THE EUROPEAN CULTURAL LEARNING NETWORK Research Tool-Kit for Partner Organisations

1. THE EUROPEAN CULTURAL LEARNING NETWORK Research Tool-Kit for Partner Organisations ECLN RESEARCH. UPDATE 26 MAY 2013

2. European Cultural Learning Network (ECLN)Research Project May-June 2013 Artists support their own learning and the learning of others by engaging in creative and cultural experiences.

3. European Cultural Learning Network (ECLN)Research Project May-June 2013 This type of learning we are calling ‘Cultural Learning’

4. European Cultural Learning Network (ECLN)Research Project May-June 2013 Cultural learning can occur with generalist, specialist or professional learners.

5. European Cultural Learning Network (ECLN)Research Project May-June 2013 Generalist learners use cultural and creative experiences to primarily learn about themselves, others and cultures.

6. European Cultural Learning Network (ECLN)Research Project May-June 2013 Specialist learners use cultural and creative experiences primarily to learn about artistic forms, practices and techniques.

7. European Cultural Learning Network (ECLN)Research Project May-June 2013 Professional learners use cultural and creative experiences primarily to learn about work in the cultural and creative industries.

8. European Cultural Learning Network (ECLN)Research Project May-June 2013 People can engage in cultural learning on their own, within groups or as part of a community.

9. European Cultural Learning Network Research Project • During May-July, 2013 cultural organisations in 10 countries will carry out some research about cultural learning. • These cultural organisations will invite artists and cultural organisations to participate in the research. • The published results of the research will be available from October 2013 on the ECLN web-site.

10. ECLN: LINKING OUR RESEARCH QUESTIONS TO THE 6 CHARTS • 1. What does Cultural Learning look like in a European context? • Where does Cultural Learning happen (context)? CHART 1 • Who engages in Cultural Learning? CHARTS 1/2 • What is the content of Cultural Learning? CHARTS 1/2 • How is cultural learning resourced? CHART 2 • How is Cultural Learning evaluated? CHART 2 • What pathways do people take into Cultural Learning? CHARTS 1/3 • How do people and organisations progress over time in the Cultural Learning field (patterns/routes/roots)? CHARTS 1/3 • What are the positive and negative forces in the cultural learning field? CHART 3 • What are the educational patterns among Cultural Learners and Learning Facilitators? CHART 3 • What are the recognition patterns among Cultural Learners and Cultural Learning Facilitators? CHART 3 • What is the underlying logic within the cultural learning sector for individuals and organisations involved in it? CHARTS 3/5 • 2. To what extent is there a need for a European Cultural Learning Association? CHART 4 • What potential roles/functions do Cultural learners and Cultural Learning Facilitators consider important for them and for others in the sector? CHART 4 • 3. How does terminology and concepts of Cultural Learning transfer across countries In Europe? CHART 6 • 4. What difference does the country context make to the cultural learning sector within the cultural and creative sector of that country? CHARTS 3/5

11. Research Participants • Each ECLN organisation will invite a maximum of: • 20 Artists/Freelance Creatives to complete Charts 1-4; • 5 of these participants, who support Cultural Learning, will also record their narratives about Chart 3; • These same 5 participants will also complete Chart 5a and then complete Chart 5b together in a facilitated group; • AND • 5 Directors or Senior Staff from Cultural Organisations, that support Cultural Learning, to complete Charts 1-4, record their narratives from Chart 3 and complete Charts 5a and 5b.

12. Research Participant Profiles • The Artists/Freelance Creatives need to be selected so that they have different art-forms representede.g. creative and performing arts; • The Artists/Freelance Creatives need to be selected so that they include a range of demographics e.g. • Young artists/freelancers (up to 25 years old); • Adult artists/freelancers (26-49); • Mature adult artists/freelancers (50-74); • Senior adult artists/freelancers (75+); • These Cultural Organisations need to be selected so that they have different art-forms represented. They should try to include organisations who work with various art-forms e.g. creative and performing arts;

13. Permission Forms • There is a research permission form for each research participant to sign. This form should be translated into the mother tongue of the participants • This form explains how the research will be used and how the data will be stored • Each research participant will need to sign a copy of the form in English/or the copy in their mother tongue AND the english version of the same document • Each research participant will given a code which represents the country code, the type of participant i.e. artist or cultural organisation and the participant number

14. Codes for ECLN Research • Country Codes from ISO 3166 will be used: • CY=Cyprus; HR=Croatia; EE=Estonia; GR=Greece; IT=Italy; NL=Netherlands; PL=Poland; ES=Spain; SI=Slovenia; GB=United Kingdom;Denmark=DK; • Artist/Freelancers= AF • Cultural Organisations=CO • AF participants 001-020 • CO participants 001-005 • For example UK artists will be represented as a series GBAF001-GBAF020 and Polish Cultural organisations will be represented PLCO001-PLCO005 • Each ECLN organisation should keep a record of the full contact details of each participant together with the participant code number allocated to that individual AND their completed permission form. These will need to be despatched with the charts.

15. The 7 Charts for the research • There are 7 Charts for the research • They need to be printed on A3 size paper • Charts 3 and 6 are double-sided • There is a picture of each Chart in the following slides with an explanation of how to use the Chart • On each Chart there is a space for the ECLN Cultural Organisation to write their name and the participant code number • Chart 6 is for the Partner Organisation to complete during discussions with the research participants and within their own organisation • Chart 7 (a+b) is for each Partner Organisation to insert the data of all research participants (a=individual artists/freelance creatives and b=representatives from cultural organisations) and to link each participant with the allocated code

16. RESEARCH TOOL-KIT CHART ONE: Mapping cultural learning ZONES

17. IMAGE OF RESEARCH TOOL-KIT CHART ONE Mapping Cultural Learning Zones

18. HOW TO USE CHART ONE • Chart One is concerned with placing yourself in 9 possible zones of Cultural Learning. • STEP ONE: In which of the 9 zones are you currently located? (See the next 9 slides to help you choose). Mark each of these with a ‘C’ in the first Location box and include the relevant Art-form code(s) in the box directly underneath it: using the key: Music, Theatre, Dance, Circus, Film, Visual Arts, Photography, Animation, Comedy, Sculpture, Design, Craft, Performance Art, Cuisine, Other • STEP TWO: In which of the 9 zones have you been historically located in any previous part of your life? Mark each of these zones with a ‘H’ in the second or middle Locationbox and include the Art-form code(s) in the box directly underneath it: using the same key: Music, Theatre, Dance, Circus, Film, Visual Arts, Photography, Animation, Comedy, Sculpture, Design, Craft, Performance Art, Cuisine, Other; Number all the ‘H’ locations in sequence from younger to older years leading up to your current location(s) e.g. H1 (aged 10), H2 (aged 15), H3 (aged 25) etc. • STEP THREE: If you support or help other people to develop their arts/cultural practices who are located in any of the 9 zones then you are supporting cultural learning. This covers the whole range from formal teaching in a classroom to informally meeting with other writers or artists to engage in peer support. This support can take place as a 1-1 session, in small groups or as part of a larger community. Mark any of the zones in which you provide support for cultural learning with a ‘SCL’ in the appropriate 3rdLocation box together with the Art-form supported directly underneath it using the same codes : Music, Theatre, Dance, Circus, Film, Visual Arts, Photography, Animation, Comedy, Sculpture, Design, Craft, Performance Art, Cuisine, Other • STEP FOUR: Now use the space on the back of the chart to present the ‘sequence of the zones’ in your own journey from your first cultural learning experience (H1) to the zone(s) in which you are currently located (C) giving the zone references as shown below : • Individual/Professional (IP); Individual/Specialist(IS): Individual/Generalist(IG); • Group/Professional (GP); Group/Specialist (GS); Group/Generalist (GG); • Community/Professional (CP); Community/Specialist (CS); Community Generalist (CG); • Include the art-form codes used in each zone in your sequence: • e.g. Historic 1=(IS)M—Historic 2=(GS)M—Historic 3=(IG)Ph—Current=(IP)M+(GG)Ph+(GG)Da.

19. How do you choose which zones you are in or have been in historically? • Generalist Learners primarily use cultural and creative experiences to learn about themselves, others and cultures. • Specialist Learners primarily use cultural and creative experiences to learn about artistic forms, practices and techniques. • Professional Learners primarily use cultural and creative experiences to learn about work and working in the cultural and creative industries. • 9 Cultural Learning Zones are explained in the next 9 slides and these give examples of who is located in each of the 9 Cultural Learning Zones. This may help you to locate your current zones and your historic zones. It may also help you to locate the zones in which you support others in their cultural learning. Don’t forget to add your art-form or art-forms in the grid in each zone.

20. European Cultural Learning NetworkResearch Project May-June 2013 • ‘Playing around with artistic materials or equipment’ • ‘First cultural artistic experiences as an individual’ • ‘Writing or creating on your own’ • EXPLORER • DISCOVERY • CREATOR • FUN ON YOUR OWN Artistic Type: Generalist Micro Level: Individual Objectives: Creative play, discovery and exploration through individual endeavour.

21. European Cultural Learning NetworkResearch Project May-June 2013 • ‘Group play with artistic materials or equipment’ • ‘Cultural artistic experiences as a participant in a group’ • ‘Creating with others’ • SHARING • MAKING TOGETHER • BEING PART OF SOMETHING • FUN IN A GROUP Artistic Type: Generalist Meso Level: Group Objectives: Participation in a social, learning or ad-hoc group using cultural and artistic activities.

22. European Cultural Learning NetworkResearch Project May-June 2013 • ‘Coming together to use artistic materials or equipment’ • ‘Cultural artistic experiences as a participant in a community’ • ‘Creating with diverse others’ • CONNECTING • EXPERIENCING DIVERSITY • USING DIFFERENCES • BUILDING SOMETHING TOGETHER • STRENGTH IN A COMMUNITY Artistic Type: Generalist Macro Level: Community Objectives: Participation in a community (physical or virtual) based on shared interests using cultural and artistic activities.

23. European Cultural Learning NetworkResearch Project May-June 2013 • ‘Commitment to become a specialist in artistic and cultural practices’ • ‘Deepening artistic and cultural experiences’ • ‘Becoming aware of your own strengths and limitations’ • IDENTITY • DEPTH OF EXPERIENCE • PROGRESS • MOTIVATION Artistic Type: Specialist Micro Level: Individual Objectives: Depth, breadth of cultural and artistic attitude, skills and knowledge through individual endeavour.

24. European Cultural Learning NetworkResearch Project May-June 2013 • ‘Team work with artistic materials or equipment’ • ‘Shared cultural and artistic experiences as a participant in a specialist group’ • ‘Contribute to the collective reputation of the group’ • VISION • DELIVERY/PERFORMANCE • BEING ACCOUNTABLE • GROUP IDENTITY Artistic Type: Specialist Meso Level: Group Objectives: Developing cultural and artistic collaborative attitudes, skills and knowledge through participating in a non-professional cultural and artistic ensemble or group context.

25. European Cultural Learning NetworkResearch Project May-June 2013 • ‘Coming together as a community of specialists’ • ‘Recognition and benefits as a participant in a specialist community’ • ‘Using the references, language and symbols of the community’ • RECOGNITION • INSIDER NETWORKS • SUPPORT OF/FOR COMMUNITY • STRONGER TOGETHER Artistic Type: Specialist Macro Level: Community Objectives: Recognition, association and networking through participation in a specialist community (physical or virtual) in a non-professional context.

26. European Cultural Learning NetworkResearch Project May-June 2013 • ‘Opportunity to become a professional in artistic and cultural practices’ • ‘Deepening understanding of professional practices through own professional experiences’ • ‘Becoming aware of your own strengths and limitations in relation to industry, audiences/markets and competition’ • PROFESSIONAL PERSONA • INDUSTRY INFRASTRUCTURE • CONTRACTUAL RELATIONSHIPS • PROFESSIONAL EXPERIENCE • CAREER • AUDIENCE/MARKET DEVELOPMENT Artistic Type: Professional Micro Level: Individual Objectives: Gaining and maintaining employment, freelancing, or setting up enterprise through individual endeavour.

27. European Cultural Learning NetworkResearch Project May-June 2013 • ‘Balancing professional objectives and team work with artistic vision, materials or equipment’ • ‘Contractual deliverables in the form of cultural and artistic experiences, products or services’ • ‘Impact on the collective professional reputation of the group’ • REALISM • RELIABILITY • GOALS/STRATEGY • RISK MANAGEMENT • STAKEHOLDER MANAGEMENT Artistic Type: Professional Meso Level: Group Objectives: Blending professional, cultural and artistic objectives with teamwork in an ensemble or group.

28. European Cultural Learning NetworkResearch Project May-June 2013 • ‘Coming together as a community of professionals to share knowledge, be critical and create opportunities for sustainability ’ • ‘Managing cooperation and competition (coopetition) within the professional community’ • ‘Advocating, promoting and supporting the professional community to external stakeholders and the public’ • SUPPORT OWN STATUS QUO • SUSTAINABILITY/SUCCESSION • LOBBY/ADVOCATE • LEVERAGE MAXIMUM POWER Artistic Type: Professional Macro Level: Community Objectives: Support professional cultural and artistic practices and contexts through a professional community (physical or virtual).

29. RESEARCH TOOL-KIT CHART TWO: SUPPORTING THE CULTURAL LEARNING OF OTHERS

30. IMAGE OF RESEARCH TOOL-KIT CHART TWO Supporting the Cultural Learning of Others

31. HOW TO USE CHART TWO • Chart Two is concerned with supporting the cultural learning of others. • Estimate the percentage of support in cultural learning that you do that is unpaid or voluntary; paid for by those supported; or paid for by others than those supported. If it is paid for by others give details of who pays and why? • How you have supported others in the last 5 years? Please ‘tick’ the appropriate boxes and then highlight what you consider to be the most important 5 skills and knowledge types for supporting cultural learning by putting a circle around 5 items in the list. • Which zones are people in that have been supported by you over the last 5 years? Tick these. • How do you or others evaluate the quality and usefulness of your support? Please tick the appropriate boxes and answer the short questions.

32. RESEARCH TOOL-KIT CHART THREE: your CULTURAL AND CREATIVE JOURNEY

33. IMAGE OF RESEARCH TOOL-KIT CHART THREE Your Cultural and Creative Journey: Influences, Experiences and Achievements

34. HOW TO USE CHART THREE • Chart Three is concerned with describing what you feel to be the key aspects of your Cultural and Creative journey or the journey of your organisation. • Tick the box to select whether you are describing your own individual journey or that of your organisation and add the calendar years in the brackets along the chart e.g. 2013 so that we can see the direction of your time-line. Then add • i) the important people and organisations that supported you or your organisation on the journey; • ii) the important people and organisations that blocked you or your organisation on the journey; • iii) the important spaces or places in the journey; • iv) the important pieces of work, artefacts or projects carried out; • v) the important achievements, types of recognition or awards gained on the journey; • vi) the important events that have impacted the creative journey; • If you have certain years that have a lot happening and other years with less then you can fill up the spaces in the chart using arrows linking the comments with the appropriate year and the appropriate coloured prompt line. • You may also be invited to tell us the story of your individual journey or that of your organisation, which will be recorded.

35. RESEARCH TOOL-KIT CHART FOUR: To what extent IS THERE A NEED FOR A EUROPEAN CULTURAL LEARNING ASSOCIATION?

36. IMAGE OF RESEARCH TOOL-KIT CHART FOUR To what extent is there a need for a European Cultural Learning Association?

37. HOW TO USE CHART FOUR • Chart Four is concerned with the need for a European Cultural Learning Association. • 6 of the 8 boxes presents a potential role for a European Cultural Learning Association. The 7th box asks you to suggest another potential role. The 8th box asks you to suggest ‘others’ that you think may find certain roles important. • If you consider that the role in a box is important to you then circle the ‘yes’. If not, circle the ‘no’. If you consider that the role is important to others then circle the ‘yes’. If not, circle the ‘no’. If you don’t have an opinion on whether it is important to others leave this blank. • There are 5 blank stars in 7 of the boxes. These stars enable you to rate this role as low to high priority as far as you are concerned. If it is very low priority - shade 1 star, low priority – shade 2 stars, medium priority –shade 3 stars, high priority – shade 4 stars and if it is very high priority - shade five stars. • In 6 of the 7 boxes there are some examples given. If you like a particular example then please tick it. If you don’t like a particular example then put a line through it. • If you have suggested a role in box 7, please give one or more examples. • If you have suggested that ‘others’ will find a role important, please name these ‘others’ in box 8.

38. RESEARCH TOOL-KIT CHART FIVE a) and b): Country context map and the cultural and creative sector

39. IMAGE OF RESEARCH TOOL-KIT CHART FIVE a) Country Context Map and the Cultural and Creative Sector

40. HOW TO USE CHART FIVE • Chart Five is in 2 parts a) and b) and is concerned with Cultural Learning in a particular country context. • CHART 5a) • Stage 1: The individual completes the top part of the chart by writing ‘trends’ or ‘patterns’ or ‘changes’ that they are aware of in the following boxes: • i)‘Social trends’ refers to changes in society or social structure, demographics etc. • ii)‘Government trends’ refers to changes in policy, legal or government etc. • iii)‘Economic trends’ refers to changes in the economy, employment prospects, unemployment rates, growth in gross domestic product or any other economic indicators etc. • iv)‘Technology trends’ refers to changes in use and application of technology to all aspects of life etc. • v)‘Environmental/Ethical trends’ refers to changes in attitudes, Non-Governmental Organisation campaigns, climate change and low carbon and renewable energy trends etc. • Stage 2: The individual completes the bottom part of the chart by writing ‘impacts’ that they are aware of in the following boxes. • i)‘Creative Businesses ’ refers to commercial enterprises working in design, architecture, film &TV, music etc. • ii)‘Cultural and Social Enterprises’ refers to not-for-profit or subsidised enterprises working in arts and culture etc. • iii)‘Artists and Creative Freelancers’ refers to individuals who are self-employed etc. • iv)‘Arts Audiences and Participants’ refers to people who attend, participate in or consume artistic events , activities and programmes etc. • v)‘Public Investors’ refers to governmental organisations that fund arts events, activities, programmes and artists etc. • vi) ‘Private Investors’ refers to private individuals or organisations that fund arts events, activities, programmes and artists etc. • Vii) ‘Cultural Learning’ refers to any kind of support that artists provide to enable others to learn using artistic and cultural practices • CHART 5b) • The individual joins a small group of 4 others supported by a group facilitator and a scribe. The facilitator reviews the individual charts presented by the 5 individuals and the scribe synthesizes the 5 contributions into 1 collective country context .

41. RESEARCH TOOL-KIT CHART SIX: Developing a European Cultural Learning Glossary

42. IMAGE OF RESEARCH TOOL-KIT CHART SIX Developing a European Cultural Learning Glossary

43. Chart 6 • This Chart is the beginning of a European Cultural Learning Network Visual Glossary. This captures the terminology and concepts of Cultural Learning and examines how these travel across different European countries. • Partner Organisations will complete this, adding to it by consulting with people in their own organisation and the research participants.

44. RESEARCH TOOL-KIT CHART SEVEN: Data collection of research participants

45. IMAGE OF RESEARCH TOOL-KIT CHART SEVEN A) Data Collection of Research Participants

46. IMAGE OF RESEARCH TOOL-KIT CHART SEVEN B) Data Collection of Research Participants

47. Chart 7 • Chart 7a is for each Partner Organisation to insert the data of all individual artists/freelance creativeswho are research participants and to link each participant with the allocated code. • Chart 7b is for each Partner Organisation to insert the data of all representatives from cultural organisations who are research participants and to link each participant with the allocated code. • Partner Organisations will complete these charts and store them securely both physically and electronically.

48. Research Data and Completed Charts: • All Charts are to be collected and safely stored and then scanned and up-loaded as a bulk upload to the VIA University College portal along with the Video footage from the 10 narratives related to Chart 3 (5 Freelancer/5 Organisations) and the video footage from Chart 5 (1 group discussion of freelancers and 1 group discussion of organisations) and all 25 data/code allocation sheets. • All Charts are to be colour-photocopied including double-sided Charts 3 and Chart 1 (participant sequence drawing) and all video footage needs to be saved toDVD and posted to Denise Stanley at Collage Arts.

49. Further Information and help with the research • You need to arrange a skype call with Denise approximately every 2 weeks to deal with any questions, issues and to help you progress with your research plans; • If you need any immediate support through the process then please contact Denise either by: • email: DeniseStanley360@googlemail.com • Phone/Text 00447906188843 • Skype:denise.harry.stanley