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participants to:
It had particularly helped artists to:
Less importantly, it had given artists opportunities to work in different areas of Cumbria. The impressions of the Prism Arts Team seem to have generally been corroborated by the participants, artists and stakeholders. 
The Barrow Group: constructing 3D Bird Sculptures 2.3 Weaknesses: aspects of the project which would benefit from being further developed or revised in the future 2.3.1 Participant retention and expansion a) The views of participants The continuity of funding since the project began in 2004 has provided participants with the opportunity to attend over a long period of time. While this can be considered an important strength of the programme because it has enabled group cohesion to develop - with all the social advantages that have been mentioned in the previous section - 28% of the previous participants have left the programme after only one year. The relative length of time that previous participants attended Spinning Yarns is shown in Chart 10: The reasons for leaving the programme included:
e.g. I was otherwise busy with a part-time job. PF12 Looking after sick husband. PF19
Because it is held on a Wednesday. We only have one bus a week to Kendal which is a Wednesday. PF27 e.g. I have been ill and then, just recently moved home. PF8
e.g. New hobbies. PF25
e.g. Workshops ended and were too full when I applied. PF26 Too many people in class, so I didn’t get the attention. PM1
e.g. I wanted to do mainly fine art and some of the workshops were craft based. I have also joined an art club locally. PF22 Lack of interest. PF7 Recent activity not of interest to me. PF32 I progressed from the art groups and found painting was my main interest. I now attend three art groups. PF20 A total of 56% of previous participants’ reasons for leaving the programme* were, therefore, connected to programme provision, rather than as a result of other changes in their personal circumstances. Of the 2010-2011 cohort of participants over 25% have joined the Spinning Yarns programme during the last year. To ensure that the programme has viable numbers in the future, it will be important to develop strategies which will help to maintain the interest and commitment of the existing members and also attract new members, particularly in areas where participant numbers have recently fallen (e.g. Appleby). In the evaluation survey the participants, artists and stakeholders were asked to suggest the changes that they considered would be appropriate for the future development of the programme. These are summarised in the following sections.
One stakeholder questioned the ‘inclusivity’ of the programme and whether the focus on over 55s was really appropriate / justified: Perhaps it should be less inclusive. You could argue that there’s plenty of provision for the over 55s - not least in the non-vocational adult ed. sector. Prism’s mission is to reach those sections of the population who have difficulty accessing the arts because of their special needs and/ or disabilities. In terms of older people, shouldn’t that mean those who can’t for whatever reason, access those experiences? Former Arts Development Officer, Carlisle City Council Some considered that widening the group to include others from different age groups, backgrounds or with specific needs could be advantageous: I would like to see younger people involved. Maybe young mothers who take their young children to a playgroup could have a couple of hours relaxing and meeting new people and learning how to paint. I found that the classes were not just about art, they were also looked upon as a place to meet and chat. AR4F a) Links with younger people I would like to see perhaps young people with disabilities e.g. Downs Syndrome. I think older people identify with younger people. L3F More workshops where older people work with schools, the only place I have heard of this is SY in Barrow, and it worked well, it is important to close the generation gap – perhaps working with older children too. AR6F We feel it would be good to get Art Students from higher education involved with the groups, particularly with people with disabilities. This would give the students an idea of the challenges faced by the group members , but also encourage interaction with the young. Stroke Association Getting younger people involved in teaching SY groups could be good experience for both – especially students in their final year at textile college for example. It's good for the community and good for the students to see that they can add value. Get them involved earlier and they might contribute more at a later date. AR7F If different age groups get involved then an even mix of ages would be best. L13F I liked the idea of working with younger people, this could be explored to incorporate more joint working, perhaps with smaller groups of young people to make the experience more fulfilling. AR4F b) Including people with specific learning needs Other people with disabilities, ME/ stroke survivors. E6FN Including learning disabilities. AR2F The only thing I can think of is the possibility of bringing in people with learning disabilities of our age group. I think having this age group is important to me. L5F It would be interesting to use new skills with less able groups: Alzheimers Society; Eden Day Care users. A7FR c) Provision for people with health issues Taking dementia sufferers as a possible target group: Cumbria County Council is very committed to delivering innovative, high quality services. Former Arts Development Officer, Carlisle City Council Integrating stroke survivors in small numbers. AR2F Perhaps working with people who need care, going into residential homes where I think there is huge need? I am already looking into working with people who have suffered cancer, people who have been bereaved and people who have suffered stroke and heart attack – it is a particular interest of mine having been a nurse, so if this is something PA and SY are taking an interest in too please contact me I would be pleased to hear what is possible. AR6F Engaging in the arts can often help people with dementia and other mental health issues as their skills can still be recognised. Age UK Is there an opportunity for a link with the hospice movement to take small projects for patients and carers. AR1F I think that SY could encourage older peoples/nursing homes to become involved in the programme. AR9F d) Emotionally vulnerable people I think it is important to reach those who for one reason or another (e.g. in my own case divorce) both desire and need a SY type organisation to develop new skills and get back into a social circle, meet new friends and be able to ‘get a life’ again after, or even during a major life crisis. L16MN We have no ethnic minorities. R3F e) The gender and ethnic balance [There should be] more non-white people. B3F [There should be] more male participants of all ages. L15M f) The size of the group I don’t think the classes should be too large. PF11 This was important because users felt that when it became too large they did not always receive the support they wanted: 2.3.3 The workshop programmes While the Spinning Yarns programmes have generally been devised to meet the interests of the participants in each local area, a further review of programme provision is needed to maintain the interest of current participants and meet the needs of new service users. The artists involved in this survey had a range of specialisms, only some of which have been used in recent programmes as shown in Table 4:
The activities which participants particularly enjoyed included some* which had not been provided by the artists listed above. The activities have been categorised as follows:
The comparative frequency of selection across the sample is shown in Chart 12: This evidence may have been ‘skewed’ by the responses of the Longtown Group which, other than the ‘former participants’ is the largest group in the sample. This is because the Longtown Group focused on different art forms for several years. While the programmes that have been offered have been well received and participants indicated that they would like to see existing provision continuing, some also mentioned new things that they would like to try in the future.
Artists were generally supportive of the broadening of the programme but were aware of some of the practical problems that this could present: The inclusion of other art forms is always welcome but availability of tutors willing to travel is always difficult. Further exploration of materials already experienced with existing tutors could prove productive. AR1F There is a lot of scope for further art forms to be explored to bring in new skills. It may be that some consultation could be undertaken with clients which actually lists the type of art forms they may like to try. AR9F Activities such as rag rugs and crafts that are dying out are a great way to bring generations together - older people can pass on their skills and also younger people can show how they use technology in arts nowadays. Age UK Other partner organisations had more specific suggestions to make about programme design and delivery: Quality issues One stakeholder expressed concerns about the ‘quality of the artistic experience’ in the current programme: I wasn’t entirely convinced sometimes, by the quality of the artists employed. There was a bit of a ‘cosy’ feel to it. No doubt for many participants the social aspect was more important that the artistic – but this is an issue faced by many community arts projects; in part, it’s the old ‘art v. therapy’ conundrum. Carlisle City Council Broadening the programme and increasing the numbers of artists involved will have implications for maintaining the quality of provision. Strategies for the recruitment of artists and providing training to support their professional development will need to be considered. Working with other suitably experienced organisations might provide suitable support to meet this challenge: Quality of artists is paramount to achieving a high quality experience. Continuation of the training partnership with Creative Futures Cumbria and SoundWave would ensure a high quality experience. Creative Futures Cumbria Some participants were interested in attending sessions which took place in the evenings or included ‘off site’ visits to exhibitions: Programmes (should include) different art forms and in the evenings. PF5 I would like outings to see exhibitions. B2F The comparative frequency of the participants’ suggestions for future developments is shown in Chart 13. The inclusion of different art forms was considered to be ‘most important’ to over 50%. Just 5% of the responses indicated that the ‘status quo’ should be maintained i.e. the programme should continue without further changes. 2.3.4 The views of the Prism Arts Team The views of the Prism Arts Team largely mirrored those of the programme participants, artists and stakeholders. The Prism Arts Team recognised that: a) The programme needs to be developed to:
b) In relation to the artists:
c) Quality issues:
d) Communication:
e) Expanding the target group:
2.4 Opportunities: for change and development Several stakeholders provided information about the relevant opportunities that either existed now, or were likely to exist in the future. These included the following: 2.4.1 Potential sources of funding a) Esmee Fairburn Foundation
b) Lankelly Chase The project will not fit into the current Lankelly Chase framework BUT it could be worth outlining a proposal and sending it in for discussion. It might be argued that an exception could be made. New Director might support this. Ailsa and several other interested colleagues would be prepared to put it forward on this basis. Prism Arts should also check whether any future proposal includes strands relevant to the Department for Health strands for old people eg old age psychiatry.
Lloyds TSB supports disadvantaged people. Just because you are over 55 does not make you disadvantaged. So as a funder for any future applications Lloyds TSB will expect to see clear evidence of need for this client group and why they need support. Whatever avenue is taken It should be focussed on helping the most needy play a fuller part in their community. Further funding applications will not be accepted unless a gap of two years has transpired since previous funding was received. Prism Arts will be eligible to re-approach the TSB Foundation from September 2012. d) Tullie House
e) Information provided by Adult Social Services, Cumbria County Council All Service Users will have personal budgets so that they have the individual choice to purchase services on an individual basis. Alternatively, centres or carers can purchase on their behalf. If sufficient people are interested then block purchases may be made. People may decide to ‘pay as you go’. Approximate ‘grants’ to individuals:
Some contribution will need to be factored in to the Day Centres from each personalised payment so the total amount for each individual will not be available for provider organisations. 2.4.2 Tendering / commissioning opportunities a) From Cumbria County Council There will be two frameworks for tendering of services:
The Tendering Process: Organisations need to apply to become an approved provider through the CHEST application process (https://www.thechestnwce.gov.uk/) First ‘Register interest’ then ‘bid for services’. Timescale: probably October 2011 (deadline TBC) for registering an interest. Selections will be made prior to end March 2012. There will be questionnaires to complete It will be a lengthy and competitive process. It is recommended that Prism Arts register on CHEST for the Day Care Services framework Peter Woodhouse, Lead Commissioner for Day Services, may be able to provide further advice. It should also be noted that Day Centres do not just provide for older users: there are younger people also accessing the service who require activities.
‘Target Well Being’: this project has been led by Age UK in collaboration with NHS & CCC. This comes to an end March 2012. Mary Bradley (Age UK) is the lead person and may be able to indicate what they are proposing to do to follow on from this programme. Comments from Age UK, West Cumbria:
Lankelly Chase recommends Age UK as a suitable partner. b) Stroke Association We would love to work together again in the future. The feedback from the Stroke Survivors was all positive, they really enjoyed the camaraderie and gained confidence and new friendships. Stroke Association The Stroke Association will not know about its own future in terms of the funding until a tendering process has been completed at the end of September 2011. c) Creative Futures Cumbria Continuation of the training partnership with CFC and SoundWave would ensure a high quality experience. Director, Creative Futures Cumbria d) Cumbria Care
2.4.4 Publicity Marketing will be a significant factor in succeeding to communicate the benefits of the programme, stimulate initial interest and gain participants. It will be very important to effectively market the programme in the future. Cumbria County Council suggested that flyers / other marketing material could be circulated via Adult & Social Services to the local teams so that they are aware of what Prism Arts can provide. There are six locality teams: one per district. This marketing opportunity is likely to still be available even if Prism Arts does not become a registered provider. It will also be necessary to consider other ways of marketing the programme to potential participants. In the evaluation survey, participants and artists were asked to identify how they first heard about Spinning Yarns (Appendix 1: Participant and Artist Questionnaire B.1). Most of the artists had been personally approached by Spinning Yarns and invited to consider working on the programme. Participants, however, heard about Spinning Yarns through a number of other sources such as those shown in Chart 14: Participants and artists were also asked to identify what would be appropriate marketing strategies in the future (Appendix 1: Participant Questionnaire D.5. and Artist Questionnaire D.4) . The responses indicated a range of different marketing strategies that participants considered might be used for advertising future programmes. Individuals were asked to rank marketing strategies which:
The main categories suggested were:
The suggestions were scored according to the priority which individuals gave them. The totalled comparative rankings are shown in Chart 15: Individuals preferred receiving information through the post and emails, although problems with opening attachments was mentioned as a concern. These findings include the responses from artists who particularly valued accessing information via websites and email. For targeting the ‘over 55s’ articles / adverts in local newspapers or magazines were considered to be the most effective for reaching a wider audience. Placing leaflets and posters in community venues was thought to be the most cost-effective option if there were fees involved in advertising in local publications. Several individuals mentioned that they listened to local radio stations while they were driving / at home during the day and they imagined that other people in their age group might also do this. They suggested that an advert / feature might be particularly appealing if it featured the experiences of those who had already found the programme of interest. a) Exhibitions The value of exhibiting their work was mentioned by several participants who recalled having an opportunity to do this in the earlier years of the current programme. In addition to raising their own self-esteem by showing others their achievements, they felt that it could be an opportunity to publicise the programme, influence potential funders and raise some money if their work could be sold. These comments were made by participants in the Longtown Group: I think it is very important to try to have a sale of work. Whatever money comes back could go to the group or part to the group/ or ourselves, whatever seems best. That would help us buy materials. It’s good to be able to come and know that you don’t have to have the equipment to start off with. We get information about where to buy things and that is good. We also hear about other things going on. I have heard that there is an art club going on here and I am now thinking about joining because I’ve got the confidence that I could do it. We could have an exhibition. That would help us to progress and let other people know about what we are doing. In Arran they have an exhibition once a year in a museum and now there is a waiting list to join the group. It’s very important for all of us I think. It gives us a sense of achievement. b) Alternative locations Consideration could be given to the areas in which Spinning Yarns may not have been previously located and where a need is identified, e.g. participants in the Longtown Group who travel from Dumfries and Galloway indicated that there are no longer equivalent arts based opportunities in that region: We don’t have anything like this in Gretna. We might get more support if we went somewhere like Gretna. Yes, we need something like that here’. Longtown group Lancashire and Northumberland might present opportunities. A willingness to lead workshops in other areas within and beyond Cumbria was also supported by artists: I think there should be more classes in Carlisle and Scotland. AR2F I would love to see the programme running in more areas. AR8F c) The views of the Prism Arts Team The Prism Arts Team also considered that using other events and a range of venues and web based marketing might be a way forward:
The Egremont Group: making accessories making bag acaaccessories 2.5 Threats: the factors which are likely to continue to provide challenges for the viability of future phases of the Spinning Yarns programme 2.5.1 Competition from other services It was clear from their responses that participants also went to other activities that were taking place in their communities. These were not necessarily arts based, but some also provided similar benefits in terms of opportunities to socialise and an improvement in their sense of ‘well being’. The comparative levels of contribution of other activities to the personal development of Spinning Yarns participants is shown in Chart 16:
While this extensive range of alternative opportunities is unlikely to be available to everyone, whatever is on offer within particular communities could ‘threaten’ the viability of the Spinning Yarns programme, because, where the personal resources of time and money are limited, choices will inevitably be made as to which organisation / activities the over 55s will join. Before decisions are made about where the Spinning Yarns programme will be offered in the future, research needs to be undertaken about what is already available (e.g. in Longtown there are already two other art groups that people can join) or planned. Where similar services exist, or are planned for the near future, decisions need to be made as to whether:
Funders are increasingly supporting ‘multi-agency partnerships’ because they consider that they are more likely to have the capacity to address strategic priorities. The research into existing local provision might, therefore, reveal potential project delivery partners and appropriate sources of funding. Further consideration needs to be given to identifying the ‘Unique Selling Point’ (USP) of Spinning Yarns: i.e. what are the added values / interests / advantages that will be available through the Spinning Yarns Programme compared to the other social and learning opportunities already existing in local areas. The USP will need to be prominently featured in any marketing materials. 2.5.2 Capacity issues Participants are likely to be limited in the distances that they can travel to Spinning Yarns workshops:
The comparative modes of transport used by participants in Spinning Yarns Programmes is shown in Chart 17: Running a car is increasingly expensive and age related health problems can prevent people from continuing to drive. The availability of public transport, the proximity to people’s homes and the possibility of being able to provide other forms of support to transport individuals to programmes are likely to be critical factors which will determine:
*e.g. The use of Day Centres as venues, where transport is already provided to enable users to attend, would overcome some of this problem. Both the participants and artists were also concerned about the distances that they might have to travel in the future if other locations were considered. Due to the reasons cited above and the problems of travelling along rural roads, they preferred to travel for shorter distances and periods of time. The comparative distances and times that people travel now and would be prepared to travel in the future, are shown in Charts 18 and 19. Most preferred to be able to access the sessions within 30 minutes or less than 5 miles from home. The effects of the economic recession on older people’s financial situation has meant that most of them have less funding available for spending on recreational activities. While this may change with the introduction of personal allowances, individuals did not allow for this in the responses which indicated the levels that they would be prepared to spend on individual sessions or as a course. The preferred levels of fees are shown in Charts 20 and 21: Although people appreciated that the costs of running the sessions was likely to have increased they generally felt unable or unwilling to pay substantially more for the workshops than the current rate of £3. Several participants agreed that the Spinning Yarns programme represented excellent value compared to the costs of other provision, including those available through Cumbria County Council Adult Services. When setting the fees for the future programmes, the costs of other activities should be taken into account to make sure that Prism Arts Programme is ‘undercutting’ these and offering ‘value for money’. During 2011-12, for example, the cost of arts programmes offered to senior citizens through:
Enrolment for the courses above requires a non-refundable deposit in advance. Some of the Spinning Yarns participants suggested that this could be introduced by Prism Arts to secure contributions ‘up front’ and encourage commitment to the programme. 2.5.3 Sustainability Issues Participants and artists were asked: a) what they would be prepared to do to help with future developments (Appendix 1: Participant questionnaire and Artist Questionnaire C.2.) b) what resources they thought would be required to support new developments. (Appendix 1: Participant questionnaire and Artist Questionnaire C.2.) Of the responses to these questions: Participants offered to:
Bringing some of the materials needed for sessions. E6FN Helping assisting others once I am proficient at a skill. E6FN Using the accredited skills within the group: e.g. IT proficiency (B1F) and arts skills such as ‘Ceramics’. L7FR Other comments provided reasons for not being able to provide practical support which were mainly related to no time because of family commitments or feeling unable / unwilling to take on additional responsibilities since retirement, e.g. No time: looking after grandchildren so I need to travel to Bolton several times as week. E4F I feel I have retired and had a stressful job and do not want to be in a stressful position again. L13F Funding was recognised as the most significant resource that would be required to support further developments (66% responses). Training for volunteers was welcomed and recognised as a potentially valuable strategy for the future (9% responses). Other suggestions generally focused on different approaches to financing the sessions, e.g. Tutors teaching us new projects. Meet each week maybe like school term. B9FN Presumably the participant who suggested this strategy envisaged that this type of tutelage by the artists would result in participants acquiring sufficient arts skills to lead sessions in the future, without being paid professional fees. The Roadhead Group currently use a programme model which saves the costs of artist fees, but maintains the regular weekly meetings. They do this by designating alternate sessions as ‘open workshops’. During the ‘open workshops’ participants continue with the projects they have been working on with the artists or bring other arts based activities of their own. When individuals need practical or creative support it is provided by other group members. The dilemma of attempting to cut costs by reducing the investment in professional artists is the extent to which ‘efficiency savings’ of this kind may compromise the quality of the artistic experience which the programme aims to offer. If the learning experience is disappointing, it is likely that participants will be deterred from attending and will opt to pursue other activities instead, which will provide opportunities for people to ‘ socialise’ even if they are not ‘arts / crafts’ focused. It seems clear from the participants’ responses that, while some people within certain groups are ‘willing’ to support the planning and the administration of the programme, overall there are insufficient skills, time and confidence for people to take on key roles which might be time-consuming or carry substantial responsibility. Although Prism Arts may be able to provide training for ‘volunteers’ or ‘carers’ in Day / Residential Centres, the running of programmes by these people, particularly where there is still a considerable amount of development to be undertaken, is unlikely to be feasible in the short term. It is however desirable that this remains a long term goal. The training/ support costs should, therefore, be calculated and factored in as part of the strategy to ensure future sustainability. In situations where the core group membership is consistent and the participants generally prefer the programme to continue in the same way in the future, ‘self-management’ is more likely to be successful. These factors are evident in the Longtown and Roadhead Groups. It might, therefore, be useful to support these two groups with continued funding to support them for at least one more year, on condition that they use the opportunity to further the development of a sustainable, self-managed group. At the end of this period, the Roadhead Group, for example, might be required to be able to show that more than one person in the group has been involved in leading on programme development and fund raising. If these two groups are successful in developing sustainable, management strategies, their practise could be used as ‘models’ to encourage other groups to take more responsibility for the development and running of their programmes. The Longtown Group: mixed media painting 
The Longtown Group: painting with mixed media 2.6 Personal stories The following ‘pen portraits’ illustrate the ways in which the Spinning Yarns programme has helped individuals to:
Where requested, some names have been changed to protect people’s identity. ‘ ‘ Lesley Egremont Group On hitting my mid-fifties, I decided to rearrange my regular work-schedule and designate Wednesdays a mid-week oasis, with creativity a priority: either more interesting/creative one-off business or more ‘creative-me-time’. (‘Win-win’!) Almost immediately, I heard about an art class starting locally - on Wednesday afternoons! Synchronicity in action! That was my introduction to 'Spinning Yarns’. I attempted watercolours, which had previously proved ‘challenging’. However, under tutor Mare’s enthusiastic instruction, I soon grew in confidence. Then in May, two years ago, I had a serious accident, fainting and falling headfirst through a glass door. Instantly life-changing! Doubly unfortunate, this coincided with the start of a new class – feltmaking; something I definitely didn’t want to miss! So, despite my face being a Frankenstein-esque patchwork of stitches, (but confident I’d find sympathetic support amongst my Spinning Yarns friends,) I decided to brave it and go.
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