Outer Hebrides

Cultural Pathfinder

Final Report for Comhairle nan Eilean Siar - Main Document

April 2008

The purpose of the Pathfinder is… to explore processes best suited to consulting communities, developing cultural entitlements, promoting and delivering them and gauging their impact and success[1]

"Our culture is our activities on the island. Our work. Our landscape and how we use it.

The fabric and background of society and the interaction of the people within it…

How a community and individuals express themselves creatively" [2]

Contents Page

1 Executive Summary 4

Introduction 10

1.1 Purpose 11

1.2 Approach 12

1.3 Communication 17

2 Context 19

2.1 National Policy 20

2.2 Local Policy 22

3 Consultation 28

3.1 Phase One 29

3.2 Phase Two 31

3.3 Conference 34

3.4 Film - 'Island Voices' 35

3.5 Work with Schools 36

3.6 Online Survey 37

3.7 Evaluation of Consultation Process 38

4 Emerging Themes 43

4.1 General 44

4.2 Access and Preservations 46

4.3 Community Development and Training 48

4.4 Economic Development and Infrastructure 49

5 Conclusions and Recommendations 52

5.1 Conclusions 53

5.2 Recommendations 57

Appendices

A Bibliography

B List of those consulted

C Online Survey Results in full

D Community Survey - Extract

E Scoping Study Remit

F Phase 2 Consultation notes - collated and summarised

G Education Report

H Evaluation Plan

I Creative Process - Evaluation Findings

J Pilot Projects

[NOTE: The Appendices are provided in a separate document]

Section One

Executive Summary

Purpose

The aim of the Outer Hebrides pathfinder project was "to explore processes best suited to consulting communities, developing cultural entitlements, promoting and delivering them, and gauging their impact and success'

The primary 'outcome of the Pathfinder will be a suite of Cultural Entitlements developed in consultation with the local community, cultural agencies and organisations'

Summary

The Outer Hebrides is one of thirteen local authority areas in Scotland selected by the then Scottish Executive, which is now the Scottish Government, to be national 'pathfinders' for the development of culture at a local level. The overall aim is for each local authority to produce findings and recommendations that can be applied locally, considered nationally and shared with other local authorities.

Over 700 people took part in the Outer Hebrides Cultural Pathfinder consultation process from September 2007 to January 2008, through participation in focus groups, one-to-one meetings with key individuals in the cultural sector locally and nationally, and through an innovative and wide-ranging series of artist-led 'creative workshops' with the stakeholders, residents and the general public.

The creation of a film, Island Voices, encouraged further participation in the process and offered the opportunity for local people to express their views on what is important to them [3]. Several school projects took place as part of the process, and opportunities to contribute ideas and opinions were offered via an online questionnaire.

Some key findings to emerge from the process were:

§ The majority of residents of the Outer Hebrides interpret culture as having a far wider application than arts, sports, heritage and language. Culture is embraced as "the way of life" with cultural resources as key economic drivers (especially the talents and creativity of local people, the landscape and heritage).

§ Cultural provision is a key element in the quality of life that attracts people to an area such as the Western Isles, while artists tend to be attracted to communities where other artists are already established.

§ Cultural outreach from the main providers is generally through education programmes, however, these practices should be embedded in other public agencies, e.g. the Health Board.

§ The area has extraordinary cultural resources - some unique in Scotland - but has not yet recognised these resources as a key economic driver. Nor has the cultural sector yet developed to be a strong champion of these elements.

Key recommendations

There are 18 recommendations, summarised in the table below. Details of these can be found in section 5.2 of the main report.

These recommendations include:

§ A more formal mechanism for public agencies to work together to plan for, and deliver, cultural opportunities

§ Improved support for the development of socially-orientated cultural enterprises

§ Maximising the advantages presented by broadcast and IT opportunities

§ The development of pilot projects that practically demonstrate the above

Key Issues

The following issues emerged during the course of the consultation process and represent consistently expressed themes:

General

§ There should be an audit of current cultural activity by all cultural providers - voluntary, private and public sectors. This would provide valuable baseline information for this study, and also useful benchmarks for subsequent work.

§ The cost of transport was seen as a major challenge to the cultural, social and economic development of the Islands. The recent announcement by the Scottish Government of a Road Equivalent Tariff (RET) pilot scheme with Calmac on all ferry routes from the Outer Hebrides to the mainland is a welcome step towards addressing this issue.

§ Issues of attitude, advocacy, leadership, and strategic planning were all considered as important, and often more so, than the costs of supporting activities or funding local creative individuals/organisations.

§ A key issue that frequently arose was the question of leadership - who takes things forward?

§ It is important to ensure, for mutual benefit, that the levels of communication and dialogue developed through the Cultural Pathfinder with national organisations, in particular the Scottish Government, are maintained through cultural representation from the Outer Hebrides on appropriate national steering groups etc.

Access and Preservation

§ Much of the culture of the area is connected with Gaelic, the environment and local heritage but all these elements and their continued existence have been taken for granted for generations.

§ Support for Gaelic as the cornerstone of culture requires a 'joined-up plan'. For example it needs to bring together transport and culture with exports, tourism, place marketing, inward investment, economic policy, business, education, health, housing and infrastructure development.

§ Comunn Eachdraidh and the local history resources they contain and maintain could be the source of a new growth sector.

§ Consideration should be given to ways of improving the co-ordination of event publicity and the marketing of the areas' cultural assets.

§ There is often too much emphasis placed on looking back at past culture rather than valuing or 'extending' the present culture.

Community Development and Training

§ Small voluntary groups/cultural social enterprises and individual socially engaged artists have little financial security. Often they require small amounts of funding for small projects but these are becoming increasingly difficult to obtain. Such groups represent the local community "glue" in terms of the economic and social health of the area and play an important role in creating the context for attracting and retaining future generations of the Outer Hebrides population. Support for these key creative drivers should be an urgent priority.

§ Interpretation of the word 'culture' is still very broad and often different between the cultural providers and the public. This difference represents a key issue of communication between cultural provider and attender/audience.

§ Hebrides TV could play an important role if there was investment in enough creative content within the Outer Hebrides to look at a schedule of local culture.

§ There is an opportunity presented by the pathfinder to broaden the scope beyond the specifics of "arts" or "education" to a more cultural planning approach where culture is seen as a key driver at the heart of every agenda.

Economic Development and Infrastructure

§ Cultural planning methodology was identified as key to delivering on all of the aspirations for the Outer Hebrides cultural pathfinder.

§ Every CnES service and public agency should be invited to embrace culture and cultural processes as a joint responsibility.

§ It was acknowledged that the only way forward is in partnership - partnership between local authority and other public service providers as well as the business community and the third sector. The community planning partnership could be the starting point as an emerging body to provide appropriate leadership.

§ Consideration should be given to augmenting the Cultural Working Group with additional representatives from the Health Board and other relevant agencies - perhaps to create a cultural Partnership. Working links could be further developed with arts providers e.g. Proiseact nan Ealan, Theatre Hebrides, An Lanntair, Taigh Chearsabhagh and Comain Eachdraidh.

§ There should be consideration of practical means of sharing budgets between services or agencies. This could be considered to operate alongside a strategic planning arrangement that brought these agencies/services together to jointly plan and deliver cultural provision.

§ As a first practical step towards this approach and as a means of resolving the forthcoming challenges facing the Cultural Co-ordinator programme several services and agencies could contribute a small proportion to the Cultural Co-ordinator costs and develop a management system that allowed a cross-sectoral partnership to create the overall strategic direction and monitoring of the programme which would have a broader cultural remit.

§ For all of this to work effectively in the short, medium and long term, training in cultural planning for staff and local authority officers in different departments as well as key agency officers would be key to ensuring a joint and shared responsibility for cultural planning. The Community Planning process is considered as a possible means of local partnership delivery.

§ There must be a cross-sectoral approach to leadership involving the public, private and cultural sectors.

§ Perhaps one of the greatest challenges to be addressed is how to ensure there are sufficient resources for the successful implementation of policies.

§ One suggested means of standardising opportunity and enabling it be delivered relatively conveniently is via a 'smart-card'.

§ There is less certainty over the understanding of the needs of socially engaged artists than with other types of artists or crafts-person.

§ Public funding should, as much as possible, go directly to the groups/artists/organisations, not another layer of bureaucracy. A reasonably modest increase in current investment would have a proportionately greater impact on the cultural offer in the Outer Hebrides.

§ There is a need for match funding for large capital projects from the local authority and other partners.

§ There was a consistently expressed view from consultees that "We are four years behind mainland" in terms of broadband provision, and that this is a serious handicap to development, particularly of the creative industries.

Introduction

"Culture is a bit of a brochan" 1.1 Purpose of study

1.1.1 The Outer Hebrides is one of thirteen local authority areas in Scotland, selected by what was then the Scottish Executive in 2007 and is now the Scottish Government, to be national 'pathfinders'.

1.1.2 The aim of the Outer Hebrides pathfinder project was "to explore processes best suited to consulting communities, developing cultural entitlements, promoting and delivering them, and gauging their impact and success' [4].

1.1.3 The primary 'outcome of the Pathfinder will be a suite of Cultural Entitlements developed in consultation with the local community, cultural agencies and organisations' [5]

1.1.4 In June 2007 the Comhairle nan Eilean Siar (CnES) commissioned Fablevision, Theatre Hebrides and Creative Services to assist them with the Cultural Pathfinder project to establish Cultural Entitlements in the Outer Hebrides.

1.1.5 An existing Cultural Working Group comprising representatives from several relevant CnES services (established during the development of the Outer Hebrides Cultural Strategy) monitored and provided strategic guidance to the project.

1.1.6 A Detailed Delivery Plan was prepared by the consultants that outlined the approach to the Pathfinder; essentially this comprised two phases of consultation - the first with stakeholders in the cultural sector, the second with community groups and individuals - followed by an open event to feedback the results of the consultation.

1.1.7 The aim of the consultation process was to gather views, ideas and opinions on what cultural provision means to communities in the Outer Hebrides, what shape it should take, and how it should be delivered. The open event was intended to develop the findings of the consultation process into specific cultural entitlements.

Context of Change

1.1.8 It is important to note two important contextual changes that significantly influenced the initial purpose and outcome of the pathfinder process.

1.1.9 Firstly, when initially proposed by the Scottish Executive, developing local cultural entitlements was viewed as part of a broader process that required national 'standards' to be established (in heritage, the arts, and libraries). These would then be interpreted and adapted locally as 'cultural entitlements'. No such national standards have been formulated, and consequently there was no guidance to provide focus to the consultation process.

1.1.10 Secondly, during the course of the project the language of 'entitlement' was abandoned by the new Scottish Government and, although the initial intention of the pathfinder process remained largely unaltered, the specific outcomes - i.e. entitlements - had to be amended to try and accommodate this change of emphasis. By the end of the pathfinder process there was no clear guidance from national government as to what was expected from local authorities involved in Pathfinders as a replacement for cultural entitlements.

1.1.11 It was felt by the Steering Group, therefore, that as well as helping identify a process for consulting communities the outputs from the Pathfinder should also assist clarification of future priorities for cultural provision, and cultural providers in the area - to be considered alongside the existing relevant policy documents, such as the Outer Hebrides Cultural Strategy and Western Isles Language Plan.

1.1.12 It was also anticipated that the outcome of the pathfinder process should provide valuable lessons to be shared with the cultural policy makers of the Scottish Government and other relevant local authority areas.

1.1.13 It is intended that the Comhairle will consider this final report on the conclusions and outcomes of the Outer Hebrides Cultural Pathfinder in late Spring 2008.

1.2 Approach

1.2.1 The key aim of the pathfinder was to find a method of consulting as wide a range of stakeholders as possible and to engage the community as fully as possible in the process. A two-phase approach to this consultation was, therefore, adopted with the two distinct but connected parts running consecutively.

1.2.2 The first phase (from September to late October 2007) sought the views from individuals and organisations in the cultural sector - essentially, the people and agencies that are currently providing, promoting, and performing. The second phase (from mid October to January 2008) was designed to engage creatively with the citizens of the Outer Hebrides - the people who attend and participate in cultural activities, as well as those who don't.

1.2.3 The consultation process was designed to reveal, from the perspectives of provider and consumer, what is currently available culturally in the Outer Hebrides, how people view and engage with that, and what their aspirations are for the culture of the area.

1.2.4 Phase One adopted a more 'traditional' consultative process, combining focus group meetings of sectoral and geographical interests with one-to one meetings with key stakeholders locally and nationally. Phase Two of the consultation with community groups, referred to as the 'creative consultation', was delivered through an imaginative approach that sought to maximise the level of engagement by utilising the creative skills of artists as facilitators for workshop-based discussions in accessible community venues throughout the Outer Hebrides.

1.2.5 The twin-track approach of the consultation and the increased number of meetings this generated necessitated a greater degree of preparation than originally anticipated. However, the turnout was extremely high and a considerable number of people were reached through both phases.

1.2.6 An Outer Hebrides Community Cultural Network conference was organised by CnES for St Andrews Day as a 'gathering event' - an opportunity to feedback the findings to date of the pathfinder process to many of the professional and non-professional cultural providers in the Outer Hebrides, and to develop new ideas and solutions.

1.2.7 The event, held in Tarbert Community Centre, Harris, brought together both strands of the consultation process: many of the people active in the area's culture together with those who had engaged with the creative consultation process. There were shared workshop discussions, a report on the consultation process, and a screening of the film Island Voices. The event also featured case studies from other pathfinder projects and a contribution from the Scottish Government.

1.2.8 The conference provided a performance showcase for local musicians, and an opportunity to hold other specific cultural development workshops on the second day.

1.2.9 The table below summarises the number of people who attended events in each consultation phase. These are explored in more detail in Section 3 Consultation.

1.2.10 A full list of those consulted in Phase One, and the communities visited in Phase Two, is included in Appendix B. The diagram below illustrates the process and the role of the various partners.

Cultural Planning

1.2.11 The Scottish Government is keen to encourage the development of 'cultural planning' at a local level. This presents an important, and potentially rewarding, context for subsequent developments, however, as with all developing areas of policy there is not, as yet, a standardised view of what 'cultural planning' is. The Cultural Planning Forum has undertaken a significant amount of work in Scotland in this regard in the last three years and for the purposes of this study and report we believe it is important to clarify the interpretation of 'cultural planning' as it is subsequently referred to in the text.

1.2.12 In Scotland and elsewhere, at neighbourhood, city, regional and national levels, in urban as well as rural contexts, there is a growing realisation that culture can deliver on many aspects of economic growth, regeneration and employment as well as community engagement, empowerment and leadership.

1.2.13 In The Long Revolution, Raymond Williams states that culture can be understood as "a particular way of life, which expresses certain meanings and values not only in art and learning, but also in institutions and ordinary behaviour". [6]

1.2.14 Cultural planning is not arts development (a process that begins by identifying which art forms/arts services/activities are missing or sparsely provided and sets out to "plug the gaps". Cultural planning is not planning for culture. Neither is cultural planning another way of describing cultural strategy development.

1.2.15 Rather, cultural planning is a culturally sensitive approach to planning and policy. Local people, artists, creative processes, cross-sectoral, inter-agency partnerships and existing local resources are the key ingredients to a cultural planning approach.

1.2.16 A cultural planning approach to development and regeneration for example begins with a "mapping" process. Rather than looking at the problems/issues within an area and tackling them individually and in isolation, a cultural planning approach begins with the resources that exist already (people, traditions, festivals, organisations, language, industry, landscape, history, heritage, buildings, natural resources and so on) and builds on those resources in a creative way, strategically and with long-term vision.

1.2.17 There is a strong and growing evidence base of the links between cultural participation, including sports, and social capital (bonds and networks of trust and reciprocity) in communities. Social Capital is seen by many agencies not as an additional or supplementary factor in sustainable development but as a fundamental condition for development simultaneously in social and economic fields.

1.2.18 In particular, connections have been established between a range of forms of cultural participation and access to cultural capital in:

· Civic participation and volunteering rates;

· Improved literacy, writing, numeracy skills;

· Increased skills in the key competencies of problem solving, planning and organising, communication, and working with others; and

· Sustainable and innovative economic development.

1.2.19 Culture is associated with a high quality of life. For this reason, place-marketing strategies tend to focus on the local culture on offer, on the presence of artists and creative people and cultural industries in general. Thus, by helping to create positive images the cultural sector has a direct impact on inward investment.

1.2.20 This Outer Hebrides Cultural Pathfinder process has therefore been a useful contribution to the Government's exploration of the potential of cultural planning methodologies across Scotland's local authority areas.

This report:

a. describes the cultural planning approach to community consultation process taken by the pathfinder

b. assesses the usefulness of that cultural planning approach to community consultation within the context of exploring cultural entitlements and

c. assesses the potential application of cultural planning methodology: within other policy agendas; across different local authority service areas and for partner organisations in the public, private and voluntary sectors throughout the Outer Hebrides.

1.3 Communication

Internal

1.3.1 To ensure effective coordination and dissemination of information and ideas between the Steering Group, consultants, and additional key managers, a shared web space was established during the Cultural Pathfinder that allowed registered users to post messages, upload and download files, create project milestones and to-do items.

1.3.2 The Outer Hebrides Cultural Pathfinder Ideas Exchange had the following registered users:

1.3.3 From its establishment in August 2007 through to early 2008, participating partners and clients of this project have:

· Logged in on a regular basis - some weekly, some daily, some hourly

· Uploaded 57 files

· Started 45 discussion strands and made 187 comments on those messages

· Completed 22 milestones

1.3.4 There were 6 meetings of the Cultural Working Group and regular meetings of the consultants' group during the Study period.

External

1.3.5 The local press and the CnES Arts and Culture website were used as the main media to carry regular press releases regarding the pathfinder process.

1.3.6 In addition, the websites of two of the consultant teams - Fablevision and Creative Services - provided additional material. In the case of the latter, an online questionnaire for the pathfinder was carried (see Section 3 below for results) as well as the shared web space, and the former continues to host the Island Voices film (see Section 3).

Section Two

Context

"Our culture is the Gaelic language, a strong sense of community, an inspiring if often harsh environment, and a common history in which hardship and the need to cope with the different attitude of the outside world is important"

2.1 National Policy

There are seven important areas of context that serve as a relevant backdrop for consideration of the pathfinder process and its outcomes. These are explored in more detail in the next two sections - they are:

§ Scottish Government policy

§ CoSLA National Indicators and Targets

§ Western Isles Community Survey

§ Community Planning in the Western Isles

§ Outer Hebrides Cultural Strategy

§ Social and Economic Impact of the Arts of the Western Isles

§ Western Isles Language Plan

Scottish Government

2.1.1 The previous administration of the Scottish Executive commissioned the Pathfinder process and the current Scottish Government have maintained a commitment to complete, and externally evaluate, the process.

2.1.2 The process was instigated on the basis of a policy commitment [7] to:

· Nationally: support talent and excellence in culture, to help it to develop and to encourage more people to enjoy our world-class cultural national collections and national performing companies. And, to utilise the positive impact culture can have in every area of Government.

· Locally: encourage more people to enjoy cultural activities by asking local authorities to develop cultural 'entitlements' for their area, in consultation with local people and to ask local authorities to undertake cultural planning, feeding into Community Planning.

2.1.3 In a Ministerial statement in October 2007 a re-focus of cultural policy was announced. This changed the emphasis from establishing cultural 'entitlements' to an approach that will seek to create a consensus of shared goals and outcomes between local and national government. The broad aim of ensuring that a wide range of cultural opportunities is available across Scotland has been maintained.

2.1.4 In addition, the Culture Bill which, in its draft form, proposed establishing in law the need to create cultural entitlements locally will not now be carried forward. In effect these changes significantly altered the original impulse of the process and has meant the intended outcome - a suite of locally relevant and achievable cultural entitlements - is no longer appropriate. However, as will be seen throughout the document, the process of seeking to identify the nature of the distinctiveness of culture in the Outer Hebrides and examining the structures for providing it, has been very valuable to the majority of participants.

2.1.5 In particular, there are several areas that overlap strongly with the Scottish Government's realigned policy, namely: an emphasis on community consultation, integration with the community planning process, and the introduction of cultural planning, with findings and recommendations that can be applied locally and considered nationally or for appropriate local authorities.

2.1.6 There will, of course, continue to be policy developments at national level (particularly with the introduction of Creative Scotland in 2009) that will require any local organisational structure to ensure it is sufficiently flexible, and integrated into national policy-thinking, to remain relevant and effective.

2.1.7 An issue raising immediate concern and practical impact is the Scottish Government's announcement that support for the Cultural Coordinators will be phased out over the next three years. There was insufficient opportunity for this study to assess the potential impact this may have on cultural provision in the Outer Hebrides, however, initial anecdotal evidence has not been positive.

COSLA Indicators and Targets

2.1.8 The Convention of Scottish Local Authorities (COSLA) has initiated six pathfinders for their recently developed Single outcome agreements (SOA's) SOA's follow on from Local Outcome Agreements. The intention is for local authorities to bring together funding streams from the Scottish Government and other agencies into one package aimed at a specific outcome (e.g. educational attainment).

2.1.9 The following are the agreed Outcomes and National Indicators and Targets from the COSLA Concordat prepared in November 2007. Although the concordat's intention is to inform more broadly across the spectrum of Local Authority services the following have particular relevance to arts and cultural development.

Outcomes

· We are better educated, more skilled and more successful, renowned for our research and innovation.

· Our young people are successful learners, confident individuals, effective contributors and responsible citizens.

· Our children have the best start in life and are ready to succeed.

· We live longer healthier lives.

· We have improved the life changes for children, young people and families at risk.

· We live in well-designed, sustainable places where we are able to access the amenities and services we need.

· We have strong, resilient and supportive communities where people take responsibility for their own actions and how they affect others

National Indicators and Targets

· Increase the social economy turnover.

· Increase the average score of adults on the Warwick-Edinburgh Mental Well-being Scale by 2011.

· Increase the percentage of adults who rate their neighbourhood as a good place to live.

· Reduce number of working age people with severe literacy and numeracy problems.

· Increase positive public perception of the general crime rate in local area.

· Increase the proportion of adults making one or more visits to the outdoors per week.

· Improve peoples' perceptions, attitudes and awareness of Scotland's reputation.

· Improve the quality of healthcare experience.

2.2 Local Policy

Community Survey

2.2.1 A household Community Survey [8] of the Outer Hebrides assessing various aspects of island life was undertaken separately for CnES during the early period of the Pathfinder process. It was hoped there might be an opportunity to incorporate some specific questions on attitudes to and involvement in local culture - however, this was not possible. The survey does provide some useful contextual information on the social and economic situation in the area that provides a valuable backdrop against which consumers and practitioners are making decisions on their cultural life.

2.2.2 Some of the more relevant findings are presented below, the terms 'residents' is to be interpreted within the context of a 25% return rate on appraisals delivered to each household throughout the islands.

· Almost all (94%) residents are satisfied with living in the Outer Hebrides. The most common reasons given for living in their area of the Outer Hebrides were, "Peace and quiet", "A safe environment", "To be near family", and "a good place to raise a family".

· There is support for a number of measures to encourage the use of Gaelic in the islands. Of seven potential initiatives to encourage the use of Gaelic asked about, the provision of more Gaelic lessons for learners had the highest level of support.

· Less than half of residents are satisfied with activities for teenagers. The majority find Primary and Secondary Schools, and Community Halls convenient to access although there is considerable variation by area.

· The majority of residents have not taken part in any classes, clubs or other learning activities in the last 12 months. Only small proportions have attended education and learning classes, computer skills classes, distance learning and arts and craft classes.

· Asked what things would encourage them to take part in classes, clubs or any other learning activities, a third of residents say if they were interesting and fun, if they provided them with new skills, if they were at a convenient time and if they were at a convenient place.

· Around a third of residents say they are not interested in taking part in any classes, clubs or other learning activities.

· Most residents say their household members never use school facilities outside of school hours. For those who do, the main reasons are to access sports facilities and library facilities. However, users do not tend to do so on a regular basis.

· More than half (55%) of Outer Hebrides residents say they have undertaken work or activities on a voluntary basis in the past 12 months. Around a quarter of residents say they have undertaken voluntary work with a voluntary organisation, charity or community group.

· Asked what would encourage them to undertake work or activities on a voluntary basis in the future, just under a third say if the work fitted in with their interests and skill and if it fitted in with their other work commitments. Other things that would encourage residents to volunteer are if they had more time and if they could volunteer when they felt like it. However, nearly a third of residents say they are not interested in volunteering.

2.2.3 Some of the most useful data relates to attitudes to Gaelic; Volunteering; and use of School Facilities. These are collated in more detail in Appendix D.

Community Planning

2.2.4 The Scottish Government view the community planning process as a key opportunity and potential mechanism for the agreement of cultural policy and delivery of cultural provision.

2.2.5 The Community Planning Partnership (CPP) in the Outer Hebrides currently operates with four fora covering different sectors, one of these is the Gaelic Language and Culture Forum (GLCF). The Community Planning structure is under review and a finalised draft of the proposed restructuring is due to go to the next meeting of the CPP. This recommends that the CPP becomes single tier replacing the different fora.

2.2.6 In place of the fora, short-term topic groups will be established as required. It is still uncertain what type of group will exist covering Arts, Culture and Gaelic although possibilities include the creation of a CPP topic group or a group closer to the joint liaison model. As the concept of the CPP restructuring is for the topic groups to be short-term this option seems less likely.

2.2.7 The CPP and the GLCF have been very supportive of the arts and culture sector and the contribution it makes to the economic and social development of the islands. It will, therefore, be important to establish a structure, or at least a formal liaison mechanism, that ensures the CPP are fully engaged with establishing and delivering the cultural agenda in the area.

2.2.8 It is worth noting there are also changes being considered in the structure of the CnES departments and their responsibility and Arts and Culture could come under a different department as a result. Any restructuring is likely to happen from mid-2008 onwards.

Outer Hebrides Cultural Strategy

2.2.4 The Outer Hebrides Cultural Strategy is an impressive document prepared in 2005 for the 2006-2010 period. Its aims to reflect the national move (at the time) towards the creation of rights and entitlements and, although this national emphasis has been refocused, the majority of aspirations within the Strategy remain clear and pertinent.

2.2.5 Importantly, the Strategy presents a clear vision for culture in the Western Isles that bears relaying in full:

§ That by 2020 Gaelic will be in everyday use as a strong community language and will continue to be the cornerstone of the islands' unique cultural identity.

§ To work in partnership to strive for excellence and ensure that culture plays an essential part in creating and sustaining socially and economically healthy island communities, who have the opportunity to participate in and access a diverse range of cultural activities and facilities.

§ That we embrace new technologies to appropriately preserve and provide access to our cultural heritage while nurturing creativity for the benefit of current and future generations.

§ That locally our island communities have a strong sense of their own cultural identity, value their culture both past and present and are aware of its international significance.

§ That nationally and internationally, the islands are characterised and promoted as a place of inspiration and creativity. [9]

2.2.6 The Strategy details several Key Considerations and Priorities. These in turn are elaborated and presented as an Action Plan with Strategic Objectives across three main themes:

· Access and Preservation

· Community Development and Lifelong Learning

· Economic Development and Infrastructure

2.2.7 Given the level of consultation involved in preparing these objectives, and the fact it was prepared relatively recently, it is valid to consider the main drive of the document - and much, if not all, of the detail - should form a cornerstone of any subsequent, augmented agreement on cultural provision and delivery that arises from the pathfinder process.

2.2.8 The Strategy posits 'an inextricable link' between four aspects of culture: Heritage, Language, Arts, and Creative Industries; and recognises their close relationship with any other aspects of community life. Its priorities include:

· Gaelic Language

· Inclusive access to cultural facilities and activities

· Collect, preserve, interpret and develop our tangible and intangible heritage, including archaeology

· Sustainable support for voluntary cultural sector

· Promote the culture of the Outer Hebrides locally, nationally and internationally

Social and Economic Audit

2.2.9 The preparation of a Cultural Strategy for the Outer Hebrides was one of the key recommendations of an earlier study into the social and economic impact of the arts [10]. Its key recommendations focussed on:

· Agency actions

· Strategic partnerships

· Strategic development

· Support mechanisms

· Opportunities to participate

· Opportunities to perform and exhibit

· Promotion of Western Isles arts

· Gaelic

· Integration with tourism

· Advocacy

2.2.10 The Study outlined some important impacts of the arts on the Outer Hebrides, including the estimate that activity at that time (2003/04) resulted in 431 f.t.e. jobs in the Western Isles, out of a population of c. 20,000, and a consequent generation of annual household income of almost £5m (this excluded capital spend, which at the time involved around £5m on building the new An Lanntair).

2.2.11 Arguably a more dramatic social (and economic) consequence of the arts activity in the area was on migration from the islands with the estimate that:

"…25% less arts activity across the board in the Western Isles, i.e. a reduction of 108 fte's, would reduce the area's population by 270 people (as well as reducing tourism)…

Conversely, an increase of arts activity of 25% would imply a potential population increase of 270 - subject to the availability of suitable housing - plus the additional impact that would arise through business starts by entrepreneurs interested in the arts and culture attracted to relocate to the islands."

2.2.12 The Study also noted that recent studies have shown arts provision is a key element in the quality of life that attracts people to an area such as the Outer Hebrides, while artists tend to be attracted to communities where other artists are already established. Such a trend would tend to promote self-sustaining arts development, as people with an interest in the arts who move to the area would be relatively likely to become involved in a voluntary capacity. Continuing depopulation, however, could have the opposite effect of depleting the volunteer base.

2.2.13 In addition, the study referred positively to the impact of volunteering in the arts sector noting that, "…the annual voluntary input in organising, promoting and hosting events, exhibitions and workshops and performing for the public during 2003/04 is estimated at approximately 3,000 volunteer days. Applying a modest rate of £5 per hour to this voluntary input would give an annual volunteer value of £112,500 (based on a 7.5 hour day). The full-time employee equivalence of this, based on a working year of 230 days, would be 13 fte's."

2.2.14 The social and economic impact study was the fourth in a decade that had considered, and provided clear evidence of, the positive impact of the arts and culture more broadly on individuals, the communities, and the economy of the area.

Western Isles Language Plan

2.2.15 The Western Isles Language Plan was prepared for the Gaelic Language and Culture Forum of the CPP in 2006. It takes as its basic premise a dictum that is similar to that of the pathfinder's approach to culture more broadly, namely, that "If Gaelic is to be revitalised in the Western Isles, it is imperative that organisations, communities and individuals in the islands work together to achieve this aim." [11]

2.2.16 The Western Isles Language Plan proposes that; "Three strands lie at the root of Gaelic development in the Western Isles in pursuit of the Plan's aims - confidence, marketing and funding". It also identifies several specific required outcomes in cultural provision, particularly within heritage and Gaelic arts.

Heritage

2.2.17 The plan acknowledges that local history and heritage provide an important wellspring from which to draw sustenance for the development of Gaelic. It recommends that organisations and communities should support and establish activities, which will meet the following aims:

· Development of funding systems for historical and heritage groups.

· Development of the use of Gaelic in the work of history/heritage groups.

· Increased opportunities to learn and use Gaelic through cultural and historical events suitable for the whole family.

· Development of opportunities involving cultural tourism.

· Strengthening of links between the historical societies/heritage groups and schools.

· Expansion of opportunities for ICT and heritage and local history.

2.2.18 The Plan also indicates the various agencies that should take the lead in each instance, or support the development of initiatives. In this case the CnES and Lews Castle College are seen as lead bodies with funding support coming from Scottish Government, CnES, BnG, HIE Innse Gall and Visit Scotland; and support more generally from the Comainn Eachdraidh, Hebridean Connections, and other historical and heritage groups.

Arts

2.2.19 The Plan recognises that Gaelic arts and culture lie at the heart of Gaelic in the Western Isles. It recommends that organisations and communities should support and establish activities that will meet specific aims, namely:

· Collation of Gaelic arts events in the islands through actions such as a timetable for the Western Isles.

· Development of activities involving culture and the arts.

· Increased Gaelic arts events that are suitable for families.

· Establishment of Gaelic arts groups organised for children and adults.

· Encouragement for communities to take part and organise arts events through the medium of Gaelic.

· Increased Gaelic arts events in the islands' communities.

· Increased opportunities to use Gaelic at arts events.

· Support for Gaelic at international high profile events in the Western Isles, such as the Royal National Mod and Hebridean Celtic Festival.

· Research on the impact of culture and the arts.

2.2.20 The Plan recommends that PnE and CnES are lead bodies on taking this forward, with funding agency support from SAC, GASD, CnES, BnG, and HIE IG. It identifies additional support coming from ACG, Fèisean nan Gàidheal, An Lanntair, Hebridean Celtic Festival, Taigh Chearsabhagh, Taigh Dhonnchaidh, Ceòlas, and other arts groups.

Scoping: Audit of Current Activity

2.2.21 Some preparatory work was undertaken to allow an internal audit of current cultural provision across all services within the CnES. The range of information sought can be seen in the briefing paper for this scoping study in Appendix C.

2.2.22 It became clear that while such an audit would provide valuable baseline information for this study, and also useful benchmarks for subsequent work, the scale of the undertaking was outwith the time and financial resource of this study.

2.2.23 It is, however, recommended that such an audit does take place. In the first instance this should be an audit of Comhairle provision - however it might usefully be extended to cover other providers of cultural activity, in particular:

· Other public agencies (HIE; LCC; NHS)

· Other regional/national cultural agencies (PnE, FnG)

· Voluntary cultural sector (Comunn Eachdraidh; Fèisean)

· Full-time cultural sector (An Lanntair; Bill Lawson; Taigh Chearsabagh)

Section 3

Consultation

"Islands, Gaelic, beaches, small but good communities, people that care, a strong sense of identity, paradox, music, extreme weather, beauty and harshness, laughter and challenges"

3.1 Phase One

3.1.1 There were three methods of consultation used in this phase - facilitated meeting; one-to-one meeting; and online questionnaire (the results of which are detailed in 3.4 below).

3.1.2 The primary intention of this phase was to invite the existing cultural and public sector agencies, organisations and individuals to contribute directly into the pathfinder process and establish:

· A pattern of current cultural provision

· Issues and priorities for this sector

· Examples of good working practice

· Ideas for improving provision and delivery

Summary of meetings

3.1.3 Fourteen consultation meetings were held, attended by 59 people, as detailed in the table below:

Lewis Area Meeting

3.1.4 Over 180 invitations to an evening seminar at the Town Hall, Stornoway were sent out to voluntary, arts and community organisations working in the Lewis area. Ten people attended from a broad range of cultural interests in arts and heritage, some of whom represented up to 5 different organisations from a cross section of interest groups.

Key Arts Providers Meeting

3.1.5 Representatives from An Lanntair, Ceòlas, Taigh Chearsabhagh and the Hebridean Celtic Festival were invited to this meeting - although only An Lanntair and Ceolas were represented on the day.

Comhairle nan Eilean Siar Staff Meeting

3.1.6 All Comhairle staff, officials and elected members were invited to this afternoon workshop in the Council chamber in Stornoway. Eight staff, representing Arts Development, Libraries, Economic Development, Music Development, Gaelic Development and Creative Links attended.

Harris Area Meeting

3.1.7 Invitations were issued to 24 voluntary, arts and community organisations operating in the Harris area to an evening session at the Sir E Scott School in Tarbert. The four who attended the meeting, representing Harris Arts Festival, the Feisean, Mod, Art teaching, Gaelic and the community coordinator, generated a good discussion.

HIE Innse Gall Meeting

3.1.8 This meeting was attended by the Chairman, Area Director, Area Manager from Benbecula, and Head of Community Development, with discussion centring on the Gaelic language, support for culture in the Outer Hebrides, and environmental concerns.

Lews Castle College

3.1.9 Lews Castle College was represented by its Director, Head of Gaelic Development, and a Lecturer from the Gaelic Language and traditional music course. The discussion covered issues including the Gaelic language, venues and facilities, the promotion of culture and education.

CNES Officials

3.1.10 A second meeting with ten CnES officials with Education and Cultural remits was held that explored the role of Gaelic, outlined the values of investment in cultural services that require broader awareness and advocacy, and identified several issues regarding internal liaison and communication between services in CnES.

Health Agencies

3.1.11 This meeting involved the Chair and Community General Manager of the Western Isles NHS and the Implementation Manager of the Community Health and Social Care partnership (CHASP). A very positive and practical discussion ensued around recent initiatives in the health service and the potential for partnership working on a more regular basis. Very keen to maintain a dialogue and involvement with future developments.

Scottish Arts Council

3.1.12 The pathfinder issues were discussed at one of the regular meetings of the SAC Senior Managers, which included representatives from all artforms, Education, and Audience Development. It considered the evolving role of Creative Scotland and the likely relationship of the new body to local government and local cultural delivery.

Scottish Museums Council

3.1.13 The Director and Head of Policy outlined the evolution of SMC's response to cultural entitlement and the relationship with the national quality assessment guidelines for museums currently being developed. They also outlined their intention to initiate a possible pilot project with a local authority that embodies a cross-cultural approach, influenced by the entitlement approach.

Individuals by phone

3.1.14 A discussion with the Director of Scottish Screen that explored potential methods of operation for Creative Scotland (a merger of Scottish Screen and SAC) with local authorities.

3.1.15 Background information from Diane MacLeod of CnES, regarding the potential of extending the Young Person's Card as a practical means of delivering 'entitlement'.

3.1.16 An update from Derek McKim of CnES regarding plans for community planning in the Outer Hebrides.

3.1.17 A discussion with Ian Smith (Head of Music) and David MacDonald (Head of YMI) at SAC regarding the opportunities for music development and the role of local music fora.

3.1.18 Several attempts were made to organise a meeting of the key Gaelic Agencies, including PnE, FnG and BnG, however this did not take place. Gaelic issues were consistently raised in all other parts of the consultation and the importance of this aspect of cultural life in the area has been well recorded and acknowledged elsewhere within this report.

3.1.19 A summary of themes from this discussion is outlined in Section 4.

3.2 Phase Two

Approach

3.2.1 The 'creative consultation' element was a key element of the pathfinder process in that it sought to find imaginative and creative ways of engaging the interest and the views of the users, participants and audiences of cultural activity to:

§ Create an environment where participants could share an enjoyable cultural experience while discussing relevant cultural issues.

§ Raised awareness within communities of cultural entitlements agenda and their role in cultural planning.

3.2.2 An important part of the consultation was the use of artists as facilitators of the meetings, or creative workshops. The artists allocated to each creative workshop group, and the chosen methods of approach, were influenced by the make up of the groups themselves. A variety of techniques were used in the sessions, including:

§ Forum theatre and Open Forum [12] techniques (issue or opinion led work).

§ Poetry/text/imagery and /or film presentation as a way into revealing local views experiences and issues.

§ Reminiscence theatre: focus for elderly people, past way of life shown through photographs or film, or read text or other element as a way in to recollection of the past.

3.2.3 Several key objectives for the creative workshop programme influenced the nature, structure and location of the sessions. These were to:

§ encourage expression of their views of their cultural entitlements and how they might wish them to be developed/delivered.

§ enable every participant to engage with the creative process/have their voices heard and recorded through the structure of the workshop.

§ provide a workshop environment where people of all ages feel at ease enough to contribute in a creative way and where debate can happen

§ place value on our creative abilities as people and our entitlements to have those abilities recognized/developed/validated.

3.2.4 In addition there were clear outputs expected from the workshop programme that included:

§ An honest view of what individuals think of as their cultural entitlements.

§ A record of examples of individual and group opinions

§ Identification of areas where people have issue with cultural provision

§ Identification of needs/barriers/obstacles that hamper participation in cultural events.

§ Findings/recommendations that will inform the recommendations of the final report to the Comhairle and Scottish Executive.

3.2.5 Having the right people - local people - lead the sessions was an important aspect of their success. The criteria for selecting workshop tutors were therefore - local knowledge; Gaelic language skills; drama workshop skills; film, media, arts discipline skills; experience of leading workshops; and experience of reminiscence theatre.

3.2.6 The creative workshops team included:

§ Ian Stephen, (Poetry, creative writing, photography & film skills and seafaring / boat knowledge, Local knowledge)

§ Artair Donald (drama workshop skills some reminiscence theatre skills, Gaelic speaker)

§ Erica Morrison (drama workshop skills local knowledge Gaelic speaker)

§ Muriel Ann Macleod, Theatre Hebrides (Drama workshops, Forum theatre workshops, film and reminiscence work experience, local knowledge)

Summary of Meetings

3.2.7 593 people attended the 55 creative sessions held the full length of the Outer Hebrides between November 2007 and January 2008. The table below indicates the location, turnout and gender breakdown of each session. Where possible the workshops dates and locations were chosen to coincide with the meeting of an existing community organisation (also indicated below, where appropriate).

LOCATION DATE GROUP PRESENT(gender:m/f)

Berneray 06 Nov 07 Evergreen Club (Seniors) 17 8 / 9

Scalpay/Cliasomol ' Primary 7-11yrs 18 7 / 11

Sgoil nan Loch ' Secondary 12-13 23 9 / 14

Nicholson Institute ' ' 15-17 08 3 / 5

' ' 07 Nov 07 ' 15-17 08 3 / 5

Lionaclete School ' Secondary 13-15 14 7 / 7

St Mary's Hall 08 Nov 07 Historical Society 08 5 / 3

Nicholson Institute ' Secondary 15-17 08 3 / 5

Iochdar School ' Primary 6-7 16 11 / 5

Paible School ' Athletics Group 80

Breasclete School ' Primary 7-11 16 11 / 5

Paible School ' Primary 6-7 16 11 / 5

Kildonan Museum 09 Nov 07 Mixed Groups 24 11 / 13

Castlebay Hall 10 Nov 07 Childrens' Parliament 24 14 / 10

Barvas School 13 Nov 07 Primary 5-7 22

Ness ' Mixed Groups 20 9 / 11

Tong School 14 Nov 07 Primary 1-2 22

Shawbost 15 Nov 07 Devel Partnership 05 3 / 2

Tiumpanhead Centre 29 Nov 07 Senior Citizens 36 15 / 21

Leverburgh Hall 16 Nov 07 Devel Group 01 1

Leverhulme School 20 Nov 07 Primary 1-5 12 5 / 7

Shawbost School 21 Nov 07 Primary 5-7 26 14 / 12

Breasclete School 23 Nov 07 Young Campaigners (J) 25 9 / 16

Breasclete School ' ' ' (S) 08 4 / 4

Sir E Scott School 17 Jan 08 Secondary 13-15 20 8 / 12

Tarbert Harris ' Group Reps 02 1 / 1

Bernera Comm Hall 18 Jan 08 Youth Club 12 8 / 4

Barra Day Centre 24 Jan 08 Seniors/Disabled 11 6 / 5

Heritage Centre ' Mixed Groups (Gaelic) 10 1 / 9

Heritage Centre ' ' ' (English) 10 1 / 9

Casltlebay Hall ' Youth Council 11 6 / 5

Tolsta 06 Feb 08 Golden Oldies (Seniors) 12 12

Stornoway 07 Feb 08 Sulaire Trust 10 6 / 4

___________________________________________________________________

SUBTOTAL WORKSHOPS PARTICIPANTS

33 555

FURTHER MEETINGS

Martyn Robertson Fablevision 22 38

___________________________________________________________________

TOTAL 55593

3.2.8 A detailed transcript of the workshop sessions is provided in Appendix F, and a summary of themes is outlined in Section 4.

3.3 Conference

3.3.1 It was agreed at an early stage that it would be appropriate to hold the annual Outer Hebrides Community Cultural Network event on St. Andrew's Day, 30 November and 1 December in Tarbert, Isle of Harris, and to use it as a means of both feeding back information from the pathfinder consultation, and use the event as a sounding board for new information and emerging ideas. In addition, it was felt this might be an opportunity to place the process in the context of other pathfinders in Scotland.

3.3.2 The aim of the Outer Hebrides Community Cultural Network (OHCCN) is to act as a discussion and information forum for cultural community groups throughout the islands. In addition, the Scottish Government and other CEP local authority representatives from across Scotland indicated they would be interested to attend the event to gain and share Pathfinder experience and knowledge.

3.3.3 More than 80 delegates attended the event over the two days. These were representatives from local arts and heritage community organisations from Ness in the North of Lewis right through the Outer Hebrides to Barra in the South. It is the only annual event where local cultural groups gather together to network, discuss common challenges, share ideas and potentially develop joint projects.

3.3.4 The event also provided the opportunity to engage in a panel discussion with key members of the Outer Hebrides Community Planning Partnership with regards to the broad reaching benefits of culture across their shared priority areas. The attendance of three representatives from the Scottish Government's Gaelic and Cultural Division allowed the opportunity to enter into dialogue with national policy makers about the significance of the culture of the Outer Hebrides and the Gaelic language within the wider Scottish cultural context.

Showcase of Island culture

3.3.5 The two day event also presented an opportunity to act as a showcase for some of the cultural life of the Outer Hebrides. A large proportion of the discussion on Friday was held in Gaelic with simultaneous translation for the non-Gaelic speakers, it was an enlightening experience for many of the visitors with regards to the local commitment to the Gaelic language and heritage.

3.3.6 The Tarbert Community Centre walls were adorned with an exhibition of creative outputs from schools and youth groups from throughout the islands. The Friday evening entertainment was an eclectic night of young performers both traditional and contemporary.

3.3.7 On the Friday afternoon there was the debut screening of the Cultural Pathfinder film Island Voices that has subsequently been shown at a National Pathfinder event in Dundee and viewed by Linda Fabiani, Minister for Europe, External Affairs and Culture.

Long-term benefits of Conference event

3.3.8 The profile of the Outer Hebrides' island culture, heritage and Gaelic language was raised within the Scottish Government Cultural Policy Division as a result of the Pathfinder and the event. The representatives from national and regional bodies who attended the event now have a better understanding of the context within which local cultural practitioners work, the challenges they face, the richness of the local culture and the significant level of commitment within the local community to the Gaelic language and island culture. The event provided the opportunity to discuss more broadly with the Outer Hebrides Community Planning Partners the benefits of creative activity, cultural events and cultural development. There was an acknowledgement that the doors were open to opportunities and that it was about going forward and building partnerships and projects.

3.3.9 For details of the conference agenda, main speaker and presenter contributions as well as notes from discussion groups, please refer to: http://www.cne-siar.gov.uk/artsandculture/ohccn.htm

3.4 Film

3.4.1 The documentary film Island Voices formed part of the creative consultation process. The film reflected in a creative way the evidence gathered during the workshop process. It was intended that, through either creative workshop interview or individual to camera interview, as many local people as possible were included in the process. The film footage was gathered during October and the first week of November.

3.4.2 There were several reasons for embarking on the ambitious film project, Island Voices. On a practical level, there is no doubt that a film has the power to touch, move and inspire: to convey much more about the existing cultural resources of the area than any written report. A film is also much more accessible than the written documentation. Local people or children, who may not feel inclined to plough through a government report on their cultural resources with recommendations as to how they can make the most of them, will be thrilled to watch an evocative piece of moving image featuring their own landscape, history and heritage starring their friends, families, colleagues and neighbours.

3.4.3 The archive is therefore totally accessible through all linked websites from Council departments to partner agencies [13], and can be viewed in library, arts centre, school or college settings. A copy of the film was sent to each of the 56 participants throughout the islands and the film was shown preceding the main movie on the Screen Machine tour of the Outer Hebrides in February 2008.

3.4.4 The film process had several objectives and was designed to:

• Give a platform and "voice" to local people, allowing them to express their ownership of and aspirations for their own cultural resources, ambitions and (where appropriate) creative industry/career prospects.

• Gather feedback from local people as to how best to support all of the above - to maximise impact and benefits to the economy and social fabric of the islands.

• Accompany the written report for funders/stakeholders and the Scottish Government.

• Work in tandem with the creative workshop programme - providing a lasting, accessible archive of evidence gathered during the process

• Provide a visual and accessible summary of the findings of the cultural entitlements Pathfinder of 2007.

3.4.5 Martyn Robertson of Fablevision led the creative direction and edit of the film. He and his film crew embarked on a journey of discovery: starting on Barra, travelling through Eriskay, South Uist then Benbecula, North Uist, Berneray and Harris. The journey ended on Lewis and the film recreates that journey using map locations as a point of reference.

3.4.6 The result is a celebration of island culture/life. Shot in a documentary style, participation in the process offered the opportunity for local people to express their views on what is important to them. The resulting edit is a reflection of the variety of those views. Some talk about Gaelic, some share their passion for the music, song and dance. Some point to the geography and archaeology while others speak of the stories, the folklore, the myths and legends.

3.4.7 Most participants had strong views on how best to support individual artists, projects and organisations. Most were clear that existing cultural resources are the key economic and social drivers locally but that they are under estimated and under exploited currently. As editors, Fablevision was determined to remain impartial, to respect the views of local people and to allow their voices to be heard powerfully.

3.4.8 Initial responses to Island Voices have been overwhelmingly positive: "I could hardly breathe it was so moving…", "Just the sheer riches in the place and in the people.. you couldn't fail to be overawed", "They've got it all, haven't they? They just need to shout about it all a bit more I think".

3.5 Work with Schools

3.5.1 An additional element to the creative consultation process was worked on by the CnES Creative Links Officer and Cultural Co-ordinators. This had several strands and sought to encompass the richness of activity that is happening as well as highlighting ways in which cultural activities with children and young people could become stronger and more coherent.

3.5.2 Firstly, co-ordinating with the Fablevision film, two or three representative groups of children and young people from all over the islands met and shared their own interest and activity in film as well as exploring their own themes. In this way the Pathfinder helped to start up two separate film projects, one in Uist and one in Stornoway.

3.5.3 There were drama workshops at the Nicholson Institute in Stornoway: these were Pathfinder consultations but two more workshops were added to use them as starter workshops for a partnership project between the Cultural Coordinators team and Gaelic Media Service (GMS) with Arthur Donald. It involves working with secondary pupils through Gaelic on the preparation of pieces for radio and the acquisition of media skills. The Pathfinder consultation was enlarged so that it could start another project that also had a cultural theme.

3.5.4 The Slighean tro na h-Innse Gall (Paths through the Outer Hebrides) exhibition aimed to map out the wealth of cultural opportunities that are available for children and young people in the Western Isles. Groups involved with Arts, Media, Heritage or Cultural pursuits were asked to contribute an image and some information about themselves.

3.5.5 Slighean tro na h-Innse Gall charted the path that has helped these activities come into being, via voluntary and statutory groups, individual artists and tutors as well as national and international links. Perhaps most importantly the exhibition also highlighted the aspirations of children and young people - where they would like to go as well as where they have come from. The resulting exhibition featured at the two-day conference and is intended to be developed into an information booklet.

3.5.6 The exhibition was aimed at reinforcing the arts education strategy as well as being relevant to the pathfinder, the idea being that to think of arts education strategically necessitates including the informal sector - therefore an overview is necessary.

3.6 Online Survey

3.6.1 An e-questionnaire was made available for any interested parties to complete. Its presence was advertised in press releases and on the websites of all agencies involved in the pathfinder process.

3.6.2 The purpose of the e-questionnaire was to provide an additional opportunity to contribute for those who were unable to do so as part of the other elements of the consultation process. Its findings should, therefore, be considered supplementary to those of the core process rather than a substantive element of it.

3.6.3 31 responses were received and these are presented in full in Appendix C. Of those that replied 65% described themselves as 'interested member of the public', with 20% being 'professionally involved in the cultural sector'. 30% indicated they would be willing to have further involvement, if required, with a further 56% willing to 'in certain circumstances'.

3.6.4 When invited to indicate what constitutes the culture of the Outer Hebrides the three most popular areas were: heritage, language, and the natural environment - with 'people' a close fourth. Few (3%) felt libraries should be considered part of the area's culture.

3.6.5 In considering the cultural assets of their area and also the Outer Hebrides as a whole the results were consistent between the two. Of those that gained the highest 'Excellent' rating the overwhelming favourite was 'Landscape' (81%/73%). Heritage sites (26/34%) and Museums (26/28%) were next highest. Respondents felt the poorest provision was arts venues in their area (12%) and Festivals across the Outer Hebrides (11%).

3.6.6 Of those assets that were rated most highly by respondents themselves and by visitors 'Landscape' was again consistently high between the two (88%/79%), although 91% felt visitors would rate heritage sites such as Callanish as most important. Traditional music scored highly in both categories (68/75%) while 48% of locals felt the islands' 'Literature' was important' as opposed to 12% of visitors. 16% felt the fèisean were 'Not at all' important to them, with 4% feeling this applied to visitors' views of Festivals.

3.6.7 A clear majority of respondents (60%) felt that Gaelic is "An essential part of island culture". None felt it was peripheral, although 12% felt it is "Growing more marginal as cultural activity becomes more diverse".

3.6.8 When asked to consider the strengths and weaknesses of the area the largest majority (72%) felt the 'Creative Environment' was a strength with 68% favouring the "opportunities to participate in Cultural activity' and 62% the islands' 'formal education'. Transport was seen as the greatest weakness (76%).

3.6.9 'Word of mouth' (87%) and 'Local Newspapers' (82%) are the two most popular ways of finding out what's going on in the area. Regional TV is seen as the poorest source of information (47%).

3.6.10 A majority (56%) felt that local people should have a greater involvement in what cultural activity is in the area, while 21% felt there is enough involvement already, although it could work a little better.

3.7 Evaluation of the Consultation Process

Challenges

3.7.1 In general, our feedback from the consultation was overwhelmingly positive, although for key CnES staff the Pathfinder process was a "hungry consumer of time", it appears to have been considered time well spent. For example, it enabled the Cultural Co-ordinators project to progress in ways that it already wanted to do but could not have done without the partnerships created. More broadly, it created opportunities for improved communication and collaboration between CnES Departments with cultural remits.

3.7.2 One view suggested that, "The big challenge is now" - in other words, ensuring there is follow up from the process: maintaining the goodwill and momentum that has been established.

3.7.3 The effective working of the Cultural Working Group underlined a gap in formal strategic planning within CnES, and between CnES and external partners. It became increasingly clear during the process that it was not because partners were averse to joint planning but that there are no formal structures in situ that allow or encourage it.

3.7.4 This issue was evident on a day-to-day basis during the process in the form of basic communication. This took several weeks to begin to operate in a way that was satisfactory for all concerned. It was assisted by the use of a shared website that was used for information exchange, setting and monitoring milestones, and sending messages (this is outlined in more detail in 1.3.2 above).

3.7.5 The issue of good communication is a fundamental prerequisite of effective planning and delivery, particularly in an area such as cultural provision that can often become quite complex when several initiatives are on the go simultaneously. Again, there appeared no lack of will to communicate but a lack of appropriate systems to encourage it which, once in place, seemed to work effectively.

3.7.6 There is also the practical challenge of static or reducing resources while stimulating expectation. During the process this was made evident as CnES officials began to address the withdrawal of ongoing support for the Cultural Co-ordinators nationally. While it was originally intended that these posts become mainstreamed in local authority budgets this has not always been possible, particularly in smaller authorities, such as CnES, who have relied on the external financial support.

3.7.7 This example does challenge the current funding structures within CnES and the ability to maximise external support, particularly the 'incentive'-type funding that is often made available through government or its agencies. It is a source of frustration for many in local government, often elected members, that this type of funding is both directive yet difficult to sustain.

3.7.8 Perhaps one of the greatest challenges to be addressed - and one the process began but did not conclude - is how to ensure there are sufficient resources for the successful implementation of policies? For example, is planning sufficiently resourced to support the Comhairle's stated desire to support the Gaelic Language and Heritage? Who is supporting heritage projects and societies? Who is supporting Gaelic? Many other similar questions could be posed.

3.7.9 There was general feeling that inter-service and inter-agency working is the preferred route, however, there were no formal discussions on how this might evidence itself in terms of shared resources, financial or human.

3.7.10 The Pathfinder process was therefore useful in ensuring these issues were brought to the surface, in raising awareness of them and perhaps bringing them higher up the list of priorities within various agencies. However, the process was not in itself able to provide definitive solutions to the issues. This is largely because the issues are of such a nature that they will take some time, as well as goodwill, to resolve within the various public bodies.

Communication

3.7.11 The process took as its premise that it was essential to involve local artists in the process, and that there were certain qualities - Gaelic medium, local knowledge, trust and openness in consultation/workshop sessions - that needed to be present to ensure as open and full a participation in the consultation as possible. The attendance level at the Phase 2 creative workshops strongly indicates the success of this approach.

3.7.12 Feedback from participants in the workshop programme was overwhelmingly positive with people feeling acknowledged, included and their ideas respected (see appendix F).

3.7.13 However, while the results and feedback were positive, the medium of drama is not something everyone feels confident with and the medium itself could potentially influence the outputs from such workshops. It is therefore important, as was the case with this Pathfinder, to have other means of opportunities for engagement and feedback, such as questionnaires and on-line forum areas, where those who were unable or did not wish to attend the forum theatre workshops could express their views in their own time and words. In addition, the detail of the output from the workshops needs to be dealt with some caution in terms of the medium in which it was gathered and the potential for it to have a drama 'perspective'. The use of creativity, however, is certainly a good means of engaging in this context.

3.7.14 Communication between the Cultural Working Group and consultants is explored above (in Section 1.2). Generally the management of process from the mainland worked well, however, it was necessary to have a strong local presence in both the Council (Arts Development Officer) and in the local consultants' team (Donnie MacDonald and Carola Bell) to make this work effectively.

3.7.15 Without the commitment of Theatre Hebrides staff and freelance artists it would have been impossible to cover the whole area as thoroughly as did take place. The programme had been due to finish in November but timetabling difficulties, weather etc. meant that some areas had not been visited. Theatre Hebrides, therefore, committed time and carried the programme on into January. They only finally completed the programme on the very last day of the month, given that it was vital to gather feedback from every stakeholder. A more in depth evaluation of the phase 2 creative workshop process can be found in appendix I.

3.7.16 Although the budget for the process proved very tight with all parties putting in more time than was initially anticipated or budgeted for, only one area gave cause for financial concern: perhaps predictably travel costs (to and from the mainland, travel between islands) were much greater than expected.

Managing Expectation

3.7.17 From an early stage it became clear that the scale and complexity of cultural provision meant that the CnES Arts Development Officer and staff would not be able, on their own, to deliver on the outcomes of the consultation process. It was acknowledged that the only way forward is in partnership - partnership between local authority and other public service providers as well as the business community and the third sector.

3.7.18 The main challenge for the public agencies appears to be to move from seeing themselves as direct service providers to facilitators of initiatives that are already underway - to focus on the reactive rather than the proactive. The pathfinder process has highlighted the wealth of initiatives in the arts and heritage sectors that are already happening (many of which are struggling) - these could be supported strategically and, where appropriate, replicated in other parts of the islands.

3.7.19 Training in cultural planning methodology for staff and local authority officers in different departments as well as key agency officers would be key to ensuring a joint and shared responsibility for cultural planning. This training should be linked to actual projects on the ground.

Conclusion

3.7.20 The Phase One consultation process with professional bodies led to a sectoral view of cultural entitlements divided into arts, archaeology, language, etc. The creative consultation revealed no such artificial boundaries. People engaging in the creative workshops saw the language, the landscape, the heritage and the stories/music/song as one. They didn't distinguish between sports, arts, crafts, history, but saw them all as part of the whole cultural mix.

3.7.21 In the Phase Two consultation workshops creativity was an imperative - something was created in the process of the workshop, a performance, the revealing of a significant story, a piece of film. This opened the door to poetic and impassioned responses. Speaking through all the findings is the voice of real people with real love of their land, their history, language and heritage.

3.7.22 This was not mere nostalgia, however as there are strong ideas, recommendations and vision for taking the past into the future. Indeed, people felt frustrated that they could see how to do this for themselves but were not being given the level of support to do what they knew could be done.

3.7.23 The passion and commitment was not restricted to indigenous people, older people or community residents. Incomers also expressed their love for the language and culture of the Outer Hebrides. Also, government officials or partners who had participated in the traditional consultation process as representatives of their "day job" were free in the creative process to speak as inhabitants and to express their own passions and commitments.

Evaluation Plan

3.7.24 The pathfinder process is looking to establish models of good practice that can be rolled out across other local authority areas in Scotland. As such a clear Evaluation Plan was seen as an integral part of the overall Detailed Delivery Plan. The Scottish Government will be undertaking an external evaluation of the Pathfinder programme that will assess the merits and challenges of the various approaches undertaken by the thirteen pathfinder projects.

3.7.25 An Evaluation plan was provided in template format by the Scottish Government and was customised for each Pathfinder to assess its Aims, Outputs and Outcomes. Some of this information can only be ascertained in the long term and therefore can not be included in the report at this stage. The full detail of the Evaluation Plan can be found in Appendix H.

3.7.26 The original aim of Pathfinder was 'To develop inclusive and sustainable cultural entitlements for the Outer Hebrides in accordance with the Outer Hebrides Cultural Strategy and the Western Isles Language Plan and to assess best consultation processes in a rural context.'

3.7.27 During the course of the Pathfinder the Scottish Government announced that the requirement for local authorities to develop cultural entitlements was no longer to be included in the Cultural Bill. A decision was, therefore, made by the Cultural Working Group to concentrate on assessing consultation techniques best suited to the island context and making proposals for cultural planning as part of the Community Planning process, both of these have been fully achieved and feedback to date has been positive.

3.7.28 However, the Pathfinder has a life beyond the finalisation of this report and it is essential that developments are taken forward and that those involved remain responsive to change and comment in order to achieve the best possible outcomes.

Section Four

Emerging Themes

"Our culture? Rich in oral traditions and through immigration connected to the rest of the world…

Weather dominated, with people you recognise - it either makes you glad you are here, or wish you were away…"

4.1 General

4.1.1 This section distils the information gathered through all parts of the consultation process and, for consistency and ease of reference, collates it under the three main areas of the Outer Hebrides Cultural Strategy:

· Access and Preservation

· Community Development and Lifelong Learning

· Economic Development and Infrastructure

What is culture?

4.1.2 There was a very strong view that people view culture as a way of life, not in a more limited definition of arts activity. It has been one of the more striking - and perhaps reassuring - aspects of the process that when asked to define 'culture' respondents have been helpful, but when asked to define 'the culture of the Outer Hebrides' they become animated, engaged, and often poetic.

4.1.3 The perception of island culture is broad and pervades many aspects of society and the natural environment - areas outwith the scope of this study and, often, the legislative capability of local or national government. This is necessary context and should inform how the public agencies consider their future support for, and involvement with, cultural provision.

4.1.4 Both indigenous and incomer consultees agreed the importance of preserving the distinctiveness of Hebridean culture - crofting, crafts, Gaelic, religion but felt that, rather than be limited by the past, it should move those traditions into the 21st century in a new way.

4.1.5 The following is an indicative sample of responses from consultees when asked to describe culture in the Outer Hebrides. The breadth of response underlines the difficulty in the public sector trying to provide a definitive answer for cultural provision, or considering it as anything than a joint-sectoral responsibility:

Our culture is:

4.1.6 Our history, crafts, the Gaelic language, the Callanish stones, the natural environment, scenery and beauty (unique and could be better marketed), making hay, tartan, music, drama, storytelling (stories handed down from generation to generation), watching "telly", farming, fishing, boat building, space and freedom, sense of community (sadly now dying), family, extended family, friends and neighbours, sporting activities, bowling, ice skating, football, dodge the ball, swimming in the sea, knitting, and religion.

The cultural activities we engage with are:

4.1.7 Crofting. Sheep and crops, crafts, ceilidhs/concerts at the Hall, Youth clubs and Boat Clubs. Evergreen club for pensioners, shopping trips to Benbecula. 'Motivate' - school programme of activities. A variety of crafts. Spinning wool/Cross-stitch/Crochet/Glass-blowing. Danced the 'Buy-out Reel' created to celebrate the community buy-out. Screen machine. School concerts. Feisean. Piping. Pony trekking. Football Indoor bowling. Ice-skating. Going to see the Vatersay Boys.

Interpretation of 'culture'

4.1.8 Not all aspects of the area's culture emerged during the consultation process with equal emphasis. For example, there were few specific references to libraries or museums although visitor figures indicate that these are relatively well-used services.

4.1.9 Also, it appeared that the quality of the built cultural infrastructure is less appreciated within the local community - e.g. An Lanntair, Taigh Chearsabagh, GMS Stornoway Studios - much of which would be the envy of considerably larger communities elsewhere in Scotland. There appears to be a much readier recognition of the spectacular natural and heritage sites that are present across the islands than their contemporary counterparts.

4.1.10 These occasionally conflicting results possibly reflect the different interpretation of the word 'culture' rather than a lack of appreciation, or knowledge, of specific aspects of cultural provision. While the pathfinder definition of culture is broad, an individual's understanding of the word may be different and focus on one aspect of provision, such as the arts.

4.1.11 The importance of this difference in interpretation should not be underestimated as it is a key issue of communication between cultural provider and attendee/audience and is underlined further in section 4.2 below.

Joined Up?

4.1.12 The holistic view of an area's culture is simultaneously reassuring in its breadth of vision, and daunting for public agencies to adequately address - and it became clear that this was the main source of frustration for many consultees: that delivery mechanisms reflect the 'silo' nature of funding sources and budgets rather than the reality of the cross-boundary nature of cultural activity.

4.1.13 One challenge frequently cited was that every CnES service public agency should be invited to embrace culture and cultural processes as a joint responsibility. The initial starting point for the 'entitlement' process proposed that this joint responsibility should recognise and include the voluntary and cultural sectors within its structures. This remains an issue - and a challenge - of some significance.

4.1.14 The Scottish Government are keen the Community Planning process is considered as a possible means of local partnership delivery and it would seem appropriate to explore this opportunity initially.

Leadership

4.1.15 Another key issue that frequently arose was the question of leadership - who takes things forward? This was also aligned to the question of responsibility and there was a developing awareness that where there is a cross-sectoral approach to planning and delivery that perhaps there must also be a cross-sectoral approach to leadership.

4.2 Access and Preservation

Valuing culture

4.2.1 The issue of valuing culture, and also of confidence, was underlined in several conversations. It was suggested this could be shown in several ways which the following examples illustrate:

4.2.2 Much of the culture of the area is connected with Gaelic, the environment and local heritage but all these elements and their continued existence have been taken for granted for generations. The area has not developed to be a strong champion of these elements. Support is required to help Gaelic speakers be more aware of the value of their culture, more convinced, for example, that being fluent in Gaelic will enable their children to achieve and be confident enough to welcome learners, so that there is a self generative effect. Because of this undervaluing of the local culture, much of the effort today is by small voluntary groups.

4.2.3 There is a need for more security of funding for smaller organisations. An Lanntair, Taigh Chearsabhagh, Heb Celt Festival and Ceòlas are all considered to be relatively financially secure but smaller voluntary groups have no similar security. Often the smaller voluntary groups require small amounts of funding for small projects but small grants for small projects are becoming increasingly difficult to obtain. There is a much more complex funding scenario than previously and support rather than signposting is required to assist small groups to benefit.

4.2.4 Comunn Eachdraidh and the local history resources they contain and maintain could be the source of a new growth sector. Voluntary groups find it hard to plan long term and they are often reliant on small numbers of people. The ideas of these groups need to be harnessed for the benefit of the area. There is a high level of ownership at this level of the local culture but whilst this is of great value, it also acts as a constraint on joint working between groups. If groups worked together they would form the strong support required to carry through the strategic decisions taken by government and agencies.

4.2.5 The amount of environmental designations shows the value others place on the local environment. Part of the compensation for the constraints placed by such designations could be an entitlement to a creation of employment and expertise based here within the environmental field (e.g. UHI environmental research base). Similarly with Gaelic and other cultural elements there could be greater commitment to creation of employment and value in the area.

4.2.6 Consideration needs to be given as to whether too much emphasis is placed on looking back at past culture rather than valuing or 'extending' present culture. This emphasis perhaps coming from the deprivation of any external credence or interest in the island culture or history in the recent past. The culture is strongly rooted in the past but yet is changing very fast and is very go-ahead as evidenced by numbers of young people excelling in 'modern arts and music field'.

Communication

4.2.7 Several communication-related issues were raised (in addition to that of 'interpretation' outlined in 4.1). These included:

4.2.8 Forthcoming events should be advertised on a regular basis and in a consistent, accessible place and style, to avoid duplication and events taking place on the same night.

4.2.9 The planned local TV network could provide a valuable means of advertising events and venues, providing space for news and reviews, as well as being a platform for local cultural performances.

4.2.10 Communication from grant givers should be simplified. Any grants or funding available should be distributed on a transparent basis, and more time given to apply. Most of the organisations are run by voluntary workers, who only meet once per month so special arrangements need to be in place in order to give those volunteers enough time to apply

4.2.11 A good example of a communication problem (with those who have very limited English) being overcome by a talent is with a Pole whose English is not good, but whose football skill is; this has given him the confidence to integrate and play for Back despite language difficulties. In addition, a Latvian athlete, working in a local garage was encouraged to both join the Stornoway Running Club and also competed in the heavy events at the Lewis Highland Games. However, more effort needs to be made to work with foreign minority groups within the islands as "Encouraging participation of minority groups requires a sustained effort, not just one visit, many visits." [14]

Gaelic

4.2.12 It is worth registering the consistent reference from all respondents and participants to the role of the Gaelic language as both a real and symbolic aspect of the distinctiveness of the culture of the islands.

4.2.13 "Language gives you a sense of where you're from" was a common theme in discussions, as was the view that there should be a sense of Hebrideans as the custodians of the language - "Once it's gone…it's gone!".

4.2.14 Many consultees - both indigenous and incomer, speaker and non-speaker - felt it is essential to safeguard the language. Most recognised there were an increasing number of careers in Gaelic but this was an aspect that had to increase dramatically if the language was genuinely to prosper.

Entitlements

4.2.15 Although the initial intention of the pathfinder to identify specific entitlements changed during the process, there had already been some discussion during Phase 2 of the consultation that sought participants' views on what they might include. No guidance was given by facilitators regarding a standard format for these entitlements. A representative section of these are outlined below.

§ More music tutors and support for drama, dance, arts

§ More support for artists and crafts people

§ Night classes at school with professional teachers, not volunteers

§ Entitled to RET (Road Equivalent Tariff)

§ Entitled to cheaper plane and ferry fares

§ More support for artists and the voluntary cultural sector

§ Access to health (not just illness) services without having to go to the mainland

Entitlement Card

4.2.16 There were practical suggestions to addressing some of the current inequity of cultural provision. One suggested means of standardising opportunity and enabling it be delivered relatively conveniently was via a 'smart-card'. New technology is helping the creation of new-generation cards that allow sufficient data to be safely encrypted. However, the ability to read cards at all public and retail outlets is likely to have significant financial implications.

4.2.17 The CnES are already involved with the National Entitlements Card scheme which covers two age-groups

· over 60s

o Travel benefits - free bus / rail and 2 free ferry journeys each year.

· 11 -25 year olds (80% of 16-18 year olds hold cards)

o Store discounts (locally & nationally) for all holders,

o 1/3 off bus and rail travel and 2 free ferry journeys for 16-18 year olds.

o Cashless catering for Nicholson Institute pupils.

o Acts as a proof of age card

4.2.18 CNES hope to include Leisure and Library services on the card in the future but it would require to be checked nationally and there appear to be considerable financial implications to be taken into account with any expansion.

Support for Artists

4.2.19 While there appears to be a general understanding of the need to support crafts people (with workshop space, etc.) there is less certainty over the understanding of the needs of socially engaged artists. This attitude - not uncommon elsewhere in Scotland - is perhaps born out of a tradition of volunteering where the very accessibility of an art form in some way lessens its perceived legitimacy as an opportunity for professionals to earn a living.

4.3 Community Development and Lifelong Learning

Professional Training

4.3.1 Several consultees referred to the need for more training opportunities to be available. While it was noted that Lews Castle College have developed a range of opportunities in this field it was felt they should not have the sole responsibility for identifying and providing appropriate opportunities.

4.3.2 Some consultees felt, "We need funding for professional training in visual arts, crafts and drama" and that, "Costs of travel and accommodation are prohibitive and need to be subsidised more."

Young People

4.3.3 Many of the issues that were raised throughout both phases of consultation related to the involvement of, and impact on, young people. In general, it was felt there should be more:

§ incentives for the young to remain interested

§ projects that employ young people

§ projects that encourage young people to stay in the area

Volunteering

4.3.4 There was widespread acknowledgement of the importance on the voluntary sector in sustaining the cultural activity of the Outer Hebrides in a variety of ways - as practising artists and teachers as well as organisers and funders.

4.3.5 Many consultees expressed the view that there was a "lack of fairness and common sense by funders" - for example, a project might be funded for a year but then it is up to the community to carry on funding the project. There needs to be a more sensible approach.

4.3.6 Some supported the suggestion that CnES "wants to fund its own things rather than supporting the enterprise which is having to be done voluntarily. It needs to support what people are actually doing not make more council jobs."

4.3.7 The following views summarise the preferred type of relationship between voluntary and public sector: We need administrative help in all fields but at a local level - direct help to voluntary and other organisations - not another tier of administration from the council - support not interference - funding directly to the groups/artists/organisations, not another layer of bureaucracy

4.4 Economic Development and Infrastructure

Cost

4.4.1 Although money was often referred to during both phases of the consultation the cost of cultural provision was not portrayed as the main obstacle to delivery. That is not to minimise the issue - in fact most of the creative organisations and practitioners need increased investment from the public and private sectors. However, issues of attitude, advocacy, leadership, and strategic planning were all considered as, and often more, important than cost.

4.4.2 As outlined earlier there was not an opportunity to undertake a full audit of current expenditure on cultural provision, although figures are available from relatively recent studies [15] that can give a good indication. From the leverage indicators outlined in these studies it would be fair to assume that a reasonably modest increase in current investment would have a proportionately greater impact on the cultural offer in the Outer Hebrides, as well as the knock-on economic and social impacts.

4.4.3 There was no consideration of practical means of sharing budgets between services or agencies. This is an obvious area that could be considered to operate alongside a strategic planning arrangement that brought these agencies/services together to jointly plan and deliver cultural provision.

4.4.4 It was suggested on several occasions that there is a need for match funding for large capital projects from the local authority and other partners. There were several areas in which recurrent cost would also become an issue, in particular the desire for more community spaces/public spaces, and a view that there is a need for more manpower to implement projects.

Policy Development

4.4.5 There is an opportunity presented by the pathfinder to broaden the scope beyond the specifics of "arts" or "education" - building and complementing the findings of the Cultural Strategy, Western Isles Language Plan and the forthcoming Arts Education Strategy [16] and redefining the importance of these documents from a whole Council and partnership perspective, across the policy spectrum.

Cultural Planning

4.4.6 In general, there is undoubtedly scope to maximise the benefit from shared expertise of consultation and CNES partners. Working links could be further developed with arts providers e.g. Proiseact nan Ealan, Theatre Hebrides and various Comainn Eachdraidh.

4.4.7 The pathfinder process revealed the huge opportunities in existing resources, in particular in trying to maximise the passion of people, the creative sector, local groups - which evidenced itself throughout the process as a commitment to what is best for the area, it's future, and its young people.

4.4.8 Cultural planning, it was suggested, gives the potential methodology for bringing all of the various strategies together - achieving the Regeneration Outcome Agreements of the community plan, and fulfilling the agendas of all partners.

Cultural Coordinators

4.4.9 Perhaps the cultural planning approach could be used in the imminent, and seemingly difficult, issue of the phasing out of national funding for the Cultural Co-ordinator programme.

4.4.10 This could be an opportunity to evaluate what is wanted from a cultural co-ordinator: to do work with schools? arts development? Plugging gaps in arts provision, encouraging participation, initiating new projects? Perhaps the role may be viewed as less about arts development and more about spotting and developing opportunities for cross-sectoral, inter agency cultural planning processes within every service area of the council and across agencies.

4.4.11 If this is the case, then several services and agencies could contribute a small proportion of the cultural co-ordinator costs and a management system evolved that allowed a cross-sectoral partnership to create the overall strategic direction and monitoring of the programme? Such a group might be based on augmenting the Cultural Working Group with additional representatives from the Health Board and other relevant agencies.

Broadband

4.4.12 There was a consistently expressed view from consultees that "We are four years behind mainland" in terms of broadband provision, and that this is a serious handicap to development, particularly of the creative industries.

4.4.13 Specific issues included: problems with Hebrides.net; expensive packages of up to £80 per month; BT exchanges needing converted.

Section Five

Conclusions and Recommendations

"I remember when everyone grew corn we would catch dogfish then lay them amongst the sheaves of corn in the stack. The wind preserved them over the Winter. You would take out sheaves to feed the animals and a fish to feed yourself"

5.1 Conclusions

5.1.1 This document is a report on the Outer Hebrides Cultural Pathfinder process and a record of the significant elements that arose from it. The main focus of the study was on the process itself: the use of cultural planning methodology in the consultation process and an analysis of the potential application of cultural planning as an approach to community planning and partnership working. It is not a cultural strategy document and it is left to others to draw up recommendations for future action on the basis of these findings.

5.1.2 However, it is appropriate, and hopefully helpful, to draw together some of the conclusions that have presented themselves to the consultant team during the course of the pathfinder. This is done with a view to informing future policy making by the public, private and cultural sectors, and the organisations within them.

5.1.3 We found that people were, by and large, very satisfied with cultural provision in the Outer Hebrides. The principle demands for investment were to do with support services:

§ capacity building

§ business development opportunities

§ funding for cultural social enterprises

§ transport links and travel costs

§ support to allow voluntary committees to employ professional support

5.1.4 We also found there to be a good understanding in the public sector of the link between culture and the economy, and between culture and young people staying on the islands. We received some very specific and achievable instructions as to what can be done immediately to capitalise on those links:

§ address the costs of transport

§ support the cultural social enterprises, the training for work opportunities, the artists, crafts and youth culture

§ support the voluntary bodies to deliver what they are already struggling to deliver

§ develop a similarly cross sectoral inter-departmental way of working which places local people, their culture and artists at the core of every local authority departmental agenda.

5.1.5 There is one area that does not seem to have high profile within the public sector yet has a potentially large impact and could be addressed relatively easily. Small voluntary groups/cultural social enterprises and individual socially engaged artists have little financial security. Often they require small amounts of funding for small projects but these are becoming increasingly difficult to obtain. Such groups represent the local community "glue" in terms of the economic and social health of the area and play an important role in creating the context for attracting and retaining future generations of the Outer Hebrides population. Support for these key creative drivers should be an urgent priority.

Strategy Development

5.1.6 The need to establish more fixed structures that enable joint strategic planning to address some of these key issues should be a key objective of this follow-up to the pathfinder process. Essentially, the task (now that the 'natural' cultural resources have been identified) is to build on them creatively for the future economic and social wellbeing of the Outer Hebrides. These resources are important economic and social drivers for the isles.

5.1.7 There is a need to distinguish between arts development and cultural planning - both are needed and relevant but if the nature of each is not clarified there is a possibility of not fully capitalising on either.

5.1.8 There is scope for increased strategic support for artist-inspired initiatives, as there is a limit to what can be achieved on a voluntary basis. For full potential to be realised (e.g. the impressive recording initiative of young bands in Lewis and Harris) then sustained investment is required.

5.1.9 A move away from project by project support for key cultural organisations is likely to help them plan, develop, grow, learn, and train new talent, so that the Outer Hebrides Western Isles can maximise the benefit of their powerful contributions. This already happens for building-based initiatives like An Lanntair but is less frequent in the case of cultural social enterprises/voluntary cultural organisations.

5.1.9 The creative industries - in particular the broadcast sector with the imminent arrival of a new Gaelic channel - could potentially prove to be a tremendous driver for broader cultural development and should be fully integrated in any new partnership structure.

Shared Responsibility

5.1.10 There appeared to be a tendency to view CnES as having the main strategic responsibility for culture in the Outer Hebrides. This is not a helpful perception, nor an accurate reflection. It needs stressing that culture affects the social warp and economic weave of the whole community and is therefore a shared responsibility.

5.1.11 A cultural planning methodology acknowledges this diversity and complexity as it is applied in health, education, housing, regeneration, heritage, and language development - and recognises that such range and variety cannot be funded from an arts revenue development budget (currently standing at £170,000). If cultural planning approaches become the default way of implementing all policy agendas in all of these areas, then funding for 'culture' becomes less of a concern. Culture, in turn, genuinely moves centre stage and takes its rightful place as its community's 'way of life'.

5.1.12 The local authority, understandably, currently feels pressure to 'deliver' the arts and culture. With some minor adjustments in expectations locally, they could evolve a more facilitating role and seek to achieve more cross-sectoral, inter-agency and community partnership working.

Champions and Leadership

5.1.13 CnES do have a key role to play in the transition to a more broadly shared responsibility for cultural provision in the Outer Hebrides. They already have a statutory role with the community planning process, as well as the burden of expectation from the community (as outlined above).

5.1.14 More practically, they have created a very good starting point for establishing a set of common goals and shared values in their Cultural Strategy. It would make sense to continue the approach they have started and encourage other organisations and agencies to co-locate their agenda within the three broad headings of the Strategy, namely:

· Access and Preservation

· Community Development and Lifelong Learning

· Economic Development and Infrastructure

5.1.15 However, it is likely that other champions should be identified in other sectors, particularly the voluntary, private, cultural, and creative industries. A 'team' of champions that could encourage and lead their own sectors would likely prove to be a very effective means of evolving and delivering cultural priorities in the medium and long-terms.

5.1.16 The Pathfinder came across key people with passion, drive, and commitment - and numerous young people with talent and ability. Also, the map of the 'cultural resources' of the islands that emerged through the process is rich and impressive. It should be possible to encourage, through a shared strategic vision, a more widely-held championing of these cultural ambitions by the people of the Outer Hebrides.

Following Through

5.1.17 The Scottish Government are to undertake an evaluation of the Pathfinders, however, it would be appropriate for the CnES and appropriate local partners to consider the benefits and lessons to have emerged from the Outer Hebrides Cultural Pathfinder and to adopt an appropriate strategic response.

5.1.18 It would be helpful to maintain the positive links between the area and national government that have been established during this process. CnES should explore with colleagues in the Scottish Government how this might take place. The relationship may be assisted by an identifiable single-door of entry for the Scottish Government to the 'cultural sector'.

5.1.19 It would, therefore, seem appropriate to maintain the existing Cultural Working Group in place in the short-term to maintain the momentum of the project and carry forward any actions agreed on by the CnES.

5.1.20 In the longer term, it may be appropriate to evolve this group into an Outer Hebrides Cultural Partnership, to encompass representatives from other related agencies and sectors. Such a body could have an advisory role with regard to the holistic development of culture in the Outer Hebrides, and act as both an advocate and a single-door for information on culture in the area.

Pilot projects

5.1.21 One practical way of maintaining the momentum would be to develop pilot projects that demonstrate cultural planning in practice. Several ideas have come forward during the course of this process, however it may be considered helpful to have an 'open call' for such projects as a direct consequence of the pathfinder. It would be helpful to link training and learning opportunities to these pilot projects to ensure the skills they engender are continued and spread.

5.1.22 The pilot initiatives, therefore, should be able to be replicated, rolled out and developed strategically. The Cultural Working Group has suggested an initial series of "tasters" which could be trialled over the coming months. Suggestions for initial pilot projects (outlined in more detail in Appendix J) were that they could take place in key policy areas of:

§ Health

§ Education

§ Economic Development

§ Anti Social Behaviour

§ Sustainable Communities

5.2 Recommendations

Summary

5.2.1 These recommendations have been developed jointly between the consultants and the Cultural Working Group. This approach recognises that this report is a key part of the Pathfinder process but not its final destination. The recommendations are therefore presented for all current and potential partners to consider, prioritise, and work on as a work in progress in partnership across the Comhairle, Community Planning Partners and local community cultural organisations.

5.2.2 The recommendations are presented under the three themes of the Outer Hebrides Cultural Strategy - their order of appearance does not represent any priority or ranking. The table below summarises the recommendations under each heading:

General

Cultural Seminar to discuss Pathfinder

5.2.3 The Cultural Pathfinder has been a journey of which this report is one 'milestone' as part of an ongoing developmental process. There should be seminar hosted by CnES, possibly during the June series of committees, to present and discuss the findings and recommendations of the Pathfinder. This would assist in a better understanding of the process and outcomes and would potentially aid the implementation of its recommendations.

Audit

5.2.4 It would be useful to establish an audit of current activity, collated in a consistent style, from all current cultural providers (in the public, voluntary and private sectors). This audit could be taken, say, every five years with a view to setting measurable benchmarks of activity and impacts to demonstrate the value (or otherwise) of investment in particular geographic and cultural areas.

5.2.5 Young People

Consider setting up a specific group who, in consultation with young people, are tasked with the remit of providing a range of cultural opportunities delivered in ways that young people would willingly wish to participate.

Access and Preservation

Pilot Projects

5.2.6 In order to extend the legacy of the Pathfinder and to demonstrate in real terms the benefits of cultural collaboration, consideration should be given to possibly 2-3 Pilot demonstration projects that would run for a period of 2-3 years (see Appendix J). The challenge for these pilots would be that the funding for the pilots would not come from arts sources. Rather, the funding package would be developed from the pilot partnership agencies and other external sources. These should have a broad partnership approach within and outwith the CnES building partnerships with organisations such as NHS Western Isles and Northern Constabulary. Special consideration should be given as to how local cultural organisations are involved in the delivery of such projects. The projects should have sound monitoring and evaluation frameworks in order to demonstrate their achievements.

Touring Fund

5.2.7 As transport costs are a huge issue for artists wanting to tour this could be addressed by establishing a touring fund, jointly supported by several local and national agencies. Therefore, a fund should be established to assist touring to and from the Outer Hebrides.

Online Presence

5.2.8 There should be web pages developed on a Culture Hebrides site focused on each category within the cultural sector. For instance, a page on all musicians, bands, music classes, solo singers. Also the site should provide information on local events, national opportunities for funding etc.

Broadcast

5.2.9 Active support for the Hebrides TV project, Studio Alba, and the new Gaelic Channel to ensure it supports and integrates with the existing cultural sector.

Branding

5.2.10 There should be a more formal link into the current Area Branding project.

Community Development and Training

Facilitating the funding application process

5.2.11 To assist community groups in the application process to CnES and other public cultural funding sources, consideration should be given to a combined cultural funding application form. A single application form indicating the project shortfall could be circulated between members of the Cultural Working Group (for example) with a collective funding solution found as appropriate. Consideration should also be given as to how such application forms link into the Cultural Strategy and Western Isles Language plan that would assist with prioritisation of funding and monitoring of strategic progress.

Communication with Outer Hebrides Community Cultural Network

5.2.12 The Outer Hebrides Community Cultural Network currently meets annually at an event that rotates throughout the islands. Consideration should be given to improving communication between community groups on an on-going basis throughout the year. For example, a cultural forum on the Comhairle's Arts & Culture or an independent website could provide such an opportunity with information relating to news, opportunities and funding.

Training

5.2.13 Consider what cultural learning opportunities are currently available through UHI / Lews Castle College and community based learning, and if appropriate research if these could be expanded on so people can gain (further) qualifications and broaden their experience and potential. Consider organising learning experiences through work shadowing etc. (for people of all ages) and consider opportunities to take groups to business premises/trade shows in other areas.

Cultural Coordinators

5.2.14 The programme of Cultural Coordinators should be maintained beyond 2010 when Government funding ends. Several services and agencies could contribute a small proportion of the cultural co-ordinator costs and develop a management system to create the overall strategic direction and monitoring of the programme.

Economic Development and Infrastructure

National profile

5.2.15 The islands' culture and Gaelic language is of great significance to Scottish culture as a whole. It is important that the Outer Hebrides has a profile within the organisational and educational changes that are taking place nationally and ensure there is representation on key appropriate national working groups. The Cultural Working Group should ensure such profiles are established at key strategic national points.

Inter-agency Communication

5.2.16 In order to facilitate improved communication, it is recommended the Cultural Working Group consider utilising collaborative software so project information can be shared more easily through a 'virtual hub'. A central source of support and advice should be available following this phase to ensure all recommendations are distributed to the appropriate bodies and all appropriate and feasible recommendations are followed through.

Outer Hebrides Cultural Partnership

5.2.17 The nature of a permanent partnership should be identified and established. This should evolve from the Cultural Working Group by augmenting its membership to include a representative range of cultural providers and sectors.