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Appleby

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Barrow

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Spinning Yarns Programme Evaluation

Roadhead

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Longtown

Egremont

compiled by Margaret Riches

September 2011

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Lloyds TSB Foundation for England and Wales have provided the majority of the funding required to produce this report

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CONTENTS


1	INTRODUCTION
	1.1	Background information		2
	1.2	The evaluation		3
	1.3	The findings		6
	1.4	Conclusion		8
	1.5	Appendices		8

2	THE FINDINGS
	2.1	The sample profile		9
	2.2	Strengths		12
	2.3	Weaknesses		29
	2.4	Opportunities		41
	2.5	Threats		49
	2.6	Personal stories		58

3	CONCLUSION
	3.1	Key findings		65
	3.2	Recommendations		68

4	APPENDICES
	Appendix 1		Questionnaires	73
	Appendix 2		Examples of participants' comments from evaluations: Autumn & Spring Terms 2010-2011	100
	Appendix 3		Examples of artists’ comments from evaluations: Autumn and Spring Terms 2010-2011	103
	Appendix 4		Initial proposal for the future development of Spinning Yarns	105
	Appendix 5		Wider Contexts	110

5	ACKNOWLEDGEMENTS			127

1 INTRODUCTION

1.1 Background information

The idea for the Spinning Yarns project came about after Prism Arts worked with Age Concern in Carlisle on a dance project. Prism Arts was also inspired by an inter-generational project in Barrow which Barrow Age Concern had organised with local schools. Through taster days that Prism Arts offered the local community, a need for accessible arts activities for older people throughout Cumbria was identified. One activity, reminiscing, was called Spinning Yarns, as in telling a tale. So the idea for this project was born.

Since 2004, Spinning Yarns has provided arts workshops for people aged 55 and over throughout Cumbria in Appleby, Barrow, Brampton, Carlisle, Cockermouth, Egremont, Longtown, Penrith, Roadhead & Wigton.

They have included: card & gift box making; mosaics; marbling; quilling; felt & patchwork quilt making; jewellery making; weaving; spinning; crochet; paper maché; paper making; calligraphy; Chinese calligraphy; flower arrangements; drawing with pastels; painting with watercolours; glass painting; painting on china; making stained glass; sculpture; clay work & pottery; photographic restoration & reminiscence; digital photography, computer graphics; poetry; dance & theatre; making music and having a ‘sing-along’. The programmes have largely been developed in response to the participants’ interests and, therefore, have varied from place to place.

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Art produced by the Roadhead Group

1.2 The evaluation

Since the project commenced participants have been invited to provide feedback on a regular basis. While numbers have increased or decreased in particular areas due to local circumstances, the total number of workshops taking place across Cumbria and the overall participant attendance has remained fairly consistent over the last three years:

Table 1: Total participant attendance 2008-2011
Academic year	Number of workshops	Attendance
08-09	127 + exhibition	1324+ 97 = 1331
09-10	133	1350
10-11	136	1286

These figures seem to indicate that the use of interim evaluations which have provided information to shape programme provision, has been successful in providing workshops that have maintained the interest and commitment of the participants.

The current sources of funding are coming to an end and the next phase is being considered. The ‘end of project evaluation’ has been designed to collect the views of a wider range of people who have had an association with the project or may have an interest in its future development. These have included:

a cross-section of participants including both those who are currently involved and those who have been involved in the past
the artists who have worked on the programme during the last three years
key stakeholders who have provided funding for the programme in the past, worked as delivery partners for some recent pilot initiatives and those who may consider supporting/ collaborating with Prism Arts on future developments.
the Prism Arts Team who have been involved in the development and administration of the programme

1.2.1 The purpose

The purpose of this evaluation was to provide:

evidence of the longer term impact of its provision on people’s individual lives
information which will inform the design and development of the next phase.

In particular the evaluation methodology was designed to elicit information which would provide indications of the Social Return on Investment (SROI) by:

i) involving feedback from different stakeholders, as indicated above.

ii) including questions on the questionnaires and in the informal interviews/discussions which asked people to consider the ways in which the Spinning Yarns Programme had made a difference to them (Appendix 1: Participant Questionnaire B.6; Artist Questionnaire B.4, B.5 & B.6)

It was hoped that respondents would be able to provide quantifiable evidence, such as a reduction in the number of times that they had visited their GP/admitted to hospital or the number of new friends that they had made. If this type of evidence had been forthcoming then it would have been possible to quantify the social value by using financial proxies. Unfortunately participants felt unable to provide these indicators. The reasons that were given included:

the length of time that they had been involved with Spinning Yarns, meant that they could not remember what their situation was like prior to joining
changes which had been gradual and difficult to pinpoint with accuracy.

iii) including questions about other activities with which they had been involved that might have provided similar benefits (Appendix 1: Participant Questionnaire B.7; Artist Questionnaire B.7). This was to avoid Prism Arts ‘over-claiming’ the programme’s impact.

Generally however, the respondents found difficulty in recognising that the question was different from the previous one, relating to Prism Arts Programme and understanding the significance of the information that they were providing. While this data has not, therefore, been useful for the quantifiable purpose it was intended, it has however, provided insight into the other activities that are available and popular with this age group.

If participants of future Prism Arts Programmes are aware, from the beginning of their involvement, that the SROI framework will be integral to the formative evaluation process, they are more likely to be willing and able to track the changes in their lives and provide feedback on the extent to which the Prism Arts project has contributed to these developments.

1.2.2 The methodology

Participants were invited to provide feedback from the areas in which the project has been most recently running: Appleby, Barrow, Egremont , Longtown, and Roadhead. Information was gathered from questionnaires (Appendix 1), informal discussions, email correspondence, telephone conversations and ‘face to face’ meetings. Questionnaires were completed as follows:

Table 2: Numbers of questionnaires completed
Participants	Numbers
Egremont	7
Longtown	18
Appleby	7
Barrow	12
Roadhead	7
Previous Participants	33
Sub-total	84
Artists	9
Stakeholders	6
TOTAL	99

The views of stakeholders were provided by:

Funders- past and possibly future:

Lankelly Chase
Esmee Fairburn
Lloyds TSB

Representatives of:

Stroke Partnership Project
Stroke Association
Tullie House: Stroke Group and Museum

Age UK

Care Sector Alliance

Cumbria County Council:

Adult and Social Care
Adult Services for Older People
Cumbria Learning Disability Partnership Board

Carlisle City Council: former Arts Development Officer

NHS:

GP Surgery Manager
Cumbria Public Health Network Manager

A meeting of the Prism Arts Team was held to identify:

the ways in which the project could be considered successful
areas for improvement/ development
possible ways forward in the future.

The suggestions for future developments which were discussed at the Prism Arts Team meeting have been included in this report to show how closely or otherwise they mirror the views expressed by the participants, artists and stakeholders.

1.3 The findings

1.3.1 Presentation of data

The following categories have been used to provide a framework in which to present the findings from the analysis of the data: Strengths; Weaknesses; Opportunities; Threats (this is often referred to as a ‘SWOT analysis reporting framework’).

For the purpose of this report these categories have been used as a means to indicate the following:

Strengths: the participants and stakeholders’ views of the value of the project
Weaknesses: aspects of the project which would benefit from being further developed or revised in the future.
Opportunities: opportunities for change and development which are apparent from the stakeholder feedback and developments in the wider context in which the project is delivered.
Threats: the external and internal factors which are likely to continue to provide challenges for the viability of future phases of the Spinning Yarns programme.

1.3.2 Coding the evidence

Graphs have been used to provide a graphical indication of the overall trends in most of the sections. Comments by participants and artists have been used to substantiate this statistical evidence. These have been presented in coloured ‘speech bubbles’:

BLUE:

comments by male participants

PINK:

comments by female participants

PURPLE:

comments by stakeholders

GOLD:

comments by artists

The identity of individuals has been protected by providing coded references as follows:

Table 3: Coded references
Group	Group initial + individual respondent number
Egremont	E 1-7
Longtown	L 1-18
Appleby	A 1-7
Barrow	B 1-12
Roadhead	R 1-7
Previous Participants	P 1-33
Artists	AR 1-9
Participants who were new to the programme i.e. the first course of workshops attended	N
Participants who were had recently to the programme i.e. participated for one year or less	R
Gender: male / female participants and artists	F / M

Where comments have been derived from taped transcripts of group discussions, and it was difficult to reliably attribute comments to specific individuals, only the source of the group has been indicated.

1.3.3 Case studies

Evidence from the questionnaires, group discussions and conversations with individuals has been amalgamated to provide some short ‘case histories’ which provide anecdotal, personal accounts’ of the ways in which the Spinning Yarns programme has provided support to individuals. These are included in the section ‘Personal Stories’ towards the end of this report.

1.4 Conclusion

This section:

summarises the key findings

recommends some short and medium term action points for the development of the future programme

1.5 Appendices

Additional information is provided in the Appendices. For example, Appendix 5: Wider Contexts, provides information which may inform Prism Arts plans for subsequent phases of the Spinning Yarns Programme:

a) arts organisations elsewhere in the UK which have experience of providing programmes for older people

b) The outcomes of a Quilting Project which has been researched by Glasgow University

c) Information from the Saga and the Centre for Economics and Business Research Report about the over 50s.

2 THE FINDINGS

2.1 The sample profile

The following statistical data provides further information about the profile of the sample. Where the figures do not differentiate between participants i.e. those attending workshops and the artists, who led the sessions, they are both included:

2.1.1 County of residence

Cumbria: 83%
Dumfries and Galloway: 16%
Unknown: 1%

2.1.2 Gender

Participants: 6% male 94% female
Artists: 11% male 89% female

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The Appleby Group working with ceramics

2.1.3 Ethnicity

99% White
1% British Asian

2.1.4 Age range

2.1.5 Employment status

Artists: 100% self employed

2.1.6 Health issues of participants

2.2 Strengths: aspects of the programme that have been valued by the participants and the stakeholders

2.2.1 The programme has provided learning and social opportunities which the ‘over 55s’ and the artists wanted

a) The participants

When participants were asked to say why they joined Spinning Yarns their responses could be grouped in the following categories:

36% of the participants already had an interest in the arts and wanted to learn more about it. They were, therefore, keen to respond to the opportunity when they heard about it:

I had an interest in watercolours. L15M

I had done an access course in art at a local college and wanted to continue my art locally with good teachers. L14F

I have always wanted to do watercolours and other arts. L4F

It sounded interesting. PF14

I wanted to get back to art. PF15

I was impressed by the user description. L1M

34% originally joined because they wanted an opportunity to be with other people, e.g.

It was recommended by friends. PF28

...because my mam was going to go. B1F

I needed non-threatening social contact. B8FN

I wanted to make new friends. L16MN

...to enable me get out of the home. L5F

I wanted to spend creative time with other like minded people. E6FN

30% wanted to develop new skills or a new hobby, often because they had more time available since their retirement, or changes in their circumstances following the loss of a partner or ill health, e.g.

I wanted to learn a new hobby. L16MN

... to try something to do in my new found spare time in semi-retirement. B7FN

Respondents were asked to indicate from a number of listed options (Appendix 1, Participant Questionnaire B.4) what they wanted to gain from the 2010-2011 courses:

learn new skills
make new friends
enjoy a recreational activity
develop self confidence
develop new interests/hobbies
extend my experience of existing skills /interests

The opportunity to ‘enjoy a recreational activity’ and ‘make new friends’ were included most frequently across the sample:

However, when the respondents were asked to identify the most important expectation, then ‘learning a new skill’ greatly outweighed the other expectations:

It is possible that while the socialising opportunities continue to be important, once their friendship circle within the group becomes established, then the excitement of ‘learning new skills’ within the field of the arts & crafts becomes more important. This seemed to be evident from the feedback of the Roadhead Group.

Roadhead is an isolated, widely dispersed, rural community. Participants highly valued the social linking which the regular workshops offered but, as their group became established and their confidence grew, they increasingly wanted to try new things and embark on more ambitious projects:

Coming up here as a single person, knowing absolutely nobody, the first two years were a huge desert for me...the friendly environment helped me when I first came here. R7F

When we talk about the value of making new friends, what is equally more important having a group like this, is that you actually cement friendships and find that you have got more common interests or you’re open to other possibilities because of the people you are mixing with. R6F

If you haven’t had a workshop for a few weeks, you think ‘golly I do feel cheesed off. You do things but it is the positive action of getting out there, doing something with people, chatting, making something so that you’ve got something to take home to show people’. FRHG

It helps us to keep going. It is very obvious when we talk to one another that we don’t exactly rely on it, but it inspires us to create things. That is what is so enjoyable - particularly when the weather is so bad and we can’t be as active as we would. To come to a meeting of any kind helps you to get out of the house...if we miss it for a couple of weeks we start to ‘sink’. FRHG

There is something very beautiful about living in isolation and being pushed to your own self sufficiency. That makes a place like this very attractive, but you can’t just have that. You need other things... other things feeding into your own life’. AR1F

Now people want to do ambitious things. We had someone who came to teach us patchwork and she suggested that we do a small sampler , but I wanted to make a double bedspread! FRHG

For woodcarving sessions I decided that I wanted to make a three piece suite for the garden and it’s now in situ! It’s even on the artists’ website so the whole world knows about it. FRHG

b) The artists

Generally the artists have welcomed the opportunity to extend their professional practice:

Because of age group. AR2F

It was an opportunity to teach again after 11 years of retirement on health grounds. AR1F

I get a buzz from sharing my skills and techniques with others and watching their confidence grow as they enjoy the results of their endeavours. AR3F

I like working with people of all ages and teaching them how to weave. AR7F

I love meeting new people and introducing them to the art of painting on china. AR4F

It seemed like good experience as I’ve never worked with the age group before. AR8F

I like the way that SY works, integrating the programme intergenerationally with youngsters learning from older people in a creative and informal surrounding. AR9F

For others it offered a further opportunity to ‘enjoy their work’:

I have loved working with SY, one of my favourite projects, as it is enjoyed by everyone so much. AR6F

2.2.2 Spinning Yarns has made a difference to people’s lives

a) The participants’ perspectives

Participants across all the groups identified from a list of options (Appendix 1, Participant Questionnaire, B.6) the ways in which Spinning Yarns had made a difference to their lives by helping them to:

learn new skills
make new friends
raise their self esteem
improve their health
improve their sense of well being
develop their confidence

They were asked to score their responses:

0: not at all 1: a little 2: A lot

The scores for each attribute were added and the percentage of the total scores from across the sample were apportioned to each option.

‘Learning new skills’ and ‘Making new friends’ were equally valued at 21% of the total.

The comparative breakdown of the scores against each attribute is shown in the following table which indicates that participants generally considered that the Spinning Yarns programme had helped them a lot rather than a little in all areas.

Their comments included:

About learning new skills:

You realise that you can do it and learn anything and become good at it. PM16

It helps me to keep my concentration on new subjects. PF19

I’ve made things I couldn’t have done without the tutors and materials. R3F

I have been able to make new friends and develop/ improve my skills by trying out different media. L5F

I’ve done watercolours before, but I have gained more confidence. L4F

I have tried several different skills. It enables you to get started on something that you have always wanted do, but not sure where to start or how. L12FR

It has encouraged me to go back to art things again. As the kids have grown I have started knitting again and I would like to expand what I do. E2F

I enjoy the regular art activity – enjoying some activities which I would not otherwise attempt. A5F

It fulfils the creativity in me. It is wonderful to express it through painting and I am looking forward to trying other creative activities. L14F

About making new friends and the value of social interaction:

Making friends: a huge need when you finish the business of working and suddenly have nothing - especially when you live alone. L12FR

I have been able to meet like minded people who are friendly. L5F

I have made quite a few new friends - this is important to me because I live alone. B12F

Being recently widowed has led to loneliness, but I have made new friends at the group. R2F

I have met some really nice people who I enjoy meeting outside SY. L1M

You get out and meet different friends. You wouldn’t go out if you didn’t meet people. B4F

I have made quite a few friends, I had a day out recently with two new friends- we went to the circus - I have never been to one before. We thoroughly enjoyed ourselves. I often laugh at the things we did. B3F

Making friends has been important because of being at a low ebb following a stressful work life and the end of a meaningful job. P32F

Feeling part of the community again. R2F

I look forward to coming out on Fridays and forgetting about the daily routine. L4F

Making new friends with common interests and gathering together a scattered rural community. R1F

The programme seemed to be particularly helpful in raising self esteem for those who were no longer working or had family responsibilities because it restored a ‘sense of purpose’ or ‘structure’ to their lives. Others discovered that they had aptitudes of which they were unaware and were surprised by their ‘success’:

I found I had hidden talents. R7F

I had some success which was recognised. P22F

Since retirement: finding a purpose. L10FR

Achieving new skills makes me feel good about myself. L14F

People I admire like my paintings. L7FR

As skills and results have increased, so has my self-image. L1M

Because my family and friends love the things I make for them. B11F

Not just a housewife, but someone with a gift. P26F

The support and affirmation which people experienced from their group, as well as their sense of achievement from the things that they created, seemed to boost their confidence:

I realise I am accepted by others and appreciated. My qualities seem recognised. L1M

I found I could excel in something. P26F

I feel more outgoing in my attitude. A5F

I am able to chat more freely as I get to know other people. L14F

I am more confident about trying new skills and meeting new people. L10F

My confidence is increased by being able to mix with others and be creative, which I enjoy. L5F

The combination of the creative and social achievement led to an ‘ improved sense of well being’:

I feel I am achieving something when I am creative. L5F

I am happier with [my]self. L1M

It is making me assess my outlook, talking with other people. L9F

I have something to look forward to that is relaxing. L11FR

It affirmed me. P26F

Relating to others and getting a better sense of myself as I create. L14F

The social and manual skills all help health. A6F

By completing projects I feel I have achieved things I would not have done without the group encouraging me along the way. R2F

It takes your stress away. PM16

Most of the group indicated that they did not have any health issues (Table 4), although it is possible that age related conditions such as deafness or poor sight were not considered sufficiently serious to mention. For those who had health problems, the Spinning Yarns programme helped by providing:

a distraction from their pain or anxiety about their condition
positive experiences which relieved the feelings of depression / ‘feeling low’
motivation to socialise and overcome the challenges that their health problems caused.

Participants were, however, unable to specify the extent to which the improvement in their health had led to a reduction in the medical attention they required. Only one, a sufferer from ME and fibromyalgia, indicated that this was a possibility:

I have tried different things and I am seeing my doctor less. E7F

It is very therapeutic and relaxing. L18F

For others, the effect was more generalised and often associated with an enhanced sense of ‘well being’:

If I feel fed up the thought of a...session uplifts me. R3F

I am happier generally. L1M

This has helped me because I have something to aim for and it lifts my mood. L5F

It helps socially to be out and about and good mentally. L14F

It stimulates thinking. PM16

It helped me at a time when I was feeling low. P27F

It stopped me worrying about things by getting involved. P26F

The views of these participants were also corroborated by the comments made in the 2010-2011 evaluations which were collected from a wider range of groups during the year. These are available for reference in Appendix 2.

b) The artists’ perspectives

All the artists indicated that involvement with the Spinning Yarns programme had helped them a lot by providing different opportunities, such as:

I hadn't worked before with such a diverse range of interesting people. All of the ladies in the group found some form of weaving which appealed to them but not all forms of weaving appealed to all of them. It was a challenge to come up with a sufficient number of interesting projects to keep everyone happy and involved. The oldest person in the group got on well with inkle loom weaving, the least experience (and possibly shyest) person in the group came up with her own ideas, everyone made something and it was a surprise to us all just how much was achieved over 7 short weeks. A very satisfying experience for me and I think for most of the participants. AR7F

working with a different client group and meeting their diverse needs

SY has given me the opportunity to work with a mixed ability group who are keen to learn new skills and always happy to 'have a go'. AR3F

This has been my first opportunity to work on a programme which included facilitating older people to work directly with a group of youngsters from a school. The experience was very valuable to me as I had a large group with several stages of the project to manage simultaneously.

The workshops were attended by a lovely mix of people, a couple of teachers, some people with little creative experience and others who were quite used to craftwork. The participants brought recyclables and found objects for themselves and to exchange, there was a good feeling of camaraderie amongst the group. AR9F

The main thing I have gained from SY was working with a new client group. I have never worked with 55+ before . This has also boosted my confidence and I now feel able to approach new challenges armed with the experience I’ve gained. AR8F

developing their artistic abilities

It re-awakened the joy and challenge of working in glass for me personally and during the last 5 years I have completed several commissions of original work and a major repair to a panel of leaded glass. AR1F

It has led me to develop my own artistic abilities and work and encourage other people. AR2F

I have worked with a new client group and learnt to tailor my approach to them. I have gained valuable experience of working with different people, which in turn has increased my own confidence, which in turn rubs off on people I come across in the workshops. It has given me the confidence to go looking for more work with adult groups as I enjoy it so much. AR6F

It took a few sessions with SY to realise that students who come to classes on a voluntary basis needed to be approached differently. Older students who have had little or no creative opportunities are cautious in their approach when learning new skills with unfamiliar materials. they require a greater guarantee of a successful outcome than younger students. Their assessment of their own abilities tends to be low and needs much more support to enable them to believe that they 'can do it'. AR1F

The ability to work with a large intergenerational group, to instil into the programme the essential need to encourage social interaction and co-operation. I have more of an understanding of dealing with different skill levels and ensuring clients are always kept engaged with the project. I have gained confidence in being able to stretch and challenge people, whilst supporting them. The satisfaction of clients being surprised at what they could achieve, the level of engagement and motivation a lot of people showed was very rewarding. AR9F

overcoming professional isolation by interacting with others in a professional context

I used to be quite lonely being self employed and working by myself in my studio. Teaching new groups of people in different areas has made me get out and mix. I enjoyed it very much. AR4F

Working on the SY programme keeps me 'up to date' with new ideas and trends and encourages me to research and experiment with new materials and equipment and broadens my horizons. I have worked with a group of mixed ability with a range of expectations, from friendship and camaraderie united by a common purpose and activity. AR3F

working with another professional organisation

The people who run SY are organised in good time, supportive and friendly, the people who take part in the project are friendly and appreciate the project so much, I enjoy the work running workshops so very much. It's relaxing for everyone and they build up their social circle, including myself. AR6F

extending and reflecting on their professional skills

I have enjoyed teaching and helping people I would not otherwise have done. AR5M

It has also led to different groups to work with as a result of my experience, including being able to take part in the mentoring scheme. Ran with Prism Arts and Creative Futures Cumbria. AR6F

Being a recent graduate SY has given me practical experience but also boosted my confidence a great deal. After completing the workshops I feel I have a framework of workshops in place which will allow me to actively and easily seek more workshops. AR8F

Having had to retire early because of severe Rheumatoid Arthritis and many ops. Later it was a tremendous opportunity to work with a group of keen adults who became equally fascinated by the power of glasswork. AR1F

Learn new professional skills – yes ; challenge to meet requirements and work with new colleagues e.g. artists – yes; develop self-confidence – yes; work with a new client group with different needs – yes – stroke survivors. AR2F

I have also gained in confidence and learned new professional skills – keeping records, planning sessions, time management etc. AR3F

I have improved my teaching skills and developed self confidence because clients have expressed their appreciation. AR5M

How to work with older people successfully. How to plan several short projects to be completed successfully in short 2 hour sessions. How to adapt to changing needs if what was originally planned doesn't meet everyone's expectations. AR7F

Working with lots of new people helped to develop my self confidence and I met some lovely people. It also made me tackle certain subjects that I would not normally paint. AR4F

c) The views of other stakeholders

Stakeholders have particularly valued:

The two workshops we have been involved with were run professionally and greatly improved the participants’ feeling of well being and raised their confidence. Stroke Association

the quality of the provision

the appropriateness of the provision for the client groups

We expected SY to be understanding of the needs of Stoke Survivors and the difficulties they may face when dealing with a new situation. We felt they were very professional and had empathy to the needs of the clients. It enhanced the skills and opportunities of those involved. Stroke Association

A programme which addressed needs within local communities

We were happy that the project included groups from Carlisle district, and happy to support a programme that worked specifically with older people. Former Arts Development Officer, Carlisle City Council

Absolutely excellent project. It will have contributed to helping to keep older people healthier, fitter and more alert for longer and combat the depression and anxiety that happens when older people find themselves socially isolated. It is a project that fits the preventative agenda in keeping older people out of care. Project Funder: Lankelly Chase

c) The views of the Prism Arts Team

The team considered that the Spinning Yarns programme had been highly successful in providing opportunities for

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