transported - arts strategy for public consultation

8/14/2019 Transported - Arts Strategy for Public Consultation

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[Draft for Public Consultation]

Join the discussion at http://gmptearts.tumblr.com/ orrespond directly to the authors at

[email protected]

TRANSPORTED: GMPTE ART STRATEGY
mailto:[email protected]:[email protected]://gmptearts.tumblr.com/http://gmptearts.tumblr.com/


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CONTENTS

Exec Summary 3Introduction 6The Brief 6Public Art 9Transported: The Rationale 16The Vision 17The Aims 19The Objectives 19Transported: The Plan 20The Pilot, Research and Development 24Governance 28Funding 29INDICATIVE ACTION PLAN (to be developed) 29APPENDIX I - LAAs and MAAs 31APPENDIX II - List of Stakeholders 33APPENDIX III - 59 Bus Route 34APPENDIX IV - 22 Bus Route 35APPENDIX V - Current & Future Metrolink Routes 36APPENDIX VI - Research Method 37

The White Room |Transported Art Strategy| 2 of 38


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Exec SummaryIntroductionGreater Manchester Passenger Transport Executive (GMPTE) and Arts

Council North West (ACE:NW) commissioned The White Room and

Liam Curtin to undertake research and development for an Arts Strategy

for the Greater Manchester Transport Network.

The aims of the brief were to increase numbers, improve the passenger

experience, have a positive impact on the environment, enhance

partnership working, contribute to area regeneration, develop new

audiences for art, link to and add value to current cultural venues &

programmes, provide innovative background for renowned artist and

opportunities for communities and emerging artists and to raise the

profile of Manchester internationally as the Original Modern City.

This strategy is the result of considerable consultation with transport

operators, regulators, planners, artists and communities. The central ideas

emerging from this process and tested at a forum held in Manchester in

July 2009. The overwhelming view was one of support for the ideas in

the strategy plus the promise of on going support and participation.

Collective thinking will be a driving force when implementing the strategy.

Transported is the Arts Strategy for GMPTE. It is a bold and innovativestrategy that disrupts existing notions of public art and creates a

platform to all art forms to connect, communicate, collaborate and

innovate across the region. Transported is the working title for the

strategy. It combines the roles of public transport which transports us

physically and art which transports us metaphorically - to another place.

The Public Transport system is the great connector and the ideal vehicle

to bring the arts to the people and people to the arts.

The PlanTransported will curate and commission only temporary works and

interventions; unless or until they are made permanent through public

demand. The rationale for this approach is drawn from the permanent

nature of most journeys.

The Strategy will work across all art forms and will take place on buses,trams, bus stops, tram and train stations, at key community buildings and

spaces along those routes.

It will exist online and in other forms of media. It will be dynamic,

interactive, seasonal, time specific. It will be delivered on vehicles, on the

ground, on buildings, to mobiles, message boards and online to your

desktop.

Whilst it is driven by the best international artistic practice, community

engagement and local ownership is at the heart of the strategy. The

programme will build capacity in the community to commission, and in

some cases, make the art itself.

The plan is to create a linear series of artworks along a bus, train or tram

route. It will be an annual 365 day Route Festival. At the end of the year

the festival will rotate to another route so that within 5 years all local

authorities will have been involved.

Passengers and CommunitiesThe artworks will be partly curated by the community with the help of

professionals. Guest curators will also be selecting different strands ofthe scheme. Operators and partners will work together to develop these

themes with the artists.



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Art and DesignThe strategy recommends that the very best international architects and

designers are engaged for capital developments and that the commission

of permanent artwork whether integrated in the building or stand alone

is unnecessary.

Good design is about function and aesthetics whereas art is aboutexpression. The opportunities to invest in art should be guided by the

principles of the strategy - that it should be temporary unless made

permanent by public demand.

Temporary and PermanentThis Strategy suggests that a new approach to public art is required and

that GMPTE, ACE:NW and other stakeholders can be pioneers in this.

The Strategy provides a rationale for not building one iconic structure

(e.g. Angel of the North) and also recommends moving away from

permanent commissions in favour of temporary art that should only be

made permanent through public demand.

The essence of our strategy is exploring the nature of permanence in

the 21st Century through temporary artworks.

The vast majority of journeys are routine, repetitive, constant -

permanent. To enrich those journeys the art should be ephemeral,

transient - temporary.

ImplementationTo take this Strategy and make it happen will require a 6-month

development period. During this time a number of tasks need to be

undertaken. These include: Partnership Development; Community

Consultation; Curator and Artist Competition, Interactive on-line hub;

Route Selection; Funding Development and detailed 3 year Delivery Plan.

The strategy suggests an initial 1-year pilot Route Festival in order to

establish best practice for delivery and a refined framework for process,

products and projects. The following two years should be seen as Action Research and

Development during which an experimental approach is adopted. During

this period best practice can be evolved.

Over a ten-year period Transported can become the best and biggest

interactive arts initiative in the world - very Manchester, truly original and

modern.

This is a draft strategy for Public Consultation - pleaseengage in the debate.

Join the discussion at http://gmptearts.tumblr.com/. orrespond directly to the authors [email protected]

http://gmptearts.tumblr.com/mailto:[email protected]:[email protected]://gmptearts.tumblr.com/http://gmptearts.tumblr.com/


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INTRODUCTION


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PUBLIC ART


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Frequent traveller: by Simon Green and Christopher Sperandio

Simon travelled a bus route interviewing frequent travellers then told their stories in strip cartoon style and displayed them on the same bus route.


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Public ArtPublic Art has been a growing industry over the last 30 years. It has

previously included monumental pieces, historical markers that

remember great people, events and identities and only commemorate

the masses when they have fallen for their country. These have become

like quaint ornaments punctuating our town centres and go largely

unnoticed today.

Public Art now can mean anything from the great icons, such as The

Angel of the North, to school railings designed by pupils.

This Strategy suggests that a new approach to publicart is required and that GMPTE can be pioneers inthis.

Whats wrong with Public Art today?In the past, statues of heroes and rulers were erected in urban squares,

the craftsmanship was good but the works were largely imposed on the

people.

Over the last thirty years there has been a growing desire on the part of

commissioners to include the public in a consultation process which can

include voting on the best proposals from a shortlist to a full engagementof the community in a participatory process. They believe that through

this involvement they will achieve for the local community a sense of

ownership which will help them to cherish the work and thus secure its

longevity both physically and artistically.



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Site Specific ArtMuch clichd work has resulted in trying to make an artwork relevant to

a place. Often this results in very obvious references as seen in the

images below.

Whilst appearing to tick the right boxes this work usually patronises the

public it is meant to serve.

Nelsons Column was seen as a great triumph for public art in its time, but it

often goes unnoticed today. In the near ground The Fourth Plinth points to a

different approach to public art with its changing exhibits.

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Community Based Public ArtA great deal of good work is done in this area, however, work achieved

through community participation is often amongst the worst in the public

domain.

The reasons for engaging communities are sound and not in question. It

is the methods that are at fault. The confusion occurs somewhere

between the funding body, commissioner, artist and the community itself.

In the worst case the artist engages the community in providing eitherthe imagery or worse, actual drawings as typified by the laser cut steel

fencing incorporating drawings by local children. Here the participants

have not really engaged with the final piece and although for a while

there maybe some satisfaction in the contribution, it is only token

involvement.

Expanding budgets for Public Art in recent years has lead to many artistic

practices setting up to cater for this market often offering repeat

formulaic solutions to placing art in the public domain.

Our strategy allows for a very genuine community involvement in

creating public art. Public Art needs to change and in fact is changing. The

boundaries between visual art and performance ar t are being crossed.

The end of the line (A brief encounter)

For example, Network Rails commission The End of the Line (A Brief

Encounter) transformed Piccadilly station for a day with specially

commissioned music from The RNCM performed by 200 musicians in

the station. The musical installation was about the anonymity of travel and

all those relationships that begin and end in railway stations. The piece



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alluded to the romance of travel and certainly touched the hearts of all

those travelling through Piccadilly station that day.

Although temporary it will be burned into the memories of travellers

for a long time to come and can exist in the many recordable formats

available today.

Jeremy Dellers Procession along Manchesters Deansgate is another

example, along with Gay Pride and many more events that involve

communities taking to the streets.

Embracing 21st Century technology and opportunities, Artists

coordinated communities in Pittsburgs Northside to take advantage of

Googles StreetView camera cars. In collaboration with Streetview they

curated Street with a View - a series of community art interventions that

ranged from the community band, an 8 foot high replica chicken, tostreet artists doing their thing. Lasting only hours in real-time it will live

forever on StreetView. [http://www.streetwithaview.com/]

Jeremy Dellers Procession

Expression in ArtArtists engaged to make an artwork in any artform should, as a priority,

be given the chance to express themselves. This is why they have been

chosen. Art is a professional business, like any other. In site-specific work

its right that the artist familiarises themselves with the environment and

its people. The artist may wish to mirror that community and a good

dialogue can result in a complete surprise to the community but in that

surprise they can see themselves. Many public works are merely a

regurgitation of the dialogue which turns artist into a facilitator ratherthan creator. For art to be good the artists need freedom.

Our strategy aims to give communities the chance to express themselves

through artists without constraining the creativity of the ar tist. It also aims

to give communities a genuine opportunity to create art themselves in

parallel with professional artists.

Street With A View



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THE STRATEGY


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Transported: The Rationale

Transported is the working title of the strategy. Itcombines the roles of public transport which transports us physically and art which transports usemotionally.

GMPTE Arts Strategy suggests that a new approach to public art is

required and that GMPTE can be pioneers in this. A new approach is

needed because the old approaches are jaded.

The Strategy is a bold and innovative attempt to engage communities

and visitors with a radically new approach to arts in the public domain.

It is not appropriate for GMPTE to commission international artists to

create iconic works with budgets of over 1M. This, as pointed out earlier

in this document, is a highly risky process that may give substance to theart scheme internationally but patronises the public it is meant to serve.

It is a lazy eggs in one basket approach.

Equally, the site specific work and community art projects as previously

described are also outmodedand no longer relevant.

In order to define the best approach we must look to our audience

which is quite clearly the passenger and potential passenger. The strategy

aims to bring new art to this audience, inspire them to create their own

art, and help them to curate art.

The old approach has been to punctuate the urban landscape with stuff

- permanent works of art - monumental pieces, historical markers that

remember great people, events and identities. They aim to represent and

re-present the past or hold out some imaginary future of places, spaces

and identities. Nelsons Column, Angel of the North and B of the Bang

have all done this; but for how long? How long will it be before they all

fade into the background and become invisible and lose their resonance

and relevance?

Whilst constantly moving - the transport network, its roads, rails and

tram lines - are all permanent. The majority of journeys made by the

people on the network are permanent. They make the same journey atthe same time on the same route on the same days as they always do.

The experience can become repetitive and mundane.

How would permanent art enhance this experience? Surprising,

challenging, entertaining and fun art interventions can transform this

experience, add a new dimension to both passengers and communities

along the selected route(s). Permanent Public Art has its place but this is

not it.

Also, the nature of the temporary and the permanent is also changing.

The digital world brings into question the nature of both. TV shows wereonce one-offs, never to be missed experiences, now they are recycled ad

nauseam. There are channels dedicated to making the temporary

permanent. In an age of personal(ised) media production, distribution and

consumption, the one-off, the fleeting, the ephemeral can be captured,

re-used and re-interpreted and re-purposed. With the advent and uptake

of social media - the read/write web - it is not the product but the

conversation that matters. These conversations and this media is anything

but permanent.

So the nature of movement, choice, collaboration and of art itself ischanging and can be expressed through the interaction between people,

art and the network. The permanence of the network and the journey

will be challenged and changed through the introduction of temporary

art.



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The Vision

As such, Transported will curate and commission only temporary works and interventions; unless or untilthey are made permanent through public demand.

Therefore, Transported will challenge the traditional understandings ofthe temporary and the permanent, the commissioner and the audience,

in the 21st Century: in art, in life, and on the transport network.

Transported will engage operators, regulators, local and regional

authorities, passengers and communities through new forms of

communication, collaboration and (friendly) competition.

Artists, communities and passengers will be encouraged to produce,

interact and engage with complimentary community or individual

Temporary public art can be large or small in scale

initiatives. By empowering passengers and communities in this way, new

forms of art, new tools for engagement, debate, competition and choice

will be introduced to the network.

The Strategy will work across all art forms and will take place on buses,

trams, bus stops, tram and train stations, at key community buildings and

spaces along those routes. It will also exist online and in other forms ofmedia. It will be dynamic, interactive, seasonal, time specific and

importantly, time specific. It will be delivered on vehicles, on the ground,

on buildings, to mobiles, message boards and online to your desktop.

Over a ten-year period Transported could become thebiggest interactive arts initiative in the world.

It will add a new dimension to public in Greater Manchester by

improving the passenger experience, increasing passenger numbers,

widening demographics and engaging with new audiences for all artforms across the conurbation. With the right people, places and

investment Transported can elevate the standing of art and transport in

Greater Manchester at an international level.

This approach is entirely new in a number of ways:

It has no single site. Its linear nature takes in a number of diverging

communities and links each to the city centre. The act of creating art

together can be a powerfully cohesive force and in this case, every ethnic

group or social class can have a voice and become involved in an

ambitious, ground breaking project. The Arts Strategy has entirely parallelaims to the transport network itself. It transports people metaphorically

whilst the vehicle is doing the same physically.

It involves professional ar tists and amateurs alike, but more importantly it

gives ordinary people an insight into how art is created, how it can



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change things and provides a genuine platform for involvement in the

creative process.

The Strategy gives GMPTE a Vision and working plan to deliver arts

projects throughout 10 local authorities over a 5 then 10 year period.

The essence of our strategy is exploring the nature ofpermanence through temporary artworks.

Local arts and cultural organisations, artists, community groups, venues,

businesses, schools, clubs and societies will all be invited to take par t and

supported in their participation.

Will people want to take part? There is no doubt about this -

communities, passengers, cultural organisations, operators, regulator and

planners and artists have expressed great enthusiasm throughout the

consultation.

People are becoming increasingly interested in the arts and creative

processes. Attendance at Art Galleries has increased significantly over the

last ten years. People are spending more time now interacting through

the internet rather than being docile in front of the TV. Small community

festivals are springing up across urban rural communities. Take for

example the Chorlton Festival, which a few years ago was a home

grown, local affair but is now attracting international artists and has a

brochure that could challenge The Brighton Festival. People want to take

part. The strategy will link into existing activity and incorporate aspect of

this where appropriate. It will engage and communicate to communitieson their own terms and through the media that they use.


Temporary art can be made permanent by public demand


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The AimsThe aims of the strategy reflect those of the partners and stakeholders in

the network - the passengers, operators, regulators, Arts Council, local

and regional authorities. They resonate with GMPTEs core objectives and

will enhance the cultural identity of the ten boroughs across the world.

They also challenge artists to develop new ways or working that engagepassengers and communities using new tools, techniques and

technologies.

The aims are to:

Improve the passenger transport experience.

Increase the number of passenger journeys.

Have a positive impact on the environment.

Enhance partnership working along strategic transport

corridors.

Contribute to area regeneration and economic performance ofthe city.

Use Art to engage with new and existing audiences in new

ways.

Link with and add value to existing cultural venues and

programmes.

Provide the worlds best Artists the opportunity to produce

innovative, inspiring work and working practices in GM.

Increase the reputation of Manchester nationally and

internationally as the Original Modern City.

It will need investment but will also establish opportunities for income

generation. It will embrace both competition and collaboration creating

new dynamic relationships between regulators, operators, passengers and

communities.

The ObjectivesTo achieve this GMPTE and partners will:

Develop a 5 year Strategy with a ten year vision.

Invest in the delivery of the strategy over the next five years

with a view to implementing a 10 year vision.

Create a distinctive cultural identity for the transport networkof Greater Manchester so that it gains recognition locally,

nationally and internationally.

Commission innovative Art and Artists from the UK and

overseas to produce engaging, collaborative work that explores

the nature of the temporary and the permanent in the 21st

Century.

Identify funding streams from a range of public, private and third

sector sources to ensure the art, the artists and the

improvements to the network are sustained.

Broker partnerships with operators, cultural organisations,

community groups, local authorities, business sponsors andregulators to add value to other investments in and around the

route.

Inspire the traveling public to participate in, engage with, be

entertained and moved by all art forms on the network.

At its heart it will embrace competition, collaboration and public

engagement. It will drive a public debate. It will deliver outcomes across

education, innovation regeneration and audience development. It will

engage media partners to challenge and stimulate a public art debate.

And it will be popular, tapping into the zeitgeist to give communities an

opportunity to adopt and make permanent the temporary interventions

that artists and communities make.



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Transported: The PlanThe transport network is the great connector. It connects the people of

Greater Manchester to each other, and with the city. It connects the city

to the rest of the country, to mainland Europe and to the world. The

Strategy will enhance and develop those connections using the arts to

connect people to places and places to people. It will enable a

conversation between artists, communities, operators, local and regionalauthorities. It will provide the means for communities to communicate

and collaborate with each other here, nationally and overseas.

To enable this, Transported will identify a linear series of ar tworks along

Bus, Tram and Train routes; these will be audible and visible on or from

buses, trams and trains. These works will involve community par ticipation

and will be led by professional artists. Other works by professional artists

will punctuate the route and serve as inspiration for visitors, passengers

and communities.

It will be an annual 365-day Route Festival and eachyear it will rotate around the city like hands on a clockto eventually include all 10 local authorities.

To take advantage of new capital developments and station

improvements, route and line developments, linked taster initiatives will

take place outside of the festival route at any given time.These initiativeswill act to stimulate demand for a route festival in future years.

We will develop a Toolkit for Site Specific Workto ensure the fit with the wider strategy. This will include guide for brief development, artist

recruitment, public engagement and interactivity.

Operators and partners will donate unused space on vehicles, key sites

and other strategic assets. A curator will be appointed on an annual or

biannual basis. Artists will suggest or compete for sites, spaces and other

opportunities. Programme managers will co-ordinate a range of

surprising and complimentary work. They will also manage the

communications, technology and interactivity through traditional and

social media; the latter taking a central role in the production,

distribution, consumption and consumer engagement.

Each commission will be relatively low budget with a view to someworks being developed as permanent artworks, the project itself serving

as ongoing consultation with passengers and communities.

Local arts organisations, community groups, venues, businesses, schools,

clubs and societies will all be invited to take part.

Art works may include visual art, poetry, music, electronic interactive art

using mobile phone and mapping technology, performance art in spaces

and venues along the route.

The best of these would be presented on the 5th Plinth, sited at the

Transport interchange in Piccadilly Gardens in Manchester city centre, the

nexus for many radial routes in the city.



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Transported: Online Hub


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Interactivity and choiceThe peoples choiceAs part of the 3-year pilot we would like to experiment with members

of the public becoming the curators of par t of the route. This is inline

with the grass-roots nature of the project. We see this as an innovative

separately funded project which aims to build capacity within

communities and the staff involved in the public transport sector.

Members of the community, operators, staff at GMPTE, trade union

representatives and workers would take part in an online training course

Curator On-Line or Virtual Curator. The course and toolkit would be

created by professional curators and would take the form of an internet

correspondence course with occasional face to face or live sessions.

From this we would hope to form a

curatorial team who will have had a good

grounding in the principles of curation.

Throughout the year the team wouldfamiliarise themselves with the artwork on

show throughout the route and would

endeavor to commission one permanent

work which somehow represents the whole

route.

This might mean working out how to make

one of the works permanent, or it could

mean choosing one of the ar tists involved to

make a new work. Choosing the right sitefor this work will also be par t of it. The group

would be supported by mentor curators and the final decision would be

approved by the Executive Group (See the Arts Strategy Governance

Diagram).

The final piece to be commissioned would act as a legacy to the one

year route festival, and its success assured because of the long period of

time for consideration.

Online public voting could be included as a method of choice however it

is important that the final say be given to professionals.

InteractivityThe temporary and mobile mean that people can interact via their

mobile phones, blue-tooth, online at home - even international. These

might be screens, projections, interactions manifested in some other way

other than an object. Urban screens now regularly do this. These can


Helen Evans and Heiko Hansen


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make use of permanent screens in the city centre, temporary screens en-

route, projections onto the sides of buildings or information boards on

the transport network.

This will need to be managed through an online interactive hub (see

diagram on page 21). The hub will provide a central point for

communication about Transported and will be accessible online via abrowser on through mobile applications. Using Google Maps at its core,

the hub will allow users to engage right across the project - from voting

and influencing the project through to documenting the work through

video and photo uploads. It will bring Transported alive online extending

its reach to a global audience.

Following on from this - one of the things about contemporary urban

systems (and transport is the key definition of such) is that they throw

up lots of information about themselves which - like fumes - disappear

into the ether. One of the growing kinds of intervention here is the

visualisation of this information - which tends to be statistical stuff whichnevertheless expresses collective effects/ choices/ patterns inaccessible to

the normal travelers vision. This can act as a palette for artists and be

translated into exciting visual representations and can also be used to

guide choice.

An example of this is the electricity usage projected onto the smoke

coming out of the generator in Helsinki (see picture). That is, some of this

artwork can actually use the mobile and effervescent information

material produced by people and systems themselves. But it is not

physical, though it could be both temporary and permanent.

Elements like this can establish innovative forms of public engagement

and should be included in order to extend the idea of participation i.e.

not just voting or some such but the material information created by the

travelers themselves.


Helen Evans and Heiko Hansen


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Technical SupportIt is essential that any structure or object placed

in the public realm should be safe and durable

for the period in question. We would suggest

therefore that a structural engineer is retained to

check specifications, methods and risks and

where necessary provide calculations and riskassessments.

No community group or freelance artist would

be exempt from this process and as such all the

indemnity would be carried by the engineer.

Added to this there may be other technical

professionals involved in a technical support

team. This group could also be referred to for

general advice.

Access and Disability

We intend to make the art project accessible to all notonly on consuming the art but also where appropriatehelping to create it.

We are consulting with Manchester Disability Access Group and will be

inviting a representative from the group to advise us. United Response is

also a new group which helps people with learning difficulties. They

organised a group to take part in The Pride march, Manchester 09.

The Pilot, Research and DevelopmentAs the project is innovative and untried it was suggested by a number of

people at the forum and elsewhere that before the full strategy is

implemented, that a 3 year Research and Development (R and D) stage

is undertaken. This needs to be a learning experience for all parties -

Project Managers, GMPTE, ACE:NW, Operators, regulators, communities

and passengers.

The first year of the 3 year R and D phase will be a 1 year Pilot, an

Action Research programme undertaken to develop the concept, take

risks and build capacity. The following two years will refine, and improve

the concept.

This is where processes, products and projects are developed, evaluated

and improved. During this period, key elements such as process, budget,

funding, curation, themes, sites, spaces, media, marketing and public

engagement are tested, assessed, improved, refined and delivered.



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Innovation

Digital Technology

Music

Movement

People

Place

Time Identity

The rationale for and interpretation of these themes could also be

subject of competition from curators and artists.

There needs to be an online hub for the communication and delivery of

much of this work. This could work with existing GMPTE sites such as

PLINGS or Ding Ding or indeed with the main GMPTE site itself. Further

work needs to be under taken to scope these options.

Route OptionsThe Programme needs to engage passengers and residents in a range of

communities along the way. The routes meander from sedate affluent

suburb to inner city urban mettle and finally the city centre itself. Those

communities will have different wants and needs, different demographics

different opportunities and challenges.

The 59, which travels through 5 local authorities, is a possible first route.

The route take 90 minutes to travel the full length starting in the city

centre, out through Cheetham Hill, Crumpsall, Middleton, Mills Hill,

Chadderton, Oldham, Heyside, Shaw and Rushcroft. The route can beviewed at Appendix III and online at http://gmptearts.tumblr.com/.

Another option would be the 22 route which travels from Stockport,

through Heaton Moor and Heaton Norris, Burnage, Chorlton, Stretford,

Urmston, The Trafford Centre, Eccles, Monton, Swinton, Pendlebury,

Farnworth and on to Bolton. The route can be viewed at Appendix IV.

The current extension to the Metrolink could also be included for

consideration. A map of the current and proposed routes are shown at

Appendix V.

The Process - first 6 months

GMPTE and Arts Council will be approached to fund a 6 monthdevelopment period for the 1 year Pilot to be primed and initiated.

During this time specialist consultants would act as Advocates for the

project across GMPTE, the GMITA (ITA) and Local Authorities, City wide

and regional authorities, Arts funding and suppor t organisations. They also

need to develop a funding and business plan, consult and consolidate

partnerships between operators, GMPTE, passenger groups,

communities, cultural organisations and artists.

They will need to consolidate the governance structure including

recruiting senior members of the ITA, PTE, Arts Council, and LocalAuthorities onto the Steering Group (See below). This group will act as

advocates for the strategy and custodians of the vision ensuring strategic

buy-in across a range of stakeholders.

They also need to put together the Executive Group to be in charge of

day-to-day delivery of the project. This group would suppor t the Project

Managers and Curator in their tasks particularly around technical issues,

communication and and community engagement.

The Project Managers need to secure funding for the year one pilot andrecruit one or more Curators for the route. They then, in turn would be

responsible for recruitment of artists and the artists responsible for the

engagement with communities.

Project Managers need to be embedded within GMPTE to help build

capacity, support and added value for the organisation and its par tners.

http://gmptearts.tumblr.com/post/142851802/59routehttp://gmptearts.tumblr.com/post/142851802/59route


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The Art Strategy Governance Diagram

ITA,


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GovernanceThe Steering GroupThis group would be made up of representatives of GMPTE, ITA,

Operators, regulators such as the Highways Authority, Local Authority

representation and funders such as ACE. Their role would be to guide

future direction and investment, approve proposals emerging for the

route festival and to guide the Executive Panel were necessary. This groupwill meet quarter ly and could be chaired by a member of the ITA.

The Executive PanelThe Executive Group will need senior representation from GMPTE

Marketing and Communications to ensure maximisation of the benefits

to the project to communities, partners and passengers. It will also

include GMPTE representatives from Strategy, and Community

Engagement together with the lead curator and project manager. There

will also be representatives from the Technical and Community Panels.

This group will meet monthly.

Project ManagementFor the first year at least the project should be managed by a person or

organisation working closely with the Curator and the client. As

custodians of the vision and action plan they will be responsible for a

range of key tasks that will be critical to the successful development and

implementation of the strategy. These include driving a 6 month

Development Phase where commitments outlined during the research

for the strategy are firmed up with stakeholders and funders. This phase

will follow the adoption of the strategy and will be critical to making it

happen. They will Project Manage the Implementation for the next 12months, after which this will be reviewed. The Project Managers will also

undertake evaluation of the project and processes and make

recommendations for the delivery of the project for year 2-3.

Other tasks will include: Fund Raising, Capacity Building across GMPTE

and Partners; Partnership Management; Competitions; Online and

Technical Management of the Pilot Programme. As with the curator, they

will also liaise closely with GMPTE Community, Education and Marketing

departments and undertake some marketing and PR functions.

CuratorThe Curator will take overall charge of the Artistic Director and content

of the Programme. They will work closely with the Executive Group andthe Project Manager to ensure the highest possible Artistic quality and

community Engagement along the route. Other duties will include: Artist

Recruitment and Liaison; Community Liaison and Capacity Building; PR

and Marketing Opportunities. As with the Project Management this will

be reviewed by the client towards the end of year one.

Technical SupportA structural engineer will need to be retained to check specifications,

methods and risks and where necessary provide calculations and risk

assessments. No community group or freelance artist would be exempt

from this process and as such all the indemnity would be carried by theengineer. Added to this there may be other technical professionalsinvolved in a technical support team. This group could also be referred to

for general advice. They may be required to inform decisions made by

the Executive Group and Steering Group.

Community Liaison PanelThis group will be drawn from passenger groups and representative

community organisations along the chosen route. During the course of

the programme they will undertake a capacity building course with tools

provided online. This will enable them to better understand the artisticand curatorial process enabling them to make more informed decisions

about the artworks on the route and any legacy pieces that may be

made permanent.



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PR and MarketingThe Implementation of the programme will have significant impact upon

the numbers of passengers and quality of experience on the chosen

route. There will be considerable positive marketing and PR

opportunities and the delivery of this strategy should be central to the

PR and Marketing Functions of GMPTE both internally and externally.

FundingGiven that this project is innovative and original in its conception,

development and implementa tion, the funding for this initiative should

follow suit. Transported offers the opportunity for an original andmodern funding and revenue model to be constructed. It will of course

depend upon some traditional funding sources but these should be

supplemented by a commercially focussed sponsorship and revenue

development plan. Where possible, and working with the project

managers, communities should be encouraged to develop and take

advantage of community funding opportunities.

Public and Private Funding Sources include:

Arts Council England funding

Business sponsorship EU funding

Lottery funding

Trusts and foundations

Sustainability would also come from regular sales and auctions of

temporary works. Works can also be re-commissioned by galleries andpublic art bodies.A new commissioning contract can be developed

where ownership of the work can be shared by the artist, the

community and commissioning body.

Platform for Art in London has a core budget of 500k per annum

supported by a substantial annual grant from the Arts Council

depending upon the project.

Birmingham Metro has a annual Budget of circa 500k per annum.

Newcastle has a budget of circa 300K annually.

Based on these figures, Greater Manchester Transport Network should

aim for an annual budget of around 500k.

INDICATIVE ACTION PLAN (to be developed)

1) Public Consultation - Draft Strategy out to consultation publicconsultation. Feedback and comments incorporated.

2) Final Strategy Submitted (Nov 2009)3) Development Funding applied for.4) Strategy Approved and Adopted (end 2009)

5) 6 Month Programme Development - Partnership and fundingdevelopment, Route Selection, Process and Governance Confirmed.

Key Staff aligned; Capacity Building in GMPTE and Partners. Artist

recruitment. Online Hub. Ongoing Partnership Liaison (March 2010 -Sept 2010)

6) Pilot Programme Implementation (Jan 2011 - Dec 2011))7) Jan 2012- Dec 2012 - Programme Roll-out and Evaluation8) Jan 2013 - Dec 2020 - Programme Expansion and Legacy.

http://www.culture.gov.uk/what_we_do/arts/4081.aspxhttp://www.culture.gov.uk/what_we_do/arts/4079.aspxhttp://www.culture.gov.uk/what_we_do/arts/4079.aspxhttp://www.culture.gov.uk/what_we_do/arts/4080.aspxhttp://www.culture.gov.uk/what_we_do/arts/4077.aspxhttp://www.culture.gov.uk/what_we_do/arts/3208.aspxhttp://www.culture.gov.uk/what_we_do/arts/4081.aspxhttp://www.culture.gov.uk/what_we_do/arts/4081.aspxhttp://www.culture.gov.uk/what_we_do/arts/4079.aspxhttp://www.culture.gov.uk/what_we_do/arts/4079.aspxhttp://www.culture.gov.uk/what_we_do/arts/4080.aspxhttp://www.culture.gov.uk/what_we_do/arts/4080.aspxhttp://www.culture.gov.uk/what_we_do/arts/4077.aspxhttp://www.culture.gov.uk/what_we_do/arts/4077.aspxhttp://www.culture.gov.uk/what_we_do/arts/3208.aspxhttp://www.culture.gov.uk/what_we_do/arts/3208.aspx


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APPENDICES


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APPENDIX I - LAAs and MAAsW

What are Local Area Agreements?

Local Area Agreements (LAAs) set out the priorities for a local area

agreed between central government and a local area (the local authority

and Local Strategic Partnership) and other key partners at the local level.

LAAs simplify some central funding, help join up public services more

effectively and allow greater flexibility for local solutions to local

circumstances.

Through these means, LAAs are helping to devolve decision making,

move away from a 'Whitehall knows best' philosophy and reduce

bureaucracy.

LAAs are about what sort of place you want to live in. They set out the

local priorities that will make your town, city or community a better place to be; they have been negotiated between all the main public sector

organisations in your area, your local authority and central Government.

The ideas behind them are to:

* recognise that 'one size does not fit all' and local services should

reflect what local people want;

* give more flexibility to local authorities and other public sector

organisations in the ways they deliver services for local people;

* make local authorities and other public services more accountable

to local people;* reduce red-tape and improve value for money; and,

* enable local people to get more involved in decisions about local

services.

What are multi-area agreements?

A multi-area agreement is designed to be cross-boundary local area

agreement (LAA). They bring together key players in flexible ways to

tackle issues that are best addressed in partnership at a regional and

sub-regional level.

The major issues that MAAs can tackle include:

* skills deficits

* housing market imbalances

* transport and infrastructure projects

* economic development.

MAAs complement and do not duplicate the work of existing LAAs, the

new performance framework or existing regional strategies. You do not

need a MAA where existing sub-regional par tnerships are sufficient. The

wider spatial level can include partners across towns, cities or sub-regions.

MAAs are similar to LAAs in that strategic partners across boundaries

can agree targets and pooling of funding arrangements with their

government office (GO). There is a par ticular attraction to aligning rather

than pooling funding at MAA level to ensure control of spending.

MAAs need:

* robust governance arrangements* visible political leadership

* streamlined performance and accountability framework.

Each MAA needs to be localised and respond to circumstances specific

to its area. No two MAAs will or should look the same.

Where do MAAs come from?



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MAAs were first mentioned in the Local Government White Paper

(October 2006), referring to developing strong cities and strategic

regions. The concept is not so new however. Much of the city regions

work involved local authorities and local strategic partnerships working

together across existing administrative boundaries.

What next?

Since the publication of the white paper, Communities and Local

Government (CLG) has been talking to a number of local authorities to

develop guidance on MAAs. The guidance will provide advice and

suggestions for a flexible approach. The guidance will also need to

consider how MAAs will fit alongside LAAs.



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APPENDIX II - List of Stakeholders

Org Name Title

GMPTE Adam Goulcher Acting Director of Strategy

GMPTE Paul Griffiths Interim Director of Projects

GMPTE Philip Purdy Metrolink Director

GMPTE Michael Renshaw Interim Service Deliverer GMPTE John Barbour Corporate Communications

GMPTE Sam Dada Project Manager Infrastructure

GMPTE Gill Heyworth Project Manager Project

Development

GMPTE Steve Magna Rail Partnership Development

Officer

GMITA Councillor John Dillon Oldham Lib Dem

GMITA Councillor Dylan Butt Trafford Conser vative Group

GMITA Councillor Eunice Smethur st Wigan

ManchesterCity Council Virginia Tandy Director of Culture

Manchester

City Council

Lyn Barbour Head of Cultural Strategy

ACE NW Aileen McEvoy Acting CEO

NWDA James Beresford

NWDA Iain Bennett

Creative

Partnerships

Nancy Barratt

CONTACT

Partnership ofManchester

Universities

David Briggs

AGMA AOG and CLOG

Arriva Mr P Stone

Stagecoach Mark Threapleton Director (Represents Greater

Manchester Bus Operators

Association as well as

Stagecoach)

First

Manchester

Andy Scholey Managing Director

Northern Rail Mark Barker Client and Stakeholder Manager

First NorthWestern

Louise Ebbs Strategic Planning Manager

Metrolink Cheryl Hubbard Head of Public Affairs

Network Rail Keith Lumley

BBC

Manchester

Alan Yentob

ITV Jane Luca Head of Regional Affairs

Media City Paul Newman

Trafford

Centre

Marketing

Manchester

Helen Palmer

CityCo Gordon Reid Chief Executive

Manchester

Airport

Bob Longworth Ground Transport Manager

Manchester

Airport

Russell Craig Head of Airport Comms

Highways

Authority

JC Decaux Eric Spink Regional Operations Manager

T and G

Chamber of

Commerce



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APPENDIX III - 59 Bus Route



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APPENDIX VI - Research MethodMethodologyAt the outset of the project The White Room and Liam Curtin set out

the exact parameters at a project initiation meeting. This allowed us to

draw up a detailed methodology to guide the direction of the research.

1. Online Hub/ForumThe first step was to ensure that all our research, ideas and suggestionswere made as inclusive and open as possible through an online forum.

This was set up through the Tumblr blogging site that allows people to

post their ideas and comments onto a rolling blog. This is available to

view at http://gmptearts.tumblr.com. On this we posted emerging themes

and ideas and began a dialogue with passenger groups and

representatives. Traffic on this site has increased significantly since the

consultation event and since the briefing note has been circulated. This

online platform will be used for on-going consultation on the Draft

Strategy.

Secondary Research Whilst this strategy has been developed uniquely for GM and its

transport network, there are a number of lessons that can be learnt from

other cities in the UK and the rest of the world.

In the UK, Nexus Art on Transport programme in Newcastle-upon-

Tyne, together with Transport for Londons (TfL) Art on the

Underground programme are notable for their consistent investment

and the quality of the work they produce. Nexus has been producing

work for over 30 years and has helped the network establish a strong

identity. Art of the Underground has helped develop some ground

breaking world class work across different mediums. The latter is firmly

embedded within TfLs marketing department, receiving significant annual

funding from them and from the Arts Council. Recently this has been

complemented by the development and implementation of an Art

Strategy for Docklands Light Railway, which again draws funding from

operators, regulators, business and ar t funding bodies.

In addition to these UK examples, we reviewed strategy, projects, funding

and work in other leading cities including Helsinki, Frankfurt, Shanghai,

Melbourne and Boston. These are just a few examples from across

Europe and the rest of the world of how public art, and strategicallyapplied design, can be employed on transport networks to improve the

experience for users, increase passenger numbers and provide a ready

platform for engagement for the arts with the traveling public. It is this

evidence of best practice that has informed our analysis for the

development of an innovative strategy for the network in GM.

It is no coincidence that these cities have developed innovative arts

strategies alongside investment into their infrastructure and that art,

technology and transport can combine to significantly improve the

passenger transport experience. If Manchester wishes to take its place

alongside these other innovative cities, it needs to invest strategically.

3. Primary ResearchInformed by the secondary research, The White Room and Liam Curtin

set out to conduct an ambitious series of stakeholder interviews. The list

of stakeholders consulted numbered over 35 and was made up of

operators, regulators, passenger groups, artists and political leaders. The

full list can be seen at Appendix II.

There was near universal support for the Arts Strategy and

encouragement, especially from the operators - Metrolink, Stagecoach,

First - for a more strategic, long term vision and investment. All the

operators support the arts in some way, whether it be to engage with

communities on new routes, to publicise new routes or as part of their

corporate social responsibility.

They will all be willing partners in the delivery of the strategy.

http://gmptearts.tumblr.com/http://gmptearts.tumblr.com/


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transported - arts strategy for public consultation

Documents