Case studies: Beyond the Campus
Eastleigh Borough Council: Artists & graduates support in partnership
Historically, the Culture Unit at Eastleigh Borough Council (EBC) has been involved in various work and collaboration with Higher Education Institutions (HEI). This has involved a number of different activities including the development of practical creative projects in Eastleigh which enhance the learning experience for students at a number of HEIs; advice from experienced staff from the Culture Unit and The Point Theatre (owned and managed by EBC) on the development of new HE courses in cultural and creative disciplines; student work placements and internships; workshops, training and events; and guest lectures and presentations at HEIs.
The Point Theatre offers an innovative Associate Artist Scheme which is one of the most successful in the UK and seen by many as an example of best practice. The scheme offers a unique opportunity for graduate, emerging and early career artists and creative companies and has been developed with input from the University of Winchester. The ENLIVEN Fashion Project provides a platform for new talent in designer fashion and this project is being developed further with the School of Fashion at Southampton Solent University. EBC’s Economic Development Department and Culture Unit have also recently teamed up to deliver a new state-of-the-art workspace called The Sorting Office which is set to become a home to some of Hampshire’s most dynamic artists and creative businesses. This is part of an exciting European-funded project called RECREATE and the development of this workspace has been informed by inputs from a number of HEIs in the region. The Culture Unit also takes an active role in supporting research into the cultural and creative industries at local HEIs. In 2009 the Culture Unit supported a MA research project undertaken at the University of Southampton which went on to receive a prestigious award from the Regional Studies Association. The Culture Unit is now supporting a PhD research programme at the University of Winchester which is investigating the impacts of local initiatives and public sector interventions to support growth in the creative industries sector in South Hampshire. For more information visit www.creativeeastleigh.co.uk. |
Related case studiesPresentation & PodcastListen to Cheryl Butler, Head of Culture, Eastleigh Borough Council presentation at our first research workshop in Manchester or download her presentation: The Point Theatre – Artist Quarters
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Interview with Dr Cheryl Butler, Head of Culture, Eastleigh Borough Council
How did you go about establishing a framework for collaborative work with academia?
The programmes we have undertaken so far have been in some ways organic and benefited from personal links and contacts and picking up on opportunities that presented themselves, that linked with our strategic priorities. The initiatives were all instigated by the council.
The first area that had a particular focus was observing lots of creative graduates being produced by the universities who were struggling to make the transition into working/setting up companies in the Creative sector. The universities were also recognising this as an issue, particularly as universities fees began to go up, so the timing was right. Secondly we were unable to find relevant research data on the cultural sector which had a longitudinal focus; most data was based on snapshot case studies or at such a high level to be meaningless in a regional context.
To try and resolve these two issues we looked at the offer in our local universities, The University of Winchester was the best fit in terms of finding a suitable partner to work with on graduate retention as they were producing graduates who were looking at opportunities in performance via company set-ups. Discussions led to a project proposal in which the university was a partner but not the main partner, a crucial partner whose role was specific and there were clear and obvious quantifiable benefits to the institution. The university maintained links with the programme, and were invited to key events throughout the project.
The University of Southampton at that time had a particular research focus on the Creative Industries so it made sense to make links with them on developing relevant research. In that case it was a more usual route in offering a small research grant to a student who was interested in researching in that field and who had supervisors in the university who could support the research.
The programmes we have undertaken so far have been in some ways organic and benefited from personal links and contacts and picking up on opportunities that presented themselves, that linked with our strategic priorities. The initiatives were all instigated by the council.
The first area that had a particular focus was observing lots of creative graduates being produced by the universities who were struggling to make the transition into working/setting up companies in the Creative sector. The universities were also recognising this as an issue, particularly as universities fees began to go up, so the timing was right. Secondly we were unable to find relevant research data on the cultural sector which had a longitudinal focus; most data was based on snapshot case studies or at such a high level to be meaningless in a regional context.
To try and resolve these two issues we looked at the offer in our local universities, The University of Winchester was the best fit in terms of finding a suitable partner to work with on graduate retention as they were producing graduates who were looking at opportunities in performance via company set-ups. Discussions led to a project proposal in which the university was a partner but not the main partner, a crucial partner whose role was specific and there were clear and obvious quantifiable benefits to the institution. The university maintained links with the programme, and were invited to key events throughout the project.
The University of Southampton at that time had a particular research focus on the Creative Industries so it made sense to make links with them on developing relevant research. In that case it was a more usual route in offering a small research grant to a student who was interested in researching in that field and who had supervisors in the university who could support the research.
What are the key deliverables of this collaboration that benefit your organisation?
I think it is important to say that the benefits have to be mutual. So in the case of support to emerging companies we had access to the best graduates, who had local links and an interest in staying in the region. The university benefited in being able to illustrate how their students received added benefits in their transition from education to the work place. In regard to research we could offer bursaries which facilitated the research happening we benefitted in the research being specific to our needs providing rigorous academic level research data to inform our strategies and evaluate the success of our interventions and policies in the development of the creative sector in the region. Both partners also benefited in the public relations/marketing/profile raising that came of the back of the collaborations, each supporting the relevance of the work of the other.
What do you see as the main challenges or obstacles in working with HEIs?
The lead in times of working with the university sector can be frustrating, every initiative has taken around two years to develop. All begin with very positive conversations followed by long periods of inaction, not made easier by the downtimes between semesters and sabbaticals. For every initiative that has been successful there are many that flounder and it is not very easy from the outside to see why. It would be an advantage to have a mechanism for more regular dialogue/inter-action to identify potential collaborations at an earlier stage and to be able to pick up on areas of mutual interest. Often in the cultural/creative sector there are not the research monies that are available in other disciplines which perhaps make the sector less attractive to institutions although there are lots of value added benefits.
When individual academics move on links can be lost, we have tried to ‘follow the researcher’ if they are still in the relevant field.
I think it is important to say that the benefits have to be mutual. So in the case of support to emerging companies we had access to the best graduates, who had local links and an interest in staying in the region. The university benefited in being able to illustrate how their students received added benefits in their transition from education to the work place. In regard to research we could offer bursaries which facilitated the research happening we benefitted in the research being specific to our needs providing rigorous academic level research data to inform our strategies and evaluate the success of our interventions and policies in the development of the creative sector in the region. Both partners also benefited in the public relations/marketing/profile raising that came of the back of the collaborations, each supporting the relevance of the work of the other.
What do you see as the main challenges or obstacles in working with HEIs?
The lead in times of working with the university sector can be frustrating, every initiative has taken around two years to develop. All begin with very positive conversations followed by long periods of inaction, not made easier by the downtimes between semesters and sabbaticals. For every initiative that has been successful there are many that flounder and it is not very easy from the outside to see why. It would be an advantage to have a mechanism for more regular dialogue/inter-action to identify potential collaborations at an earlier stage and to be able to pick up on areas of mutual interest. Often in the cultural/creative sector there are not the research monies that are available in other disciplines which perhaps make the sector less attractive to institutions although there are lots of value added benefits.
When individual academics move on links can be lost, we have tried to ‘follow the researcher’ if they are still in the relevant field.
What do you see as the main advantages /disadvantages in working with academia ?
There is a credibility bestowed by having academic links and also benefits of having some influence on the under-graduate programme to help it relate more to the industry. It is stimulating to be able to work with other like minded people and have access to banks of knowledge. There is also a danger at the moment with many strategic organisations thinking universities are the answer to everything when the key is the partnership; the ability to make the research relevant. Universities have very clear academic goals which are right and proper and the creative sector have their own priorities, so it is at the point of inter-action that the most exciting opportunities occur. Knowledge exchange can highlight the ways in which research in the cultural and creative sector can make an impact beyond the academy and collaborations beyond academia can drive and transform primary research.
What role do other regional/local partners play in creating bridges between your organisation and local HEIs?
We do not tend to use bridging partners, we are perhaps fortunate in having staff with doctorates and other research degrees who have links and contacts with local and regional HEIs and this has been the most beneficial route into the institutions. Those networks are also useful in making connections with other departments; you can ask for introductions, people make recommendations.
Conferences and networking events are also excellent way of making connections. I have been quite surprised at some events of the lack of people there from local authorities and the wider creative sector, although that is improving. Having an academic background is an advantage in working with the HE sector as is being prepared to sit on various university panels as an industry/community partner. Offering opportunities to students and graduates – work placements, real life experience for projects, research bursaries, paid intern-ships all strengthen the links and the opportunities.
What could be a valuable lesson learnt or advice you would give to another organisation set to work with academia?
Do your homework and look at the research priorities and specialism’s which are most relevant, realise that if you are looking at a partnership project then you need a 2-3 year lead in. Talk about and showcase what you are doing.
There is a credibility bestowed by having academic links and also benefits of having some influence on the under-graduate programme to help it relate more to the industry. It is stimulating to be able to work with other like minded people and have access to banks of knowledge. There is also a danger at the moment with many strategic organisations thinking universities are the answer to everything when the key is the partnership; the ability to make the research relevant. Universities have very clear academic goals which are right and proper and the creative sector have their own priorities, so it is at the point of inter-action that the most exciting opportunities occur. Knowledge exchange can highlight the ways in which research in the cultural and creative sector can make an impact beyond the academy and collaborations beyond academia can drive and transform primary research.
What role do other regional/local partners play in creating bridges between your organisation and local HEIs?
We do not tend to use bridging partners, we are perhaps fortunate in having staff with doctorates and other research degrees who have links and contacts with local and regional HEIs and this has been the most beneficial route into the institutions. Those networks are also useful in making connections with other departments; you can ask for introductions, people make recommendations.
Conferences and networking events are also excellent way of making connections. I have been quite surprised at some events of the lack of people there from local authorities and the wider creative sector, although that is improving. Having an academic background is an advantage in working with the HE sector as is being prepared to sit on various university panels as an industry/community partner. Offering opportunities to students and graduates – work placements, real life experience for projects, research bursaries, paid intern-ships all strengthen the links and the opportunities.
What could be a valuable lesson learnt or advice you would give to another organisation set to work with academia?
Do your homework and look at the research priorities and specialism’s which are most relevant, realise that if you are looking at a partnership project then you need a 2-3 year lead in. Talk about and showcase what you are doing.