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1、Main report of findingswww.britishcouncil.org/research-insightBy tialt-there is an alternativeNovember 2024Innovative practice and trends UK Arts,culture and young people1Copyright British Council 2024.Shared under a Creative Commons Attribution Non-commercial 4.0 International Licence(https:/creati

2、vecommons.org/licenses/by-nc/4.0/).This report was commissioned by the British Council.The interpretations offered in this report are those of the authors and do not necessarily represent the views of the British Council,its officers,or those individuals who contributed to the research.Authors:Tialt

3、 There is an Alternative:Douglas Lonie,Rosie Priest,Nathan McWilliams,Claire Sivier,Hannah Arnett,Fernanda ZotoviciTialt There is an Alternative.(2024).UK Arts,culture and young people:Innovative practice and trends.British Council.https:/doi.org/10.57884/PY7M-2C92Original illustrations by Streamlin

4、e,with modifications by Tialt There is an AlternativeThe authors would like to thank all the organisations and individuals contributing their time to the research via the online survey and focus group,and across the nine featured case studies.We would additionally like to thank British Council colle

5、agues,Angelica Burrill,Nikki Locke,and Ian Thomas for commissioning and editorial support throughout.The British Council is the UKs international organisation for cultural relations and educational opportunities.We support peace and prosperity by building connections,understanding and trust between

6、people in the UK and countries worldwide.ContentsGlossary 7 Introduction 8Background 8Case Studies 9Limitations 9The key issues facing young people engaging with arts and cultural organisations 11Summary 11Introduction 12Representation and access 12Mental health and wellbeing 12Neurodiversity,disabi

7、lity,and diverse learning styles 12Global crises and activism 13Skills and training 13Rights and youth voice 13How effective practice is responding to young peoples needs 14Summary 14Creative practice 15Co-creation and co-design 15Establishing respect and trust 16Flexibility and responsiveness 16Pac

8、ing and progression 17Quality artists and practitioners 17Putting young peoples rights at the centre of practice 18Summary 18Introduction 19Process over product 19Setting clear parameters 19Formal and informal participation 20Celebrating and advocating 20Collaboration,networks and the support of fun

9、ders 21Summary 21Introduction 22Co-production and collective reflection 22Long-termism 22Network building 23R&D funding 23Conversations not forms 23Comparing the findings with a Cultural Relations Model 24Top priorities for arts organisations 25Summary 25Introduction 26Sharing practice(UK and intern

10、ational)26Making connections and exchange(UK and international)26Youth voice and representation 27Local and Global activism 27Overall trends and opportunities for arts and culture for young people in the UK 28Summary 28Introduction 29Issues facing young people and funder priorities 29Progression wit

11、hin and across creative fields 29International working 30Opportunities for the future 31Convening and discussing 31Forums for sharing practice 31Handing more power to young people 31Celebrating young peoples creative lives and future-making 31Appendix 1 Methodology 32Appendix 2 Case Studies 33Case S

12、tudy:The Agency(England and Northern Ireland)34Creativity and Self Expression 35Influence and Participation 35Community Connection,Network building and Support 36Active and Playful Programmes for Confidence Building 37Community Engagement and Feedback 37Need for Flexible and Sustainable Funding Mode

13、ls 37Additional information 37Case Study:Beat Carnival(Belfast,Northern Ireland)38Providing space for young peoples voices through arts 39Co-Design 39Showcasing 40Community and partnerships 40Additional content 40Case Study:Future Yard(Birkenhead,England)42Being embedded in the local area 43Skills d

14、evelopment in an authentic setting 43Working with young people as whole individuals 43Being a serious industry player 44Case Study:Hot Chocolate Trust(Dundee,Scotland)45Young people empowered to make their own decisions 46Working at the intersection of sectors 46A need for young people to have suppo

15、rted third spaces 47Committed to the value of international working 47Additional content 47Case Study:Nerve Centre(Derry/Londonderry,Northern Ireland)48Trust in the young persons voice 49Self-expression through Creativity 49Nurturing Creativity 50Partnerships and Collaboration 50Case Study:Taking Fl

16、ight Theatre(Cardiff,Wales)51Centring creative engagement throughout the production process to nurture creative talent 52Fostering creative talent 52Developing empowered theatre communities 52Creative productions 53The challenges of supporting the development of deaf and hard of hearing theatre cult

17、ures 53Additional content 53Case Study:Thamesmead creative studio(London,England)54Supporting young peoples agency in relationship with developers 55Supporting well-paced and relevant creative and practical skills for young people 55Bringing young people into the realism of multi-stakeholder working

18、 55Testing new models of practice that could be replicable elsewhere 56Case Study:WAC Ensemble,The Citizens Theatre(Glasgow,Scotland)57Providing Space 58Building Community 58Youth-Led approach 59Long term skills and creative expression 59Additional content 59Case Study:The Warren Youth Project(Hull,

19、England)60Youth Empowerment Model 61Trauma Informed Care in Youth Work and Arts 61Creative Voice and Social Justice 62Community Outreach and Wider Support 62Appendix 3-Key observations from the rapid literature review 63List of documents included in the review 65Action-research model:An approach tha

20、t combines active intervention and research,allowing for ongoing learning and adaptation as activities are deliveredAusterity:A period of reduced public spending by central and local governments(in the UK context a policy from around 2010 to present)Co-creation practices:Collaborative approaches tha

21、t involve people in the decision-making and sharing of control in creative processes with othersCo-production:A collaborative approach where organisations work together to design and implement projects,often involving young people in the process.Creative activism:The use of art and culture as a mean

22、s for young people to engage with and respond to social and global issuesHybrid approach:Combining in-person and digital engagement methods in youth programsIntersectional barriers:Overlapping forms of exclusion(e.g.,due to gender,ethnicity,class,sexuality,geography)that young people may face in acc

23、essing arts and culture Iterative funding:Funding models that allow for ongoing adjustments and learning,rather than fixed,predetermined project plans.Neurodiversity:The variation in neurological differences among people,often referring to conditions such as autism,ADHD,and dyslexiaPeer learning:A s

24、tructured approach where more experienced young people share knowledge with less experienced participantsPlace-based programmes:Activities conducted in specific locations such as venues,theatres,or galleries,or seeking to make an impact in specific neighbourhoodsPsychological safety:An environment w

25、here participants feel comfortable expressing themselves without fear of negative consequencesR&D funding:Financial support for exploratory,research-driven projects that may not have predetermined outcomesScaffolding:Providing structured support to help young people develop skills and confidence whi

26、ch is gradually reduced as they developSocially engaged practice:Creative work that actively involves communities and addresses social issuesYouth voice:The active input and participation of young people in matters that affect them,including decision making in arts and cultural opportunitiesYouth-le

27、d practice:Approaches that prioritise young peoples agency,ideas,and decision-making in project design and implementation.Glossary 7IntroductionTialt was commissioned in October 2023 to conduct a research review of arts and cultural provision for young people(aged 11-24)across the four nations of th

28、e UK.The BritishCouncil commissioned this research as part of its international cultural relations activity focusing on the transformative power ofartsand culture.This work promotesartisticand cultural expression in the widest sense and recognises its potential for a more inclusive and sustainable f

29、uture through supportingartists,cultural practitioners,and underrepresented groups.The research forms part of an exploration into how youth participation and leadership in theartsand culture can contribute to more inclusive and sustainable development.The information and insight gathered is being sh

30、ared as a resource to help inform potential opportunities for building meaningful international connections,relationships,and learning.The research intends to provide an up-to-date,although not exhaustive,account of the key issues that young people taking part in arts and cultural activities are fac

31、ing,and how creative practice is responding to these needs.It intends to be useful for arts and cultural organisations,practitioners,funders,and policymakers to better understand current practice and provision for different groups of young people in diverse geographical areas.Ultimately it is hoped

32、that the research can encourage further discussion and action to ensure that all young people have access to high-quality arts and cultural opportunities and that those supporting them to do so can be better networked and resourced to enable them to fulfil their creative potential.BackgroundThe revi

33、ew was especially interested in identifying interesting and effective practice relating to the following categories:Supporting artistic expression and cultural participation Inclusion-focused Using a co-creation or youth-led model Focused on enhancing young peoples agency to address challenges Encou

34、raging awareness-raising/activism Providing access to networks and/or showcasing work Addressing barriers to engagement Providing capacity-building and leadership opportunitiesThe research was focused on the following questions:Who are the key stakeholders,influencers,actors,organisations,festivals

35、and networks which are leading this work within the cultural sector in the UK?Where are they based,who are they engaging with and how are they working?What are the most relevant and notable practice,programmes or initiatives which are taking place at a national,regional and/or grass-roots level acro

36、ss the UK that recognise,innovate or advocate for the core categories identified?Who is leading these and where can they be found?In what ways do local,regional and national public policies and funding mechanisms(including foundations)support such programmes and initiatives?What are the main institu

37、tional and funding bodies?How does the arts and culture sector respond to public policies on Equality,Diversity and Inclusion(EDI)and socio-economic benefit for young people and communities at a local,regional and national level?8 Can the British Council add value,complementarity to these young peop

38、le programmes?If yes,how can the British Council Cultural Relations Approach engage with existing/emerging work or initiatives taking place across these fields in the UK,to establish itself as broker,add value,advocate and act as a thought leader in this space?To answer these questions,we conducted

39、the research in five phases:A literature review of recent policies,strategies,evaluations and research reports,largely from the past five years,relating to key programmes and initiatives across the four regions of the UK(the findings are summarised in Appendix 2)Interviews with each of the main publ

40、icly funded arts funding bodies in the four nations,along with Esmee Fairbairn Foundation and the Paul Hamlyn Foundation,as significant independent foundations supporting arts and cultural provision for young people A survey for arts and cultural organisations across the UK to nominate themselves as

41、 providing interesting and effective practice according to the categories of interest outlined above.This included a question relating to their thoughts on current issues in policy and practice for young people An online workshop with a subsample of those responding to the survey to discuss their pr

42、actice in greater depth Nine case studies(online or in person)with organisations and projects sampled to represent a range of geographies,populations,artforms and practice types.The following report summarises the key findings from each of these phases and can be read in conjunction with the case st

43、udies published as a separate and accompanying document.It ends with a selection of opportunities,suggested as stepping off points from some of the observations and findings raised in the research.Case StudiesThe nine case studies selected were:The Agency(national)Beat Carnival(Belfast,Northern Irel

44、and)Future Yard(Birkenhead,England)Hot Chocolate Trust(Dundee,Scotland)Nerve Centre(Derry/Londonderry,Northern Ireland)Taking Flight Theatre(Cardiff,Wales)Thamesmead creative studio(London,England)WAC Ensemble,The Citizens Theatre (Glasgow,Scotland)The Warren Youth Project(Hull,England)LimitationsAs

45、 with any research exercise there are several limitations to the study:It is not seeking to provide a comprehensive or exhaustive review of the literature relating to policy and practice for young peoples participation in arts and culture Asking organisations to self-nominate via the survey,and taki

46、ng recommendations from national funders has been effective in supplying a diverse range of organisations and their practice,although there will always be innovative and effective practice that is off the radar in different ways Case study visits and conversations were taking place at a particular m

47、oment in time(notably immediately prior to a UK general election).The contexts in which young people are taking part in art and culture are always changing and can be affected by changes in policy at local,national and UK levels.Nevertheless,the research provides a timely reflection on the issues cu

48、rrently facing young people across the UK and how the organisations supporting them are responding.It acts as a basis for further discussion within and beyond the UK,ultimately ensuring that what is working in arts and cultural provision for young people is further bolstered and young people are sup

49、ported to achieve their developmental potential.9The Agency(England and Northern Ireland)Beat Carnival(Belfast,Northern Ireland)Future Yard(Birkenhead,England)Hot Chocolate Trust(Dundee,Scotland)Nerve Centre(Derry/Londonderry,Northern Ireland)Taking Flight Theatre(Cardiff,Wales)Thamesmead creative s

50、tudio(London,England)WAC Ensemble,The Citizens Theatre(Glasgow,Scotland)The Warren Youth Project(Hull,England)10The key issues facing young people engaging with arts and cultural organisationsSummaryCore issues identified by arts organisations working with young people include:Representation and acc

51、ess There is still work to be done to ensure that all young people can access provision and see themselves represented in arts and culture.Mental health and wellbeing The widely reported increase in young peoples poor mental health is equally prevalent in the arts and culture sector.A sector that ca

52、n use methods to potentially support an improve young peoples wellbeing.Neurodiversity,disability,and diverse learning styles While there is a reported improvement in awareness and adaptation to neurodiversity and a broader range of learning styles,there remains a need for the arts and culture secto

53、r to adapt and accommodate these consistently.Global crises and activism The complex and overlapping crises across the world are stressful for young people who can feel powerless in response.Art and culture can support them to process and respond,building a sense of agency.Skills and training Its re

54、cognised that creative subjects have been deprioritised in formal education.Many organisations are working to support young people to develop creative skills as an educational right,as well to prepare the future creative workforce.Rights and youth voice Research respondents understand that young peo

55、ple can be alienated by the social structures and institutions around them.Many work to enable young peoples voices and perspective to be prioritised and at the centre of their provision.11IntroductionThe following findings are based on the responses we received in the sector survey,the online works

56、hop,and the in-depth case studies.We thematically analysed the data and present the main themes emerging.While the research questions are largely focused on presenting the practice of working with young people in arts and culture,it is equally important to understand the context of the work.Youth ar

57、ts practice doesnt exist in a vacuum.Enabling a shared understanding of how arts and culture practice is responding to the needs of young people helps to clarify why certain practices and approaches are being developed and find common cause among those providing arts and cultural activities.Represen

58、tation and access The theme of representation and access came up in almost all conversations.Young people themselves talked about inequity in access to creative learning,creative careers and fair work.The barriers experienced by young people were described as interconnected and intersectional.In thi

59、s sense,there was not one form of exclusion reported as more prevalent than others.Many young people face multiple and overlapping forms of exclusion to take part and progress in arts and culture.In some cases it can be a combination of poverty,lack of infrastructure and access,institutional racism,

60、ableism or classism,or other forms of more explicit and implicit bias that can act against young people taking up opportunities.Respondents highlighted that this is in the context of many years of austerity,decreased funding,and what feels like consistent deprioritising by local councils.For many or

61、ganisations supporting children and young people there is often a funding precarity that limits their abilities to commit to long term planning and support.I think one of the things that Im really aware of is the underfunding of youth services more generally across the UK,with austerity.Many of the

62、communities that we are working in,their youth services are just non-existent,or the hours are really stripped back,so some of the work that we do plugs a gap that maybe didnt exist in the same way it might have 20 years ago OrganisationThe combined effects of austerity,inequity of access,and inters

63、ectional barriers were felt even more acutely by respondents in smaller towns as compared to the bigger cities where cultural infrastructure has remained more prevalent.For young people who lack material resources to travel and engage where the creative and cultural sector is active,there are simply

64、 less opportunities for them to develop according to their creative potential.Mental health and wellbeingAll those we spoke to mentioned mental health and wellbeing as an acute issue facing young people.This was reported across the scale from occasional low mood to a perceived significant increase i

65、n life-limiting clinical mental health conditions.Most indicated that this was made worse by the COVID-19 pandemic,the ongoing cost-of-living crisis,and the increase of screen use,social media,and other forms of digital engagement.The isolation and alienation exacerbated by these factors was conside

66、red detrimental to young peoples mental wellbeing,alongside the pressures of constant comparison with peers and others that young people are exposed to in their digital lives.In some cases organisations have enhanced their digital offer to adapt to the established practices of many young people,in o

67、ther cases,there are attempts to double down on in-person and group-based contact to ensure that social interaction and collaboration are core to young peoples creative development.There is a resistance to labels,yet a proliferation of them in areas such as gender,mental health,and identity.Some fin

68、d mental health diagnoses helpful for understanding their experiences,while others may see them as a self-fulfilling prophecy.Our work focuses on fostering resilience,determining what constitutes proportionate stress,and challenging misconceptions fed by social media,like the illusion of constant ha

69、ppiness.We work with many young people with diagnosed mental health conditions,not undermining their experiences but encouraging them to navigate their own paths.OrganisationNeurodiversity,disability,and diverse learning stylesRespondents reported a perceived increase in diagnoses of neurodiversity,

70、as well as young people becoming more informed about their own learning needs and styles.In most cases this was welcomed as a way of practitioners and organisations being able to adapt their practice to meet individual needs.It was also considered by many to be a useful way to counter the inequity a

71、nd intersectional barriers discussed above,as a broader range of learning needs become normalised and mainstreamed.For those who provide alternative provision to formal education(i.e.,most of those we spoke to in the research)this was especially welcomed as developing a stronger narrative and public

72、 knowledge of the specific support required by some 12young people,as well as highlighting their potential.Although several respondents also highlighted the need for cross-sector and strong partnership working to ensure that the opportunities that exist for young people to have more specialised supp

73、ort are not missed.Schools are not equipped to teach creativity and young people with non-academic learning styles are being excluded from education which also has a knock-on effect on confidence and mental wellbeing.It can often mean that schools are not best placed to identify and target these you

74、ng people or share other opportunities with them.OrganisationGlobal crises and activismLinked to the findings on mental health and wellbeing,several respondents discussed how young people are feeling overwhelmed and exhausted by the overlapping global crises they are exposed to.While the climate cri

75、sis and environmental issues are of particular concern to young people,many respondents also discussed how military conflict in Ukraine and Palestine,as well as rising tensions between global powers in general was creating stress for the young people they work with.The overlapping issues of the rise

76、 of far-right politics,migration,financial insecurity(at micro and macro levels),increasing global inequality,and changing employment and population patterns were also reported as being of concern to young people.In some cases this was described as a tangible cause of overwhelm for young people who

77、report feeling powerless in the face of such complex and intractable issues.Others reported how their work with young people was providing a source of relief as it could provide space to explore these issues and how young people may or may not be able to respond.Instead of feeling powerless in the f

78、ace of these issues,it was suggested that art and culture,and developing creative skills more generally,can equip young people with the resources they need to take action.In many cases the creative output and processes being developed with and by young people were seeking to directly influence the m

79、ultiple crises around them.It seems that young people are to blame for everything,but also supposed to be the solution for everything.Its really stressful.We need to be getting young people to look at society and ask,why is this making us ill?OrganisationSkills and trainingThe decreasing rates of up

80、take and provision of creative subjects in formal education was described by many respondents as directly affecting the opportunities available to young people,alongside a perceived devaluation of creative skills and careers in general.Most reported that their provision was focused on a young person

81、s right to be creative and to develop creative skills.In many cases this included exposure to a broad range of creative activities,enabling specialisation,as well as combined creative skills across artforms.Respondents highlighted a need for a more coordinated approach to developing the future creat

82、ive workforce,as well as enabling young people to develop multiple creative capacities to be adaptable to the unknown demands of the future workforce more generally.Some were cautious of overreliance on economic justifications for supporting young peoples creative development,but most could recognis

83、e that the skills and training they were providing was becoming increasingly rare in the mainstream education opportunities available to young people.Rights and youth voiceRelated to many of the issues described above is the need for a greater commitment to respecting young peoples rights and provid

84、ing opportunities for them to be authentically engaged in decision making about the arts and cultural opportunities that are made available to them.Many respondents described how they have mechanisms in place to embed young peoples voices and perspectives in their work(whether via co-creation practi

85、ces,advisory panels,youth boards or other approaches).However,it was also reported that this was not universally the case,and that many of the institutions and organisations that young people are in contact with have no consistent ways of engaging with them.This may result in even greater levels of

86、alienation and disengagement,as well as fewer opportunities for young people to use the cultural infrastructure that does exist as a way to deal with the issues and needs identified above.The sections below relating to responsive practice and centring young peoples rights go some way toward sharing

87、ideas and practices that may be useful in meeting the identified need of honouring young peoples rights,listening to,and responding to their perspectives.13How effective practice is responding to young peoples needsSummaryCreative practice Many organisations are challenging themselves to develop new

88、 and interesting ways to support young people.This can focus on developing creativity within a specific artform or enabling creativity more generally across multiple artforms and fields.Co-creation and co-design Young people are trusted to make decisions about how practice should be structured.Profe

89、ssionals see themselves as enablers of young peoples development journeys more than teachers of how things should be(or be done).Establishing respect and trust A foundational aspect of practice is respecting young peoples perspectives,experiences and ideas.Practice is based on mutual trust,setting b

90、oundaries and parameters,and being ok with things being open-ended and process focused.Flexibility and responsiveness Due to the complex issues that many young people are facing,effective practice needs to be flexible and responsive.This can mean being reflective and changing approaches and plans as

91、 activities are underway.It can also mean developing relationships or partnerships to enhance opportunities for young people in real time.Pacing and progression While there is a need to be open and responsive,effective practice is also about challenging young people to develop in ways that will meet

92、 their potential.This is about making sure that practice has appropriate pacing,not over-generalising about peoples needs and abilities,and recognising that progression comes in many forms.Quality artists and practitioners At the core of effective practice is high quality artists and practitioners.I

93、n many cases this can include practicing artists who are in the real world and can demonstrate what this looks and feels like for young people.Supporting practitioners to have up to date and relevant training and skills is essential for a strong arts and cultural offer for young people.peoples voice

94、s and perspective to be prioritised and at the centre of their provision.14Creative practiceAll respondents indicated that they prioritise creative techniques and approaches in their practice.This can range from enabling young people to have very open and explorative interactions with artists,to usi

95、ng creative games and methods as a way of opening up young peoples ideas.In many cases practitioners focus directly on the issues that young people are dealing with and offer an opportunity to explore these issues using creative expression.We dont have a language to talk about young peoples culture

96、we take the view that the creative impulse is universal and respond to that.organisationA need for psychological safety in the practice environment was reported as essential for creativity to be developed.This can often mean checking in with participants and understanding what they are bringing to t

97、he activity on that day,as well as having a broader understanding of their current circumstances and specific needs.There is not always space for creativity itself as an outcome to be encouraged for young people in their day-to-day lives,whether because of the pressures on schools to focus on other

98、skills,or the demands of funders for creative activities to be linked to other instrumental outcomes(e.g.,personal development).Organisations indicated that they intentionally broaden the definition of creativity beyond artistic practice and outputs.They support young people to engage in activities

99、based on problem solving,drawing on knowledge from across subjects and disciplines,taking a research and inquiry-led approach to their work and to consider how creative thinking can be used to tackle social problems.We really see the value of allowing young people to explore creativity without the p

100、ressure to produce a specific artistic output.This approach can empower young people to discover their creative potential in various contexts,whether in the kitchen,through community engagement,or in other non-traditional forms of expression.organisationPractitioners aligned their support of creativ

101、ity alongside storytelling,across diverse media and artforms.In this sense,young people are encouraged to apply a structure to the stories they want to tell and enabled to express this in ways that feel appropriate.I think thats where the creative arts can come in,lets just do something and see wher

102、e it takes us and kind of take people on a journey that they might not otherwise get to do and that can kick people out of a rut or,I suppose,help people think about things that they dont currently think are possible.I think quite often what arts organisations can provide is the extra-ordinary,for w

103、ant of a better word.organisationRead more about the use of creative approaches in The Agency case study here and the Nerve Centre case study here.Co-creation and co-designCo-creation and co-design were central to innovative practice.Respondents described the various techniques that they use to faci

104、litate these processes:Understanding the difference between consultation and co-design.Establishing parameters for what is possible and the extent to which young people have agency and control in decision making Working with a range of creative practices and practitioners and allowing young people t

105、o decide which they would like to focus on Discussing and negotiating whether processes should lead to products and the implications of this for programme design Supporting young people to develop skills and knowledge that will make them feel more able and confident in making decisions and taking re

106、sponsibility Supporting young people to engage with a range of voices and perspectives from their communities and bringing more people into the design and creation process as needed15Establishing respect and trustMuch of the practice described was centred on treating young people as emerging profess

107、ionals.By working with professional artists and practitioners in processes of co-design and co-creation,young people are given an experience of what a professional creative life can entail.This is done through establishing mutual trust and respect and setting appropriate levels of challenge and nove

108、lty in activities.Many practitioners aim to establish a home-like environment(and importantly,a place of safety and security for those whose home environments may not offer these conditions).Spending time considering how to make the environment accessible,inclusive and safe was considered essential

109、to support young people to relax into activities,build rapport and commit to their learning journeys.Payment for travel was mentioned several times as a relatively easy way to support participation,as well as a gesture of understanding that many young people experience challenging material circumsta

110、nces.In some cases payment for participation was offered,particularly for activities where young people were being asked to contribute to boards or advisory groups,or encouraged to take Read about co-creation approaches used by Beat Carnival hereRead about the innovative approach to commissioning ar

111、t for a new development in Thamesmead hereRead about Hot Chocolates approach to radical hospitality in this case studySeveral projects also discussed how they take a structured approach to supporting peer learning,often with more experienced young people being partnered with less experienced partici

112、pants to share their learning.This is more and less formal across different settings but is often identified as useful way to enable co-creation and co-design without the input of practitioners.We use creativity as the methodology but its not inviting young people to take part in an arts project.So,

113、you know,while its a theatre-based methodology,its not come and be involved in it like this.And as a result,we follow their desire and ideas.its about what youre interested in doing.And we then wrap around the support for you to deliver that.organisationpart in engagement processes that went beyond

114、regular participation.While this was reported in two of the projects featured in the research,it raises an important point about how and when remuneration may be appropriate for increasing commitment and responsibility from young people.Paying a stipend has always been a key thing.Its not a payment

115、for time,but its about removing some of those barriers.Its about that value,and we give value to your time,and to your participation.And this matters organisationFlexibility and responsivenessEvery young person is different and respecting and understanding that is key to how organisations deliver th

116、eir programming.Practitioners are encouraged to check in with young people regularly to understand their broader situations,as well as how they are developing within provision and any adaptations required.Listening and responding to young peoples positions and needs was regularly cited as core to ef

117、fective practice,along with being transparent about decisions and boundaries throughout the duration of any programme.Practice as described as effective because it is often hands-on,practical,and applied,often in real creative settings(i.e.,venues,theatres,galleries etc).Often being place-based in t

118、his way enables a more relaxed approach to provision,with relationships building over time and young people becoming familiar with the ways of being that emerge in these settings.Being playful was also mentioned often as an important aspect of effective practice.Being focused on creating active,play

119、ful,and fun programmes that involve a lot of games can help in building relationships and confidence among young people and make them want to return to the opportunities.Some respondents mentioned adapting their practice post-pandemic.In some cases this has led to the development of a more hybrid ap

120、proach where opportunities to engage digitally have become frequent and normalised,with organisations challenging themselves to make the most of digital opportunities.Some mentioned that this feels more 16Pacing and progressionDirect and practical experiences in creative development that is not on o

121、ffer elsewhere was offered by most organisations.In some cases this includes direct work experience and applied training.Practitioners described quite a specific approach to setting the right pace for development(e.g.,messing around on a mixing desk for a while before being supported into more forma

122、l DJ tuition).For some young people this is tied into formal accreditation processes and applied work experience within settings.Individualised pathways were being negotiated with young people,where the provision can respond to their needs in a bespoke way that is not necessarily replicated in more

123、formal education and training opportunities.Several of the young people we spoke to indicated that it is the mixture of opportunities made available to them,along with the support and relationships developed with the practitioners and organisations that they identify as unique compared to other educ

124、ation opportunities around them.Read about how trust and flexibility are core to the approach of The Warren here Read about how Future Yard are helping an emerging young music workforce in Birkenhead and Merseyside here Quality artists and practitionersWorking with the highest quality artists and pr

125、actitioners was regularly mentioned as a way of enabling the best outcomes for young people.In many cases this was about ensuring that artists and practitioners were supported in their own professional development to respond to the diverse needs of young people.Working with practicing artists was re

126、gularly mentioned as a way of demonstrating to young people that there are a range of opportunities available to working in the creative sector,as well as enabling artists to share their career experiences directly.This included employing artists and practitioners with shared lived experiences with

127、the young people,whether through ties and familiarity to a local area,or experience of being D/deaf disabled,from the global majority,or other identity-based experiences.Its a team of Deaf,disabled,neurodivergent and non-disabled performance artists.Activists,musicians,a live musical stage,the desig

128、n is we will have a lot of tactile access materials,which is something that we really find important,particularly for a younger audience organisationinclusive than place-based programmes which can remain exclusionary despite efforts to support travel.Others highlighted how they are very deliberately

129、 trying to get young people to come to spaces physically and have adapted their practice to focus more explicitly on collaboration,recognising that this,along with general levels of confidence,seem to have been most negatively impacted by the pandemic.More generally,respondents highlighted that refl

130、ecting on what is and isnt working as they go along,and being responsive to young peoples changing needs within the provision itself are core elements of their practice.Everything we do is a pilot in some way.In any project were constantly testing,iterating and adapting.From that learning we can dev

131、elop the next programme as well making sure that the current one is meeting young peoples needs as they emerge.organisationSeveral respondents indicated that they aim to instil an entrepreneurial and experimental spirit into the work,so that young people are encouraged to consider taking their learn

132、ing to the next level,but at the same time,to explore the multiple avenues that their development can take.Its completely changed my trajectory because I just didnt know about those careers.Theyre invisible.Young personRead more about Taking Flight Theatres unique approach working with Deaf young th

133、eatre makers here 17Putting young peoples rights at the centre of practiceSummaryProcess over product Practitioners often describe that the developmental journeys for young people are more important than the destinations.The essence of effective practice is that it is reflective and adaptable,this a

134、lso means that things wont always work out as planned and learning that emerges is acted upon.Setting clear parameters Treating young people with respect and developing trust can only be enabled where there are clear parameters about how much agency they have to influence things.Parameters for devel

135、opment are also crucial so that young people can set and meet expectations for themselves.Formal and informal participation There are a number of models for how young peoples participation is enabled in projects and activities,ranging from formal board membership,paid consultation roles,to regular o

136、pportunities for reflection on progress.The level of formality in young peoples participation is less important than that approaches are intentional and thoughtful.Celebrating and advocating A core aspect of supporting young people in art and culture is to validate the work they are doing.This can b

137、e done through public celebration events,marketing and promoting the work,and providing platforms for young people to talk to each other and the institutions around them.Organisations supporting young people can make the most of their platforms to enhance young peoples perspectives in lots of ways.1

138、8IntroductionThe majority of those contributing to the research indicated that their practice was embedded within respecting young peoples rights and enabling youth voice and participation.There were varying degrees of formality in how this was enacted in practice,but it was overwhelmingly expressed

139、 as a core value.The following section outlines the various elements that were described as enabling young peoples rights and perspectives to be honoured in practice.For an in-depth look at co-production in practice,please read this case study on Thamesmead creative studioProcess over productPutting

140、 young peoples rights at the centre of practice included a wide range of models,but there were a number of consistent approaches described:Addressing all accessibility needs(including transport,food)Providing one-to-one personal supportTeaching the group how to offer peer supportScaffolding a co-cre

141、ation process over timeUsing creative activities to support expression and skills buildingTeaching skills and providing material support for young people to develop and implement cultural events(e.g.,learning to fundraise,manage budgets,commission,contact artists,marketing,evaluation).In this way th

142、e process allows for young people to shape projects according to their abilities and preferences.Practitioners are there to listen,sculpt and shape projects with young people,and capture the emerging models of practice.Almost all respondents practicing in this way indicated that it was this process

143、of supporting and enabling young peoples ideas and perspectives that led to them being fulfilled by their experiences,even more so than the success of the eventual output or product.We ensure all adults on projects have up to date training in facilitation and focus on process and top-quality collabo

144、rative experiences for young people,this is way more important over the creation of the perfect product organisationSetting clear parametersRespondents indicated that true agency is achieved for young people when they have a clear understanding of the boundaries and parameters of their involvement.I

145、t was very rare that there was genuinely a blank page available for their ideas to come to reality.More often there would be limits in terms of budget,capacity and resources,and it was important to support young people to understand this and negotiate their ideas within those parameters.Several prac

146、titioners reported that they saw their responsibility as listening to the young people and then using their own experience and networks to enable and support their ideas,including feeding back when things were not likely to be possible or were unrealistic.This also applied to the rules of engagement

147、.Several respondents indicated that they develop a manifesto or set of guidelines within which consultation and practice must sit.Often this would extend into an emerging model of practice that could be used by the organisations or the young people in other projects and settings.Read about how the W

148、AC Ensemble at the Citizens Theatre has developed an approach to theatre making focused on giving young people real-world experiences here 19Formal and informal participationProjects and organisations reported a range of ways in which they centre young peoples rights,ranging from formal arrangements

149、 to more informal practices and embedded ways of being that they structure their practice around.Some models mentioned include:Young ambassadors paid roles for young people who have participated in previous opportunities to return and be involved in programme design,be on the project advisory group,

150、support the delivery of projectsYouth board members young people,usually with some degree of experience with an organisation,are made official board members of the organisation.The three organisations who discussed this approach also indicated that young people should be supported in any training an

151、d development needs and that their role and responsibility should be made clear to them,and communicated clearly to all other board membersYouth action groups project specific groups where young people are given specific tasks and responsibilities based on the skills they would like to develop(e.g.,

152、fundraising,marketing,research and evaluation).They are supported to produce personal development plans for individual development as well as work together on overall project design and managementOther forms of youth participation and engagement are less formal and built into how organisations and p

153、ractitioners operate.There may be more incidental opportunities for young people to decide which activities are provided in a particular session,or to feedback their perspectives at various stages with the practitioners responding and being transparent about it.Just having space to learn life,on you

154、r own terms,I suppose,is actually really rare.A lot of what we do isnt really rocket science,but because its not normal for a lot of young people when we behave like,treat people like human beings,it comes across to some others as,wow,thats really innovative practice!organisationCelebrating and advo

155、catingAnother core element of centring young peoples rights was providing moments for celebrating their achievements and providing opportunities for them to advocate for themselves and others.Linked to the observations above about practitioners using their networks,experience and influence to enhanc

156、e young peoples ideas,the same applies to providing platforms for their work to be shared and their perspectives to be brought to the attention of those outside of a specific project or programme.Often these opportunities can act as a way of affirming the efforts made by young people,as well as stim

157、ulating further ideas and opportunities to build from initiatives.As with other elements of the practice it remains important to clearly establish the aims of public facing events and outputs,and to manage expectations of what may be possible or not due to external factors.Read about how Taking Flig

158、ht Theatre and Hot Chocolate are using performance as a way of highlighting young peoples perspectivesRead about the formal and informal ways that Nerve Centre involve young people in their work in this case study20Collaboration,networks and the support of fundersSummaryCo-production and collective

159、reflection Organisations highlighted how they see value in co-producing activities with partners(as well as with young people).They also indicated that there should be protected time for collective reflection on what is happening in projects so that practice can be adapted accordingly.Long-termism R

160、espondents highlighted that there is a need for long-term funding for effective partnerships to be built,as well as building meaningful relationships with communities of young people.The aim for many organisations is for their work with young people to become self-sustaining.Network building Strong

161、networks and communities of practice are essential to support effective practice with young people.Respondents indicated a commitment to learning form peers and collectively advocating for their work and young peoples rights.R&D funding Funding for research and development was highlighted several ti

162、mes.This would enable more responsive and flexible practice to take place.Action research models(where projects have an enquiry-based approach and can respond to emerging needs and outcomes)was said to be especially effective in working responsively with young people.Conversations not forms Several

163、respondents indicated that they would like a more conversational approach with those funding their work.In some cases this would support accessibility(e.g.,enabling BSL interpretation)and overall would enable organisations and young people to engage in deeper and more meaningful discourse about what

164、 is happening in the work.21IntroductionWhen engaging with the research participants it was impossible to discuss what they do in their work(i.e.,practice),without also considering the broader conditions in which their work is taking place.The following section explores how collaboration between org

165、anisations and the broader funding landscape influences their practice and the experiences they are able to provide for young people.Co-production and collective reflectionExplicitly embedding co-production and collective reflection in their approach was reported by organisations as being ore to eff

166、ective partnership working.In some cases this has been written into a memorandum of understanding,with timetabled moments for collective reflection and review,in other cases there is a less formal agreement based on ways of being for the partnership,which may include the methods that will be embedde

167、d to capture learning as it emerges and share this between partners.Respondents indicated that agreeing on an approach to collective reflection in partnership working allows for capacity issues to be addressed,reviewing the allocation of resources,and sharing complementary assets,ultimately adding v

168、alue on all sides.Embedding co-production approaches and iterative learning processes amongst all partners on a regular basis helps us build trust and amplifies the overall benefits for everyone.organisationLong-termismTaking a long-term approach to projects and programmes was mentioned in relation

169、to both partnerships and funding.For partnerships it was noted that deep and supportive work with communities and young people takes time for relationships and trust to be developed,and even more so if a co-designed approach is to be taken.There is huge potential for partners to learn from each othe

170、r and to develop responsive approaches that can have maximum impact for young people,but only if there is the scope for long-term commitment in terms of funding and establishing opportunities for reflective partnership working.In partnerships its really important for us that were working with organi

171、sations that have a shared value set in a way,it doesnt have to be exactly the same values,but they need to be engaged deeply with the community in which theyre working.They need to commit over a long term,at least two years,its not a parachute,that just doesnt work.organisationThis was echoed in te

172、rms of how funders can best support work with young people.Organisations indicated that they want funders to think long-term and to commit to iterative funding where they can see what is emerging over time and how learning is being acted upon.In this way programme-based work can be generative and su

173、stainable,for individual young people,groups of young people,and the communities around them.This commitment to longer-term funding was also supported by respondents who saw it as a way for funders to divest over time as programmes became embedded and self-sustaining in different ways.Were actually

174、always moving towards a situation where we dont need external funding and frameworks to keep it going-a teaching people to fish mentality rather than lots of one-offs or short-term projects.organisation22Network buildingPartnerships are central to the success of projects and programmes,not least bec

175、ause of the opportunity to exchange ideas and pool resources.Beyond drawing on expertise,many respondents indicated the values of partnership working as building networks and communities of practice around the work they are doing to support young people.These networks,whether local,regional,national

176、 or international,provide an opportunity to share learning,failure,and success.Given the broad range of innovative practice discussed in this research,many of those we spoke to indicated that they would appreciate even more opportunities to talk about and share their work more broadly,including givi

177、ng the young people they work with access to forums to exchange and discuss their experiences with each other.Several respondents indicated that they would appreciate the opportunity to share their experiences and learning outside of the cultural sector.This could also provide an opportunity to expl

178、ore where creative practice is(or is not)providing something unique for young people,as well as to explore and develop shared terminology with other sectors.Were completely local in our identity and focus,but networked nationally and internationally in ideas organisationR&D fundingMuch of the work d

179、escribed is exploratory and iterative in nature,but this can be challenging to communicate to potential funders who are more outcomes focused.For that reason,several respondents indicated that they would appreciate the opportunity to access funding for research and development.Some suggested that a

180、more action-research based model would suit their work with young people,particularly where there is a co-creation element to the practice and outcomes and outputs are likely to be emergent over time.Opportunities to financially support the process over product approach described in this research wo

181、uld be welcomed.This was also stated in relation to how funding application processes are currently operated.There was a consensus that application processes could be lighter touch,more exploratory and accessible,with funders encouraging short expressions of interest before organisations spend huge

182、resources on speculative bid writing.Linked to this was a perspective noted by several respondents that they felt a need to justify creative and arts-based work according to its instrumental value.While recognising that their work with young people often does lead to additional outcomes and benefits

183、,there was a creeping sense that the need to justify funding on these terms felt inhibitive.A more open-ended approach to the funding made available to arts and cultural organisations would therefore be welcomed.With different funds your project has to respond,one has a progression thing,another to

184、fix everyones mental health,to promote fair work,fix the climate crisis and be for every group that there can possibly be.And theyre all super good impulses.But I think that just drives up the fear of like,Ah,how can we possibly be good enough to do all that?And I think that it becomes clear that th

185、e,the uselessness of art is the useful thing.In a weird kind of way.But Im sure you wouldnt put that on an application form.Yeah,this is good,because it doesnt serve a purpose.organisationConversations not formsLinked to the above,respondents indicated that they would prefer evaluation and reporting

186、 to be far more conversational than at present.This was especially the case for funders to understand what youth-led means and looks like in practice.Several respondents highlighted how the journeys and stories of the young people they work with are difficult to boil down to the outputs-focused repo

187、rting templates they are often expected to complete.Instead,more observational,relational,co-designed and creative methods of evaluation would be preferred,although there was an understanding that this requires additional capacity and a shift in current funding practice.Others we spoke to indicated

188、that there is a need for applications and funding to be made more conversational,in a specific example,for BSL options to be integrated into application and monitoring processes(i.e.,where even the offer of a phone call is not necessarily appropriate).More broadly and linked to several issues alread

189、y identified in this research,there is a need for open dialogue about terminology,concepts,and practices within and across organisations providing opportunities for young people,and with those who are funding them.I think theres something about the funding context that we dont have a language to tal

190、k about.Young people dont even want to talk about young peoples culture,because that sounds like something alien to them.How can we have more conversations about what this actually all means to young people?organisation23Comparing the findings with a Cultural Relations ModelBritish Council has done

191、a significant amount of research exploring what its cultural relations model is in practice,and how it does or does not lead to soft power and other development outcomes.Drawing on a recent report*,the elements of cultural relations practice that are valuable for delivering development outcomes are

192、as follows:Co-creation of solutions(Mutuality)Community ownershipBrokering of relevant partnerships(Local and international)Sharing and exchangeConveningEmbracing Equality,Diversity,and Inclusion(EDI)Embracing marginalised communities and groupsAdhering to rigorous protocols(e.g.safeguarding)Being e

193、vidence-drivenBeing values-drivenThese elements are replicated in the practice described by the organisations contributing to this research,particularly co-creating solutions,brokering relevant partnerships,embracing EDI,embracing marginalised groups,adhering to rigorous protocols and being values d

194、riven.Future research may wish to explore how the elements of effective practice reported in this research map on to the elements of cultural relations practice in different international settings.This could be a useful way of deepening understanding of how effective work with young people can lead

195、to development outcomes outside of a UK context.*A Cultural Relations Approach to Development Why and how the British Council approach to development works(British Council,August 2024)24Top priorities for arts organisationsSummarySharing practice(UK and international)Most organisations indicated tha

196、t they would like more opportunities to share their practice with peers and funders.This was especially the case across the four nations of the UK,and in international contexts.Making connections and exchange(UK and international)As with practice sharing,respondents saw clear value in building netwo

197、rks with like-minded professionals across the UK and internationally.Youth voice and representation The practices described in the research relating to enabling youth voice,participation and representation were especially seen as having value to be shared nationally and internationally,where good pr

198、actice can be shared and organisations can be informed by models that exist elsewhere.Local and Global activism Organisations indicated that they see themselves as having a clear facilitating role for supporting young people to be activists,advocating for issues that affect them locally and globally

199、 using creative outputs and methods.25IntroductionWe asked respondents about what they considered to be priorities for supporting their practice moving forward,at both a UK and international level.These were largely in line with the themes discussed in relation to the perceived needs of young people

200、 and how their practice is responding to these needs.Sharing practice(UK and international)Respondents would like the opportunity to share their practice with more organisations across the UK,particularly beyond their home nations,where it was felt there was likely interesting work taking place that

201、 was off the radar.Several indicated that they saw organisations such as the British Council and the national arts councils as ideal convenors of practice sharing opportunities.All the organisations we spoke to indicated that they saw the value in making more international connections.This was espec

202、ially the case for sharing their own practice and learning from others.While local and national networks and partnerships were welcomed,several respondents reported how their practice had improved significantly due to previous experiences of international partnership working.This was especially the

203、case for those working in socially engaged practice and deep community work.We were starting to do international work when the pandemic happened,and weve not quite managed to get back out there again.So it would be great to start doing that cross-pollination of ideas again with international partner

204、s.organisationAs our democratic,economic,social and environmental frameworks in the UK are crumbling,we can look to and learn from global approaches to how other countries and cultures develop models of practice that respond robustly and urgently-how can we be more urgent,subversive,thrive through c

205、hange and pressure?How can we ready ourselves for our own futures?organisationMaking connections and exchange(UK and international)Beyond sharing practice,there was also a strong appetite for exchange opportunities for practitioners and for young people.It was felt this could enrich the practice and

206、 the experiences of all involved.Several respondents indicated that this felt more urgent than ever,given the ongoing impacts of Brexit on partnering with European organisations,and the global political moment of the rise of right-wing politics and increasing nativism,which is also disproportionatel

207、y driven by older over younger age groups.Several organisations indicated that international collaboration they had engaged with(largely pre-pandemic)had broadened horizons and provided once in a lifetime opportunities for the young people they work with.Taking trips together can act as a great way

208、of developing bonding social capital among the groups taking part,as well as bridging social capital between groups internationally.International working makes the young peoples world bigger it can create hope,inspiration and joy organisationIn person exchanges though currently limited,could positiv

209、ely impact young people.Visits to international counterparts bring the projects to life.International collaboration could empower young people by exposing them to global perspectives.For many,engaging with peers from different countries is a transformative experience,especially for those who havent

210、travelled outside their local communities.organisationIt was highlighted that those with additional support needs and young people with complex needs should not be deterred from international exchange opportunities,but that the potential additional support this may require should also be considered

211、in any initiatives or opportunities offered.Read about the Nerve Centres approach to practice-sharing across and beyond the UK hereRead more about the value of international exchange to Hot Chocolate here26Youth voice and representationAs has been outlined throughout the research the issue of young

212、peoples rights and their right to influence the institutions and organisations around them is a strong theme.Many organisations we spoke to indicated that this needs to remain on the agenda at all levels.There is scope for further convening around these issues and bringing together organisations and

213、 young people on this topic in more regular and strategic ways.The need to ensure that young people from a broad range of backgrounds are represented in these conversations and initiatives is crucial,whether domestically or internationally.The importance of representing diverse lived experience in e

214、nhancing arts and cultural opportunities for young people was highlighted by all the respondents contributing to this research.We need to cut through the policy bullshit and make a stronger connection between the young people were working with and the people in positions of power deciding what resou

215、rces theyll have access to.Thats a local and a global issue.organisationInternational collaboration could resonate personally for young people from immigrant backgrounds as it connects them to their cultural roots and broadens their understanding of global dynamics.organisationLocal and Global activ

216、ismInternational working could enhance young peoples motivation to use artistic and creative interventions as a form of activism.While in some cases this often has a local focus,there is scope to develop a global perspective that could influence the motivation and practice of young people through in

217、ternational connections.The issues highlighted earlier in the report about young people experiencing isolation,alienation and in some cases,hopelessness,could perhaps be dealt with through sharing their experiences with others,building stronger networks locally,nationally and globally.In sharing pra

218、ctices and approaches and learning we strengthen our own art forms and create global solutions to issues.We break down insecurities and barriers when we collaborate.A socially engaged arts practice is a global arts practice where we can co-create for a better future.organisationRead more about The A

219、gencys approach to supporting young people in a nationally scalable way hereRead about how the creative studio in Thamesmead is enabling a new way for young people to take a central role in local development here27Overall trends and opportunities for arts and culture for young people in the UKSummar

220、yCentering young people in policy The arts councils of the four nations each have different strategies and priorities for supporting young peoples participation in arts and culture.These are responsive to broader policy trends and needs in each nation.Across all arts councils there was a clear aim t

221、o enable young people to be more central to how policies and practices are developed.Issues facing young people and funder priorities The strategic stakeholders reported many of the same issues as the organisations and young people we spoke to.Poor mental health,the lack of support for creative subj

222、ects in formal education,an increased risk of alienation and declining collaboration skills post-pandemic all featured strongly in the discussions.Progression within and across fields Funders largely support multiple forms and measures of progression,including and beyond formal accreditation.Most in

223、dicated that they see a clear overlap between how young people develop personal and social skills and how they develop creatively in arts projects.They saw a clear role for arts organisations to support the next creative workforce,as well as contributing to young peoples quality of life in general.I

224、nternational working Funders did not draw on a huge range of examples of international work with young people,despite mention of a few specific projects.All indicated that they are interested in developing this in their work and would appreciate the opportunity to explore it further with each other

225、and with the British Council.28IntroductionWe conducted interviews with the main arts councils of the four nations of the UK(Arts Council England,Arts Council Northern Ireland,Arts Council of Wales,and Creative Scotland)to explore the issues outlined in the research questions for this study.Addition

226、ally,we interviewed representatives from Esmee Fairbairn Foundation and Paul Hamlyn Foundation recognising their significant investment in creative programmes for young people in the UK.The following section outlines some of the recurring themes that were raised in these interviews,including a discu

227、ssion of priorities at the level of individual nations.It ends with some suggested opportunities for the future,based on these reflections and the overall findings presented in the research.Issues facing young people and funder prioritiesFunders are responding to increasingly complex needs.Mental he

228、alth and wellbeing and the ongoing impact of the pandemic,changes in demographics and integration of newly arrived communities,poverty and the impacts of austerity are still creating big issues for young people and communities.Theres a recognition that arts and creativity can be essential tools in e

229、xploring themes of identity,place,community and connection,which are all essential in the complex issues young people are facing today.It was suggested that this could also create strain within the cultural sector as artists and practitioners are increasingly being expected to work with young people

230、 with complex needs,who in some cases are traumatised.This is potentially leading to greater burnout and precarity among the workforce in an already strained sector.This is on top of the pressures that many organisations are facing to survive in a hostile funding environment,several funders mentione

231、d that survival is the top priority for too many organisations,and that in some circumstances this could have consequences for the quality of provision being offered.Poor mental health,lack of confidence,and poor collaboration skills were also highlighted as core issues for young people,not least du

232、e to increased alienation during the pandemic and their ongoing digital existence.Funders highlighted the importance of safe public spaces for young people to gather and collaborate,but that these spaces are increasingly rare,and that young peoples leisure practices have shifted online in a trend th

233、at is unlikely to reverse.The role of creative practice as a means by which young people can engage with the issues that affect them was mentioned by all those we spoke to.The need to better understand complex conditions,articulate their needs and responses,and engage in supported and developmental

234、creative expression was highlighted as a crucial way for arts organisations to support young peoples needs,alongside the systemic changes needed to deal with poverty and its effects.Some mentioned that the youth period itself will always be challenging for people as their identities form,and that a

235、diverse,supported arts and cultural sector should always be in place to help young people navigate this life stage.Some funders highlighted the ongoing issues with arts subjects in schools and a general lack of political support for creative learning,as well as creative subjects themselves.It was su

236、ggested by two funders that the opportunities provided outside of school are better sites for the types of multi-modal and disruptive creative opportunities that young people want to take part in and often thrive in(crucially,placing artists at the centre of the work).Others felt there was an equal

237、or more pressing need to support arts and culture within the school system given its(almost)universalism.Progression within and across creative fieldsFunders described how they think of progression as more nuanced than counting accreditations or tracking destinations.Several indicated that they unde

238、rstand the complexities of attributing progression trajectories to one single programme or organisation.Important distinctions were made between young peoples creative development for the sake of it,and supporting those who wish to pursue a career in the creative industries.One funder commented that

239、 the focus should be on creative development for life,rather than talent pipelines.The role of language was raised more generally as often being problematic;that the progression journeys of young people are articulated falsely because of short-term funding and what organisations expect funders want

240、to hear.Those organisations who are able to support young people over the long term find it easier to articulate the complex progression journeys that young people experience and their role within them.Collaboration and co-creation are also linked to progression;organisations are sharing ideas on ho

241、w to support and track young peoples progression as well as being more personalised in how young people develop their own trajectories.29International workingFunders did not list many examples of international working and it was not generally stated as an area of focus for investment,although most a

242、greed it clearly had value and were very interested in how collaboration with the British Council and others could add value to what is happening domestically,particularly enhancing practice through international exchange.Funders indicated that they could see an interesting role for British Council

243、to support and develop comparative frameworks for youth cultural provision that could enable young people themselves to connect and exchange experiences and ideas.This could help to develop practice across countries,connect into existing and developing frameworks(e.g.,the recent UNESCO arts educatio

244、n framework1).Enabling young people and the organisations who support them to connect in this way will likely aid understanding of cultural specificity and difference,as well as shared experience in how creativity and culture is being used to support young people to articulate and deal with issues t

245、hat affect them.Several funders indicated that they would appreciate the opportunity to talk to each other about the issues discussed in these interviews,comparing strategies,ideas,and examples of their approaches.1 https:/www.unesco.org/en/wccae2024-framework-consultation 30Opportunities for the fu

246、tureConvening and discussingIt has been raised several times in the research that there is a need for organisations and practitioners to be brought together with funders and policymakers to discuss their mutual needs and aspirations in supporting arts and culture for young people.These could range f

247、rom more and less formal networks,to seminars,workshops and conferences.There is a recognition that the issues young people are facing have changed significantly in recent years,and a shared sense that there could be a more coordinated effort to exchange knowledge in this area and enable a stronger

248、response.Forums for sharing practiceAlongside more policy-focused discussions,there is a need for organisations and practitioners to be supported to come together and share their practice.This research presents a fraction of the innovative practice currently taking place across the UK,and there is a

249、 need for strategic bodies to provide further forums for people to share their practice in safe and supportive ways.It was clearly stated that this would be welcomed within and across the four UK nations,as well as with international stakeholders and peers.Handing more power to young peopleThe theme

250、s of young peoples rights,youth voice,engagement and participation are threaded through the research.There is a need to clarify language and terminology relating to this practice,as well as to bring young people more centrally into the conversation.The opportunities described above relating to conve

251、ning and sharing practice should be extended to young people themselves with an associated handing over of power to how they may want to set the agenda,and decide what actions and activities are provided in response.Celebrating young peoples creative lives and future-makingBeyond providing platforms

252、 for engagement,there is a huge amount of amazing work being produced by young people across the UK and more could be done to share this more widely.The activist and changemaker spirits of young people described throughout the research show that they have a passion to engage with complex global issu

253、es,not just in discourse,but via the broad range of creative activities and expressions they are being enabled to produce.There is arguably a duty to further showcase and celebrate this,recognising the vital role it can play in developing shared human understanding and global cultural relations.31Ap

254、pendix 1 MethodologyWe began the research by conducting a rapid literature review of recent policies,strategies,evaluations and research reports,largely from the past five years,relating to key programmes and initiatives across the four regions of the UK.The literature was crowdsourced from the rese

255、arch team and British Council colleagues and was not intended to be systematic or exhaustive,but instead to provide an updated context to frame the primary research approach and questions.A total of 32 documents were reviewed and the summary of key findings and the literature included is provided in

256、 Appendix 2.This was followed by interviews with each of the main publicly funded arts funding bodies in the four nations(Arts Council England,Arts Council Northern Ireland,Arts Council of Wales,Creative Scotland)along with Esmee Fairbairn Foundation and the Paul Hamlyn Foundation,as significant ind

257、ependent foundations supporting arts and cultural provision for young people.The questions focused on the main issues that they identified for young people in accessing and developing within arts and cultural provision,issues facing practitioners and organisations supporting them,areas of strategic

258、focus for young people,and examples or plans in relation to international working.To identify case studies of effective practice we launched a survey asking arts organisations across the UK to nominate themselves as providing interesting and effective practice according to the categories of interest

259、 outlined in the research brief.We asked respondents to indicate why they thought their practice was effective,any information they could share on the nature of the practice,outcomes and impacts,and if the work was complete or ongoing.The survey also included a question relating to their thoughts on

260、 current issues in policy and practice for young people.The survey was promoted by British Council and tialt,as well as by the funders taking part in the strategic interviews.We received 66 responses to the survey.From the survey responses and nominations by the funders we selected 10 organisations

261、to approach to be featured as case studies.The selection criteria was based on achieving a diversity of geography,artform,participant demographics and practice approach.All those approached agreed to be featured as a case study,with the exception of one organisation in Wales who stopped responding t

262、o repeated attempts to arrange fieldwork.In person case study visits were conducted for seven organisations between March and June 2024,where members of the research team spoke to project managers,practitioners and young people taking part in activities.A further two case studies were conducted onli

263、ne,one including an online workshop with participants,the other with the delivery team only.Questions explored with the case study organisations included:For organisations/partners:1.What are the current issues you are dealing with in providing your practice for young people?2.What do you see as the

264、 main innovations that have developed in your practice in the past few years?3.What approaches do you take in supporting young peoples participation(i.e.,space,voice,audience,influence)?4.What does successful partnership or collaboration look like in your context?5.How could funders or other strateg

265、ic bodies better support your work?6.What do you most want to share with the sector about these issues?7.How might international working or collaboration add value to your practice?For young people:1.Why do you want to take part in this?2.What do you get most from taking part?3.How much do you feel

266、you can influence the activities you take part in?4.What does art and culture mean to you?5.When do you feel most creative in the activities?What does being creative mean to you?How does this feel?6.How important is it to you that you can improve your skills in the activities?What are your longer-te

267、rm goals for what you are learning or doing?Those responding to the survey but not selected as a case study were given the opportunity to take part in an online focus group in May 2024.This included a further eight organisations who were asked to consider the same questions explored in the individua

268、l visits.All data collected was transcribed and thematically analysed by the research team,resulting in the core themes presented in the report.Brief summary case studies for each organisation featured were also produced and signed off by the participating organisations.32Appendix 2 Case StudiesThe

269、Agency(England and Northern Ireland)Beat Carnival(Belfast,Northern Ireland)Future Yard(Birkenhead,England)Hot Chocolate Trust(Dundee,Scotland)Nerve Centre(Derry/Londonderry,Northern Ireland)Taking Flight Theatre(Cardiff,Wales)Thamesmead creative studio(London,England)WAC Ensemble,The Citizens Theatr

270、e (Glasgow,Scotland)The Warren Youth Project(Hull,England)These case studies have been produced as part of the Innovative practice and trends in arts and culture with young people across the UK research.Research for the case studies was conducted between April and July 2024.Case studies could self-n

271、ominate via an online survey and were selected to represent a range of geographic regions across the UK and diverse practice across artforms with different demographics of young people.Research included interviews and focus groups,both in person and online with the project managers and practitioners

272、,as well as with groups of young participants themselves.Case sttudies locationThey are not intended to present an exhaustive representation of current arts practice across the four nations of the UK,but instead to provide snapshots of innovative practice responding to the needs and conditions repor

273、ted across the broader research project.Each case study discusses key aspects of the practice,how it is responding to need,and links to further information for each organisation featured.33The Agency was originally developed by the Brazilian theatre maker,activist and journalist Marcus Faustini in t

274、he favelas of Rio De Janeiro.The programme was brought to the UK through a partnership between Battersea Arts Centre(BAC),Contact Theatre and People Palace Projects(PPP).Instead of asking what they can do to help young people through the arts,they thought about how they can pool their resources,know

275、ledge and expertise to foster change based on the desires of young people.The Agency supports young people to create youth-led social enterprises,events and projects that will have a positive and long-lasting impact on their local areas.It does this through facilitating young people to have the self

276、-confidence,skills and a creative mindset needed to be protagonists in their lives and the world around them.The following summary brings together key themes and takeaways from two separate conversations:one with The Agency team members,and the other The Agency Steering group of young people.Case St

277、udy:The Agency(England and Northern Ireland)A creative entrepreneurship programme enabling young people aged 15 to 25 from some of the most underserved areas in the UK to generate social change projects based on the needs they identify in their own communities.2024 The Agency National Gathering,OVO

278、Gallery.Photo by Olalekan Victor Oderinde.Courtesy of The Agency34Creativity and Self ExpressionCreativity is at the heart of The Agencys mission in the broadest sense.Their work emphasises the importance of freedom and authenticity in creative expression,encouraging young people to think outside th

279、e box and explore various artistic forms such as drawing,poetry,music and as well as business development ideas and more outside of the artistic field.This approach not only brings personal fulfilment,but also boosts the productivity and ambition of the young people they work with.Artistic expressio

280、n in particular serves as a vital outlet for young people to convey their thoughts,emotions,and perspectives.The Agency Steering group members reflect:It gives us freedom to express and be unique.Focusing on self-development and growthIt provides us with continuous learning and taking on creative pr

281、ojects.The Agency team members reflect:The Agency uses creativity as the methodology,but its not inviting young people to take part in an arts project.While we use a theatre-based methodology,its not“come and be involved like this”,instead we follow their desires and ideas.Its about what youre inter

282、ested in doing.And then we wrap around the support for you to deliver that.Influence and ParticipationThe Agencys work places a strong emphasis on listening to young people and actively involving them in decision making processes,especially those young people from marginalised communities,who may st

283、ruggle within the mainstream education system.Through structured groups(like its steering group)and community consultations,young people often influence the direction of projects and activities.This involvement develops a sense of ownership and ensures that the initiatives resonate with their intere

284、sts and needs.By participating,young people shape their experiences,build confidence,and develop leadership skills.Providing additional resources,like a stipend to young people for their participation helps in retaining engagement,especially for those who might not initially connect with the artisti

285、c aspects of the programme.Steering group members reflect that they take part in The Agency because:I feel like I can input and have our voices heard.We have Influence through direct communication and experience.Participation in steering groups helps us be part of decision-makingThe Agency team memb

286、ers reflect:Paying a stipend has always been a key thing.Its not a payment for time,but its about removing some of those barriers.Its about that value,and we give value to your time,and to your participation.And this matters.35Community Connection,Network building and Support Community connection is

287、 a pivotal aspect of The Agencys work.They facilitate network meetings and help young people identify and connect with local resources and contacts to support their projects.This approach not only strengthens interpersonal skills and networks but also helps young people overcome challenges and gain

288、insights into various areas and goals.The sense of community and support that The Agency fosters is crucial for young peoples development and wellbeing,and in person exchanges positively impact young people.The Agency recognise international network building to be important to their work but recogni

289、se this has become more limited post-Brexit.International collaboration could empower young people by exposing them to global perspectives.For many,engaging with peers from different countries could potentially be a transformative experience,especially for those who havent travelled outside their lo

290、cal communities or those from immigrant backgrounds.Steering group members reflect that they take part in The Agency because:It is important to be exposure to diverse people and experiences.Understanding business processes and pitching ideasBuilding a sense of community and overcoming challenges 202

291、4 Life Is What U Make It a project by Osmond Gordon-Vernon,created at The Agency.Photo by Osmond Gordon-Vernon.36 2024 The Agency National Gathering,OVO Gallery.Photo by Olalekan Victor Oderinde.Courtesy of The AgencyActive and Playful Programmes for Confidence BuildingThe Agency has developed an in

292、novative,playful programme that involve games and activities designed to build relationships and confidence among young people.These programmes are not only engaging but also create a supportive and dynamic environment for young people to develop their interests and creative ideas.By focusing on act

293、ive participation and fun,The Agency helps young people develop essential social and emotional skills.Community Engagement and FeedbackEngaging with the community is a cornerstone of The Agencys approach.They involve young people in community consultations and events,ensuring that their projects are

294、 aligned with societal needs as well as their own.This process builds confidence and strengthens the connection between young people and their communities.By gathering feedback and addressing local issues,The Agency ensures that their initiatives are relevant and impactful.Need for Flexible and Sust

295、ainable Funding ModelsThe Agency recognise the need for more flexible funding to adapt to the changing needs of young people,especially in the post-COVID era.For the Agency,the need for sustainable funding models that combine external support with self-generated income streams is seen as an opportun

296、ity to ensure long-term viability and responsiveness to youth engagement needs.By securing flexible funding,The Agency can continue to innovate and address the evolving challenges faced by young people,as well as supporting their dreams and aspirations.Additional informationhttps:/wearetheagency.co/

297、37Beat Carnival has a 30-year history working within community arts in Northern Ireland,moving from East Belfast to their current home on the border of North and West Belfast in 2008.Beat Carnival works across different projects being visible in a number of ways,from hosting large-and small-scale ca

298、rnival events,to working closely within the community through outreach,youth-led programmes and social action.Beat Carnival exists to provide safe,inclusive&creative spaces for people to explore,shape,&make their own futures through the medium of carnival,so that people have access to joy,skills,and

299、 hope for a positive future for themselves and their community.Youth engagement work in the arts has been essential to Beat Carnival since their inception.Currently this is employed through four core youth-led projects:Creative YouthMulti-arts classes for children and young people aged 5-18.Working

300、with freelance artists to create safe and supportive spaces for young people of all abilities to express themselves and explore their creative side through visual arts,music and performance whilst developing essential skills such as communication,problem-solving,wellbeing,ambition,leadership and tea

301、mwork.There are 3 classes a week:Tiny Beat for primary school ages,Junior Beat for secondary school ages and BEATnTECH,a specialised samba drumming group learning STEAM skills through percussion and music technology.Youth Arts for Social ActionMulti-arts classes for youth aged 14-25.A safe,creative

302、space that empowers young people to explore art as a vehicle for positive social change.The project provides young people with the opportunity to have their voices heard,exercise autonomy,grow in confidence and lead with their heart in a unique,young person driven environment.Outreach programmeEngag

303、ing with 100s of additional young people across Northern Ireland annually through outreach classes in schools,youth and community groups that spread joy,foster creativity and encourage personal growth through arts activities.Future LeadersProfessional and personal development for 16-25 year olds.Coa

304、ching and mentoring a small group of young leaders,developing skills for future leadership and supporting entrepreneurship in the wider community with project funding allocated for them to budget for,organise and lead their own creative project each year.Future Leaders is a recent initiative.Young p

305、eople who finish the programme will be offered a chance to form a Beat Youth Advisory Committee where young leaders will help develop plans and contribute to Beats overall purpose.These four strands form a core part of their offer.However,it is not exhaustive,including an annual week-long summer pro

306、gramme,and enhanced support sessions for participants.Encouraging empowerment and agency is core to the approach used by staff and fostered through the relationships held with young people,parents and partners.They use carnival arts to provide a platform for cultural expression and youth-led action.

307、Case Study:Beat Carnival(Belfast,Northern Ireland)Creativity,Collaboration and Celebration through Carnival38 2024 Photo courtesy of Beat Carnival.Providing space for young peoples voices through artsCrucial to the Beat Carnival offer is ensuring every young persons voice is listened to and valued.B

308、eats relationship with young people is about providing them with a supportive,safe space so they can have a deeper understanding of themselves,empowering them to create these spaces for others too.Beat Carnival staff acknowledge that it is a difficult world to be a young person.Mental health,politic

309、al division and wider global issues are all impacting the lives of young people.Staff say“we want to tackle hard issues with our young people through creative experiences,in a way that feels accessible.We can help lighten the load by bringing a little bit of silliness and joy”.Beat Carnivals program

310、me gives a platform for often unheard voices in communities.A young person said“I value that when I talk about my interests,people care and listen to what I have to say”Co-DesignWorking through a youth-led model,Beat Carnival employs several methods to ensure a strong co-design element is present th

311、roughout the organisation.“We aim to create a space and opportunity for artists and facilitators,as well as participants,to be involved as much as they want,having choice in decision making,programme development and over what their contribution to Beat Carnival looks like.We want to make sure everyo

312、ne in the process has a good experience participants,partners,artists,staff,funders and audience.”39ShowcasingBeat Carnival ensures the work of young people is showcased and supported within the community and is championed to a wider audience.This is an important aspect to the youth arts for social

313、action programme,ensuring that the work young people produce is able to reach the relevant communities and institutions where possible,to make and inspire real change.This is also supported by hosting events and exhibitions both at Beat Carnival Centre and in city centre spaces.Young people enjoy be

314、ing able to share their work that reflects issues they feel strongly about.Showcasing has a wider benefit to the public,inspiring ambition,creative expression and cultural celebration.Community and partnershipsBeat Carnival regularly seeks collaborations with like-minded,values-led organisations and

315、 attends networking groups.These interactions provide opportunities to share knowledge,gather diverse perspectives,and build a supportive community around their projects.They engage with both arts,youth and community organisations to explore shared visions,goals,and the value of arts and culture and

316、 the broader impact for young people and communities.2024 Photo courtesy of Beat Carnival.Previous international collaborations taught Beat the importance of learning and peer sharing.Being able to learn from other partners expands their own practice and therefore enhances the experiences of the you

317、ng people.Beat have valuable connections across the world and are members of an international YouthHUB and Arts EducationHUB where they share learning,best practices and experiences with youth-arts organisations across Europe.Despite Brexit and inaccessible European funds,they hope to continue these

318、 connections into the future and provide their young people with opportunities to connect with other creative youth around the world.Additional contentBeat Carnival Website:Social Medias:/beatcarnivalSpaces of Transformation in Arts Education programme report:https:/ the Story?booklet:https:/ 2024 P

319、hoto courtesy of Beat Carnival.2024 Photo courtesy of Beat Carnival.2024 Photo courtesy of Beat Carnival.41 2024 Photo courtesy of Future Yard.Future Yard is a music venue in the heart of Birkenhead,Merseyside,an area of acute need and deprivation.Since opening in 2020 it has grown to be an essentia

320、l part of the Liverpool City Regions grassroots music scene,regularly hosting gigs and events,as well as developing an onsite community campus working with young people from the local community to develop sector-specific skills.Sound Check,their flagship youth training programme,provides a pathway f

321、or local young people who have a passion for live music,but no working experience,often due to personal and socio-economic barriers,to form successful careers in the music industry.By building referral partnerships with local youth hubs,housing associations,mental health charities and other local se

322、rvices,they ensure that the programme is accessed by those needing it the most.Sound Check is a free-to-access live music industry training programme,which introduces young people to careers in the live music and events sector.Based in the venue,young people aged 16-25 with a passion for live music

323、take part in workshops and practical sessions introducing them to event management and technical production.Paired with weekly shadow shifts at real-life gigs taking place at Future Yard,young people gain hands-on experience in sound engineering,lighting,box office,artist liaison,event management an

324、d more.The programme has several strands:a 12-week Monday-night course for independent learners;an 18-week daytime traineeship for those facing additional barriers to employment,which includes teaching of functional skills and provides intensive support for young people.There is also a new 16-week s

325、kills bootcamp,which is an extension for learners who have completed one of the other Sound Check programmes and has a keener eye on employability(alongside more advanced learning,the skills bootcamp course provides work experience in other venues across the city region,and guarantees an interview u

326、pon completion).Case Study:Future Yard(Birkenhead,England)Place-and-future-making in a local music venue with a national and international worldview42Being embedded in the local areaFuture Yard is proudly based in Birkenhead and works with a range of local partners to ensure that young people are aw

327、are of the opportunities,as well as contributing to the general redevelopment of the local area,building confidence on all sides.They partner with housing associations,as well as local education providers and other arts and cultural organisations to target young people who can benefit most.This is s

328、ymbolised in the phrase The Future Is Birkenhead,which proudly adorns the front of the venue as well as merchandise,hashtags and the crew T-shirts worn by participants while on the course.Local campaigning has meant they have had a local night bus route reinstated since the pandemic,meaning the venu

329、e and its opportunities is accessible.This is all part of a strategic effort to get over the just outside issue they face in competition to the cultural and learning infrastructure over the river Mersey in Liverpool.For young people and local residents for whom the river is a symbolic(and material)b

330、arrier,it is important to have a confident cultural offer in the local area.The young people we spoke to were exceptionally proud of their association with the venue and the fact it is happening in their local area,particularly when the regional and national narrative is that music venues are strugg

331、ling to stay open.Skills development in an authentic settingAt the end of the Sound Check programme,Future Yard report improvements in participants social skills,resilience,confidence and wellbeing,with the majority migrating onto positive destinations-from college and apprenticeships to jobs with m

332、ajor cultural institutions including Liverpool Philharmonic and the Royal Opera House.The organisation is very proud that over 90%of Future Yards in-house production team,including sound and lighting engineers and event managers,have come through Sound Check,providing local people opportunities to f

333、lourish in creative careers in Birkenhead and beyond.Working with young people as whole individualsTaking a holistic approach to young peoples learning is core to the model of practice.Doing hands-on training means that young people can try things in applied settings,and be supported when everything doesnt go to plan,to learn and apply that learning in the future.Where a young person may experienc