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8/14/2019 Transported - Arts Strategy for Public Consultation
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[Draft for Public Consultation]
Join the discussion at http://gmptearts.tumblr.com/ orrespond directly to the authors at
TRANSPORTED: GMPTE ART STRATEGY
mailto:[email protected]:[email protected]://gmptearts.tumblr.com/http://gmptearts.tumblr.com/8/14/2019 Transported - Arts Strategy for Public Consultation
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CONTENTS
Exec Summary 3Introduction 6The Brief 6Public Art 9Transported: The Rationale 16The Vision 17The Aims 19The Objectives 19Transported: The Plan 20The Pilot, Research and Development 24Governance 28Funding 29INDICATIVE ACTION PLAN (to be developed) 29APPENDIX I - LAAs and MAAs 31APPENDIX II - List of Stakeholders 33APPENDIX III - 59 Bus Route 34APPENDIX IV - 22 Bus Route 35APPENDIX V - Current & Future Metrolink Routes 36APPENDIX VI - Research Method 37
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Exec SummaryIntroductionGreater Manchester Passenger Transport Executive (GMPTE) and Arts
Council North West (ACE:NW) commissioned The White Room and
Liam Curtin to undertake research and development for an Arts Strategy
for the Greater Manchester Transport Network.
The aims of the brief were to increase numbers, improve the passenger
experience, have a positive impact on the environment, enhance
partnership working, contribute to area regeneration, develop new
audiences for art, link to and add value to current cultural venues &
programmes, provide innovative background for renowned artist and
opportunities for communities and emerging artists and to raise the
profile of Manchester internationally as the Original Modern City.
This strategy is the result of considerable consultation with transport
operators, regulators, planners, artists and communities. The central ideas
emerging from this process and tested at a forum held in Manchester in
July 2009. The overwhelming view was one of support for the ideas in
the strategy plus the promise of on going support and participation.
Collective thinking will be a driving force when implementing the strategy.
Transported is the Arts Strategy for GMPTE. It is a bold and innovativestrategy that disrupts existing notions of public art and creates a
platform to all art forms to connect, communicate, collaborate and
innovate across the region. Transported is the working title for the
strategy. It combines the roles of public transport which transports us
physically and art which transports us metaphorically - to another place.
The Public Transport system is the great connector and the ideal vehicle
to bring the arts to the people and people to the arts.
The PlanTransported will curate and commission only temporary works and
interventions; unless or until they are made permanent through public
demand. The rationale for this approach is drawn from the permanent
nature of most journeys.
The Strategy will work across all art forms and will take place on buses,trams, bus stops, tram and train stations, at key community buildings and
spaces along those routes.
It will exist online and in other forms of media. It will be dynamic,
interactive, seasonal, time specific. It will be delivered on vehicles, on the
ground, on buildings, to mobiles, message boards and online to your
desktop.
Whilst it is driven by the best international artistic practice, community
engagement and local ownership is at the heart of the strategy. The
programme will build capacity in the community to commission, and in
some cases, make the art itself.
The plan is to create a linear series of artworks along a bus, train or tram
route. It will be an annual 365 day Route Festival. At the end of the year
the festival will rotate to another route so that within 5 years all local
authorities will have been involved.
Passengers and CommunitiesThe artworks will be partly curated by the community with the help of
professionals. Guest curators will also be selecting different strands ofthe scheme. Operators and partners will work together to develop these
themes with the artists.
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Art and DesignThe strategy recommends that the very best international architects and
designers are engaged for capital developments and that the commission
of permanent artwork whether integrated in the building or stand alone
is unnecessary.
Good design is about function and aesthetics whereas art is aboutexpression. The opportunities to invest in art should be guided by the
principles of the strategy - that it should be temporary unless made
permanent by public demand.
Temporary and PermanentThis Strategy suggests that a new approach to public art is required and
that GMPTE, ACE:NW and other stakeholders can be pioneers in this.
The Strategy provides a rationale for not building one iconic structure
(e.g. Angel of the North) and also recommends moving away from
permanent commissions in favour of temporary art that should only be
made permanent through public demand.
The essence of our strategy is exploring the nature of permanence in
the 21st Century through temporary artworks.
The vast majority of journeys are routine, repetitive, constant -
permanent. To enrich those journeys the art should be ephemeral,
transient - temporary.
ImplementationTo take this Strategy and make it happen will require a 6-month
development period. During this time a number of tasks need to be
undertaken. These include: Partnership Development; Community
Consultation; Curator and Artist Competition, Interactive on-line hub;
Route Selection; Funding Development and detailed 3 year Delivery Plan.
The strategy suggests an initial 1-year pilot Route Festival in order to
establish best practice for delivery and a refined framework for process,
products and projects. The following two years should be seen as Action Research and
Development during which an experimental approach is adopted. During
this period best practice can be evolved.
Over a ten-year period Transported can become the best and biggest
interactive arts initiative in the world - very Manchester, truly original and
modern.
This is a draft strategy for Public Consultation - pleaseengage in the debate.
Join the discussion at http://gmptearts.tumblr.com/. orrespond directly to the authors [email protected]
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INTRODUCTION
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PUBLIC ART
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Frequent traveller: by Simon Green and Christopher Sperandio
Simon travelled a bus route interviewing frequent travellers then told their stories in strip cartoon style and displayed them on the same bus route.
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Public ArtPublic Art has been a growing industry over the last 30 years. It has
previously included monumental pieces, historical markers that
remember great people, events and identities and only commemorate
the masses when they have fallen for their country. These have become
like quaint ornaments punctuating our town centres and go largely
unnoticed today.
Public Art now can mean anything from the great icons, such as The
Angel of the North, to school railings designed by pupils.
This Strategy suggests that a new approach to publicart is required and that GMPTE can be pioneers inthis.
Whats wrong with Public Art today?In the past, statues of heroes and rulers were erected in urban squares,
the craftsmanship was good but the works were largely imposed on the
people.
Over the last thirty years there has been a growing desire on the part of
commissioners to include the public in a consultation process which can
include voting on the best proposals from a shortlist to a full engagementof the community in a participatory process. They believe that through
this involvement they will achieve for the local community a sense of
ownership which will help them to cherish the work and thus secure its
longevity both physically and artistically.
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Site Specific ArtMuch clichd work has resulted in trying to make an artwork relevant to
a place. Often this results in very obvious references as seen in the
images below.
Whilst appearing to tick the right boxes this work usually patronises the
public it is meant to serve.
Nelsons Column was seen as a great triumph for public art in its time, but it
often goes unnoticed today. In the near ground The Fourth Plinth points to a
different approach to public art with its changing exhibits.
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Community Based Public ArtA great deal of good work is done in this area, however, work achieved
through community participation is often amongst the worst in the public
domain.
The reasons for engaging communities are sound and not in question. It
is the methods that are at fault. The confusion occurs somewhere
between the funding body, commissioner, artist and the community itself.
In the worst case the artist engages the community in providing eitherthe imagery or worse, actual drawings as typified by the laser cut steel
fencing incorporating drawings by local children. Here the participants
have not really engaged with the final piece and although for a while
there maybe some satisfaction in the contribution, it is only token
involvement.
Expanding budgets for Public Art in recent years has lead to many artistic
practices setting up to cater for this market often offering repeat
formulaic solutions to placing art in the public domain.
Our strategy allows for a very genuine community involvement in
creating public art. Public Art needs to change and in fact is changing. The
boundaries between visual art and performance ar t are being crossed.
The end of the line (A brief encounter)
For example, Network Rails commission The End of the Line (A Brief
Encounter) transformed Piccadilly station for a day with specially
commissioned music from The RNCM performed by 200 musicians in
the station. The musical installation was about the anonymity of travel and
all those relationships that begin and end in railway stations. The piece
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alluded to the romance of travel and certainly touched the hearts of all
those travelling through Piccadilly station that day.
Although temporary it will be burned into the memories of travellers
for a long time to come and can exist in the many recordable formats
available today.
Jeremy Dellers Procession along Manchesters Deansgate is another
example, along with Gay Pride and many more events that involve
communities taking to the streets.
Embracing 21st Century technology and opportunities, Artists
coordinated communities in Pittsburgs Northside to take advantage of
Googles StreetView camera cars. In collaboration with Streetview they
curated Street with a View - a series of community art interventions that
ranged from the community band, an 8 foot high replica chicken, tostreet artists doing their thing. Lasting only hours in real-time it will live
forever on StreetView. [http://www.streetwithaview.com/]
Jeremy Dellers Procession
Expression in ArtArtists engaged to make an artwork in any artform should, as a priority,
be given the chance to express themselves. This is why they have been
chosen. Art is a professional business, like any other. In site-specific work
its right that the artist familiarises themselves with the environment and
its people. The artist may wish to mirror that community and a good
dialogue can result in a complete surprise to the community but in that
surprise they can see themselves. Many public works are merely a
regurgitation of the dialogue which turns artist into a facilitator ratherthan creator. For art to be good the artists need freedom.
Our strategy aims to give communities the chance to express themselves
through artists without constraining the creativity of the ar tist. It also aims
to give communities a genuine opportunity to create art themselves in
parallel with professional artists.
Street With A View
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THE STRATEGY
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Transported: The Rationale
Transported is the working title of the strategy. Itcombines the roles of public transport which transports us physically and art which transports usemotionally.
GMPTE Arts Strategy suggests that a new approach to public art is
required and that GMPTE can be pioneers in this. A new approach is
needed because the old approaches are jaded.
The Strategy is a bold and innovative attempt to engage communities
and visitors with a radically new approach to arts in the public domain.
It is not appropriate for GMPTE to commission international artists to
create iconic works with budgets of over 1M. This, as pointed out earlier
in this document, is a highly risky process that may give substance to theart scheme internationally but patronises the public it is meant to serve.
It is a lazy eggs in one basket approach.
Equally, the site specific work and community art projects as previously
described are also outmodedand no longer relevant.
In order to define the best approach we must look to our audience
which is quite clearly the passenger and potential passenger. The strategy
aims to bring new art to this audience, inspire them to create their own
art, and help them to curate art.
The old approach has been to punctuate the urban landscape with stuff
- permanent works of art - monumental pieces, historical markers that
remember great people, events and identities. They aim to represent and
re-present the past or hold out some imaginary future of places, spaces
and identities. Nelsons Column, Angel of the North and B of the Bang
have all done this; but for how long? How long will it be before they all
fade into the background and become invisible and lose their resonance
and relevance?
Whilst constantly moving - the transport network, its roads, rails and
tram lines - are all permanent. The majority of journeys made by the
people on the network are permanent. They make the same journey atthe same time on the same route on the same days as they always do.
The experience can become repetitive and mundane.
How would permanent art enhance this experience? Surprising,
challenging, entertaining and fun art interventions can transform this
experience, add a new dimension to both passengers and communities
along the selected route(s). Permanent Public Art has its place but this is
not it.
Also, the nature of the temporary and the permanent is also changing.
The digital world brings into question the nature of both. TV shows wereonce one-offs, never to be missed experiences, now they are recycled ad
nauseam. There are channels dedicated to making the temporary
permanent. In an age of personal(ised) media production, distribution and
consumption, the one-off, the fleeting, the ephemeral can be captured,
re-used and re-interpreted and re-purposed. With the advent and uptake
of social media - the read/write web - it is not the product but the
conversation that matters. These conversations and this media is anything
but permanent.
So the nature of movement, choice, collaboration and of art itself ischanging and can be expressed through the interaction between people,
art and the network. The permanence of the network and the journey
will be challenged and changed through the introduction of temporary
art.
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The Vision
As such, Transported will curate and commission only temporary works and interventions; unless or untilthey are made permanent through public demand.
Therefore, Transported will challenge the traditional understandings ofthe temporary and the permanent, the commissioner and the audience,
in the 21st Century: in art, in life, and on the transport network.
Transported will engage operators, regulators, local and regional
authorities, passengers and communities through new forms of
communication, collaboration and (friendly) competition.
Artists, communities and passengers will be encouraged to produce,
interact and engage with complimentary community or individual
Temporary public art can be large or small in scale
initiatives. By empowering passengers and communities in this way, new
forms of art, new tools for engagement, debate, competition and choice
will be introduced to the network.
The Strategy will work across all art forms and will take place on buses,
trams, bus stops, tram and train stations, at key community buildings and
spaces along those routes. It will also exist online and in other forms ofmedia. It will be dynamic, interactive, seasonal, time specific and
importantly, time specific. It will be delivered on vehicles, on the ground,
on buildings, to mobiles, message boards and online to your desktop.
Over a ten-year period Transported could become thebiggest interactive arts initiative in the world.
It will add a new dimension to public in Greater Manchester by
improving the passenger experience, increasing passenger numbers,
widening demographics and engaging with new audiences for all artforms across the conurbation. With the right people, places and
investment Transported can elevate the standing of art and transport in
Greater Manchester at an international level.
This approach is entirely new in a number of ways:
It has no single site. Its linear nature takes in a number of diverging
communities and links each to the city centre. The act of creating art
together can be a powerfully cohesive force and in this case, every ethnic
group or social class can have a voice and become involved in an
ambitious, ground breaking project. The Arts Strategy has entirely parallelaims to the transport network itself. It transports people metaphorically
whilst the vehicle is doing the same physically.
It involves professional ar tists and amateurs alike, but more importantly it
gives ordinary people an insight into how art is created, how it can
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change things and provides a genuine platform for involvement in the
creative process.
The Strategy gives GMPTE a Vision and working plan to deliver arts
projects throughout 10 local authorities over a 5 then 10 year period.
The essence of our strategy is exploring the nature ofpermanence through temporary artworks.
Local arts and cultural organisations, artists, community groups, venues,
businesses, schools, clubs and societies will all be invited to take par t and
supported in their participation.
Will people want to take part? There is no doubt about this -
communities, passengers, cultural organisations, operators, regulator and
planners and artists have expressed great enthusiasm throughout the
consultation.
People are becoming increasingly interested in the arts and creative
processes. Attendance at Art Galleries has increased significantly over the
last ten years. People are spending more time now interacting through
the internet rather than being docile in front of the TV. Small community
festivals are springing up across urban rural communities. Take for
example the Chorlton Festival, which a few years ago was a home
grown, local affair but is now attracting international artists and has a
brochure that could challenge The Brighton Festival. People want to take
part. The strategy will link into existing activity and incorporate aspect of
this where appropriate. It will engage and communicate to communitieson their own terms and through the media that they use.
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Temporary art can be made permanent by public demand
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The AimsThe aims of the strategy reflect those of the partners and stakeholders in
the network - the passengers, operators, regulators, Arts Council, local
and regional authorities. They resonate with GMPTEs core objectives and
will enhance the cultural identity of the ten boroughs across the world.
They also challenge artists to develop new ways or working that engagepassengers and communities using new tools, techniques and
technologies.
The aims are to:
Improve the passenger transport experience.
Increase the number of passenger journeys.
Have a positive impact on the environment.
Enhance partnership working along strategic transport
corridors.
Contribute to area regeneration and economic performance ofthe city.
Use Art to engage with new and existing audiences in new
ways.
Link with and add value to existing cultural venues and
programmes.
Provide the worlds best Artists the opportunity to produce
innovative, inspiring work and working practices in GM.
Increase the reputation of Manchester nationally and
internationally as the Original Modern City.
It will need investment but will also establish opportunities for income
generation. It will embrace both competition and collaboration creating
new dynamic relationships between regulators, operators, passengers and
communities.
The ObjectivesTo achieve this GMPTE and partners will:
Develop a 5 year Strategy with a ten year vision.
Invest in the delivery of the strategy over the next five years
with a view to implementing a 10 year vision.
Create a distinctive cultural identity for the transport networkof Greater Manchester so that it gains recognition locally,
nationally and internationally.
Commission innovative Art and Artists from the UK and
overseas to produce engaging, collaborative work that explores
the nature of the temporary and the permanent in the 21st
Century.
Identify funding streams from a range of public, private and third
sector sources to ensure the art, the artists and the
improvements to the network are sustained.
Broker partnerships with operators, cultural organisations,
community groups, local authorities, business sponsors andregulators to add value to other investments in and around the
route.
Inspire the traveling public to participate in, engage with, be
entertained and moved by all art forms on the network.
At its heart it will embrace competition, collaboration and public
engagement. It will drive a public debate. It will deliver outcomes across
education, innovation regeneration and audience development. It will
engage media partners to challenge and stimulate a public art debate.
And it will be popular, tapping into the zeitgeist to give communities an
opportunity to adopt and make permanent the temporary interventions
that artists and communities make.
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Transported: The PlanThe transport network is the great connector. It connects the people of
Greater Manchester to each other, and with the city. It connects the city
to the rest of the country, to mainland Europe and to the world. The
Strategy will enhance and develop those connections using the arts to
connect people to places and places to people. It will enable a
conversation between artists, communities, operators, local and regionalauthorities. It will provide the means for communities to communicate
and collaborate with each other here, nationally and overseas.
To enable this, Transported will identify a linear series of ar tworks along
Bus, Tram and Train routes; these will be audible and visible on or from
buses, trams and trains. These works will involve community par ticipation
and will be led by professional artists. Other works by professional artists
will punctuate the route and serve as inspiration for visitors, passengers
and communities.
It will be an annual 365-day Route Festival and eachyear it will rotate around the city like hands on a clockto eventually include all 10 local authorities.
To take advantage of new capital developments and station
improvements, route and line developments, linked taster initiatives will
take place outside of the festival route at any given time.These initiativeswill act to stimulate demand for a route festival in future years.
We will develop a Toolkit for Site Specific Workto ensure the fit with the wider strategy. This will include guide for brief development, artist
recruitment, public engagement and interactivity.
Operators and partners will donate unused space on vehicles, key sites
and other strategic assets. A curator will be appointed on an annual or
biannual basis. Artists will suggest or compete for sites, spaces and other
opportunities. Programme managers will co-ordinate a range of
surprising and complimentary work. They will also manage the
communications, technology and interactivity through traditional and
social media; the latter taking a central role in the production,
distribution, consumption and consumer engagement.
Each commission will be relatively low budget with a view to someworks being developed as permanent artworks, the project itself serving
as ongoing consultation with passengers and communities.
Local arts organisations, community groups, venues, businesses, schools,
clubs and societies will all be invited to take part.
Art works may include visual art, poetry, music, electronic interactive art
using mobile phone and mapping technology, performance art in spaces
and venues along the route.
The best of these would be presented on the 5th Plinth, sited at the
Transport interchange in Piccadilly Gardens in Manchester city centre, the
nexus for many radial routes in the city.
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Transported: Online Hub
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Interactivity and choiceThe peoples choiceAs part of the 3-year pilot we would like to experiment with members
of the public becoming the curators of par t of the route. This is inline
with the grass-roots nature of the project. We see this as an innovative
separately funded project which aims to build capacity within
communities and the staff involved in the public transport sector.
Members of the community, operators, staff at GMPTE, trade union
representatives and workers would take part in an online training course
Curator On-Line or Virtual Curator. The course and toolkit would be
created by professional curators and would take the form of an internet
correspondence course with occasional face to face or live sessions.
From this we would hope to form a
curatorial team who will have had a good
grounding in the principles of curation.
Throughout the year the team wouldfamiliarise themselves with the artwork on
show throughout the route and would
endeavor to commission one permanent
work which somehow represents the whole
route.
This might mean working out how to make
one of the works permanent, or it could
mean choosing one of the ar tists involved to
make a new work. Choosing the right sitefor this work will also be par t of it. The group
would be supported by mentor curators and the final decision would be
approved by the Executive Group (See the Arts Strategy Governance
Diagram).
The final piece to be commissioned would act as a legacy to the one
year route festival, and its success assured because of the long period of
time for consideration.
Online public voting could be included as a method of choice however it
is important that the final say be given to professionals.
InteractivityThe temporary and mobile mean that people can interact via their
mobile phones, blue-tooth, online at home - even international. These
might be screens, projections, interactions manifested in some other way
other than an object. Urban screens now regularly do this. These can
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Helen Evans and Heiko Hansen
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make use of permanent screens in the city centre, temporary screens en-
route, projections onto the sides of buildings or information boards on
the transport network.
This will need to be managed through an online interactive hub (see
diagram on page 21). The hub will provide a central point for
communication about Transported and will be accessible online via abrowser on through mobile applications. Using Google Maps at its core,
the hub will allow users to engage right across the project - from voting
and influencing the project through to documenting the work through
video and photo uploads. It will bring Transported alive online extending
its reach to a global audience.
Following on from this - one of the things about contemporary urban
systems (and transport is the key definition of such) is that they throw
up lots of information about themselves which - like fumes - disappear
into the ether. One of the growing kinds of intervention here is the
visualisation of this information - which tends to be statistical stuff whichnevertheless expresses collective effects/ choices/ patterns inaccessible to
the normal travelers vision. This can act as a palette for artists and be
translated into exciting visual representations and can also be used to
guide choice.
An example of this is the electricity usage projected onto the smoke
coming out of the generator in Helsinki (see picture). That is, some of this
artwork can actually use the mobile and effervescent information
material produced by people and systems themselves. But it is not
physical, though it could be both temporary and permanent.
Elements like this can establish innovative forms of public engagement
and should be included in order to extend the idea of participation i.e.
not just voting or some such but the material information created by the
travelers themselves.
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Helen Evans and Heiko Hansen
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Technical SupportIt is essential that any structure or object placed
in the public realm should be safe and durable
for the period in question. We would suggest
therefore that a structural engineer is retained to
check specifications, methods and risks and
where necessary provide calculations and riskassessments.
No community group or freelance artist would
be exempt from this process and as such all the
indemnity would be carried by the engineer.
Added to this there may be other technical
professionals involved in a technical support
team. This group could also be referred to for
general advice.
Access and Disability
We intend to make the art project accessible to all notonly on consuming the art but also where appropriatehelping to create it.
We are consulting with Manchester Disability Access Group and will be
inviting a representative from the group to advise us. United Response is
also a new group which helps people with learning difficulties. They
organised a group to take part in The Pride march, Manchester 09.
The Pilot, Research and DevelopmentAs the project is innovative and untried it was suggested by a number of
people at the forum and elsewhere that before the full strategy is
implemented, that a 3 year Research and Development (R and D) stage
is undertaken. This needs to be a learning experience for all parties -
Project Managers, GMPTE, ACE:NW, Operators, regulators, communities
and passengers.
The first year of the 3 year R and D phase will be a 1 year Pilot, an
Action Research programme undertaken to develop the concept, take
risks and build capacity. The following two years will refine, and improve
the concept.
This is where processes, products and projects are developed, evaluated
and improved. During this period, key elements such as process, budget,
funding, curation, themes, sites, spaces, media, marketing and public
engagement are tested, assessed, improved, refined and delivered.
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Innovation
Digital Technology
Music
Movement
People
Place
Time Identity
The rationale for and interpretation of these themes could also be
subject of competition from curators and artists.
There needs to be an online hub for the communication and delivery of
much of this work. This could work with existing GMPTE sites such as
PLINGS or Ding Ding or indeed with the main GMPTE site itself. Further
work needs to be under taken to scope these options.
Route OptionsThe Programme needs to engage passengers and residents in a range of
communities along the way. The routes meander from sedate affluent
suburb to inner city urban mettle and finally the city centre itself. Those
communities will have different wants and needs, different demographics
different opportunities and challenges.
The 59, which travels through 5 local authorities, is a possible first route.
The route take 90 minutes to travel the full length starting in the city
centre, out through Cheetham Hill, Crumpsall, Middleton, Mills Hill,
Chadderton, Oldham, Heyside, Shaw and Rushcroft. The route can beviewed at Appendix III and online at http://gmptearts.tumblr.com/.
Another option would be the 22 route which travels from Stockport,
through Heaton Moor and Heaton Norris, Burnage, Chorlton, Stretford,
Urmston, The Trafford Centre, Eccles, Monton, Swinton, Pendlebury,
Farnworth and on to Bolton. The route can be viewed at Appendix IV.
The current extension to the Metrolink could also be included for
consideration. A map of the current and proposed routes are shown at
Appendix V.
The Process - first 6 months
GMPTE and Arts Council will be approached to fund a 6 monthdevelopment period for the 1 year Pilot to be primed and initiated.
During this time specialist consultants would act as Advocates for the
project across GMPTE, the GMITA (ITA) and Local Authorities, City wide
and regional authorities, Arts funding and suppor t organisations. They also
need to develop a funding and business plan, consult and consolidate
partnerships between operators, GMPTE, passenger groups,
communities, cultural organisations and artists.
They will need to consolidate the governance structure including
recruiting senior members of the ITA, PTE, Arts Council, and LocalAuthorities onto the Steering Group (See below). This group will act as
advocates for the strategy and custodians of the vision ensuring strategic
buy-in across a range of stakeholders.
They also need to put together the Executive Group to be in charge of
day-to-day delivery of the project. This group would suppor t the Project
Managers and Curator in their tasks particularly around technical issues,
communication and and community engagement.
The Project Managers need to secure funding for the year one pilot andrecruit one or more Curators for the route. They then, in turn would be
responsible for recruitment of artists and the artists responsible for the
engagement with communities.
Project Managers need to be embedded within GMPTE to help build
capacity, support and added value for the organisation and its par tners.
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The Art Strategy Governance Diagram
ITA,
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GovernanceThe Steering GroupThis group would be made up of representatives of GMPTE, ITA,
Operators, regulators such as the Highways Authority, Local Authority
representation and funders such as ACE. Their role would be to guide
future direction and investment, approve proposals emerging for the
route festival and to guide the Executive Panel were necessary. This groupwill meet quarter ly and could be chaired by a member of the ITA.
The Executive PanelThe Executive Group will need senior representation from GMPTE
Marketing and Communications to ensure maximisation of the benefits
to the project to communities, partners and passengers. It will also
include GMPTE representatives from Strategy, and Community
Engagement together with the lead curator and project manager. There
will also be representatives from the Technical and Community Panels.
This group will meet monthly.
Project ManagementFor the first year at least the project should be managed by a person or
organisation working closely with the Curator and the client. As
custodians of the vision and action plan they will be responsible for a
range of key tasks that will be critical to the successful development and
implementation of the strategy. These include driving a 6 month
Development Phase where commitments outlined during the research
for the strategy are firmed up with stakeholders and funders. This phase
will follow the adoption of the strategy and will be critical to making it
happen. They will Project Manage the Implementation for the next 12months, after which this will be reviewed. The Project Managers will also
undertake evaluation of the project and processes and make
recommendations for the delivery of the project for year 2-3.
Other tasks will include: Fund Raising, Capacity Building across GMPTE
and Partners; Partnership Management; Competitions; Online and
Technical Management of the Pilot Programme. As with the curator, they
will also liaise closely with GMPTE Community, Education and Marketing
departments and undertake some marketing and PR functions.
CuratorThe Curator will take overall charge of the Artistic Director and content
of the Programme. They will work closely with the Executive Group andthe Project Manager to ensure the highest possible Artistic quality and
community Engagement along the route. Other duties will include: Artist
Recruitment and Liaison; Community Liaison and Capacity Building; PR
and Marketing Opportunities. As with the Project Management this will
be reviewed by the client towards the end of year one.
Technical SupportA structural engineer will need to be retained to check specifications,
methods and risks and where necessary provide calculations and risk
assessments. No community group or freelance artist would be exempt
from this process and as such all the indemnity would be carried by theengineer. Added to this there may be other technical professionalsinvolved in a technical support team. This group could also be referred to
for general advice. They may be required to inform decisions made by
the Executive Group and Steering Group.
Community Liaison PanelThis group will be drawn from passenger groups and representative
community organisations along the chosen route. During the course of
the programme they will undertake a capacity building course with tools
provided online. This will enable them to better understand the artisticand curatorial process enabling them to make more informed decisions
about the artworks on the route and any legacy pieces that may be
made permanent.
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PR and MarketingThe Implementation of the programme will have significant impact upon
the numbers of passengers and quality of experience on the chosen
route. There will be considerable positive marketing and PR
opportunities and the delivery of this strategy should be central to the
PR and Marketing Functions of GMPTE both internally and externally.
FundingGiven that this project is innovative and original in its conception,
development and implementa tion, the funding for this initiative should
follow suit. Transported offers the opportunity for an original andmodern funding and revenue model to be constructed. It will of course
depend upon some traditional funding sources but these should be
supplemented by a commercially focussed sponsorship and revenue
development plan. Where possible, and working with the project
managers, communities should be encouraged to develop and take
advantage of community funding opportunities.
Public and Private Funding Sources include:
Arts Council England funding
Business sponsorship EU funding
Lottery funding
Trusts and foundations
Sustainability would also come from regular sales and auctions of
temporary works. Works can also be re-commissioned by galleries andpublic art bodies.A new commissioning contract can be developed
where ownership of the work can be shared by the artist, the
community and commissioning body.
Platform for Art in London has a core budget of 500k per annum
supported by a substantial annual grant from the Arts Council
depending upon the project.
Birmingham Metro has a annual Budget of circa 500k per annum.
Newcastle has a budget of circa 300K annually.
Based on these figures, Greater Manchester Transport Network should
aim for an annual budget of around 500k.
INDICATIVE ACTION PLAN (to be developed)
1) Public Consultation - Draft Strategy out to consultation publicconsultation. Feedback and comments incorporated.
2) Final Strategy Submitted (Nov 2009)3) Development Funding applied for.4) Strategy Approved and Adopted (end 2009)
5) 6 Month Programme Development - Partnership and fundingdevelopment, Route Selection, Process and Governance Confirmed.
Key Staff aligned; Capacity Building in GMPTE and Partners. Artist
recruitment. Online Hub. Ongoing Partnership Liaison (March 2010 -Sept 2010)
6) Pilot Programme Implementation (Jan 2011 - Dec 2011))7) Jan 2012- Dec 2012 - Programme Roll-out and Evaluation8) Jan 2013 - Dec 2020 - Programme Expansion and Legacy.
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APPENDICES
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APPENDIX I - LAAs and MAAsW
What are Local Area Agreements?
Local Area Agreements (LAAs) set out the priorities for a local area
agreed between central government and a local area (the local authority
and Local Strategic Partnership) and other key partners at the local level.
LAAs simplify some central funding, help join up public services more
effectively and allow greater flexibility for local solutions to local
circumstances.
Through these means, LAAs are helping to devolve decision making,
move away from a 'Whitehall knows best' philosophy and reduce
bureaucracy.
LAAs are about what sort of place you want to live in. They set out the
local priorities that will make your town, city or community a better place to be; they have been negotiated between all the main public sector
organisations in your area, your local authority and central Government.
The ideas behind them are to:
* recognise that 'one size does not fit all' and local services should
reflect what local people want;
* give more flexibility to local authorities and other public sector
organisations in the ways they deliver services for local people;
* make local authorities and other public services more accountable
to local people;* reduce red-tape and improve value for money; and,
* enable local people to get more involved in decisions about local
services.
What are multi-area agreements?
A multi-area agreement is designed to be cross-boundary local area
agreement (LAA). They bring together key players in flexible ways to
tackle issues that are best addressed in partnership at a regional and
sub-regional level.
The major issues that MAAs can tackle include:
* skills deficits
* housing market imbalances
* transport and infrastructure projects
* economic development.
MAAs complement and do not duplicate the work of existing LAAs, the
new performance framework or existing regional strategies. You do not
need a MAA where existing sub-regional par tnerships are sufficient. The
wider spatial level can include partners across towns, cities or sub-regions.
MAAs are similar to LAAs in that strategic partners across boundaries
can agree targets and pooling of funding arrangements with their
government office (GO). There is a par ticular attraction to aligning rather
than pooling funding at MAA level to ensure control of spending.
MAAs need:
* robust governance arrangements* visible political leadership
* streamlined performance and accountability framework.
Each MAA needs to be localised and respond to circumstances specific
to its area. No two MAAs will or should look the same.
Where do MAAs come from?
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MAAs were first mentioned in the Local Government White Paper
(October 2006), referring to developing strong cities and strategic
regions. The concept is not so new however. Much of the city regions
work involved local authorities and local strategic partnerships working
together across existing administrative boundaries.
What next?
Since the publication of the white paper, Communities and Local
Government (CLG) has been talking to a number of local authorities to
develop guidance on MAAs. The guidance will provide advice and
suggestions for a flexible approach. The guidance will also need to
consider how MAAs will fit alongside LAAs.
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APPENDIX II - List of Stakeholders
Org Name Title
GMPTE Adam Goulcher Acting Director of Strategy
GMPTE Paul Griffiths Interim Director of Projects
GMPTE Philip Purdy Metrolink Director
GMPTE Michael Renshaw Interim Service Deliverer GMPTE John Barbour Corporate Communications
GMPTE Sam Dada Project Manager Infrastructure
GMPTE Gill Heyworth Project Manager Project
Development
GMPTE Steve Magna Rail Partnership Development
Officer
GMITA Councillor John Dillon Oldham Lib Dem
GMITA Councillor Dylan Butt Trafford Conser vative Group
GMITA Councillor Eunice Smethur st Wigan
ManchesterCity Council Virginia Tandy Director of Culture
Manchester
City Council
Lyn Barbour Head of Cultural Strategy
ACE NW Aileen McEvoy Acting CEO
NWDA James Beresford
NWDA Iain Bennett
Creative
Partnerships
Nancy Barratt
CONTACT
Partnership ofManchester
Universities
David Briggs
AGMA AOG and CLOG
Arriva Mr P Stone
Stagecoach Mark Threapleton Director (Represents Greater
Manchester Bus Operators
Association as well as
Stagecoach)
First
Manchester
Andy Scholey Managing Director
Northern Rail Mark Barker Client and Stakeholder Manager
First NorthWestern
Louise Ebbs Strategic Planning Manager
Metrolink Cheryl Hubbard Head of Public Affairs
Network Rail Keith Lumley
BBC
Manchester
Alan Yentob
ITV Jane Luca Head of Regional Affairs
Media City Paul Newman
Trafford
Centre
Marketing
Manchester
Helen Palmer
CityCo Gordon Reid Chief Executive
Manchester
Airport
Bob Longworth Ground Transport Manager
Manchester
Airport
Russell Craig Head of Airport Comms
Highways
Authority
JC Decaux Eric Spink Regional Operations Manager
T and G
Chamber of
Commerce
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APPENDIX III - 59 Bus Route
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APPENDIX VI - Research MethodMethodologyAt the outset of the project The White Room and Liam Curtin set out
the exact parameters at a project initiation meeting. This allowed us to
draw up a detailed methodology to guide the direction of the research.
1. Online Hub/ForumThe first step was to ensure that all our research, ideas and suggestionswere made as inclusive and open as possible through an online forum.
This was set up through the Tumblr blogging site that allows people to
post their ideas and comments onto a rolling blog. This is available to
view at http://gmptearts.tumblr.com. On this we posted emerging themes
and ideas and began a dialogue with passenger groups and
representatives. Traffic on this site has increased significantly since the
consultation event and since the briefing note has been circulated. This
online platform will be used for on-going consultation on the Draft
Strategy.
Secondary Research Whilst this strategy has been developed uniquely for GM and its
transport network, there are a number of lessons that can be learnt from
other cities in the UK and the rest of the world.
In the UK, Nexus Art on Transport programme in Newcastle-upon-
Tyne, together with Transport for Londons (TfL) Art on the
Underground programme are notable for their consistent investment
and the quality of the work they produce. Nexus has been producing
work for over 30 years and has helped the network establish a strong
identity. Art of the Underground has helped develop some ground
breaking world class work across different mediums. The latter is firmly
embedded within TfLs marketing department, receiving significant annual
funding from them and from the Arts Council. Recently this has been
complemented by the development and implementation of an Art
Strategy for Docklands Light Railway, which again draws funding from
operators, regulators, business and ar t funding bodies.
In addition to these UK examples, we reviewed strategy, projects, funding
and work in other leading cities including Helsinki, Frankfurt, Shanghai,
Melbourne and Boston. These are just a few examples from across
Europe and the rest of the world of how public art, and strategicallyapplied design, can be employed on transport networks to improve the
experience for users, increase passenger numbers and provide a ready
platform for engagement for the arts with the traveling public. It is this
evidence of best practice that has informed our analysis for the
development of an innovative strategy for the network in GM.
It is no coincidence that these cities have developed innovative arts
strategies alongside investment into their infrastructure and that art,
technology and transport can combine to significantly improve the
passenger transport experience. If Manchester wishes to take its place
alongside these other innovative cities, it needs to invest strategically.
3. Primary ResearchInformed by the secondary research, The White Room and Liam Curtin
set out to conduct an ambitious series of stakeholder interviews. The list
of stakeholders consulted numbered over 35 and was made up of
operators, regulators, passenger groups, artists and political leaders. The
full list can be seen at Appendix II.
There was near universal support for the Arts Strategy and
encouragement, especially from the operators - Metrolink, Stagecoach,
First - for a more strategic, long term vision and investment. All the
operators support the arts in some way, whether it be to engage with
communities on new routes, to publicise new routes or as part of their
corporate social responsibility.
They will all be willing partners in the delivery of the strategy.
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