assistance with IT and web-management, PR and curatorial
support, cleaning.
Deveron Arts also aims to engage a part-time marketing/audience development
specialist to address opportunities in developing new audiences beyond Huntly.
A good and inspiring working atmosphere is important to us. This includes giving the
workplace a feeling of ‘home’; regular training in both artistic and managerial aspects of our
work and career planning. To assure this, the team takes part in weekly meetings and in bi-
annual reviews at which a training plan is established. At least once a year the whole team
goes jointly to a boot planning camp to an off site location (Cairngorms, Wigtown, Knock).
Our belief in diversity and internationalism is reflected in our always fluctuating team. We
have had workers, interns and volunteers from many different backgrounds, nationalities,
abilities and also professionally; always making sure that there is a balanced mix between
male/female, local/international and art/other profession and skills present at Deveron Arts.
This philosophy of a diverse, healthy and friendly work place we believe provides a fertile
ground for ideas to seed, spruce and flourish for the benefit of the arts and the artists as well
as the community we work with.
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Farewell for artist Sanaa Gateja, June 2014
Staff/Pay Structure
Position Name Weekly hours Gross Salary
Director Claudia Zeiske 40 hours £39,655
Project Manager Kate Sargent 40 hours £23,340
Cultural Health Visitor Catrin Jeans 40 hours £20,000
Marketing and Long-term ambition 16 hours £26,000
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Audience Development Officer
The Director and Project Manager positions are on a salaried basis; renewed annually,
funding permitting. A government recommended pension scheme is currently provided. A
regular appraisal process, reflecting pay scales is applied.
The Cultural Health Visitor is currently on a self-employed basis, however we aim to make
this a permanent employed position.
Deveron Arts aims to have adequate salaries in place reflecting the skills and experience of
the workers. As such a pay rise of 10% has been granted last year to the Director, to bring
her more in line with comparative jobs in the field. A pay rise of 5% is planned for the Project
Manager after 2 years of service; this will be repeated after 3 years of service.
A succession plan for the Director post is in place (See appendices).
Board of Management
The Deveron Arts Board meets quarterly and represents a broad cross-section of expertise
relevant to the organisation: artistic, community and management. A board development plan
is in place (See appendices). There are quarterly management meetings at which a
Director’s report is presented with updates on artistic, financial and organisational progress.
An annual general meeting is held every year in October. There are two board sub-
committees, which focus on:
1. programme planning, including audience development and marketing
2. financial planning and staffing
The sub-committees meet as and when required. Board Members as of June 2014:
Name Profession Expertise/Skills
Mary Bourne, Chairperson Artist Visual Arts
Janice Sharp, Secretary Forestry Commission, MA Fine Art Visual Arts/Community/Craft
Mike Whittall, Treasurer Independent VAT consultant Accountancy/Music
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Iain Irving MA Subject Leader, Gray’s School of Art Visual Arts/Academia
Louise Scullion Artist Visual Arts/Central Belt Network
Stephen Brown Forestry Officer/Piper Environment/Trad. music/Community
Sophie Hope Independent Curator Visual Arts, Curating, London Network
Kevin McIntosh TeacherSecondary education/Photography
Christine Sell Teacher, Gordon Primary School Community/Photography
Rachel Walker Artist/Project ManagerYoung arts professional/Glasgow Network
Jason WilliamsonAssistant Curator Aberdeen Art Gallery
Visual arts
Calum Mitchell (Observer) Pupil, The Gordon Schools Young People’s Representation
Artistic Quality
The artistic quality is ensured through:
The experience of the Director and team/board of Deveron Arts in curating high profile
socially engaged arts projects with some of the best artists in the field.
The quality of the artists, based on their previous work and critical reception; their
potential to work, or adopt a method of working, which is socially engaged to some
extent; as well as providing a well balanced mix between local, national and
international artists, male and female artists, young and established artists (50/50).
The Shadow Curator involvement which brings in professionals of the highest calibre
through a critiquing assignment; Shadow Curators also connect us to a wider network
of international contacts and organisations.
The Specialist Advisors in social engagement adding ad hoc expertise to the projects:
Jacqueline Donachie, François Matarasso, Jim Brook, Nuno Sacramento, Monika
Vykoukal.
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The Advisory board of the Walking Institute (meets bi-annually): Prof Tim
Ingold/University of Aberdeen, Prof Deirdre Heddon/University of Glasgow, Michael
Höpfner/University of Vienna, Ron Brander/Chairman Huntly Ramblers, Jason
Williamson/Outdoor enthusiast/Aberdeen Art Gallery.
Training
To enable the implementation of the equality policy and to ensure excellence in the
management of the organisation, Deveron Arts endeavours to train its staff and board on a
regular basis in both administrative as well as creative issues. These include taking part in
training courses, as well as participating in relevant seminars and conferences on local,
national and international platforms. A full day board training day hosted by Francois
Matarasson took place in 2014.
Marketing and Audience Development
Key audience development and marketing objectives are:
1. development of local participation: increase in active participation by a diverse range of
people in artists’ projects in Huntly and beyond
2. development of national international profiling and networking: to promote the town is
the venue and the Walking Institute as transferable models
3. development of audiences and sales for events and products
Appendix: Marketing Plan (which also includes a communication and a networking plan).
Deveron Arts has a strong record of audience development within its home of Huntly.
However, we recognise a gap in expertise around marketing and audience development now
that we are trying to reach people in other places than Huntly. Opportunities to reach
audiences that relate to the Walking Institute’s cross cutting themes - tourism, environment
and health and engage them through arts – are yet to be tapped. We have done some
groundwork, e.g. Huntly has achieved Walkers Welcome status, however we need expertise
to reach the fast growing outdoor market in Scotland. To do this, we want to engage a part-
time Marketing and Audience Development expert who helps us implement such a strategy
in the future.
The post will enable us to access a wide range of new audiences:
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geographically from the other places that we are working with in the North East of
Scotland and beyond
different interest groups, in particular outdoor enthusiasts (e.g. ramblers, hillwalking
clubs), and the environment
This will be done through developing press relationships, new data bases, activating
facebook links, among others. For more information see also the Job Description in the
Appendices.
Audience and Participation StatisticsOur visitor figures are on a sharp rise since the previous budget year.
2012/13 2013/14 April – June 2014
2903 3665 2181
We believe these figures have increased due to the implementation of the Cultural Health
Visitor position, as well as the opportunities to work further afield than the town of Huntly.
In future we aim to increase such figures by 30+% annually; 100% by the end of the period.
Detailed figures can be taken from our Events Statistics.
Programme Plan and Targets
The following targets have been identified for this 3-Year Plan.
TARGETS FROM 2015
TO EVOLVE A PROGRAMME OF ARTISTS RESIDENCIES WITH A FOCUS ON COLLABORATIVE ARTS
5 x Lead artist residencies per annum
Engage a balanced mix of established and emerging Scottish and international artists for (on average) 3 months as lead artist in residence to work collaboratively with groups and individuals in the locality.
One of those will be from a traditional/world music background.4 x Shadow Curators/Producers per annum
Engage guest curators to contribute to the development of the artists’ projects and the town is the venue model through the Shadow Curator methodology.4 x Thematic Experts per annum
Engage experts and specialists from a range of fields (anthropology, cooking, outdoor expertise, foresters, etc) to contribute to the thematic development of the artists’ projects
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TARGETS FROM 2015
5 x Local artist collaboration per annum
Engage one local artist per project to facilitate and foster local/global links and dialogue.
1 x University collaboration per annum
During the course of the planning period we want to develop at least one doctorate research link with the University of Aberdeen Anthropology Department.5 x Documentation per annum
Ensure development of a publication/CD/DVD for each project; as well as digital and library archive.TO ENGAGE AND ENCOURAGE PARTICIPATION OF PEOPLE IN CONTEMPORARY ART PROJECTS IN THEIR COMMUNITY
3 x Annual Programme
Identify, develop and implement sub-themes through participant observation and community dialogue; identify artists through local/global networks: Pilgrimage; Neo-lithic Sites/Landuse and bills; Work-Walk-Wellbeing.1 x Cultural Health Visitor
Engage artist with established collaborative practice to work with groups and individuals in the locality through the Cultural Health Visitor methodology described in the plan.1 x Slow Marathon Festival per annum
Organise a 2 day walking/talking event in April; day 1 new 26 mls walking route to Huntly; day 2 discussion event in relation to current theme.1 x Seminars (Hostology) per annum
To have at least one thematic discussions per year bringing local people together with artists, art professionals and professionals of the selected theme / in relation to hospitality in art.
2016: To celebrate 20 years of international residencies at Deveron Arts in Huntly in relation to 20 years of socially engaged art in Britain.1 x Symposium per annum
To have one larger annual symposium in relation to collaborative methodology.1 x Symposium in Central Belt per annum
Event at Edinburgh Art Festival, Glasgow International or similar platform.4 x Discursive events per annum
Each sub-theme will see a key note speaker, a panel discussion or other discursive event.5 x Committees and Groups
To represent Deveron Arts on at least 5 local committees and groups (e.g. HDDT, HADTAG, School Council, Sport Clubs) per annum.
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TARGETS FROM 2015
Year Round Events Programme
To develop a lively year-round events programme in conjunction with the identified themes; to include e.g. artists talks, film screenings, artists talks, artist dinners, tea parties, installations and many more creative opportunities; 5 artists x 3 events minimum per annum.Participation and Audience
6000/8000/1000+ individuals in year 1-3 will either collaborate in or attend events or engage in some other manner with the residing artists. These contacts will be of a participatory nature rather than passively attending events. We hope through the audience development post to increase our audiences outside of Huntly by at least 100 % over the coming three years.Networking and Information
The Artists, Director, Cultural Health Visitor and other staff will give:
talks to local groups such as The Rotary Club, Round Table, and the Woman’s Rural Institute groups (5x)
talks to special interest groups i.e. the ramblers, horticultural society connected with themes (5x)
talks at the Gordon Schools art department (5x) and other departments (3x) events at the Gordon Primary School (5x) contribute to events in the local calendar with innovative artistic programmes (e.g. Hairst,
Halloween festival, NEOS, Sound festival, Christmas event) (5x) contribute to the monthly farmers market with a stall (12x) attend the careers convention alongside other professionals at The Gordon Schools (every
second year) engage with the Huntly Cultural Fund winners (Creative Place 2013) through training
opportunities (2x) Contribute to the Skills Biennale 2016/17 in collaboration with NE Scotland arts
organisations.
TO PROVIDE PROFESSIONAL DEVELOPMENT OPPORTUNITIES FOR ARTISTS/ARTS PROFESSIONALS
5 x residencies for artists per annum
3 months opportunities for artists to develop their social engagement practice, 50% of those with an interest to include walking in their practice; at least one of those a musician from traditional/world music background.2 x Shadow Curator internships per annum
Provide structured internships for young aspiring curators wishing to specialise in socially engaged / collaborative practice giving a unique opportunity for critiquing.4 x Internships per annum
Provide internships for young art graduates interested in collaborative art and arts event management.TO FACILITATE AND FORM LOCAL/GLOBAL RELATIONSHIPS BY FORGING LINKS WITH INTERNATIONAL ARTISTS AND ART PARTNERS
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TARGETS FROM 2015
Events
1 x or more event per annum with international partners abroad to ‘export’ cultural innovation in collaborative/socially engaged art;
1 x Slow Marathon abroad in a different and politically challenging environment during the course of the three year period.Networking
1 x attendance at international arts events as outlined in the international networking plan; 1 x speaking at international events; 1 x significant new international contacts should be made which allow Deveron Arts work to be seen on international platforms.Partnerships
1 x or more sourcing artists through international partnerships; developing joint events and projects.TO ACHIEVE EXCELLENCE IN ALL AREAS OF ARTISTIC AND ORGANISATIONAL DEVELOPMENT
Programme/Funding
Put 3 years of programme and revenue funding in place; meet the targets of the fundraising and marketing plans.Staff/Funding
Ensure core funding for staff to allow for permanent full-time contracts and pension contributions with industry standard wages and conditions; ensure training plans for all staff in place and being carried out (managerial and artistic); ensure adequate payment structures for artists.Audience Development
Engage a p/t marketing/audience development officer to assist in increasing our above targets for audience development.Housing
Ensure adequate housing and working facilities for artists and guests.Office
Ensure professional working environment, facilities and procedures.Networking
2 x or more participation in other regional and Scottish arts committees as outlined in the Networking plan.Presentation
2 x or more talks about the DA methodologies and projects at Scottish and UK art colleges or conferences and other national/international platforms.
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TARGETS FROM 2015
Town Collection
To continue to develop the town collection moving into places beyond Huntly; discover new and innovative thinking on the curation of the Town Collection through the Shadow Curator Intern.
Initiate critical writing press coverage on this unique collection (x 2) as a new way of displaying art for communities.Media Coverage
Regular media coverage: 24 x in Huntly Express; 5 x Press and Journal; 5 x Scotland wide, 5 x other UK / international wide media per annum.
Increase media coverage by 50% through including Outdoor / Environmental / Health outlets; with the help of Marketing/Audience Development Officer.
Increase critical writing coverage by 20%.Environment
Continue to develop environmental policy.Digital Working
Continue to seek innovative ways to improve our digital profile and adopt new technologies where appropriate; maintain and curate digital archive on the www.deveron-arts.com website.Forward Planning
Put in place strategic artistic and management plans for years covering 2018 – 2021; put in place budgeting and planning for fundraising for 2018 – 2021.
Deveron Arts Friday lunch with Priya Ravish Mehra/India, 2011
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FINANCE, FUNDING AND BUDGET
Value for Money
The town is the venue is a low-cost effective model for delivering arts and talent development
of the highest standard to a wide range of people. The lack of a building (arts centre or
gallery) saves a lot of costs (staffing as well as heating, lighting, repairs etc) while allowing us
to be flexible in terms of programming to respond to artistic innovation and community needs.
Budget 2015-18
Apart from the engagement of a Marketing and Audience Development Strategist and our
20th Birthday Celebration, our budget remains similar to previous years, taking in account pay
rises and inflation.
DEVERON ARTS
Programme Budget (rounded to nearest 1000)
2015/16 2016/17 2017/18 TOTAL
Expenditure DA 2015-2018Artistic and Creative Programme £163,800 £167,076 £170,418 £501,294Administration £84,304 £87,061 £88,954 £260,319Building costs £10,000 £10,200 £10,404 £30,604Marketing and Communications £2,000 £2,040 £2,080 £6,120Total Costs £260,104 £266,377 £271,856 £798,337
Notes to budget:
We have increased the fees for the artist residencies from 2014 by 10% to reflect better recommendations of the Scottish Artist Union. After undertaking some research we feel we are competing well in the sector with this fee structure.
The Project Manager salary is subject to an appraisal due in March 2015. Year two is higher than the other two years, due to the 20th anniversary celebrations; for which
we estimate half of the total 80 artists being able to attend; we estimated an income from Clashindarroch windfarm trust for this cost item.
The Cultural Health Visitor budget is high due to the collaboration with the University of Aberdeen and KTP.
See appendices for detailed budget.
Funding
Deveron Arts has a strong track record in achieving funding for its projects from public and
private funding. The development of the Walking Institute and the Cultural Health programme
opens new funding channels from environmental, health and economic development sources
as well from academic affiliations.
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Deveron Arts has good links with Aberdeenshire Council. We receive an indicative amount of
£7000 annual grant for our core operations; in 2013/14 we received a major commission of
£62000 for the Aberdeenshire Ways project. Following discussions with council officers we
hope to receive further support from the Place Making Initative/Be part of the Picture
programme (in 2014 this was £5000 – we are hopeful for a larger amount towards our 2015-
18 programme).
At the time of writing this report the following indication on other fundraising can be given:
We hold a three year grant from HLF for our hospitality programme:
travel/hosting/understanding till 2017. Given that we had support consistently from HLF
since 2007, we have good hopes to continue this relationship from 2017 onwards.
We held discussions with the Director of Economic Development Department of
Aberdeenshire Council who is channelling the Leader EU rural development funds:
they see a positive chance for us to apply, in particular, as we could be working with
the neighbouring LAGs Moray and Cairngorm – for which they are channelling 10% of
their 3 year funding 2015-18. Application comes on stream in autumn 2014.
We had discussions with the Knowledge Transfer Fund, to provide links and matching
funding for a three year programme of the Cultural Health Visitor linking them to a
research at University of Aberdeen. This project aims to build towards a self-funded
Cultural Health Visitor position, earning fees from agencies like NHS. The total budget
if we go ahead is £67000 for the Cultural Health Visitor programme per annum
(Associate gross salary £27000 including on costs; Academic Supervisor £11000;
University support £23000; Budget for travel and materials £6000). We have to find
£22000 towards this budget. Considering the current workload within the budget
constraints, we are considering this for future implementation.
We are also currently talking to University of Aberdeen, Anthropology Department (Prof
Tim Ingold) about a joint artist phd funded through AHRC. This would be for one of the
3 year thematic residency projects outlined in the artistic plan.
The Clashindarroch Windfarm fund is coming on board in 2016, hence a bigger
proportion of trust funding from then onwards can be calculated.
We had discussions with Dr Roelf Dijkhuizen and Pam Gowans to discuss
Aberdeenshire Council/NHS Grampian CHANGE funding.
We have had annual funding from the Forestry Commission Scotland of around £5000.
A three year funding application to support the programme has been lodged with SNH;
we have gone through the first stage round.
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Further we had regular local in kind and financial support from: Dean’s Shortbread,
Whisky Direct, Forestry Commission Grampian, Marr Area Partnership, Knock Distillery
- institutions who both have co-funded and collaborated with DA.
A Fundraising Strategy can be found in Appendices.
Own Income
In the past two years we have managed to increase our own income by ca 50%. This was
mainly due to an increase in talks given by the director, which fetches between £200 and
£400 per session. We have also increased our ticket sales, mainly through the Walking
Institute events, which are always sold out.
Further we have now put all our publications on Amazon; sales beginning to increase.
We hope through the involvement of the Marketing and Audience Development Strategist to
increase this important part of our work further.
Reserve
Deveron Arts has established a reserve – which it will try to keep up over the coming years,
to allow for 6 months running costs, in case funds dry up, or unforeseen costs occur.
Financial Controls and Audit
The cashflow and accounts are kept on a daily basis by Kate Sargent, who has a degree in
mathematics and has over 10 years banking experience. Claudia Zeiske who has a degree
in Business Administration is overseeing the accounts on a weekly basis.
The team reports four times a year to the Deveron Arts board of Directors. This includes a
cashflow report and state of funding and current financial assets, which are first scrutinized
by the Treasurer (Mike Whittal, a chartered accountant) before presentation at the meeting.
At year end we engage Jane Dempster, a chartered certified accountant and registered
auditor to prepare our annual accounts for the AGM in October and for submission to OSCR.
www.jdaccountancy.co.uk.
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APPENDICES Note: appendices available on request
Planning Appendices
Vision Document
Marketing Strategy
Positioning Document
Outline Programme 2015-18
Budget
Fundraising Strategy
Policy and procedure Appendices (available at www.deveron-arts.com/ about/documents/from/contact/)
Equality and Access Policy
Absence and Sickness procedure
Grievance, disciplinary and dismissal procedure
Child and Vulnerable Adult Protection Policy
Disclosure handling policy
Photography Policy
Health and Safety Policy
Environmental Policy
Office Policy
Staff and Board Appendices
Artists Contract (template)
Job Descriptions: Director, Project Manager, Cultural Health Visitor, Audience
Development Officer
Constitution
Board Development Policy
Succession Policy
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Staff Review Document
Audience Number Statistics
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