TMPL Online

Year-long development programme for arts organisations in the South West of England

Debbie I Kingsley — Mon, 30 Jun 2008 08:11:49 +0100

Having delivered two ALITA programmes in the West Midlands, and one in London, we are delighted to be working again with Arts+ Media Training and new partner ArtsMatrix, to deliver ALITA in the South West of England. ALITA SW will be delivered from September 2008 for twelve months to arts organisations in the South West and invitations to apply are now launched for organisation to join this unique programme.
ALITA SW is designed to strengthen its participants’ organisational capacities, and to embed within them a practical commitment to the most important resources arts organisations possess: their people and their programmes.
Fees: The highly-subsidised programme fee is just �900 (inc.VAT) per organisation (remaining costs of �5000 per organisation are covered by generous investment from Arts Council England, SW).
For further information, contact Debbie Kingsley on debbie@tmpl-online.co.uk.
Applications can be downloaded from the ArtsMatrix website here.
Feedback on the first two ALITA programmes has been tremendously positive and we anticipate that, like ALITA3 in London, the programme will quickly ‘sell out’ in the South West. We’re keen for organisations, large and small, from across the region and across all art forms to be represented.
Deadline for applications: 25th July 2008.
“The value of ALITA2 has been understanding that organisational development is not an end in itself; it is about concentrating on delivering the art and creativity…It has made me more realistic about the things you can change…it has rekindled in me the joy of learning…I’ve read more, looked at other artforms and that has been fantastic” Derek Purnell, former CEO, Birmingham Royal Ballet

Organisational development project for Script, Birmingham

Peter D Cox — Thu, 26 Jun 2008 11:35:35 +0100

TMPL has been appointed by Script, the West Midlands agency for dramatic writers, to work with Catherine Edwards, Programmes Director and the Board to devise, manage and deliver a strategic refocusing of the organisation and secure the reources to meet their aims. The work will be led by Peter Cox, supported by Debbie Kingsley, and fundraiser Sandy Weiland (previously Senior Trust Manager at Whitechapel Art Gallery and responsible for securing the majority of �9.4 million raised towards the Whitechapel.

The Arts - responding to McMaster with practical ideas

Peter D Cox — Thu, 15 May 2008 14:34:10 +0100

TMPL has joined the debate about how arts organisations measure their performance with a practical focus on the need to enable organisations to effectively evaluate their work. Sir Brian http://tinyurl.com/2oobmg" title="Report link">McMaster's report states that “funding bodies must move to a new assessment method based on self-assessment and peer review that focuses on objective judgements about excellence, innovation and risk-taking”. McMaster is clear that in self-assessment, progress must be measured against an organisation’s stated objectives, and that the sector lacks a culture of rigorous and constructive self-assessment. Our experience of working with many arts organisation over decades, tells us that the first step in being able to articulate objectives and evaluating oneself and ones organisation against them is to have a clear, stated and shared artistic vision and mission. TMPL’s experience TMPL has championed this vision down approach in our work for many years; it is an intrinsic part of the ALITA and QUEST programmes, and in our work with individual organisations and in collaborative working. You can see details of these programmes http://www.tmpl-online.co.uk/TMPLWeb.nsf/dx/ALITA.htm" title="Link to Alita page">here. We know how hard it can be to start on this journey, but also how very rewarding in that it ensures an absolute focus to the work of an organisation, clarity for everyone who works for it, a clear sense of achievement, purpose and direction, and significantly improved communication. It results in a healthy, learning organisation, one fit for self-assessment and peer review. Objectives can only be developed once it is clear what the ambition, goal, desire, adrenalin-fuelled heartbeat (or vision) is; the objectives are simply what makes the vision real. Peer review and self-evaluation requires clear, written down, shareable objectives, but many organisations find it a challenge to articulate their artistic vision and its associated organisational objectives even internally, and those they produce for funding bids may not stand up to much scrutiny. Making judgements, analysing work and recognising excellence in the arts sector has never been a welcome range of activities, fraught as it is with potential for debating the theory and the subsequent successful avoidance of never getting to address the issues within the context of the art. Why arts organisations need support TMPL is in the business of supporting all kinds of organisations to develop a culture of development through shared vision. The kind of support it provides includes enabling organisations to: • Describe their artistic vision and mission • Determine the strategic objectives that will enable the organisation to deliver the vision • Describe departmental and individual objectives – so everyone is clear how they contribute to the achievement of the vision • Outline project objectives (for a play, exhibition, season, festival, collaboration, capital development etc). The results need to be tested to make sure that they are: • Meaningful to the organisation and true to the vision • Genuinely SMART objectives (specific, measurable, achievable, relevant and time bound) • Set in a simple framework so that the achievement of objectives can be satisfactorily measured by the organisation, its stakeholders, its peers and funders. Facing the elephant in the room Getting this right will mean we have the tools to enter a new realm of critical analysis as envisaged by McMaster; this is not an activity embraced by many, seen as it is in the context of “criticism” rather than “analysis”. There is far too little constructive critical analysis debate within organisations. Until artists and arts organisations can be honest in measuring their achievement against their stated objectives, how can we expect them to participate openly and fruitfully in peer review? In addition to having the tools, organisations therefore need to be supported in developing internal debate about the art they create and deliver. Too often this activity is given a cursory place in team meetings, and few feel able to deal with the elephant in their room, sticking to budgets, future programme, and staffing issues. Boards are particularly averse to discussing the art; a crazy situation for an arts board. McMaster calls for at least two artists or practitioners to be on the board of every cultural organisation. This should at least give the board the knowledge to have a debate on artistic matters, but it may not give them the confidence if critical analysis is consistently confused with criticism. Tools for the job Boards and staff need support in developing the techniques and processes for managing critical analysis and debate. We would suggest this might include: • Open forum role models. There will be organisations that for the benefit of their own development, might be comfortable enough to invite peers to a facilitated critical analysis session to consider a work in progress, or a finished piece. This might be for invitees only, or for project partners, or for a wider group as appropriate. • Facilitated internal organisational sessions (action-learning) with all staff to discuss a season or a particular piece of work, with the intention of leaving the organisation with the skills to facilitate future sessions in-house. • Facilitated board discussions, giving permission to engage in artistic debate, and pulling the art firmly onto the board agenda • Production of good practice guidelines for organisations wanting to undertake critical analysis without a physical external facilitator • Making better use of audiences attending after show talks; getting the information you really need • Support for a range of organisational development activities that meet this need head on. Here to help If you would like to talk to us about how your organisation can be enabled to face the challenges posed by the McMaster report please get in touch with Debbie Kingsley

TMPL working in London Debbie I Kingsley — Thu, 15 May 2008 14:28:48 +0100 TMPL is working with two extraordinary London arts organisations with national and international reputations. http://www.thecircusspace.co.uk/" title="Link to Circus Space">Circus Space is the UK’s premier circus arts training centre, and Debbie Kingsley is working with the Board and staff on taking forward their business plan and future ambitions. http://www.graeae.org/" title="Link to Graeae">Graeae is the leading British theatre company profiling and developing the skills of actors, writers and directors with physical and sensory impairments. Debbie is working with the staff to ensure the team is in prime position to move into their http://www.graeae.org/page/newbuilding" title="Link to New building">new building in Hackney. Playing with Learning - June 5th Peter D Cox — Fri, 9 May 2008 15:59:28 +0100 TMPL is providing two of the workshop sessions at this first Higher Education Academy HE in FE Conference. The event, which takes place at Warwick University on 5th June, is designed for lecturers who teach on HE in FE programmes. It looks like fun! In the morning Peter Cox will be running a "Games People Play" workshop exploring the use of games - much of it based on his experience as a management trainer taking ideas into FE, like Solihull College where he was a visiting lecturer. In the afternoon he'll be joined by Paul Sutton director of http://www.candt.org" title="c&t">c&t when they will run a session called "Technology, games and the Drama of Learning". This will show how young people are setting the agenda for learning by using new media technologies. The whole event - including lunch and a goody bag of resources - costs £145 - you can download a flyer here. Playing with Learning Programme A4.pdf In Context 3 - South Dublin´s project update Peter D Cox — Thu, 26 Jul 2007 10:32:50 +0100 We're about a year into the Evaluation of the South Dublin Council's In Context 3 project and art is starting to happen all over the place. I've just got back from one of the regular 'meet the artists' review meetings and can happily report that they are all doing exciting, innovative and compelling things. Since giving artists time to research and really understand the place was a key goal of the programme, it is contrary to demand evidence of progress at half way. But there are some interesting things about already. The first artist's web site has gone live: Jackie Sumell is authoring Bacon Instead. Composer/musician Jennifer Walshe has made great progress with building a community of sound artists in the area, go find them on Facebook - no clues for this one, it's part of the fun. Others are working hard in the community and begining to form ideas about their projects but it's too soon to show. Writer Dermot Bolger hit the ground running in this project, with workshops and previews devoloping his new play "Walking the Road". You can see lots of links and read my own impressions here. Altogether the project looks like shaping up to a significant set of artistic outcomes - many of which I think the stakeholders and the artists will want to share outside the immediate area of South Dublin. Smart gallery curators and arts producers might do well to get in there early. Watch this space. Our picture shows the In Context 3 team at the recent get together. Front row L - R Claire Nidecker – Programme Manager, Orla Scannell – Arts Officer, Jackie Sumell - Multidisciplinary Artist, Jennifer Walshe – Composer, Anne Cleary –Filmmaker, Sarah Searson- Mediator, Liesbeth Bik – Visual Artist Back row – L- R Peter Cox – Evaluator, Fiona Galvin - Arts Worker, Dermot Bolger – Writer, Jos Van Pol – Visual Artist, Denis Connolly - Filmmaker Hat Trick for Investors in People Award Peter D Cox — Wed, 25 Jul 2007 13:56:59 +0100 TMPL has achieved a three-in-a-row hat trick of recognition as an Investor in People. Initially recognised for the Award in 2001, TMPL has just successfully requalified for a third time as one of the Award’s smallest businesses. “For us, Investors in People, isn’t a ‘rubber-stamp’ process,” says MD Peter Cox. “It represents the ethos of how we work with our clients and what they should expect from us”. “The assessor's report highlights those areas we think help us deliver a high-quality and high value consultancy. She outlined, for example our successful approach to distance managed supported by investment in technology: this enables us to service our office in SW England and clients throughout the UK and Europe. “Key to our business also is the way we learn from our clients – ranging from the arts and the third sector, to fire services and government, as well as the commitments the directors make as chairs and trustees of charities,” he said. TMPL undertakes a wide range of work including consultancy, organisational and personal development and project evaluation. Notes from Session 12 Veronica Cottam — Tue, 17 Jul 2007 11:32:36 +0100 Download notes from Session 12 here: notes from session 12.doc Session 12 Agenda Veronica Cottam — Tue, 10 Jul 2007 10:02:59 +0100 Download agenda here: Alita3 Session 12 agenda.doc CoMA: opportunities for development of intellectual and physical capital, along with attendant risks Veronica Cottam — Tue, 10 Jul 2007 09:47:36 +0100 CoMA: opportunities for development of intellectual and physical capital, along with attendant risks Resource: CoMA library Develop the library into a hire library providing a service to amateur and youth ensembles. Risk: the administration will require a full or part time member of staff and an office base, which are not yet guaranteed past April 2008. Resource: scores and recordings of commissioned and open-score works Sell recordings of CoMA music online and publish scores for sale Risk: same as selling anything! Not selling enough to recoup the setup costs. Resource: expertise of music directors The music directors could run INSET sessions in schools for directors of music to learn to use CoMA and other repertoire in schools Resource: performers in CoMA ensembles CoMA ensembles (already) workshop pieces written specially for them by student composers, with funding from their conservatoires. This programme could extend to university composition students, however the risk is that the ensembles are voluntary and it is not possible to guarantee that everyone will be at all the rehearsals and that the ensemble will have enough rehearsal time to conduct these workshops on top of their concert commitments. Arts Boards fit for purpose? Veronica Cottam — Fri, 6 Jul 2007 12:42:17 +0100 Lyn Gardner has, admirably, started a new hare running in her online column in the Guardian. Taking the Bristol Old Vic as a recent example she asks about the role of boards and artistic directors. Now, on this we have views. Here's what Peter wrote, but do read the whole thread - and contribute, either there, or here. It's inappropriate for me to comment on the particularity of BOV's case - TMPL was one of the "commercial advisers" Philip Hedley refers to, but I would like to answer some of Lyn Gardner's most pertinent points. A major, perhaps the most important, issue for arts organisations - particularly for their long-term sustainability - is governance. It sounds boring, but it encompasses all the issues here: what is the role of the board (usually charity trustees), particularly in artistic policy; is charitable status now - in the 21st century, the best/most appropriate legal form for managing multi-million pound businesses that have customers who are as volatile as any of those in the high street; does the business of running a charity need to be shrouded in secrecy; who decides who is the most appropriate artistic leader for a venue? Put in this way I doubt if any board member or CEO of an arts organisation would deny the importance of governance. The problem is agreeing the answers when personal, organisational and political vested interests are involved. As long as we have unpaid, spare time, often meeting just a few times a year, trustee boards there will be issues. They, not the staff team - and that includes prima-dona, do it my way or not at all, artistic directors - are responsible for the business, its strategy both business and artistic, its customer needs and all its employees. The board needs to set clear - and measurable - artistic goals that are in line with the organisation's vision, and it needs the courage as well as the skill to be able to measure them. Art is allowed - just like the high street - honourable failure. But it cannot be out of touch with what the organisation is striving for, or its market place: see Marks and Spencer. The board is responsible for having in place the right senior people - business and artistic - to drive the vision. That changes, so the people must change, and they must be up to the current job that needs doing, not following some personal notion of their own. And if it's not working (eg M&S) the board needs the courage - and the skill - to manage changes until it does. As for secrecy of operation: I personally see no reason why - like almost every public body these days - organisations like charities (most arts venues) should not be completely transparent, publishing their business plans, accounts and board minutes on their web sites. Of course this process may change what people record, but it's a start. Bear in mind too that if they receive public funds and, for example correspond with a funding body, it's quite likely that Freedom of Information Act rules applies: it's easy enough to ask for all the papers held by way of correspondence, staff emails etc on a particular organisation. Finally, the experience of board members: as in any business - and be very clear, arts organisations are businesses - they should be recruited not because they have cheap business consultancy skills available like the token accountant/solicitor, but because they can manage a charity that delivers art. Importantly, it may be a particular art, in a particular context and community. Suggesting that board members who have no direct involvement in the production of that art form cannot act in the best interest of the organisation is plain wrong. And a trustee board of a theatre, for example, comprised solely of other theatre directors, producers etc would likely be a very poor one. Within the current constraints - not being able to pay trustees, especially chairs, is just one of them - recruiting able, dedicated, skilled, enthusiastic, visionary, successful people to become board members and chair is hard. (Any one who wants a job, call me: I know of a dozen organisations who could use you if you fit the description and are prepared to dedicate up to two days a month doing it!). We professionally spend a lot of time helping to develop boards and organisations in the arts sector, and others. The demand is high, and usually only limited by money - oh, and the lack of understanding that they need to do it ... There's a thought Half Moon´s Development Opportunities Veronica Cottam — Fri, 29 Jun 2007 15:43:32 +0100 Half Moon Young People’s Theatre Opportunities for development of physical capital Purchase of the building – gives company major opportunity to improve the facilities. RISK: resources expended on capital project could affect normal programme of work. Reconfiguration of the basement – will provide rental income from other companies/artists producing work for young people. Enlarging the foyer – gives some space for improved catering facilities with increased income. Open doors policy, enlarged foyer and improved catering – encourages ‘drop-in’ visits outside of activity times. RISK: security of the building difficult to enforce with small staff base. Capital campaign – should increase the profile of the company locally and therefore impact on attendance rates. Opportunities for development of intellectual capital New resident companies – Half Moon will offer resources such as rehearsal rooms, technical or admin support, in exchange for co-production type credit. RISK: may place strain on already limited resources of small team. TMPL in Safe Hands! Debbie I Kingsley — Tue, 19 Jun 2007 15:57:13 +0100 TMPL is delighted to have been contracted by Safe Hands to facilitate the board development of two fabulous Cornish arts organisations, Acorn Arts Centre and Kneehigh theatre company. The Acorn Arts Centre serves its local community of Penzance, and Kneehigh develops its Cornish connections and activities whilst maintaining a national and international reputation, and has just completed a season at the National Theatre. Safe Hands is the governance and cultural leadership initiative in Cornwall supported by the Cultural Leadership Programme, and is coordinated by The Works, Dance and Theatre in Cornwall. Involving Youth - A Call to Action Veronica Cottam — Fri, 8 Jun 2007 11:47:09 +0100 During Session 11, Jodi made reference to this foundation report in connection to getting young people on Boards. Available for download here: YouthExecutiveSummary.pdf SW Fire Services training under review Peter D Cox — Thu, 8 Feb 2007 16:50:20 +0100 TMPL have been commissioned - after a lengthy competitive procurement process - to undertake a review of the training and development work of the seven fire and rescue services that cover South West England. "This is an especially interesting project at the present time for the fire and rescue services", said Peter Cox who is leading the work. "Devon and Somerset are in the process of merging, and the three most northerly FRSs have recently developed through a PFI their own collaborative training centre in Avonmouth." "We'll be looking at current provision and trying to see if the six - as they'll soon be - can find other areas to cooperate in to maybe reduce costs or improve delivery." TMPL has extensive experience in learning and development in a fire service context. It worked for over ten years for London Fire Brigade and helped a number of others establish assessment centres. TMPL was the first non-FRS to be an NVQ Awarding Centre in the fire services. Peter Cox has been a visiting lecturer to the Fire Service College, helped develop the RIMSAT knowledge management project, and has been a regular presenter at fire service conferences. The seven SW fire and rescue services are: Avon Fire Authority Cornwall County Council Devon Fire Authority Dorest Fire Authority Gloucestershire County Council Somerset County Council Wiltshire and Swindon Fire Authority Art in hospitals - big time Debbie I Kingsley — Thu, 1 Feb 2007 16:43:50 +0100 A couple of years ago TMPL worked with University Hospitals Coventry and Warwickshire NHS Trust to put in place an Arts Policy and the beginnings of a public art programme for their new £400M PFI Walsgrave Hospital build. Three major commissions kick-started the programme: Martin Richman producing a piece for the foyer of the Women and Children's unit; Tess Jaray creating the outpatients space; and Bruce McLean splashed colour and shape on a mega scale in the main hospital entrance. The Clinical Science Centre combining teaching facilities including a mock operating theatre and ward, research laboratories and a state of the art library is also a gallery of British modern artists with a particular emphasis on Terry Frost, Bruce McLean and Patrick Caulfield, and work by Gary Hume, Peter Blake, Anthony Frost, Anya Gallaccio and many others. The maternity ward has a series of works by Carol Robertson and Anita Klein. We wish the project every continuing success. Buxton Opera House policy reviews Debbie I Kingsley — Fri, 12 Jan 2007 14:15:08 +0100 Following our work with Buxton Opera House in 2005 on governance review, TMPL has been asked to work with Chief Executive Andrew Aughton and his staff and board on reviewing their full range of organisational policies during 2007. We look forward to working again with this superb and successful venue in a beautiful part of the country. ... Gill Gill, bArts Peter D Cox — Thu, 4 Jan 2007 11:42:36 +0100 Everyone at TMPL has been saddened to learn of the death on 29 December of Gill Gill of bArts. Gill was one of the participants in the second ALITA programme and impressed everyone with her commitment to the arts and to learning. She had a long struggle against illness but nothing seemed to prevent her from wanting to develop - and share - new ideas, always with the notion of enabling bArts to be a beacon of change for individuals. She was always to the point, sometimes pointed. Her interventions always seemed to be trying to map experience to knowledge, helping us to make sense of the world: all who met her will know that it made a little more sense after she'd touched it. Her burial on Saturday 6 January will be at 1pm at Tarn Moor Woodland Memorial. bArts will be arranging a celebratory event later in the year. NAYT On Stage December 2006 Peter D Cox — Mon, 11 Dec 2006 17:19:48 +0100 "On-Stage-December-2006-smal.gif" alt="OnStage"style=margin-right:10px;float:left;border:none/> Stamps of approval - worth and cost? What's it worth, that little logo that says you are 'an accredited organisation'? Many in the youth theatre sector seem think it could mean quite a lot. And, moreover, that NAYT should be doing it. The topic has featured in the round-table events during the Engage conversations. But whilst there is a generality of desire - to become more professional, to distinguish the 'good from the bad' etc - there is less clarity about what, how to do it, or how much people would be prepared to spend. There are already some schemes for identifying good professional business practice that can be applied to youth theatre organisations. ISO 9000 might possibly be appropriate to organisations with a large user base since it tries to ensure - through processes - a consistency of service. The Investors in People standard is excellent at helping organisations focus on their people, building on the fact that excellent people lead to excellent organisations and products/services. Youth Theatres that are part of a larger enterprise such as a regional theatre may already operate to IiP standards. Validating work - particularly in the arts - is a bit more difficult. One way to identify if arts practitioners are doing a good job is to measure the results: here the new Arts Award standards for young people (http://www.artsaward.org.uk) might help. If organisation X is able to produce 30 Gold standard young people a year it might be thought that its work is better than one producing, say, 20 Silver ones. But as we know from other measures such as Ofsted, this can be very misleading: what really counts, both in raising delivery standards and for the young people, is "value-added" and that's really hard to measure. The Arts Mark leads us on to Certification - a judgement that an individual meets a measurable standard - in this case of competence. To do this however, we have to agree both the competence and how to measure it, and this requires effort, skill and money. Finally Evaluation, not just of 'how good', but also of 'how well did we do in relation to what we set out to do'. Here the setting of objectives is usually more difficult than measuring the result. Which of, and to what degree any of these might NAYT do? And how would the inevitable cost be met? I don't know: at least without a lot more thought and debate, some of which will happen in the future Engage sessions. If you'd like to contribute your ideas, please do so in the NAYT forums http://www.nayt.org.uk/forum.htm. I'll be there. We'll all be listening. South Dublin gets InContext started Peter D Cox — Sun, 10 Dec 2006 18:12:35 +0100 It was quite a kick off for the InContext 3 project in Dublin on Wednesday last week. It has taken many months to commssion the six artists (in two cases, artistic teams) for the two year project to develop arts using the County's Per cent for Art fund. In all over €1M is going on the projects - and at the moment only one of them is certain to be a fixed artefact - a roadside sculpture. TMPL's Peter Cox (second from the right in the pic) is following the project to undertake an comprehensive evaluation.