Museum Resilience Fund round two

Transcription

1 Museum Resilience Fund round two Organisation details For groups of organisations, one organisation will need to take the lead and have the main responsibility for managing the application and any grant. If you are the organisation taking the lead, you will be responsible for the grant and we will only make payments to your bank account. What is the name of your organisation? Carisbrooke Castle Museum Please give the alternative name for this organisation (if any). Please give any other name (this could be a legal or formal name) that your organisation uses. What is your full address? We will use this address if we need to write to you about your application. As you are applying as an organisation, this should be your main trading address. Please provide the full, correct postcode as we need it to process your application. Fill in as much of the address as you can and press 'Search'. Full postcode PO30 1XY Address name or number Street Locality Town / city County Non UK Address Carisbrooke Castle Museum Castle Hill Newport Which Arts Council region are you based in? South East Organisation's telephone number, including area code Please give any other contact details. Organisation's address info@carisbrookecastlemuseum.org.uk Website address Textphone Fax number Page 1

2 Please select the option that most closely describes your organisation: Museum or library Select one of the options below to describe your organisation s status: Trust or foundation Are you a registered charity? Yes What is your charity number? Are you VAT registered? No Accreditation Accredited museums Are you an Accredited museum? Yes Please enter your Accreditation number. You can find the list of Accredited museums and their Accreditation number here. 250 If you are an Accredited museum and the information we have about you is up-to-date, we will take into account in our assessment the knowledge and understanding we have of your organisation and information such as your governance documents and financial statements. Main contact details As you are applying as an organisation, give the following details for the main contact person: First name Middle name Last name Position Virgil Philpott Museum Manager Phone number, including area code Mobile number address Textphone Fax number manager@carisbrookecastlemuseum.org.uk If you or your main contact person requires written communication in alternative formats, please let us know your preference. No preference Page 2

3 Activity details Strand Which strand are you applying to? Museum resilience fund Activity title What is the name or working title of the activity you are applying to do? Cultural Strategy / Hidden Heroes No more than 50 characters Activity dates When will your activity start and end? Start date 01/10/2016 End date 31/03/2018 Amount requested Please tell us how much you are requesting each year: Please leave any years you are not applying for blank Year one 40,000 Year two 60,000 Total request 100,000 Partnerships Are you applying in partnership with other organisations? Yes Please provide details of the partners you are working with to deliver this activity, together with a brief description of their role for the activity. Page 3

4 Partners Name Address Role in this activity Accredited museum? Accreditation number Cowes Maritime c/o The Guildhall Council Heritage Department - Yes 1193 Museum High Street Newport PO30 1TY partner Classic Boat Museum The Gallery Columbine Road East Cowes Independent Charitable Trust - partner Yes 2250 Dimbola Museum & Gallery Dinosaur Isle Newport Roman Villa Quay Arts Centre Meeting our goals PO32 6AA Terrace Lane Freshwater Bay PO40 9QE Culver Parade Sandown PO36 8QA c/o The Guildhall High Street Newport PO30 1TY Sea Street Newport P030 5BW Independent Charitable Trust (Julia Margaret Yes 166 Cameron Trust) - partner Council Heritage Department - partner Council Heritage Department - partner Independent Charitable Trust (Steve Ross Foundation for the Arts) - partner Yes 2045 Yes 119 The Museum resilience fund aims to address the Arts Council's goals and priorities as set out in Great art and culture for everyone. No Please tick the goals that apply to your proposed activity. Excellence is thriving and celebrated in museums and libraries More people experience and are inspired by museums and libraries Museums and libraries are sustainable, resilient and innovative The leadership and workforce in museums and libraries are diverse and highly skilled Every child and young person has the opportunity to experience the richness of museums and libraries Page 4

5 Activity location Please tell us the geographical area(s) your activity covers. Activity is happening in one or more locations Location details 1. For activities happening in one location, enter the local authority where the activity will take place. 2. For activities taking place in more than one location e.g touring activity or loans of collections or exhibitions, enter the local authorities covered by your activity. You will need to add each local authority individually. Click 'Add location' to begin. Location details Local authority Income for your activity Amount you have applied for 100,000 You should only enter cash expenditure to this screen. Please enter any support in kind on the Support in kind screen. Income from other sources Income heading Description Expected or confirmed Amount Earned income Local authority funding Other public funding Heritage Lottery Transition Fund Expected 20,000 Private income Partner Cash Confirmed 5,000 Private income In Kind Support (see later) Confirmed 15,000 Income total 140,000 Please click on the button 'Add income line' to add an item of income to the budget. Page 5

6 Activity expenditure Please tell us your expenditure under the following headings: 1. Staff costs - use 'Other' on the form 2. Making your activity accessible - use 'Making your performance accessible' on the form 3. Marketing and developing audiences 4. Professional fees - use 'Other' on the form 5. Overheads 6. Assets 7. Contingency - use 'Other' on the form You should only enter cash expenditure to this screen. Please enter any support in kind on the Support in kind screen. Spending (expenditure) for your activity Expenditure heading Description Amount Artistic spending Making your performance accessible Community / Education / Digital engagement 25,000 Developing your organisation and people IW Cultural Strategy & Partnership setup 51,500 Marketing and developing audiences Tourist / Business engagement / Design & Print / 41,000 Hidden Heroes Activity etc Overheads Project management & financial administration 14,000 Assets - buildings, equipment, instruments and vehicles Other Project Evaluation & Contingency 8,500 If you are disabled or Deaf, additional access or support cost you need to manage the activity Expenditure total 140,000 Please click on the button 'Add spending line' to add an item of expenditure to the budget. Income total 125, Support in kind Support in kind Description Expected or confirmed? Amount Partnership In Kind Activity Confirmed 15,000 15,000 Please click on the 'Add support line' to add an item of Support in kind to the budget. Page 6

7 Proposal Please ensure you read the Guidance for applicants (Word or PDF) document for advice on how to complete your proposal. If appropriate to your application, you can emphasise some points more than others, and add further points of your own. You should be as concise as possible and provide no more than 3,000 words across the four sections listed below. Over the last two years it has become increasingly apparent that the s heritage / cultural sector faces acute dangers. The economic climate has given rise to a cycle of cuts, service reductions and redundancies. Without appropriate remodelling, it will not be long before whole collections, capacity and organisations are lost (see attached Statement of Needs ). There are however many strengths. The Island s cultural asset base is deep. There is a highly skilled workforce and the Island s geography and history makes for a strong marketable identity and a unique tourism offer. Ironically, the level of economic threat has engendered a shared sense of purpose amongst heritage / cultural organisations that might have been difficult to achieve in less critical times (see attached Context & Vision ). In early 2015, the failure of a collaborative ACE Resilience Fund bid from seven IW Museums prompted an extended period of strategic reflection from the partners involved. Extensive feedback was sought - and provided - from ACE Regional Managers for Museums and Combined Arts (Mary Godwin and Nick Green). The Isle of Wight Museums Forum, supported by the South East Museum Development Programme (SEMDP), agreed to focus upon a collective way forward. New museum partners and core IW arts organisations participated in the debate. As a shared vision began to emerge, Museum Development funded a research visit to the Cornwall Museums' Partnership in the Autumn of Ongoing dialogue with The Wessex Five, the Hampshire Cultural Trust and a number of independent heritage consultants helped to, further, contextualise planning. All told, well in excess of 1,500 man-hours were invested in the planning that underpins this application. The slow build up allowed political momentum to gather behind the collaborative concept and joint working has been, or is being, factored into all the individual applicants Forward Plans. It is widely recognised that, in the current financial climate, collaborative activity and willingness to embrace change represent the most likely route to survival and success. The s cultural sector has historically been fragmented and able to tick over off the back of the traditional tourist trade and individual funding applications. In the decade since its inception, the Museums Forum has evolved from a loose network for sharing discussion of museum-specific issues and initiatives, to a purposeful vehicle for practical partnership activity: such as shared training and joint marketing. At the heart of this application is a recognition that times have changed and a deeper model of collaboration is now required. The IW suffers from popular perceptions of being part of a wealthy South East. In reality, the Solent gives rise to a very different set of demographics. The Island s indices of deprivation are startlingly poor: as evidenced by its social, mental health and education statistics and a fragile economy - which includes, for example, the highest number of workless households in the South. The level of threat to the existing model of cultural provision is severe. If existing assets are lost, cultural access will be reduced. The cost of engaging with cultural activity off-island, driven by high ferry prices, represents a significant barrier to inclusion. Cultural assets form a key part of the local economy; in which in up to a third of jobs are dependent upon tourism. Within the Island s cultural sector at the moment there are many examples of excellent practice and engagement with diverse audiences (award winning elderly outreach in care homes, shared schools education service etc.). These are, however, not joined up. Collaboration across organisations offers an opportunity to replicate existing best practice and extend access and diversity throughout the community. This bid seeks to refashion the IW s cultural infrastructure so that it can meet local needs better and more sustainably. The method of delivery for the project would be to commission an independent review, focussing at the core on six partnered IW Accredited Museums and the Island s Arts Centre, and also considering up to twenty other heritage and arts organisations - representing key elements of the local cultural sector. The purpose of the brief is to identify a new, collaborative, fit-for-purpose, model capable of challenging - and changing - the sector s current direction of travel. Asset and strength reviews, analysis of the business environment, stakeholder consultation and audience market assessment are all key components of the work to be done. Page 7

8 Concurrently, the partners wish to celebrate the diversity of IW history and culture with a joint heritage / arts audience development project on the theme of Hidden Heroes of the promoting IW history and cultural diversity. As well as deepening audience engagement, Hidden Heroes will act as powerful advocacy to key political stakeholders. It will feed back into planning by allowing the emerging operational model to be road-tested : embedding organisational co-operation and trying out business / marketing ideas beyond the individual partners reach. Improving sector resilience is at the core of this bid. The aim is to bring diverse arts and heritage organisations together and, by doing so, to improve their reach, efficiency and inventiveness. There is a recognition that only shared research and combined action will allow the partners to maximise their market potential. The methodology of the bid has been designed to ensure that the end product is robust. The collaborative solutions recently adopted in Cornwall, Wessex and Hampshire are all tailored responses to unique local circumstances. The Island model will need to be similarly conceived. Mapping, consultation and benchmarking will provide the groundwork that will allow the new model to develop in the most appropriate and organic way. The objective being to create a resilient structure able to: Articulate the value of the IW s cultural assets and provide a vehicle for securing future inward investment. Facilitate the sharing of assets, skills and best practice. Maximise the use of scarce financial, human and environmental resources. Foster invention. Collectively increase participation in, and access to, heritage and culture. The Hidden Heroes project has been devised to be a particularly flexible (and cost effective) vehicle for deepening audience engagement. The branding will allow for the re-invention / re-interpretation of existing assets and provide opportunities for engagement with new and under-represented communities. The detailed content of 'Hidden Heroes' has, deliberately, been left unprescribed in order that the 'second phase' of the project might be informed by the research findings of the first phase. However, it is the partners intention that new ways of reaching and expanding audiences are employed. Examples of preliminary thinking have included a phone app marketed in conjunction with the local Destination Management Organisation ('Visit ') and tailored engagement events for tourist service providers, local philanthropists and local businesses. Monitoring and evaluation is programmed into the project s work plan and cash flow: it will be quantitative and qualitative, designed to indicate success and areas for further improvement. Before starting the project, partners will complete front end evaluation, sharing ideas and aspirations which will feed into the brief for the consultative stage. The steering group will discuss performance measures directly linked to the project s outcomes. Thereafter monitoring and evaluation will be on the agenda for all project steering group meetings. Information gathered will steer the work and progressive stages of the project. Mapping, consultation and feedback will continually link to the project s objectives: to investigate, articulate, share and economise. The consultants entrusted with phase one delivery will gather information which can be used to monitor the impact of the project. For example, using The Association of Independent Museum s (AIM's) 'Hallmarks of Prospering Museums framework to evaluate organisations current positions will enable a comparative assessment to be made at the end of the project. Partners will work closely with the consultants, developing skills in data collecting, evaluation and interpretation, ensuring measurement will continue post project. A standardised method for collecting audience data (AIM s 'Visitor Verdict' tool) will be introduced across the partners enabling both local and national benchmarking. The Hidden Heroes project will provide an audience diversification tool to target current non-users. Organisations that are potential new members of the collaborative group will be identified and brought on board as the project progresses. At the end of project a report and costed action plan will be produced, based upon measureable data from within the project s lifespan, setting out the way forward. This will be the starting point to build a long-term legacy and begin to build a remodelled IW cultural sector working on a collaborative, joined-up, basis. It has been acknowledged that the creation of this bid was been highly influenced by the journey of others and it is intended that there will be a similar openness in sharing the project s outcomes: Skills and information will be shared between partners and best practice will be embedded, within the Page 8

9 respective partner organisations. Sector research and strategic plans will be made available to cultural organisations across the Isle of Wight. Hard evidence of the value of the Island s cultural economy will be gathered together for the first time and used for advocacy purposes. Hidden Heroes of the will be available for wider community / tourist industry use. The project partners will use project research and audience development initiatives to deepen relations with Visit Isle of Wight to help create and frame future campaigns. The partners will continue to liaise and network with parallel collaborative initiatives such as the Cornwall Museums Partnership and The Wessex Five Project. Meanwhile, off-island, networks will be added to. For example, a pre-project invitation from the Creative Technologies Department at the University of Portsmouth to explore the possibilities of new technologies in audience development, will be followed up. A case study (of heritage / arts collaboration) will be provided to the South East Museum Development Web site and partners will offer their time to provide presentations about the project at regional share events. The seven partners behind this application have an annual turnover (excluding project funding) of approaching 1million. Six of the partners are Accredited Museums (three being Local Authority run). The final partner, the Quay Arts Centre, was, for many years, a core-funded ACE partner organisation. As a consequence the partnership can point to a long established track record of financial competency and successful project management. It is proposed that lead partner, Carisbrooke Castle Museum, will manage the financial activity: producing management figures and oversee procurement in line with funding guidelines. An allowance has been made within the budget for an administrative contribution towards this end. Financial reporting to the partnership management group is scheduled to take place every two months in addition to end of year evaluation / reviews. Because of the phased / action research project structure, it has not been possible, when budgeting, to specify detailed Strategy Delivery and Audience Development activity. The second phase activity is consciously designed to be informed by the findings of the initial research and consultation phase. However, long experience of operating within the sector and delivering discrete projects (see attached 'Partner Profiles') has allowed realistic working budget projections to be made. To support robust and up-to-date costings for the significant consultancy element in the research and consultation phase, in late 2015, ten consultants, recommended by SEMDP with experience of delivering similar projects, were asked to submit outline cost estimates for the work. Black Radley, Paddy McNulty Associates, Perfect Moment and Malcom Connor & Co responded - and their combined replies provided the basis of the figures used in the final budget. The shortfall between expenditure and ACE Resilience Funding is made up of partner contributions (both cash and in kind) and funding from other sources. An initial approach has been made to the Heritage Lottery Fund s Transition Fund (intended by HLF to be re-launched as a Resilience funding stream in Summer 2016) and has been deemed to be suitable, in principle, for funding. The work plan allows for a formal HLF application to be submitted before the project commences. Three of the bid partners are currently participating in the HLF-funded and SEMDP-supported Catalyst - Inspiring a Culture of Philanthropy project hosted by Hampshire Cultural Trust and are confident that the collaborative and aspirational nature of this project ticks all the boxes for private fundraising. Some informal approaches have been made to Island based Trusts (most notably The Daisie Rich Trust - which has provided grants to partners previously) with encouraging responses. There is also some potential for additional cash contributions from partners, should matched funding fall short. Given that the whole raison d etre of this project is to find ways of remodelling the sector so as to make it more resilient, the long term financial impact is likely to be significant, through driving down costs through shared resources, energising the offering through shared best practice and increasing income streams by providing a fit-for-purpose vehicle for inward investment. A Partnership Agreement will be drawn up between the seven core project partner organisations. Partner Management meetings, with a member from each organisation, will succeed the initial steering group and be held every two months, monitoring the work plan, overseeing appointments and financial decisions. The Partner Management group will have direct line management responsibility for those who are contributing to the project on a daily basis. The applicants have extensive experience of managing a range of projects; many of which have included Page 9

10 collaborative elements. Over the past 10 years, those closest involved in framing this bid have been in receipt of in excess of 4 million in grant money (see attached 'Partner Profiles'). Workforce development across the sector using grant-funding has been demonstrated through shared work on access audits, software training and strategic and emergency planning. Six monthly reports will be disseminated to Boards of Trustees / Management Committees of the participating organisations through the attendance of the individual nominated by each body. As lead body for the application, Carisbrooke Castle Museum would be assigned an additional, Trustee level, representative on the Partner Management Committee to reflect the role that they were undertaking within the project. Within the local authority, the report will be made to the Cabinet member for the heritage service. The following key risk factors and associated mitigation have been identified: Failure / Withdrawal of Partner Organisation. The broad spectrum of partners lessens the risk. The project can withstand the loss of an individual participant(s). The lead partner is financially strong and has eighteen months closedown reserves. A contingency leading partner will be identified in the unlikely case of the withdrawal of the lead partner. Failure of Partners to Deliver. The Boards of all core partners have made a formal commitment to the project. The high level of pre-project planning has helped achieved necessary organisational buy in and defined project expectations. Indeed, one long-term prospective partner transferred from core partner to consultative stakeholder status when it became clear that they would struggle to meet project requirements. The creation of a formal partnership agreement will further clarify roles and responsibilities. Departure of Key Individual. Pre-project research and application drafting has all been a collaborative exercise. The setup of a formal partnership management committee group and the sharing of documentation has, and will continue to, spread knowledge across the group. Failure of Fundraising. The broad spread of partners widens fundraising opportunities, spreads the fundraising workload, and helps enables underwriting in the event of the failure of any of the applications. Additionally, pre application soundings have been taken from prospective funders and the project benefits from additional fundraising support through the 'Catalyst - Inspiring a Culture of Philanthropy' project. Failure of Budgeting. Outline quotations have already been obtained for key items of expenditure (consultants). A contingency has been allowed and partners have extensive experience of delivering projects to budget. Failure of Sub Contractors. Clear contracting and phased, monthly scheduling of payments will minimise the financial risk. It is anticipated that the sustainability of partnered organisations will increase through the implementation of the recommendations of the report. A new business model will emerge providing guidance and vision for the heritage and cultural sectors of the. Advocacy for the sector on the Island will be enhanced by information provided on the value of the cultural sector, growing confidence among members as they offer credible evidence to inform their case for the key role that heritage and culture plays in securing the financial health of the Island. Collaborative working through this project will develop the diversity of workforce skills in the sector, particularly in areas such as leadership, and celebrating and uniting with the wider cultural sector. This bid is a critical first step in a process that is designed to transform the position of the heritage and cultural sector on the Island. The anticipated learning outcomes of the bid will inform decisions as to the best business model to adopt, and the most effective next steps in terms of governance, marketing, audience development and partnership working. Analysing the evidence that is collected, the partners will produce an action plan to meet their agreed objectives. This will become part of an iterative process, on the path towards a more sustainable model. The raw materials for compelling advocacy for the role of culture in the Island s economic and social wellbeing will be used as a means to lever in funding from a whole variety of sources in the heritage, tourism and business communities. At the same time the developing model will play a role in building community identity, supporting health, education, and democratic accountability, as well as improving access to unique and diverse collections. Page 10

11 Attachments Mandatory documents Did you receive an invitation to apply following your submission of an Expression of Interest to this fund? Yes Please attach your invitation to apply . Invitation to apply.jpg Please attach the following documents: A cash flow for your activity Cash flow.xls A work plan for your proposed project, including milestones and key review dates Work plan.xls Mandatory documents for non-national portfolio organisations only Are you applying as a National portfolio organisation? No Please provide the following concise information: Financial statements for your previous financial year, prepared to the relevant legal standard for an organisation of your size and status Financial statements.xls Your latest management accounts Management accounts.xls Your governance documents Governance documents.pdf Partnerships Please attach evidence of your partnerships here. A list of all partner organisations in your consortium, to include organisation names, address information and contact details for a main contact person Partnerships.xlsx If you need to attach additional partnership documents, please use the section below. Page 11

12 Additional information You may provide further concise supporting documents if they are essential to the understanding of your application. These supporting documents should be clearly referenced within the main text. You should also use this section to upload additional partnership evidence, if necessary. Attachments and links Description Link to open / download File Size (MB) Context & Vision Context & Vision.docx 0.0 Partner Profiles Partner Profiles.doc 0.5 Statement of Need Statement of Need.docx 0.3 Total 0.8 Page 12

13 Declaration Declaration Governance Please tick this box to confirm that your application is supported by your governing body Data protection and freedom of information As a public organisation we follow the Data Protection Act 1998 and the Freedom of Information Act We have a data protection policy, which is available from our website at You must read the guidance on Freedom of Information before you sign your application By signing this application form, you agree to the following: 1. We will use this application form and the other information you give us, including any personal information, for the following purposes. 1. To decide whether to provide your organisation with funding. 2. To provide copies to other individuals or organisations who are helping us assess and monitor funding, including local authorities, other lottery distributors and organisations that provide funding. After we reach a decision, we may also tell them the outcome of your application and, if appropriate, why we did not offer your organisation funding. 3. To hold in our database and use for statistical purposes. 4. If we offer funding to your organisation, we will publish information about your organisation relating to the activity we have funded, including the amount of the funding and the activity it was for. This information may appear in our press releases, in our print and online publications, and in the publications or websites of the Department for Culture, Media and Sport (DCMS) and any partner organisations who have funded the activity with us. 5. If we offer funding to your organisation, your organisation will support our work to campaign for great art and culture, contributing (when asked) to important publicity activities during the period we provide funding for. You will also give us, when asked, case studies, images and audio-visual materials that we can use to celebrate artistic and cultural excellence. I confirm that the organisation named on this application has given me the authority to sign this application on its behalf. I confirm that the activity in the application falls within the powers of the organisation's constitution or memorandum and articles of association (the legal document setting out the rules governing the organisation). I confirm that, as far as I know, the information in this application is true and correct. Do you agree with the above statements? Yes Name VIRGIL PHILPOTT Page 13

14 2. You have read and understood the guidance on Freedom of Information. 3. You agree that we can keep you informed of our work and pass your contact details to organisers of arts marketing activities, conferences and training events. Tick this box if you do not want us to keep you informed of our work. Tick this box if you do not want us to pass your contact details to organisers of arts marketing activities, conferences and training events. Page 14