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8 GLASGOW CITY

Project Background and Rationale

8.1 Glasgow City Council's ¹² Pathfinder for Older People began in late February 2007, and focussed on widening access to the arts for the most disadvantaged older people across the city of Glasgow; over 60s, with an additional focus on those disabled or from black and minority ethnic ( BME) communities.

8.2 The Pathfinder emerged from the Encourage programme which has been running since 2002 with the purpose of increasing arts provision for people over 50.

8.3 Both the Encourage Programme and the Pathfinder were set in the wider context of Scotland's ageing population and the need to develop cultural provision to cater for this age group. From Encourage, the need emerged for more targeted and tailored work to address barriers to participation in arts and culture for disadvantaged people over 60.

Aims and Objectives

8.4 The aims and objectives of the project were specified in the Evaluation Plan submitted to the Scottish Government following confirmation of Pathfinder support for the project.

8.5 The overall project aim was "to make a positive contribution to the health and well-being of the most disadvantaged people over 60 through increased access to, and participation in, cultural activity".

8.6 The Evaluation Plan detailed specific aims as:

• to reduce barriers to participation in cultural activity;
• to increase levels of participation in good quality arts activity particularly amongst BME and disabled people;
• to improve communication between older people and cultural providers;
• to encourage and enable older people to shape cultural provision;
• to develop links with and embed project activities into Local CPPs;
• to deliver an event or two small events in each of the Local CPPs and testing the models of each; and
• to develop robust mechanisms for evaluating the contribution that participation in the arts can have on health and well-being.

8.7 In addition to the above, initial baseline work conducted by the project management added the following aims:

• to focus activities on those arts with the lowest take-up among the target group (drama and dance);
• to explore means of giving greater priority and focus to arts and cultural activities within day care centres;
• to offer support for care staff and co-ordinators to assist in the delivery of activities; and
• to specifically develop activities that engage men over 60.

Funding

8.8 The anticipated total cost of the project was £85,685, with £45,000 cash contribution from Cultural Pathfinders, £33,585 in-kind support from Glasgow City Council ( GCC) and the remaining £7,100 anticipated to be sourced from fundraising and further in-kind support from GCC.

8.9 According to the budget summary in the final evaluation report, the total cash expenditure was a few pence short of the £45,000 (£44,999.87) allocated by the Scottish Government.

8.10 Therefore, the Pathfinder spent all of its allocation from the Scottish Government, but did not supplement this with cash raised through other fundraising, although the in-kind support was utilised.

8.11 The resources used throughout the Pathfinder included:

• in-kind support¹³: Culture and Sport Glasgow ( CSG) Arts Officer and Arts Assistant, local planning groups, arts organisations, arts programmes and venue staff; participants input and creative work; use of CSG website, Arts & Inclusion newsletter, Artnet newsletter and local press to advertise the Pathfinder; and
• cash: artists to deliver the activities; interpreters to assist with the BME participants; various materials; tickets; transport; catering; postage; marketing (design, print etc); production of a book and evaluation costs.

Strategic Fit

8.12 The Pathfinder project fits with and contributes to Glasgow's Cultural Strategy (in place at the time of the Pathfinder), particularly Theme 1: Encourage Cultural and Sporting Participation.

8.13 A priority of the Strategy was to " develop strategic partnerships to support cultural provision in Glasgow" with cross-council services and CPPs in particular. The role of education was also given prominence with a further strategic priority being to " develop the role of education and learning (formal and informal) in supporting participation in cultural activity and the development of cultural infrastructure". The role of education was given prominence with a key strategic priority being to " develop the role of education and learning (formal and informal) in supporting participation in cultural activity and the development of cultural infrastructure". A considerable amount of focus was given to supporting cultural activities for pre-fives and young people and working with current youth projects. However, there was explicit mention of the Encourage project and the need to develop links between older people and education, although the focus given to older people was less prominent.

8.14 A further key strategic objective of Glasgow's Cultural Strategy was to "develop socially inclusive cultural services which promote equality, challenge discrimination, and increase participation amongst under-represented/hard-to-reach groups". The Pathfinder fits very well with this objective given that older people, BMEs and disabled all fall into the under-represented groups. In addition, access to cultural venues (museums, libraries) was an objective and one to which the Pathfinder would contribute, given that older people and disabled will have particular barriers to access (transport, financial).

8.15 Throughout the Cultural Strategy, there was an obvious theme of using culture to achieve other objectives - health, well-being, inclusion, life-long learning, tackling sectarianism - clearly reflecting the needs of cross-council services and the CPPs. In addition, it recognised culture as being wider than the arts and visits to cultural venues (although this was important). For instance, it noted both Celtic and Rangers football clubs as cultural organisations within the city.

8.16 In line with the Cultural Strategy, CSG (which sits on the board of the Local CPPs) intended to work with each of the ten Local CPPs to deliver the Pathfinder within local areas across the city.

8.17 The Pathfinder fitted comfortably with the Glasgow Community Plan 2005/10, with culture sitting explicitly within one of its five main themes - Vibrant Glasgow - but also within the Safe Glasgow and Healthy Glasgow themes. The primary goal of the Vibrant theme is to " create a transformed and vibrant Glasgow where people choose to live, where the River Clyde is brought back to life and where Glaswegians are fully involved in the life of the whole city". Under Vibrancy there are two local priorities of particular relevance - Glasgow's image/profile/identity and involvement/participation in cultural, sporting and volunteering opportunities.

8.18 In addition, the Community Plan seeks to ensure that facilities and services are inclusive and equality proofed and that all citizens have the capacity to access the wealth of cultural, social and recreational opportunities available in the city. This was undoubtedly a theme that the Pathfinder not only fits with, but also could contribute to.

8.19 Furthermore, Glasgow's SOA makes reference to the range of strategies that informed the SOA targets, once of which was the Cultural Strategy. There was recognition in the SOA that culture and sport play a significant role in the growth of Glasgow's economy and in promoting the city as a vibrant place to both visit and work.

8.20 In light of the above, strategic fit between the Pathfinder and the city's key strategies, one would expect greater engagement across each of the Local CPPs in the Pathfinder. As it transpired, this has been limited and proved difficult for CSG. This was in some ways a timing issue as involvement of the CPPs was restricted given that the SOA was in the process of being written, therefore discouraging involvement until priorities were clear.

8.21 This may also be a reflection of the fact that some of the Local CPP areas have their own arts and regeneration networks and thus, their own activities. The project has also faced issues with the new Local CPP structures and the changes due to the movement of the Department of Cultural and Leisure Services ( CLS), from which the project was managed, to become the newly formed Trust CSG.

8.22 Despite all of the aforementioned issues, some progress has been made in establishing an advocacy group across the arts and Community Planning in the city, which it is hoped will be a legacy of the Project and a vehicle for future activity.

Activities and Processes

8.23 The wider context for the Glasgow Pathfinder is the emergence of a growing ageing population, and therefore the need to develop cultural and arts services to meet the needs of this expanding group. As noted above, the need to cater for the ageing population was already recognised by the Encourage programme, established in 2002, but from this the need to develop more targeted and tailored provision to the over 60s was identified, as 'one size does not fit all' for older people. Glasgow's Pathfinder for Older people accounts for differences in gender, ethnicity, disability, financial circumstances and age.

8.24 The Pathfinder was managed by CSG's Arts Development staff, with the management team comprising one part-time Arts Officer and one part-time Arts Assistant. In order to successfully deliver the project and engage participants a city-wide partnership approach was adopted. The list of partners is extensive and includes:

• Local CPPs;
• Community Health and Care Partnership ( CHCP);
• national organisations (Scottish Ballet);
• arts programmes, arts organisations and local artists;
• day-care staff;
• national charities (Alzheimer's Scotland);
• local voluntary organisations;
• venue staff; and
• schools and hospitals.

8.25 At the outset, an initial mapping exercise was undertaken to establish older people's involvement in arts across the city and to provide intelligence to inform new activities, particularly in relation to drama and dance which were understood to have the lowest take-up. The mapping explored ways of providing arts and crafts work in day centres, to offer support for care staff/activity co-ordinators and to develop activities that could engage older men.

8.26 The activities delivered were a mix of universal activities open to all older people in the city (e.g. the free ticket scheme for arts venues and shows across the city, although there was geographical targeting of this), and more targeted outreach activities which recognised the diversity of people who comprise 'older people', as noted above. Much of the outreach work was 'workshop-based' within local day centres, which then led to final performances. Activities varied across artforms - music, dance and drama to visual arts and crafts.

8.27 Furthermore, a targeted approach was also taken in order to address the needs of the local area and the priorities of the Local CPPs. The original scope of the Glasgow Pathfinder did not include work with young people - the focus was on older people only. However, with recognition of the strategic priorities of some of the Local CPPs (on young people), the Pathfinder undertook some intergenerational work.

8.28 Although the list of partners was extensive in the planning of the Pathfinder, the extent of their involvement was, in fact, limited and the planning was largely undertaken by CSG.

8.29 As part of the initial mapping exercise, CSG asked various day care centres if they wished to be part of the planning process and those who were interested attended the local planning meetings and events. Alongside local care staff, the planning meetings also comprised older people, the Local CPPs, a CHCP representative and artist/art organisations.

8.30 The project made good use of the Pathfinder Evaluation Toolkit and evaluation was built in to the process from the very outset, picking out and acting upon key lessons throughout the lifetime of the Pathfinder.

Achievements and Impacts

8.31 The account of the achievement and impacts of the Glasgow Pathfinder is based mainly on the evidence provided in the Final and Interim Reports of the project, supported by the feedback from consultations with project management and Local CPPs.

8.32 In line with the structure provided by the Evaluation Toolkit, the Evaluation Plan for the Pathfinder identified indicators in relation to activities, participation, satisfaction, impacts and value for money.

Activities

8.33 In relation to activities, the project delivered all of the outputs identified in the Evaluation Plan, including:

• an initial city-wide mapping and baseline study comprising the creation of a city-wide database with information of services relating to people over 60 and a survey of older people's involvement in the arts;
• local planning meetings carried out with a representative from each of the ten Local CPPs, the participants, CHCP, artists, arts organisations and local care centres;
• a range of arts and cultural activities using a variety of delivery models which were compared and contrasted including:
  • Platform: a free ticket offer scheme encouraging 'first experiences'
  • Big Draw: visual arts workshops as part of the Big Draw, the Campaign for Drawing's annual national showpiece. Workshops took place in a variety of locations throughout the city
  • Bring on the Spring: informal event in the East End of the city showcasing potential projects
  • Tea in the Garden at Gartnavel Hospital: a music performance with the objective of improving health and well-being
  • Growing Bolder: workshops involving three day care centres and using photography (specifically targeted at BME men), visual arts and performing arts. This also included showcase and a taster workshop event
  • Wing Hong Workshops: visual arts workshops for an older Chinese group
  • Hour after Hour: writing project involving the commissioning of a publication about age and growing older in Glasgow
  • In My Day and Peace in Our Time: two intergenerational workshops culminating in a performance event
  • Toonspeak Intergenerational Group: drama workshops
  • Paragon Project: intergenerational music commission project in south side of the city;
• signposting to other events in the city and distributing arts information packs to create awareness and interest in arts programmes available in the city; and
• initiating an arts ambassador scheme, whereby older people act as buddies/mentors to other older people to encourage participation in cultural activities. This was in partnership with the Retired and Senior Volunteers Programme ( RSVP) as it was recognised that not only was it a huge task to start from scratch, but that RSVP had valuable expertise and the resources. The scheme was developed in recognition of the importance of word of mouth in encouraging the cultural participation of older people, particularly those living alone who do not regularly attend local groups. This particular project focussed around Celtic Connections, with older people signing up as volunteers who encourage their peers to attend the event.

8.34 It was also the intention of the Pathfinder to explore and develop intercultural activities. Although the Pathfinder worked with BME communities, these were not intercultural. Attempts were made to do this by inviting BME day centres across the city to a focus group to discuss the best means of implementing this, but no-one attended. Therefore, rather than push intercultural activity on a larger scale, the Pathfinder engaged a small number of BME groups directly in activities on a more practical/operational level than at a strategic level. The artists therefore played the critical role in linking BME groups to more mainstream arts activities.

8.35 Although not an initial activity objective of the Pathfinder, one of the projects, "Growing Bolder", highlighted the potential for activity coordinators to become advocates for the arts. In recognition of this opportunity, the Pathfinder offered two professional development courses, one in partnership with Alzheimer's. Scotland, Dance House and Touchdown, and the other in partnership with the BBC Scottish Symphony Orchestra, in order to deliver more in-depth training. One was better attended than the other and the overall impact of training is not clear.

Participation

8.36 The Pathfinder recognised that there were approximately 110,000 people over 60 in Glasgow, but there was no specific target with regards to engaging a proportion of this number, rather that the Pathfinder aimed to engage with the most vulnerable and disengaged groups within the over 60s - BME and disabled (those with long-term mental health illness, dementia, physical disabilities and sensory impairments). This fulfils an important objective of the Pathfinder Programme.

8.37 Participation included passive participation (audience development) and active participation (workshops and performances). The numbers are as follows:

• audience members: six projects, with a total of (up to) 471 older people in the audience;
• workshops: six workshop based projects, with a total of 155 participants; and
• performance: four performances, with 31 older people participating.

8.38 In addition to the target group, the Pathfinder also secured the participation of:

• 55 artists (writers, musicians, composers, dancers, choreographers, photographers, visual artists, film-makers);
• 68 young people; and
• numerous support staff from partner organisations.

8.39 Also, via the CPD courses that aimed to encourage activity coordinators to become advocates for the arts, a total of 23 individuals participated.

8.40 Some arts organisations and artists had not worked with older people before (e.g. Glasgow Film Theatre, City Halls, Paragon), but they were encouraged to put on pilot events for older people. It was reported that by establishing new target markets and contacts for the arts organisations, this would open up potential future funding opportunities. In addition, arts organisations across the city would also benefit from the increase in demand for arts activity from older people (albeit how long this demand will be sustained is not clear).

Satisfaction

8.41 As reported in the Final Evaluation Report, the overarching feedback from the participants was very positive, and the level of satisfaction was generally high. This was attributable to the quality of the arts provision and also to the artists delivering support. Also, high level of satisfaction of participants was particularly evident from the following:

• older people generally felt that they had a say in local arts provision and that they helped shape activity. They were invited to be part of the planning group within each of the Local CPP areas and had sufficient input at workshops, particularly those that led to a performance; and
• there were high levels of demand among older people to be ambassadors (the RSVP project); the result of which was positive impacts on the health and well being of older people, particularly because it meant the ambassadors could feel they were of help to others (rather than simply a user of services).

8.42 There were a few issues raised in some of the projects, with participants questioning the suitability and relevance of the topics covered and artforms adopted (such as an animation project). In a small handful of cases, questions were raised about whether day-care centre and hospital participants were attending on a voluntary basis or not. If this was not on a voluntary basis, the level of satisfaction was likely to be lower.

8.43 For partners such as carers, artists and arts organisation, satisfaction was also high, with the demand for the CPD events providing evidence for this. Many arts organisations appreciated the opportunity to work with older people, a group they had not traditionally worked with.

8.44 However, there were some negative issues that emerged when cross department work was encouraged due to conflicting aims and objectives. In addition, some Local CPPs were less willing to engage with the Pathfinder when culture and arts and/or older people were not a key priority for them.

Impacts

8.45 The main impacts achieved by the Pathfinder included:

• increasing participation of older people (up to 657) in arts and cultural activities, a number of which never/rarely participate in the arts. This led directly to further participation (e.g. participants attending the writing workshops, attended the 'Aye Write!' festival for the first time);
• reducing physical, attitudinal and educational barriers to participation. The provision of free tickets, transport and interpreters, and relationships with key stakeholders, all proved invaluable in breaking down such barriers. However, the removal of attitudinal and intellectual barriers proved much more difficult than the removal of physical barriers, with further work required in this area;
• raising the profile of arts of older people and the arts (although this has been patchy across the Local CPPs);
• (some progress) in ensuring established venues across the city are more welcoming to older people (although there is still work to be done);
• breaking down barriers between the young and old and challenging stereotypes (of both groups), through the intergenerational work;
• creating a positive impact on older people's health and well-being by "getting older people out of the house" and broadening their horizons. Also, the number of people addressed health issues due to attending arts provision in health centres increased (e.g. East End Healthy Living Centre);
• identifying priorities for future investment, including geographical areas where take-up of cultural activity remains low, increasing activity for BME groups, increasing activity for the families of older people to encourage participation, and developing the Platform initiative (rather than free tickets, free travel and refreshments); and
• encouraging the continuation and development of provision beyond the life of the Pathfinder. This was assisted by developing links with day care centres, housing associations, older people's welfare society and health services with current arts provision in the city. Example of continuing work includes:
  • visual arts work in the Wing Hong Centre, which secured funds from China Now Scotland and
  • intergenerational work in East and North Glasgow, securing funds from Scottish Community Foundation and the Fairer Scotland Fund, respectively;

8.46 Although a main aim, the project was not able to establish clear mechanisms for city-wide arts team to work with local teams. This proved more difficult than expected with the aforementioned changes to the Community Planning structures in CPP areas. However, it is hoped that with the Chief Executive of CSG leading the CPP's 'Vibrant Glasgow' theme, progress will be made against this objective (albeit after the life of the Pathfinder and unconnected to the project). Also, there was limited success in the extent of advocacy to Local CPPs, i.e. promoting the benefit of using creative approaches to engage and reach communities

Value for Money

8.47 The project cost £78,585, below the original budget of £86,000. Of the £78,585, £45,000 was provided by the Cultural Pathfinder programme (cash) and £33,585 from Glasgow City Council (in-kind). The underspend in the project was due to unsuccessful attempts to raise additional funding (of £7,415).

8.48 Establishing the value for money of the Pathfinder is problematic. A crude measure is to say it cost £120 per person to attend a performance or participate in workshop or performance, reducing to £68 when removing the in-kind contribution. However, this reveals little about the value of the process, the quality of the service provision or the level of involvement by participants (i.e. some participated over a number of sessions and performances).

8.49 The full breakdown of funding is provided in the Final Report with the key areas of expenditure including:

• employment of artists and interpreters;
• marketing fees (design, print, advertising in the local press etc);
• costs of various artistic materials;
• tickets, transport and catering costs; and
• evaluation costs.

Contribution to Strategic Objectives

8.50 We have identified a number of key strategic objectives to which each of the projects would be expected to contribute. Here we provide an assessment of the extent to which the Glasgow Pathfinder project has successfully:

• engaged under-represented groups in arts/cultural activities;
• encouraged collaborative working within and/or across authorities;
• engaged CPPs and other partners/stakeholders;
• delivered effective consultation with communities;
• delivered something that is truly new and additional; and
• considered and ensured the sustainability of its impacts.

Engaging Under-Represented Groups

8.51 The project engaged (up to) 657 older people, recognising that they are less likely to participate in cultural activities than others, and are therefore an 'under-represented group'. Focus was also given to the most disadvantaged older people - such as those with a disability and members of BME communities, thus fulfilling some important objectives of the national programme.

8.52 In addition, the Pathfinder also incorporated in one Local CPP area support for young people (68 in total) through intergenerational work.

8.53 Participants were engaged in a wide range of artistic and cultural activities with a core focus on audience development and workshops, some culminating in performances. For the majority this was a new experience, and one that delivered benefits for the participants, notably to their health and well-being.

8.54 As noted, the project undertook an initial mapping study in order to generate interest in the project. However, those who did not respond to the study were likely to be those that the project particularly sought to reach. Therefore, where there was particularly low take up of the Encourage programme, resources were focussed in engaging groups from those areas.

8.55 Despite also undertaking a marketing campaign, working in partnership with those who have established relationships with the target group was of greatest importance in securing participation, particularly for the most vulnerable groups, such as the older BME communities.

8.56 The role of trust in engaging the target groups was important, as was an understanding of sensitivities and issues relevant to the target group e.g. physical health issues resulting in some projects being inappropriate for older people, and Asian women not wishing to be photographed.

8.57 The provision of transport for older people to attend events (along with free tickets) was also considered important in encouraging attendance and addressing known barriers to cultural participation.

8.58 Finally, in order to reach those least likely to participate the arts ambassadors' scheme was established. It proved to be successful, particularly where older people acted as buddies to their peers.

Collaborative Working

8.59 A key objective of the programme was to extend the Pathfinder experience as widely as possible via collaborative working.

8.60 Attempts to encourage collaborative working with partner organisations were evident from the outset, with various partners invited to contribute to the planning process by joining local planning groups. This included the Local CPPs, a CHCP representative and artist/arts organisations, as well as representatives of the target groups.

8.61 The intended advantage of such an approach was to ensure that the activities were 'fit for purpose' and it also provided the foundation for sustainability by embedding the activities into local priorities.

8.62 Despite these efforts and good intentions, this worked less well in some areas due to competing workloads and priorities - both in terms of the issues to be addressed in the local area (i.e. is culture really at the top of the list) and groups targeted (i.e. older people not a priority). For instance, in South Local CPP, young people rather than older people were a key priority group. Therefore, the majority of planning was undertaken by CSG.

8.63 Beyond the planning stage, numerous organisations and networks were engaged in the delivery of the projects, in addition to those mentioned above. The list is extensive and includes:

• arts programmes, arts organisations and local artists;
• national organisations (Scottish ballet);
• national charities (Alzheimer's Scotland);
• housing association ( GHA);
• local organisations/projects, both arts and well-being organisations, including:
• NGARN, the North Glasgow Arts and Regeneration Network
• Silver Deal, a CSG managed physical programme for frail and old people
• Polyphony, an organisation promoting positive mental health through therapeutic music activities
• Platform, the managers of free ticket scheme in the city
• East End Healthy Living Centre
• Intergenerational Network, an network led by Better Government for Old People;
• venue staff;
• youth organisations; and
• schools and hospitals.

8.64 There are numerous examples of the benefits of collaborative working, including:

• testing the appropriateness, or otherwise, of the target group: for instance, working with NGARN to deliver the Toonspeak workshops, revealed that the project would not be successful in engaging older people in the north of the city; however, by engaging with youth stakeholder groups and the healthy living community known to NGARN, the workshops became more successful as a intergenerational project;
• testing feasibility of specific projects: greater consultation may have helped in some cases to establish the feasibility of projects. Intergenerational projects worked better with some older people than other, with Older British Asians reacting adversely to such projects due to cultural differences (i.e. the feeling that young Asians are too different from them);
• development of sustainable relationships: for example, the relationship with NGARN proved an important one as the Glasgow North Local CPP is represented on NGARN and it is this CPP that has been the most engaged in the project;
• understanding of specific requirements and sensitivities of the participant group: for instance, one particular project acted on advice from Alzheimer's Scotland with regards to the pace at which the artist should work, and the approach and manner that is best suited to participants to ensure recognition. Collaboration also allowed CSG and partners to develop learning and best practice with regards to engaging older people in arts activities; and
• developing new target markets for existing arts groups/ organisations/ venues: the Pathfinder opened up new target groups to the network (both as audience members and participants) as many typically did not engage with older people.

8.65 Experience of the Glasgow Pathfinder reveals that the success of collaboration and ongoing relationships comes down to two key factors: the individuals involved and local priorities.

8.66 Overall, the existing infrastructure, networks, knowledge and experience in the city has been of critical importance, not only making the Pathfinder happen, but making it happen effectively (in most activities).

Engaging Community Planning and other Partners

8.67 The project only managed to engage effectively with two of the ten Local CPPs, despite the efforts of the project management team. It did, however, involve significant collaboration with other external partners (as noted above) and also other service departments within the local authority, particularly relating to well-being and health.

8.68 Delivering some of the workshops in partnership across departments within CSG (Arts Development and Museums and Galleries) did help to enhance the service, by pooling resources and expertise. However, issues emerged when overarching aims conflicted.

8.69 Although links were already established between Arts Development and Social Work, the focus on older people in the Pathfinder opened new doors for the Arts Development Team.

8.70 At the outset, the Pathfinder stated that it would work with other local authorities within Clyde Valley, sharing experiences and learning. However, to date this has been limited. An attempt was made to work with North Lanarkshire Council by connecting an older people's drama group from the East of Glasgow with one in Coatbridge. However, this is the only evidence of achieving this objective, and funding to continue future cross-council working in this case was not provided.

8.71 In terms of Community Planning, a key objective for Glasgow's Pathfinder was to embed the work into the Local CPP structures.

8.72 Achievement here was limited, with some Local CPPs more willing (and able) to engage than others. It was clear (and something recognised by CSG) that involving Local CPPs in planning meetings for the Pathfinder did not go far enough to embed cultural activities within the Community Planning structures. Therefore, the Pathfinder made other attempts to engage with Local CPP staff, e.g. an information session between CSG and Local CPPs to identify the barriers preventing arts and culture from being embedded in the Community Planning process, and the benefits of arts to achieve the Local CPP agenda.

8.73 However, attendance at the session (and therefore adoption of findings) was limited and ultimately depended on individual and personal interest by individual Local CPPs staff.

8.74 Despite the above, the Pathfinder has at least established foundations for future and more widespread joined up working between the Local CPPs and deliverers of cultural activity, by opening up dialogue.

8.75 At present, the profile of arts and culture remains low in the Community Planning environment and there is a great deal of work that remains to be done to promote the role of culture in achieving wider social and economic agendas.

8.76 While the extent to which the Pathfinder engaged and influenced Community Planning partners was limited, this needs to be put in context.

8.77 The Community Planning structures were in the process of undergoing structural changes during the lifetime of the Pathfinder project, thus creating practical difficulties with engagement. As well as navigating these new structures, the project also worked with changes brought by CSG moving outwith the City Council.

8.78 It was recognised with the evolving structure of the Local CPPs across the city, that the Pathfinder would not necessarily at that stage achieve the objectives of embedding culture within Community Planning.

Effective Consultation with Communities

8.79 By following a participatory approach, the Pathfinder attempted to build a model of engagement that ensured wider access to cultural and other public services. There is clear evidence that it achieved the former, but there is less evidence regarding the latter.

8.80 With regards to ensuring that the activities met the aspirations of older people, Glasgow's Pathfinder consulted widely with the client group at the inception. This was a clear priority for the project.

8.81 As reported above, an initial baseline/mapping exercise was undertaken to establish older people's involvement in arts across the city and to provide intelligence to inform the activities. Through this exercise, it was noted that older men were less engaged than women, and there was limited take-up of drama and dance activities. The project was also built upon the Encourage project which had a wealth of knowledge as regards older people's needs and aspirations.

8.82 There was also evidence of ongoing consultation with the target group via the activities. For instance, in the Southside the Pathfinder spoke initially to the participants to understand their interests and inform what they were doing to plan the basis of Pathfinder activities. In the East End the take up of Encourage was very low so free tickets to events were given in order to introduce them to a broad spectrum of culture.

8.83 In addition, where specific workshops or ideas proved unpopular, they were amended accordingly. For instance, Asian men were not keen on intergenerational projects, and photography and digital animation was not well received, generally. However, this does suggest that the initial consultation was ineffective and therefore there was room for improvement. It was also for this reason that many of the projects "played it safe" with the artform and activities e.g. Scottish traditional music.

8.84 With regards to effective consultation that promoted wider access to the planning of other public services, the evidence was less clear. There was little to suggest that the Pathfinder contributed towards older people's role and involvement in wider Community Planning, and indeed the uptake of other services.

Additionality

8.85 One of the key factors on which projects were originally assessed was their ability to develop impacts that would not otherwise be achieved. There is little doubt that the activities undertaken by the Pathfinder would not have gone ahead without the funding from the Scottish Government.

8.86 Although there was ongoing activity in the city for older people (Encourage), the Pathfinder worked in very close partnership to deliver additional activities over and above the work of the Encourage project.

8.87 In addition, the Pathfinder targeted those groups that were less likely to engage with ongoing arts activities ( BMEs, disabled people, those in specific geographic areas).

8.88 However, the Pathfinder model was not necessarily new (and this was the feedback from the arts organisations and artists), nor were the activities carried out. Also, the expertise to successfully deliver such a project was largely well established.

8.89 Nonetheless, the key factor was the additional reach - to participants, ambassadors etc - as there was no obvious sign of duplication of activities. This was in large part, due to the partnership working adopted by the Pathfinder.

Sustainability and Legacies

8.90 CSG have been successful in securing some additional funding to continue a handful of the activities initiated by the Pathfinder. This has been on an ad hoc, project-by-project basis and includes:

• funds from China Now Scotland to continue visual arts work in the Wing Hong centre;
• funds from Scottish Community Foundation to continue with intergenerational work in East Glasgow; and
• Fairer Scotland Fund monies secured by North Glasgow Local CPP to continue intergenerational work.

8.91 Attempts to build more strategic levels of sustainability into the project from its inception were made through the local planning groups; however, this was largely unsuccessful. Other than within North Glasgow, an area with existing interest in the arts, the impact on Community Planning was limited.

8.92 Key barriers were the lack of a clear structure, and differences in structures across each of the ten Local CPPs, to provide a practical and straightforward route into each partnership.

8.93 In addition, as previously mentioned, the interest in, and understanding of, the potential impact of, cultural activities among individuals within the partnerships is arguably the crucial factor in achieving engagement. Again, as noted above, much work remains to be done with Community Planning.

8.94 However, within CSG, a new structure of area based officers has been implemented (not as a consequence of the Pathfinder) which may provide more structured routes into the Local CPPs. The learning from the Pathfinder will feed into this.

Overall Assessment and Key Lessons

8.95 The Glasgow Pathfinder must be considered to have had mixed success. Whilst it generated participation in and future interest in arts and cultural activities among the hardest to reach older people, attempts to build more strategic sustainability, as mentioned above, were largely unsuccessful.

8.96 Although there are mitigating factors, the disappointing progress in creating sustainable links within the most extensive Community Planning framework in Scotland, is disappointing.

8.97 Overall, the case study raises a number of key lessons, including:

• engaging Local CPPs is challenging, particularly, when there are attitudinal barriers and lack of understanding regarding the value of culture. This is not helped by a lack of consistent and formal structures for engagement;
• removing physical barriers is a critical first step, and one that, with sufficient resources, is relatively straightforward to achieve. The more difficult barriers to remove are attitudinal (for example older British Asians were the most adversely disposed to intergenerational projects, feeling that young Asians are too different from them and did not wish to have direct contact with young people);
• there is a clear need to develop targeted provision depending on the specific personal characteristics within the target group. To do so requires awareness of specific sensitivities such as physical health issues or ethnic background that make particular projects inappropriate (e.g. some older people with disabilities do not wish to undertake dance projects and Asian women would not wish to be photographed);
• related to the above, is the need to work with partners who have the relevant knowledge and expertise and who have established relationships and developed trust among the target groups. This is important for a number of reasons - to encourage participation, facilitate communication between the participants and the artists and to assist the development of trust between the artist and the participants;
• there is a need to educate and work closer with staff at venues (across the city) in order that they fully understand, and are sympathetic to, the needs of older people; and
• on a more practical level, taking time on an informal basis (having tea, lunch etc) is an important first step to encouraging participation, notably among BME groups. In some cases the time required to develop relationships was also reduced by enlisting the support of trusted partners.

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