The role of digital engagement in place-based projects - Collective Encounters
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Case Study 1 Working with artists through lockdown
Case
study 2
The role
of digital
engagement
in place-based
projects
Case Study written by Kathryn Welch
Creative People and Places in Lockdown:
responses and learning
Creative People and Places in Lockdown: responses and learning is a short series of Case Studies
that explore the impact of the COVID-19 pandemic on CPP projects and how they responded. Each
of the five Case Studies will explore a different theme and we will publish an accompanying reflective
blog on our website, www.creativepeopleplaces.org, in December 2020.
Page 10
Case Study 2 The role of digital engagement in place-based projects
As COVID-19 - and the resultant Project participants in Small
lockdown - forced us into physical
distance from one another, digital
1 Moving projects Contentments already had a
longstanding connection with 6
tools and online engagement online brought Million+, so came to the project
became key to maintaining with trust and relationships already
connection, communication and new opportunities in place. This is likely to have made
friendship. For many CPP Places,
what followed was a steep learning
for reach and the move to a digital environment
considerably more straightforward.
curve - an intense live experiment engagement The creation of a film at the end
in the online delivery of creative of the project offered a further
projects. The urgent drive to move opportunity for participants to share,
Creative Scene (CPP for the West
engagement online has been an reflect and celebrate the connections
Yorkshire towns of Dewsbury,
opportunity to investigate the role forged via the project - especially
Batley, Mirfield, Cleckheaton and
that digital engagement can play in important in marking the project’s
Heckmondwike), supported Small
place-based projects, and to explore conclusion in a time when the
Contentments, a project by local
the factors that can best enable participants could not come together
organisation 6 Million+ to mark the
effective online delivery. We’ve been in person.
25th anniversary of the Srebrenica
looking back on what’s been learned
genocide. In place of meeting in
through this intense period for digital “For three months to stay
person, project participants used
engagement: in the house, it’s very, very
a Whatsapp group, supplemented
by hand-delivered creative packs hard. Hopefully, it will come
and socially distanced artist visits in day when we can meet each
gardens. The Whatsapp group was other face to face”
conceived to support the project Jasmina, Small Contentments
participants to share their experiences participant
and check-in with one another.
However, it quickly developed into For East Durham Creates, the Fishes
a trusting, intimate and supportive and Wishes project combined
space that the group could actively a Facebook-based project with
shape to meet their needs. The public art installations in the local
Whatsapp format was embraced environment. The art installations
by people of all ages (including one attracted public interest and intrigue
holocaust survivor aged 96, and (“Can you go viral if you’re just in
those for whom English was not a one place? We went locally viral”),
first language), and enabled group drawing people into a Facebook
members to support each other in group where they were supported to
ways - such as throughout the night - make and share their own creations,
that would have been very difficult and to interact with a story as it
to realise without a digital element developed. The digital element was
to the project. key in engaging with the community
in a socially-distant manner, and it
“I’ve found out that we’re enabled those who were shielding -
and some people from beyond the
all keen gardeners, and
local area - to participate.
some people cook the most
wonderful food. I’ve been
able to enjoy the process,
enjoy the conversations on
WhatsApp, and see what
everyone else is doing”
Karen, Small Contentments
Cubes Example - Small Contentments - participant
6 Million+
Page 2
Case Study 2 The role of digital engagement in place-based projects
2 Digital
engagement
has shaped
community
consultation and
co-production
Community consultation and local
co-production are inherent to the
structure of CPP Places, and the
move to digital spaces has shaped
that element of delivery too. Whilst
some CPPs found that their regular
community participants and decision-
makers were less available during
lockdown, others found that digital
events helped them to connect with
new people. In some cases, for
example, online meetings have been
found to be more accessible than
their real-world equivalents, enabling
participation to be more easily juggled
around work, caring commitments,
disability or shielding:
“Decision making meetings
have shifted very successfully
online with no obvious
barriers to participation,
although we are very much
aware of digital exclusion
in the borough. We must
continue to offer this as an Top: Artists with King of Fishes.
option long term as it enables Above: Fishes and Wishes
the involvement of a range of
people who struggle to leave
home for meetings” the very different skills and energy community engagement processes
Creative People & Places Hounslow of individuals added a challenging for the future.
additional layer to the successful
As lockdown progressed, a gap was facilitation of online meetings. Whilst “It think what it [lockdown]
observed in some cases between Places are looking forward to being has given us is a range of
those who quickly became familiar able to reconnect in person for
options, so that people can
(and then increasingly fatigued by) decision-making meetings, where
be part of things in future in
Zoom calls, and those who were new it can be easier to create deeper or
to the technology and took longer more personal connections, many a way that best suits them”
to develop a familiarity with online will be looking to incorporate digital Creative Scene
meetings. In those cases, managing elements into their planning and
Page 3
Case Study 2 The role of digital engagement in place-based projects
in many households lack available, but also encompassing
3 Digital of access and/or shared issues around digital literacy, access
(or not) to different types of device,
devices. I think it’s all about
exclusion was adjusting and working concerns around personal safety,
confidence to show what your
a key concern across lots of different home looks like, and access issues
platforms and particularly in for people who struggle with
The move to digital engagement places where there are high their speech or have English
was not always straightforward. As levels of digital exclusion as a second language.
delivery across a range of sectors and/or data poverty/ limited
(including schooling) rushed online, access then you have to “[There are] some people
CPPs were extremely sensitive to consider digital as one with issues feeling safe
the likelihood of digital exclusion for output but not the be all online and being able to have
many of their community members. and end all” the camera off, or being self
The demand on many families’
East Durham Creates conscious about people
limited digital capacity was high,
and many CPPs were conscious seeing them and seeing
Digital exclusion is understood by
of not adding to that burden, nor many Places as a complex and
where they live or seeing
of reinforcing the exclusion already nuanced issue - not simply a case themselves on screen”
experienced by families with limited of whether or not internet access is Ideas Test
resources. In those cases, a mixed
delivery model - with physical
elements running alongside the
virtual - were key.
“We’ve never relied solely
on digital because as an
area we have a higher than
average level of digital
exclusion as well as issues
such as data poverty or
Above: Creative Scene. Above right: Small Contentments - 6 Million+. Top centre and right: Fishes and Wishes. Page 4
Case Study 2 The role of digital engagement in place-based projects
4 Attracting 5 Real-live
(and maintaining) creative activity
public interest can often brings
be challenging unexpected
In East Durham Creates, one project
positive impacts
encouraged local families to create a
model village from recycled materials The move to digital during lockdown
- offering a series of 30 online also offered an opportunity to
videos to coach families through consider the indirect impacts of
the creative process in their own creative activity when it is delivered
homes. The videos were distributed live in communities, and to question
by email and are now hosted on what may have been missing as
the CPP website, where they these events moved online.
are an attractive and high-quality In Creative People & Places
collection. However, the Project Hounslow, a popular series of Artist Clare with her pack from 6 Million+
Lead noted that the series asked a creative activity takes place
lot of participants’ commitment at a regularly on Hounslow High Street
time when lives were unpredictable and in Felton Town Centre. During
and demands on energy felt high. lockdown, these dance classes
The email distribution format moved online to Facebook Live conversations, engagement with
(chosen to target local families) - attracting very high numbers of passers-by and chance encounters
offered very few opportunities for participants, some international that deepen and widen connections
two-way engagement, interaction attendance, and a diverse with communities. These passing
or community-building. This audience. In contrast to the moments, that often happen on
echoes the experience of Museums live events, however, there was the sidelines of a creative event or
Northumberland bait, who observed relatively little opportunity for the with those who hadn’t planned to
that this format “can feel like ‘one- team to understand the nuance of participate in any formal way, can be
way traffic’ with limited feedback on engagement (who came along, what absolutely at the heart of community
how people have used video step by brought them there, and what they creativity - but have proved
step guides”. got out of it) when compared to the enormously difficult to replicate
At Creative Scene, the Batley and opportunity simply to stand at the online.
Spen Youth Theatre company outskirts of a physical event and
observe. The energy and excitement Similarly, Museums Northumberland
moved their summer school online. bait noticed that it can be less easy,
The young participants benefited of public events can attract passers-
by and spark conversations with or simply not possible for facilitators
from access to West End Theatre to ‘read the room’ online in the
professionals - who were able to those who wouldn’t typically choose
to attend a creative event. Equally, same way as for live group activity.
contribute a digital offer more easily In one digital project led via a closed
than an in-person summer school. the energy and fun of these events
can enliven an area, influence Facebook Group, they noted that
However, the Project Leads also whilst everyone in the group had
noticed that it was harder to reach people’s perceptions of their area,
and bring joy and cheer to those who watched posts, not everyone had
those young people who may have chosen to share their own work.
tagged along with a friend to an in- are simply passing by.
person event (“the value of positive As some lockdown restrictions
peer pressure”) but who lacked the
“It takes a lot of confidence
begin to be lifted, Creative Scene to share online, even in a
confidence, motivation or inclination have recently returned to in-person
to join a digital offer. closed group”
creative events on Dewsbury
Museums Northumberland bait
Market - noticing the impromptu
Page 5
Case Study 2 The role of digital engagement in place-based projects
“In many ways, CPPs are COVID-19 and lockdown has
6 Adapting perfectly designed to meet stimulated a period of intense
digital delivery, experimentation
a crisis like this. We adapt
delivery to suit to changing circumstances, and learning in CPP Places this
year. The accelerated pace of
new contexts is we’re flexible, and we change has enabled progress in
adapt to deliver what the
at the heart of community needs”
digital engagement that may have
taken years to achieve under usual
the CPP model East Durham Creates circumstances, and brought to
the fore useful learning around in
of delivery “CPPs always work attracting and maintaining attention
outside of conventional online, building deep and wide
A number of Project Leads observed arts infrastructure anyway connections, and reaching those
that it is in the very nature of the who may not consider creative
- the work always happens
CPP model to deliver creative activity activity to be for them.
where it needs to be. The
wherever it needs to happen, and
to adapt delivery to work wherever
town is our arts centre and In many cases, a hybrid model of
people are - whether in a car park, a we can take solace from delivery - where some elements
town hall, an open field or - this year that - we have expertise were delivered safely in person, and
in particular - online. CPPs translated to bring and to share” supported by a digital platform for
their experience - consciously or further engagement - was found to
Heart of Glass, St Helens
otherwise - of adapting their work combine the best of both worlds.
to different contexts to focus their In-person activity offers deep
“It’s the safeness of the personal connections and can better
energy on creating safe, engaging, space that is the thing -
welcoming and inclusive online reach those who may not typically
whether digital or in person” participate, including those with
spaces.
Creative Scene limited digital access. In tandem,
a digital offer has been effectively
used to help more people to get
involved, to invite participants and
artists to work collaboratively, and
support new leaders to emerge.
Looking ahead, Places will continue
to explore how best to combine
the flexibility of digital delivery with
the very particular sparkle of real
life delivery - supporting the CPP’s
distinctive approach to locally-led
and place-based creative activity.
The action learning mindset that is at
the heart of CPP delivery has helped
Places to adapt nimbly to the intense
digital learning that’s taken place
this year. Places have embraced
the learning gathered from such an
intense period online, and will use
it to shape and inform their future
delivery - both on and off line.
Kim Strickson of 6 Million+ with Holocaust Survivor Iby Knill Page 6
This Case Study was commissioned as part of the Creative People and Places National Peer Learning and Communications programme. All Creative People and Places (CPP) projects work together as a network and participate in National Peer Learning & Communications Programme (NPL&C), funded by Arts Council England since 2013. Shaped by the needs and aspirations of the network, the NPL&C programme aims to share learning that comes out of all CPP projects throughout the network, and works in tandem with Arts Council England to share CPP learning both within the arts and cultural sector and beyond. Arts Council England’s Creative People and Places programme (CPP) is about more people taking the lead in choosing, creating and taking part in arts and culture experiences in the places where they live. There are 33 projects, each located in a place where people are least likely to engage with arts and culture. Arts Council England have committed £108 million to the programme so far, covering 33 Projects, 33 Places, 30 consortia and 45 local authorities. Since 2013, there have been 4.5 million engagements with the CPP programme1 and 86% of people who participate in CPP2 weren’t previously engaging regularly with arts and culture3. www.creativepeopleplaces.org.uk www.artscouncil.org.uk/creative-people-and-places/creative-people-and-places-projects 1 This only includes physical engagements - previous figures may also include digital engagements. Figure subject to change as data validation is still ongoing. 2 Calculated by The Audience Agency using postcode data for 2017-19. 3 As classified by The Audience Agency’s Audience Spectrum segmentation system. © Kathryn Welch, 2020
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