How  arts  and  cultural  ac.vi.es  are  suppor.ng  co-­‐produc.on  and  innova.on  in  public  services  

Lucie  Stephens  Head  of  Co-­‐produc.on,  NEF  

Emma  Hanson    Head  of  Strategic  Commissioning  Adult  Community  

Support,  Kent  County  Council      

Overview  of  the  day  

•  10.00  Making  the  case  for  arts  and  culture  in  mainstream  public  services  

•  11.30  Break  •  11.45  Sharing  the  story  of  change  in  Kent  •  1.00  Lunch  •  2.00  Thinking  about  influencing  •  2.45  Break  •  3.00  Iden.fying  priority  areas  and  ac.on  planning  •  4.00  Close  

Ice-­‐breaker  

•  Find  someone  you  don’t  know  •  Take  a  few  minutes  to  tell  them  about  a  .me  when  arts  and  culture  made  a  posi.ve  impact  on  your  life  

•  Think  about  what  it  was  that  you  really  valued  

•  Arts  &  cultural  organisa7ons  be9er  able  to  engage  with  public  sector  commissioning  

   •  Public  service  commissioners  more  aware  of  poten7al  for  arts  &  cultural  organisa7ons  to  deliver  outcomes  

Outcomes

Introducing  the  Cultural  Commissioning  Programme  

Our  recent  research  

•  Looked  at  experiences  of  arts  &  cultural  organisa.ons  engaging  in  commissioning  

•  Considered  where  interests  of  arts,  museums  &  libraries  and  commissioner  align  

•  Looked  at  evidence  that  arts,  museums  &  libraries  deliver  social  value  

 •  Considered  challenges  and  opportuni.es    

Value  delivered  

6  

Encourage  sustained  par.cipa.on  

Addresses  inclusivity  and  difference  

Effec.ve  working  in  preventa.ve  agenda  

Use  of  exis.ng  community  assets  

   

   

   

Place and inclusion

Health and well-being

Life skills

Identity

Safe way to explore difference

Regeneration

Engaging with seldom-heard

voices Route into education

Pride and

identity

Reduced social isolation

Social bonding

Personal communication

tool

Physical health

Addressing stigma

Community cohesion

Cognitive and

creative skills

Social skills (confidence,

teamwork etc.)

Route into employment

Mental health recovery

Reintegration into society

Heat  map:  Level  of  ac.vity  (1)  Outcome  

Mental  health  

Well-­‐being  

Educa7on  and  learning  

Employment  and  training  

Physical  health  

Inclusion/  par7cipa7on  /  community  cohesion  

Crime  and  public  safety  

Regenera7on  

Conserva7on  and  environment  

Substance  use  

Housing  

Finance  /  legal  7  

Heat  map:  level  of  ac.vity  (2)  

8  

Beneficiary  Children

Young  people Older/  re7red  people    

People  with  disabili7es  

Seldom  heard  communi7es  

Local  communi7es  

General  public  

Black,  Asian  and  Minority  Ethnic  communi7es  (BAME)  

Refugees  /  Asylum  seekers  

Adults  

Gender  specific  

Posi.on  of  the  sector  

•  Arts  &  cultural  organisa.ons  are  engaged  in  public  service  commissioning  –  but  win  significantly  less  in  terms  of  contract  value  than  rest  of  voluntary  sector      

•  In  2011/12,  public  contracts  as  percentage  of  total  income:  10%  for  arts  and  cultural  organisa.ons  yet  30%  for  wider  voluntary  sector.    

•  Excluding  Arts  Council  funding,  a  typical  arts  organisa.on  received  1/3  less  public  funding  than  a  typical  charitable  organisa.on  (2011/12  figs)  

 

What  commissioners  tell  us  

Why  were  commissioners  commissioning  from  arts  and  cultural  providers?    •  A  personal  commitment  to  arts  and  culture  •  Exis.ng  arts  and  cultural  commissioning    in  place  when  they  came  into  post  

•  Arts  development  officers  within  the  same  division/  department  as  them  

 

What  commissioners  tell  us  

How  to  engage  them:  •  This  can’t  be  about  new  money  •  Focus  on  solving  commissioners  perceived  problems  

•  Be  aware  of  peoples  .me  pressures    •  Get  senior  strategic  sign  up  (directors  and  elected  members  crucial)  

Hot  spots  Recovery:  Recovery  approaches  are  mental  health  interven.ons  suppor.ng  people  to  live  well  with  their  mental  health  diagnosis.  The  approach  moves  away  from  therapeu.c  interven.ons  towards  a  focus  on  peoples  skills,  talents  and  passions.  Arts  and  Cultural  ac.vi.es  feature  strongly  in  some  examples.        Examples:  Crea.ve  Minds,  South  West  Yorkshire  NHS  Founda.on  Trust,  with  significant  support  from  Steven  Michael,  CEO.  Won  the  2014  HSJ  award  for  compassionate  pa.ent  care.    hip://www.southwestyorkshire.nhs.uk/quality-­‐innova.on/crea.ve-­‐minds/  

 

Hot  spots  Personalisa7on:  The  shik  towards  personaliza.on  in  social  care  and  personal  health  budgets  sees  a  shik  in  the  way  in  which  ‘support’  is  iden.fied  and  purchased.  Commissioners  are  required  to  undertake  ‘market  shaping’  to  broaden  the  types  of  ‘support’  that  people  are  able  to  purchase  using  their  own  finances,  a  personal  budget  or  direct  payment.  This  policy  direc.on,  enshrined  in  the  Care  Act  (April  2015)  is  broadening  into  personal  health  budgets.        Example:  GeTIN2Dance,  a  contemporary  dance  course  for  adults  with  learning  disabili.es  that  is  funded  through  direct  payments.    

Hot  spots  Demen7a:  By  2021  over  1  million  people  in  the  UK  will  be  diagnosed  with  demen.a.  There  is  an  increased  poli.cal  interest  in  demen.a  looking  both  for  interven.ons  that  support  people  with  demen.a  and  their  carers  and  approaches  that  improve  the  culture  of  care.      Example:  Dancing  Recall  in  Cumbria  has  received  NHS  award  for  integrated  working.  The  programme  offers  weekly  dance  and  movement  classes  for  people  living  with  demen.a  and  their  care  givers.    

Hot  spots  Social  prescribing:  Social  prescribing  involves  health  and  social  care  professionals  recommending  that  people  sign  up  to  non-­‐medical  interven.ons  that  support  their  health  and  wellbeing.  Arts  and  cultural  offers  are  a  key  element  in  many  social  prescribing  offers.  Public  health  and  CCG  commissioners  are  interested  in  learning  how  to  develop  and  implement  this.      Examples:  Crea.ve  Alterna.ves  is  Sekon’s  Arts  on  prescrip.on  scheme.  It  is  run  with  backing  from  public  health  commissioners.  An  SROI  in  2012  found  that  for  every  £1  invested  the  programme  returned  savings  to  the  state  of  £6.23.  In  2011  it  won  the  North  West  Public  Health  Award.    Artlik  in  Gloucestershire  has  seen  a  27%  reduc.on  in  yearly  healthcare  spend  for  pa.ents  par.cipa.ng  in  their  social  prescribing  offer  (i.e.  yearly  £576  savings  per  pa.ent).    

Hot  spot  Obesity:  Tackling  physical  inac.vity  is  recognised  as  a  high  priority  for  Public  Health.  It  contributes  to  1  in  6  deaths  in  the  UK  (equal  to  smoking)  and  costs  the  NHS  an  es.mated  £8.9  billion  a  year.  The  latest  policies  on  obesity  and  mental  health  highlight  the  importance  of  a  physically  ac.ve  and  socially  connected  popula.on.  Dance  is  a  cultural  form  of  expression  that  is  uniquely  placed  to  achieve  health  and  wellbeing  outcomes.    In  the  UK  women  and  girls  are  more  inac.ve  than  their  male  counterparts  at  every  age  across  the  lifecourse.  Only  38%  of  girls  achieve  the  recommended  hour  of  physical  ac.vity  each  day,  compared  with  63%  for  boys.  25%  of  women  do  less  than  30  minutes  of  physical  ac.vity  a  week,  compared  to  19%  of  men.  Dance  is  a  highly  popular  and  proven  way  to  engage  girls  and  women  of  all  ages  in  physical  ac.vity.        Example:  The  DAZL  dance  programme,  commissioned  by  Leeds  public  health,  has  engaged  8500  children  and  young  people  from  the  most  deprived  communi.es  in  Leeds  over  the  last  5  years.  75%  were  girls  and  over  half  of  these  were  previously  “inac.ve”.    

Hot  spot  Older  people:  Isola.on  and  loneliness  are  major  issues  as  our  popula.on  ages.  Policies  to  keep  older  people  living  well  and  out  of  hospital  are  seen  as  essen.al  in  reducing  health  and  social  care  costs.  Personalisa.on  is  increasingly  enabling  older  people  to  buy  support  that  has  value  to  them.    Example:    Meet  me  at  the  Albany  is  all  day  arts  club  for  the  over  60s  based  at  South  East  London’s  Albany  arts  centre.    They  run  an  all  year  programme  of  weekly  events  crea.ng  opportuni.es  for  people  to  meet  new  friends  and  try  out  a  whole  range  of  new  ac.vi.es  and  experiences.  Older  people  are  both  audience  and  ar.sts.  It  is  supported  by  Lewisham  Councils  adult  social  care  team.        

Hot  spot  Sub-­‐contrac7ng:  Many  arts  organisa.ons  are  small.  There  is  a  growing  trend  for  commissioners  to  contract  fewer  but  larger  contracts.  However,  there  are  crea.ve  ways  in  which  arts  and  culture  can  be  supported  to  feature  within  larger  contracts  and  support  good  outcomes  for  people.        Example:  In  Suffolk  a  large  care  homes  contract  was  let  to  a  na.onal  provider.  Within  this  25  year  contract  is  a  requirement  to  provide  access  to  high  quality  arts  and  cultural  ac.vi.es  for  residents.  This  requirement  is  monitored  as  part  of  the  contract  performance  framework.  The  care  home  provider  is  subcontrac.ng  with  local  arts  and  cultural  providers  –  with  support  from  Suffolk  arts  development  worker.    

Mapping  current  experiences    

•  Talking  in  groups  to  iden.fy  local  experiences  •  Posi.ve  stories  to  share  •  Common  challenges  •  Previous  experience  from  elsewhere  •  Future  opportuni.es  

•  Share  key  messages  from  group  conversa.ons  back  into  the  room  

Break  

Sharing  Kents  story  

•  Insert  Emma’s  slides  

Break  

Thinking  about  influencing  

•  10  different  influencing  styles  •  You  will  favour  some  styles  over  others  •  The  people  you  are  trying  to  influence  will  favour  some  styles  more  than  others  

Thinking  about  influencing  

•  Appealing  to  authority  ‘the  director  has  asked  me  to  take  more  arts  interven.ons  forward  here’    Ways  to  go  about  it:  refer  or  allude  to  authority  figures,  policies  or  procedures  +  can  have  quick  results  -­‐  Can  diminish  own  authority    

Thinking  about  influencing  

•  Sta7ng  ‘You  need  to  implement  an  arts  approach  in  this  service’    Ways  to  go  about  it:  Keep  it  short  and  an.cipate  possible  points  of  conten.on    +  oken  under-­‐used.  Leaves  no  doubt.  -­‐  Can  be  confronta.onal    

Thinking  about  influencing  •  Persuading  logically  ‘the  evidence  shows  that  an  arts  interven.on  is  the  most  effec.ve  interven.on’    Ways  to  go  about  it:  prepare  thoroughly,  cite  exis.ng  examples,  use  data  and  facts  +  works  well  with  people  who  like  to  reason  logically  -­‐  Many  people  don’t  make  their  decisions  in  purely  logical  ways  

Thinking  about  influencing  

•  Appealing  to  friendship  ‘Kate,  can  you  do  me  a  favour  and  get  people  to  come  along  to  this  session’    Ways  to  go  about  it:  be  direct  and  open  that  you  are  asking  for  a  favour.  Be  willing  to  reciprocate  +  it’s  difficult  to  refuse  -­‐  Can  feel  manipula.ve  and  shouldn’t  be  overused    

Thinking  about  influencing  

•  Consul7ng  ‘I  think  we  need  to  try  a  different  approach.  What  do  you  think?’    Ways  to  go  about  it:  be  honest  about  help  you  need.  Respond  to  the  sugges.ons  you  are  given.    +  builds  joint  ownership  and  commitment  -­‐  Will  destroy  trust  if  you  are  not  genuine  

Thinking  about  influencing  

•  Exchanging  ‘If  you  help  me,  I’ll  help  you’    Ways  to  go  about  it:  make  sure  both  sides  benefit.  Make  it  clear  what  they  will  gain.      +  can  create  a  construc.ve  rela.onship  -­‐  Need  to  have  something  of  value  to  exchange.  Is  based  on  trust  so  don’t  have  a  hidden  agenda.    

Thinking  about  influencing  

•  Appealing  to  values  ‘I  believe  this  approach  reflects  our  values’    Ways  to  go  about  it:  have  to  understand  and  share  the  values  you  are  appealing  to.  Have  to  be  genuinely  enthusias.c  about  it.    +  can  be  effec.ve  and  catalyse  high  levels  of  effort  -­‐  You  have  to  believe  in  the  values/  cause  

Thinking  about  influencing  

•  Socialising  ‘Inves.ng  in  rela.onships  to  encourage  co-­‐opera.on  later    Ways  to  go  about  it:  be  interested  in  others  and  what  they  are  interested  in.  be  empathe.c  and  find  common  interests.  +  builds  a  rela.onship  -­‐  Takes  .me  and  will  backfire  if  you  are  not  genuine  

Thinking  about  influencing  

•  Modelling  Prac.cing  what  you  preach  by  living  the  values  of  co-­‐produc.on.    Ways  to  go  about  it:  always  walk  the  talk  and  be  willing  and  available  to  share  your  knowledge  and  experience.      +  can  build  strong,  trus.ng  rela.onships  -­‐  Takes  .me  

Thinking  about  influencing  

•  Building  alliances  ‘Puvng  together  a  coali.on  of  the  willing’    Ways  to  go  about  it:  make  sure  you  are  clear  about  what  you  want  to  achieve  together.  Try  to  get  some  influen.al  people  on  board  early  on.      +  oken  achieve  more  than  you  can  by  yourself  -­‐  Takes  a  lot  of  .me  and  can  become  poli.cal  

Break  

Influencing  exercise  

Discussion  

•  Which  influencing  styles  are  most  familiar?  •  Are  some  approaches  more  personally  comfortable  for  you?  

•  Thinking  about  the  commissioning  that  is  currently  happening,  which  styles  do  you  think  have  been  effec.ve?  

Ac.on  planning  exercise  •  Get  into  groups  of  4.    •  Review  what  you’ve  heard  and  what  you  know  of  your  local  sevng.    

•  Each  in  group  spend  10  minutes  to  set  out  what  areas  they  want  to  tackle.  Wider  groups  role  is  to  ask  helpful  ques.ons,  suggest  sources  of  informa.on  or  addi.onal  prac.cal  steps.    

•  Fill  in  a  planning  sheet  to  help  you  gather  together  your  ac.ons  

•  Rotate  around  the  group  so  that  everyone  gets  a  turn  

Sharing  back  

•  Anything  exci.ng  or  surprising  that  you  heard?  

•  Any  ac.ons  you  want  to  share?  •  Any  ideas  about  what  addi.onal  support  you  need  to  achieve  your  ac.ons?  

Session  close  

 PLEASE  MAKE  SURE  YOU    

COMPLETE  THE  EVALUATION    FORMS  AND  HAND  THEM  IN    

BEFORE  YOU  LEAVE.  Thank  you  

 

Telling  your  story  

•  Know  your  audience  •  Develop  your  story  •  Know  what  you  want  to  achieve  from  your  story    Good  stories  all  have  Plot:  challenges  and  choices  Characters:  Heroes  and  villains  Moral:  learning  from  the  story    

Story  telling  Exercise    

•  Split  into  groups  of  two.  Think  of  an  example  of  arts  and  culture  that  you  are  familiar  with  –  it  could  be  in  your  personal  life  or  work  related.  

•  Spend  5  minutes  telling  your  story  to  your  partner.  Think  of  how  you  structure  it  and  what  you  want  to  achieve  from  your  story.    

•  Review  the  story  together.  What  worked,  what  was  missing,  how  could  it  be  improved?