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Radical care

Radical Care Project

Radical Care Project

Radical Care Project

  

Radical Care was a Creative Scotland funded action research project for organisations in the arts, screen and creative industries to explore new approaches to support people in the creative workforce with caring responsibilities. Creative Scotland decided to take an action research approach on the basis that there is plenty of data confirming the challenges, but far less about potential solutions. The aim was to support organisations to take a risk on implementing meaningful improvements to the status quo. The funded projects were:
 

* Barrowland Ballet tested the implementation of bespoke “Care Riders”
* Hospitalfield offered flexible caregiver’s residency opportunities
* Manipulate Arts explored leadership models that could better balance caregiving responsibilities with the pressures of travel and irregular hours
* Moniack Mhor offered writer’s residency opportunities with onsite childcare 

*Scottish Sculpture Workshop offered residency opportunities for artists with caregiving responsibilities
* The Work Room ran a peer support programme for freelance artist-parents at the stage of re-emerging into their working practice
 


Evaluation

Radical Care Project

Radical Care Project

 As an action research project the focus was on learning. Firstly, what impact did each project have on the participants. Secondly, what did the participating organisations learn that they could share with the wider sector allowing others to benefit from their experience. 

Both the participants and participating organisations were incredibly open and generous in the evaluation. 

The evaluation methodologies included pre and post project surveys for participants to gather consistent quantitative information particularly related to the project outcomes.  

Each participant was also interviewed to explore impact and identify potential changes to the project model for future roll out.  

There was an ongoing process of check-in with the delivery organisations to understand their projects and identify learnings at different points.  A final interview allowed an in-depth review of the learnings for each project.

Participants talked openly about how being a parent or carer had impacted their work; they were articulate about the benefits they gained from Radical Care and considerate of other people like them in the arts and creative industries. The participating organisations embraced the learning focus of the evaluation and were happy to share both the successes of their projects as well as explore the challenges. 

Testimonial

Radical Care Project

Testimonial

  

Creative Industries Officer Ashley Smith Hammond reflected that the demonstration projects have had a meaningful impact on the participants involved and that it has been heartening to see that, though structural barriers continue, solutions at the level of individual creative and arts organisations can make a real difference for the professional opportunities and experience of people working in the arts and creative industries with caring responsibilities. The project has provided practical learning for better organisational practices interested in improving their approaches to Creative Scotland’s strategic priority areas of Fair Work and Equalities, Diversity and Inclusion. 

Creative Lives

Mapping Learning and participation activity

Creative Lives was initiated by The Audience Business and the City of Edinburgh Council.  It aimed to celebrate the scale and scope of the learning and participation sector in Edinburgh.


30 cultural organisations participated in the project providing information on their activity including the type of activity and levels of participation.  


Key findings included:

  • 5,000 activities were offered with over 10,000 sessions engaging 250,00 participants
  • 75% of activities were provided to organised groups including schools
  • Organised groups (excluding education) accounted for 20,000 participants who took part in 800 different activities
  • 25% of all activity was offered to the general public attracting 120,000 participants
  • 10% of activities open to the public were offered to groups defined by particular characteristics including age, gender, health condition etc.  The remaining 90% were open to everyone
  • Every CEC school attended an event or participated in at least once arts or cultural learning and or participation activity during the 2013/14 period
  • CEC schools participated in a third of the activity delivered to schools (the other 2/3 of schools activity was taken up by non CEC and independent schools)
  • 23,000 CEC Primary School pupils, 5,500 High School students and over 700 CEC Special School students engaged in a learning and/or participation activity

This data provided a strategic overview of the activity for the first time.  This enabled strategic interventions to be made to increase levels of activity where they were low and allow cultural organisations to effectively direct their activity.  


As part of the project the participating cultural organisations came together as a network to share their experiences and expertise.  These sharing sessions led to the development of new partnerships and joint activity.


Clair was the project manager for Creative Lives and worked with a steering group to devise and deliver the project.  The findings were presented to stakeholders and shared with councillors.

 

   

  

  

  

   

Forget Me Not

Evaluation in the context of dementia

The Festival and King's Theatres Edinburgh were awarded 3 year funding by the Life Changes Trust to create a dementia friendly community at the theatres.  The project involved staff training, capital developments and the creation of a programme of activities and events for people living with dementia.  Clair worked with the theatres to evaluate the Forget Me Not project.  Objectives were set with the Life Changes Trust and the evaluation sought to identify whether these objectives had been met. 


The evaluation included the following:

  • Consultation with the general audience to measure their awareness of the Forget Me Not project and their knowledge and awareness of living with dementia. The survey identified whether the components of the Forget Me Not project (capital improvements, staff training)  had a positive impact on the wider audience as well as PLwD specifically. The survey was conducted as a baseline at the start of the project and repeated at the end of the project to measure change and impact. The survey was conducted as an online survey which was emailed to the theatres whole database.
  • Consultation with the Capital Theatres staff team.  The aim of this  was to identify the staff's awareness of the Forget Me Not project and their confidence in delivering a dementia friendly service for attenders and how this changed as a result of the Forget Me Not project and staff training.
  • Mystery shopping – the purpose of the mystery shopping was to test whether the service provided by Capital Theatres met the needs of PLwD. Time was taken to develop a template for the mystery shopping and to test these for PLwD and their families to ensure that they were achievable. The mystery shopping was conducted by PLwD with the support of a family member. It included all aspects of the experience in attending the theatre from booking a ticket to attending including aspects such as toilets.
  • Consultation with attenders living with dementia – this was the hardest part of the project and the one which saw the greatest iteration. Initially simple surveys were designed following DEEP guidelines and these were tested with PLwD. However it was not possible to complete these at many of the events as staff did not have the capacity to deploy these as there were too many other practical and engagement requirements. A team of researchers was deployed  to attend the biggest dementia friendly event (Chitty Chitty Bang Bang) to undertake observation to identify whether there were visible signs that attenders were enjoying and engaging with the event. The researchers also undertook simplified face to face interviews with PLwD to capture their immediate response to the event. Online surveys were also used although these were typically completed by families proxying for the person with dementia

Throughout the consultation Clair worked closely with the Forget Me Not project coordinator to understand how the project was evolving and to ensure that the evaluation continued to meet the right needs as the project inevitably changed. The final report identified the outcomes for all the measures including some areas where further development was required to fully achieve a successful project.
 

Clair learnt a huge amount as a result of the project which has informed all of her research going forward. This includes the importance of working with the community at the heart of a research project to ensure that it is tailored to their requirements and that the evaluation is flexible to respond to changes in the wider project or where an evaluation method does not provide the results expected.

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