Cultural Pathfinder Project

SOUTH AYRSHIRE COUNCIL

Creative Nurseries

Final Report

South Ayrshire Council

In Partnership with

Fablevision

August 2008

Contents

1. Background

2. Evaluation methodology

3. Outputs

4. Progress information

5. Outcomes : satisfaction

6. Outcomes : impact

7. Outcomes : value for money

8. Main Learning Points

9. Conclusions

10. Issues for Corporate Consideration

Appendix 1: cultural planning

Appendix 2: evaluation plan

Appendix 3: steering group responses

Appendix 4: parent/guardian responses

1 Background

Following the "root and branch" exploration of Scottish culture initiated by the Scottish Executive in 2004, and led by the culture commission, by 2006, the investigation was focussed on potential structures and methodologies for the delivery of cultural services on the ground. In 2006/07, the Government launched a series of thirteen "cultural pathfinders" designed to explore cultural planning and entitlements within different local authority areas in Scotland.

1.1. South Ayrshire Council's Creative Nurseries was successful in it's bid to become one of the thirteen to be implemented through the Cultural Pathfinder programme. Asked to specify the client group to be the focus of the research, South Ayrshire Council chose to "begin at the beginning" and to concentrate on the delivery of cultural entitlements to it's youngest citizens. Having chosen Fablevision as the preferred partner to assist with their deliberations, Creative Nurseries was then designed in partnership with Fablevision staff to investigate the potential of a cultural planning approach to discovering what the term "cultural entitlements" might mean for pre-5 children and their parents/carers. South Ayrshire Council and Fablevision therefore chose to explore this idea through participative creative activity.

1.2. As suggested, this investigation was rooted in the cultural planning model (refer to appendix 1) which was tested to see whether cultural planning methodology has a role in delivering cultural entitlements to pre-5 children and their parents/carers. The pathfinder aimed to introduce this audience to South Ayrshire Council cultural services and resources and encourage uptake of cultural provision. The project also aimed to encourage other council service providers to consider the role cultural activity might play in delivering their own services.

1.3. The project ran in nine nurseries in South Ayrshire, clustered across three types of location: - a rural community

- a regeneration outcome area and

- a coalfields area.

The programme was delivered by Fablevision in the following way:

- two groupings of nurseries

- over a total period of three months;

- each nursery hosting a series of hour long sessions, on a weekly basis, over a period of six weeks.

- each session was led by three creative artists with nursery staff in attendance.

The aim of the programme was to explore the potential of taking a cultural planning approach to the delivery of the early years curriculum in Scotland.

1.4. The objectives were to explore the aim through testing the value of creative play and engagement as a means of delivering all aspects of the nursery curriculum. We asked the question: "is it possible to capture the child's imagination - allowing him/her to participate in creative activities which cover a variety of the themes and modules required to be covered within the curriculum guidelines? Is it possible to do this and achieve the required measurements of attainment and understanding?.

1.5. Content included:

1.6. The sessions were delivered through a range of styles, including structured and child-led workshops, to suit the children's needs and the constraints of the spaces/environments available. Each child was allowed to participate at their own level. In contrast to usual nursery practice, the workshops enabled the class to participate in creative activities as a whole, with every child taking part in the activities, as opposed to them being optional during nursery time.

2 Evaluation methodology

Early on, through a series of meetings with South Ayrshire Council and Fablevision, it was determined it would be difficult to establish the impact of the project through consultation with the participants (pre-5 children). A series of strategies was therefore established to gauge the outcomes of the project through consultation with the children's parents/carers, nursery staff and local authority officers.

2.1. This evaluation has been carried out using the following material:

§ parent/carers questioned (233 responses)

§ artists' session record sheets (88 completed)

§ nursery evaluation reports (6 completed)

§ artist evaluation reports

§ steering group discussion notes

2.3. While it has been easy to measure the specific outputs, project outcomes are more difficult to evidence and the evaluation is based predominantly on qualitative evidence and reporting.

2.4. A table summarising project aims and activities, outputs and outcomes is attached following the Scottish Executive's evaluation plan template (appendix 2).

3 Outputs

Creative Nurseries set out to assess the potential of cultural planning as a useful tool within the Scottish education system. The investigation focussed on attitudes to culture and creative expression for pre-5 children and their parents/carers.

A parallel and complementary investigation of the understanding of the term "cultural entitlements" across the region, was also initiated at the outset. A change of Government priorities half way through the process, however, marginalised the cultural entitlements element of the investigation. This left the main focus of the pathfinder, latterly, as an investigation of the potential of cultural planning methodology in early years education.

Specific activities to meet these aims were:

3.1 Convene project steering group:

- to guide the project at local authority level;

- to discuss definitions of culture and cultural entitlements;

- to consider how the project might benefit local authority services;

- to propose ways to carry the cultural pathfinder approach forward;

- to encourage service delivery through cultural activity; and

- to engage with the Community Planning Partnership.

The group, convened by South Ayrshire Council, has met several times. The group will meet further, to discuss the evaluation findings and how to progress them. The steering group's response to the question 'what are cultural entitlements?' is attached (appendix 3). The group comprises officers from the Council, including:

- Health Promotion Manager, Community Health Partnership

- Community Regeneration Partnership Manager, Social Work Housing and Health

- Research and Information Officer, Chief Executives Office

- Children's Librarian, Lifelong Learning Section

- Community Learning and Development Officer, Children and Young People

- Museums and Galleries Manager, Lifelong Learning Section

- Integrated Children's Services Officer, Social Work Housing and Health/Education, Culture and Lifelong Learning

- Early Years Development Officer, Early Years Section

- Quality Improvement Officer, Education

- Economic Development Team Officer, Girvan Horizons

- Principal Cultural Development Officer, Lifelong Learning Section

3.2 Organise in-house training/de-brief: Fablevision organised four half day training sessions for the creative team before the project started, followed by weekly de-brief sessions and separate weekly planning sessions. On completion of all the workshops, a full de-brief session was undertaken.

3.3 Appoint three artists to lead sessions: a dramatist, a visual artists and a musician were appointed to lead each nursery workshop.

3.4 Consultation with parents/carers: the artists verbally introduced the project and asked the question 'What does the word "culture" mean to you?' (see appendix 4 for full list of responses).

Informal conversations also took place with parents/carers at the end of the project.

3.4.1. The responses to the initial question "What does the word 'culture' mean to you?" can be summarised roughly as follows and in descending order of frequency of occurance:

- diversity 41

- difference 41

- cultures and peoples 40

- artforms (music/drama/film/ballet/poetry/painting) 27

- the way we live 19

- arts 16

- what there is around you 15

- not sure / not thought about it 14

- history and traditions 13

- where you come from and upbringing 12

- Scotland 11

- religion 10

- different attitudes or beliefs 6

- society / community 6

- a bit of everything 3

- politics 2

- education 2

- Rabbie Burns 2

- entertainment 1

- socialising 1

- language 1

- don't know 10

3.4.2. Various specific people or places were also mentioned: Vikings, Glasgow and specifically "Glasgow not Edinburgh", Highlands and Islands. One comment understood culture to be "something that should be accessible" and one person commented "all the things I don't do (since having kids)".

3.4.3. Overwhelmingly, however, the idea of culture was expressed in terms of diversity, variety, difference - cultures, peoples, countries, nationalities.

3.3.4. Many people considered creative pursuits, particular artforms, or the arts, to constitute 'culture' and indeed adding these two responses together would top the list.

3.3.5. "The way we live", "What there is around you", "Where you come from and upbringing" are all slightly different, but were mentioned many times.

3.3.6. The other significant response was "Religion", mentioned as a single statement, and different from references to different attitudes and beliefs. This particularly comment may reflect a particularly Scottish perspective on culture.

3.3.7. Finally a significant number of parents/carers were unsure what culture meant to them or had not thought about it, slightly different from people who simply did not know.

3.5 consultation with staff: brief conversations before and after the sessions took place on an informal basis in the class rooms and staff rooms etc. More formal discussions were not undertaken due to the daily demands of the nursery timetable.

Evaluation reports were circulated to each nursery and six have been completed.

3.6 record qualitative evidence: artists completed session record sheets after each workshop (88 records) and artists recorded their responses to the sessions in creative notebooks.

3.7 participation: nine nurseries took part in the project - 88 sessions were delivered with 288 children.

3.8 presentation: the work was presented through a public exhibition in the foyer of South Ayrshire Council's Headquarters at the County Buildings in Ayr, 13-20 September 2007, during office hours.

4 Progress information

In general the project was delivered in line with the original plan.

4.1. A small number of workshops (7 out of a planned total of 95) had to be cancelled due to nursery trips, additional in-service days or the Scottish elections.

4.2. Adjustments and improvements were made to the delivery of the sessions, throughout the project, to things such as class control, structure, content, volume of activities etc. that made a significant difference. These aspects could be further improved and developed.

4.3. Two rather more substantial changes were made to the project, regarding parental/carer involvement and the final presentation of the work.

- Parental participation in a creative session became a smaller element of the project than anticipated due to restrictions in space and parent/staff time.

- The final presentation of the work had originally been envisaged as a large-scale event bringing nursery staff together with the participants, carers, local authority education representatives, councillors and other key stakeholders. The event was envisaged in a "conference" style with the young people presenting their work and inviting discussion afterwards. It was anticipated that an event of this kind could have a major impact on policy; could encourage follow up events and discussions and could launch a research project looking at the potential of cultural planning within education in South Ayrshire.

Organisation of the initial vision proved to be logistically impossible, however and plans were changed to the final event taking the form of an exhibition within the council headquarters where it was envisaged that an evening "launch" event would attract councillors and relevant local authority representatives.

4.4. Both aspects of the project became linked when Fablevision artists realised parental involvement in the creative sessions was not going to take place and (learning of the change to the final presentation), parents were therefore asked to come early on the final day of the programme within each school to watch a small performance of what the children had done that session and a brief recall of the whole project.

4.5. The parents seemed to enjoy seeing the group perform and some made positive comments and suggestions for future follow up activities.

4.6. Creative Nurseries was therefore presented public ally through an exhibition, rather than the performance-based events originally planned and parents/staff/carers and stakeholders were all invited to attend.

5 Outcomes : satisfaction

Generally everyone involved in the project was satisfied with the range and organisation of the sessions and activities undertaken: children, parents/carers, staff and local authority officers. As noted, however, the majority of evidence is qualitative.

5.1. On the whole, the young people engaged well with the creative play sessions and seemed to enjoy them.

5.2. Overall staff seemed to react well to the project. Some didn't appear to fully understand the purpose of the project and would like to have had more information about the project beforehand. Several teachers thought an hour was too long a session for this age group, although they were often surprised at how well the children had engaged. Some children, however, did find it hard to maintain concentration and teachers suggested artists need improved strategies for getting children's attention.

5.3. The drama content was highly regarded, but some teachers considered there was not enough music or art activity.

5.4. Some staff members were very helpful and incorporated project themes within the nursery during the week, or extended play ideas.

5.5. Almost all staff said they thought the children were enjoying it.

6 Outcomes : impact

During Creative Nurseries, attitudes to creative activities were observed in three distinct areas amongst:

- education service providers: staff, teachers, advisers

- parents/carers and the young people themselves

- Steering group members - staff within other service areas of the Council

This narrative section refers to the outcomes identified, at the start of the project, to measure the impact of the project as summarised in the evaluation plan table and refers to each of the groups above in turn.

6.1 attitude to creative activities enhanced

6.1.1. Within the first group ( education service providers: staff, teachers, advisers),

there was a general and widespread acknowledgement that:

- creative approaches to learning all aspects of the curriculum are extremely effective;

- a culturally sensitive approach to curriculum delivery does not mean learning in the various creative arts disciplines, but rather relates to a holistic way of providing learning across the curriculum;

- creative artists are often skilled in assisting the delivery of this way of learning, but not every artist is skilled at working in this way and it is equally appropriate for teachers to deliver learning in this way.

6.1.2. During the project, teachers reported on young peoples progress with language and communication skills (specific comments related to young people from ethnic minority backgrounds who were able to contribute and learn on an equal basis, or particularly withdrawn young people suddenly blossoming and engaging) as well as all other areas of the curriculum:

"We were able to report headway on every aspect of our curriculum targets from maths, geography and science through creative arts and social skills to exploring our environment." (head teacher)

6.1.2. Our observation regarding attitudes to creative activities amongst this group is that these learning methods were held in high regard before the project. Teachers were well aware of the value of creative learning; were convinced of the need to explore the world out with the classroom and were very keen to adopt these methodologies as core to their teaching practice.

6.1.3. The fact, is, however, that these methodologies are not widespread and are not implemented as default practice for several reasons:

- teachers who have come through a non-creative learning regime as pupils may lack the confidence and skills base to implement creative learning as teachers without teacher training

- teachers who have cine through generic teacher training without a specialism in creative learning may lack the confidence and skills to implement programmes as teachers ;

- teachers are unsure where to turn to for training/expert input. Many are unaware of a resource of artists resident in South Ayrshire who could be called upon to help here;

- even if they did have access to a database of local artists skilled in creative learning methodologies, they would lack the resources to employ them on any meaningful, intensive basis that would make a long term impact.

6.1.4. Attitudes towards creative activities were more difficult to measure within the second group ( parents/carers and the young people themselves).

6.1.5. As already pointed out, it is difficult to measure responses amongst pre-5 children using language and verbal responses. Our evidence for the response of this group therefore relies largely on observation and qualitative reporting. Many teachers reported total engagement of every child in whole group activities (rather than small groups doing their own thing and then rotating). This engagement was reported as being present 100% of the time.

6.1.6. There was constant exchange of ideas with even the most withdrawn young people who were drawn out of themselves by the methodology. For example, a child who had previously not spoken to anyone was found suggesting ways of 'how to get the magic carpet to fly' or 'how to make the unhappy alien feel more at home here'. Young people who were before observed as being non communicative, unable to relate to peers or staff, were engaged happily and creatively:

6.1.7. "He just talked and talked and talked about it. He has a moon rock that he keeps beside his bed now. He told me I have to be very careful with it because it's very, very special." (parent)

6.1.8. In terms of the effectiveness of the learning, staff reported remarkable recall in terms of the work. Retention of the lessons learned therefore seems to be extremely effective although this was not compared in a controlled way to retention from non-creative learning methodologies.

6.1.9. "Although the young people have now moved on to primary one, with a four month gap since the activities, they were able to recount the workshops to me in remarkable detail. And, we all had SUCH FUN!" (head teacher)

6.1.10. Assessing attitudes towards creative activities amongst parents and carers, as pointed out earlier, proved more difficult than anticipated. Most were time pressed, dropping off and picking up their charges. Those who stayed and engaged in the work with the young people (or who came back in time to watch sharings of what they had been up to) were already very convinced of the value of creative learning and the project simply underlined that commitment and belief.

6.1.11. Teachers reported problems in enrolling sufficient numbers of volunteer parent/carer helpers to allow adequate child/adult ratios for regular out of school learning. This was partly attributed to time pressure (most of them have full time jobs) and partly to the low priority attached to creative action learning. Over zealous SCRO checking may have a part to play also. All factors combine to render out of school learning a low priority:

6.1.12. "Parents/carers do not see going out into the world and learning from experience as a priority. Those activities are regarded as "extras", peripheral,, the end of term trip,.. nice to do but not the core of the curriculum. The real learning happens in the classroom." (teacher)

6.1.13. This contrasts with research findings from Norway and Sweden where a large percent of pre school education occurs in the community - using the resources of that community to fullest extent (whether provided resources like libraries, swimming pools or cultural centres, heritage resources like castles and heritage centres or naturally occurring resources like beaches and forests). The highly effective nature of this type of learning is reflected in their education performance results as well as their measures of citizenship and participation in local government. In Northern European countries, parents/carers were found to demand/expect this kind of education for their young people.

6.1.14. Other South Ayrshire Council education department staff members confirmed teacher observations of a low prioritising of outdoor and creative action learning amongst parents/carers, but felt it was prevalent amongst teachers/advisers too (particularly further up the school system). By the time young people reach secondary school, the understanding of holistic, creative or non-classroom based action learning has virtually disappeared, replaced by classroom based sectoral specialisms.

6.1.15. "If education experts don't value creative learning, why would parents think they should either?" (artist).

6.1.16. South Ayrshire Council may now wish to undertake some comparative analysis as to whether or not parent/carer attitudes have changed as a result of this project. One way to do that might be to measure the uptake of available cultural resources on offer in South Ayrshire. Another may be to measure volunteer parent involvement with school activities since the project.

6.1.17. In terms of the third group (steering group members - staff within other service areas of the Council) we were probably most surprised at our findings here.

6.1.18. The steering group was put together with representatives from Regeneration, Health Promotion, Planning, Community Learning and Development as well as Education. Contrary to our expectation that there would be a low level of understanding of the concept of creative approaches to work in all of these areas, we found that all participants were enthusiastic and open to the prospect of developing pilot projects within their own service areas, which would test the cultural planning model. Also, there was a widespread commitment to supporting colleagues in education to continue with the development of creative approaches to learning within the school system. Again, however there was some worry as to how easy it would be to implement at a more strategic level in the Council.

6.2 knowledge/understanding of cultural entitlement by participants and steering group improved

During the induction and preparation period of Creative Nurseries, the research team devised methods intending to measure the before and after notions of culture and cultural entitlements amongst the three groups. Each group was asked what the term culture meant to them.

6.2.1. The expectation had been that definitions of culture amongst all three groups before the project would probably be located broadly within "the arts" and that one of the tasks of the project would be to broaden that definition of culture towards the Raymond Williams definition of "culture as a way of life".

6.2.2. As noted (on page 2), the reality was very different. Definitions of culture were already broad and sophisticated within all three groups. The majority interpreted culture as difference (encompassing religion, language, cultural traditions, music, dance, different ways of life) or saw their culture as their way of life (including Scottish language, traditions, football but extending to gardening and cooking).

6.2.3. Expectation that interpretations of the term cultural entitlements would mean access to the arts and cultural resources was therefore misplaced. The reality was that in all three groups, participants already interpreted cultural entitlements as the right to celebrate their cultural heritage and to have their own culture and way of life respected and supported/nurtured. Therefore it was not considered necessary revisit these definitions after the project, but South Ayrshire Council may wish to.

6.2.4. When asked before the project how they thought the term cultural entitlements might be applied to the pre-5 citizen, there was widespread opinion that the term is ill defined and difficult to grasp. Consideration of the term cultural entitlements was not formally requested or measured after the project and so post project interpretations rely on qualitative evidence. There was an emerging sense amongst teachers and education providers that cultural entitlements when applied to the pre-5 citizen could imply the right to access to creative learning.

6.2.5. Steering group members expressed the opinion that every service area of the council could deliver cultural entitlements, if creative approaches to service delivery within each council department were adopted. There was broad agreement that the obligation to deliver cultural entitlements could not be left to individual departments tasked with developing the arts, or education. This is an emerging finding South Ayrshire Council may wish to explore further. The steering group (with enhanced terms of scope and remit) could well be the ideal vehicle for taking this forward through looking at how delivery of cultural entitlements might work in practice across the authority.

6.2.6. Finally, although there was a low level of understanding of what a cultural planning approach to the delivery of cultural entitlements might be, where cultural planning was recognised and understood, there was broad agreement that a cultural planning approach would be the best way of delivering cultural entitlements to all the citizens of South Ayrshire.

6.3 participation in creative activities increased, particularly outwith project

Amongst education service providers: staff, teachers and advisers, there were clear expressions of commitment to developing creative learning within all areas of education provision from pre school to secondary and within community learning. There was, however, an equally clear statement that this could not happen in an authority wide, sustainable way without resource and support. Without them, creative learning provision will continue in patchy, isolated pockets with a reliance on visiting artists to deliver the activity. This group was clear that, while the Fablevision project had been excellent, if it was an isolated intervention with no follow up, back up and support for teachers to help them mainstream this way of working, there would be no change over time and the investment would be wasted.

6.3.1. There was broad agreement that the methodologies employed during the project (and articulated in terms of cultural planning approaches to education and learning) chimed exactly with the recommendations included in recent HMIE reports and recommendations. Teachers and advisers agreed that these are the kinds of approaches/methodologies being required of them by HMIE.

6.3.2. There are live discussions with Carrick Academy about taking this forward by developing a focussed pilot, which will follow a control group through their whole educational career. There are also ongoing more general discussions about:

- setting up a cultural champions group of councillors, key officers, teachers, cross sectoral service providers and local residents;

- developing a data base of local artists and linking them with different council departments, but particularly education;

- developing training programmes for teachers to assist them to mainstream creative practice.

6.4. Amongst p arents/carers and the young people themselves, there were no specific quantitative indicators established to measure whether parents and carers participated more creatively with their charges. There was, however, robust qualitative evidence that parents and carers found young people more animated and reported enthusiasm for the activities as well as lasting imaginative engagement:

"He keeps his moon rock beside his bed. It's very precious and special." (parent)

6.4.1. Several parents reported trips to the beach, swimming or library after activities in the classroom relating to these resources. They recognised the value of following up imaginative journeys with the real thing. These parents were the ones who participated, however. The project did not measure whether or not parents/carers who had not been directly involved with the process were equally moved to take their charges on location visits. This is perhaps something that South Ayrshire Council could devise a way of measuring - perhaps with a questionnaire to parents/carers of participants in the project.

6.4.2. It is clear that young people are naturally bursting with creativity. Creative learning is the natural way for human beings to learn. Young people, when left to their own devices, explore the world through creative play and teach themselves in this way moment by moment. The only difference in these structured lesions was exactly that: structure and intentionality as to what topics the young people would cover each day (the artist/leaders were aware of the areas required to be covered in the nursery curriculum and ensured that each area was indeed included from maths, science and geography through the creative arts to personal development, social/moral education and ecology.

6.4.3. Teachers and parents reported increased creative engagement out with the programmed activity amongst young people who had hitherto been withdrawn.

"She is a little girl with virtually no English who didn't utter a word. She is playing away with the other children quite happily now." (teacher)

In terms of further research, there is scope for South Ayrshire Council to measure whether, after the project, did parents/carers use more imaginative play at home?

6.5. There is little evidence that the project significantly increased openness to creative approaches amongst steering group members or staff within other service areas of the Council.

This is perhaps because steering group members self selected (in other words, there was a pre disposed openness to creative approaches before they joined the group).

6.5.1. From the first steering group meeting, there was a widespread acknowledgement of the potential of cultural planning approaches across all service areas. This was particularly noticeable with officers from Education, Health Promotion and Regeneration. There was an acceptance, however, that there would be difficulties in terms of significant progress towards cultural planning approaches (budget restraints and lack of policy direction from above were cited as reasons).

6.5.2. There was enthusiasm for the notion of developing pilot initiatives in each departmental area, however. Pilots were seen as a way of path finding, demonstrating and gathering evidence to make the case for further resources.

6.5.3. It is clear that the project would have been very much weaker in its scope and impact without the support of the steering group. It is also clear, that if there is to be progress towards cultural planning approaches across the different departments of the council, this group is going to be crucial in terms of making that progress.

6.5. creative skills in participants enhanced

6.5.1 amongst education service providers: staff, teachers, advisers, teachers reported inspiration from the sessions with the artists and many of them have taken those ideas forward into their own work:.

6.5.2 "I was inspired to use the world of make believe to start off topics and all staff were impressed by how much the children enjoyed themselves." (teacher).

6.5.3 From the group who participated in the staff training session, there was evidence that they would like to be better equipped to do more of this kind of work.

- in service training

- residential sessions

- input from visiting artists on a regular basis

- support and resources on an ongoing basis

6.5.4. some parents/carers reported continuing the imaginative play at home, reading more stories or visiting the beach/library. These reports only came from those who had been involved, however. There would be a bigger task to undertake to see if there had been a difference with other parents/carers

6.5.4. Steering group members showed considerable creative skill from the outset. Several reported barriers to these skills being utilised to the fullest extent within their respective service areas, however. Support from above, resources and pressure to operate in sector specific ways were cited as issues. There was enthusiasm for the development of pilot cross sectoral inter departmental cultural planning projects which would help to develop further their creative skills

6.6. motivation, learning and behaviour of participants improved

6.6.1. "One child who is quite frankly belligerent came to me and said "I really enjoyed that". A very shy child was seen to become so involved he joined in. One child with definite dramatic talent just shone at these sessions." (teacher)

6.6.2. "Some of the quieter children and those with learning difficulties really came out of themselves and were enthusiastic. One child who is normally very withdrawn showed great interest and enthusiasm. Another child with special needs and behavioural problems participated well." (teacher)

6.6.3 "The children were very enthusiastic - would wait to recount experiences - shared resources well - very shy children with 'attitude' were won over." (teacher)

6.6.4. "My granddaughter has, for the first time in 2 years, taken part in a dance display, and has more confidence." (carer)

6.6.5. Some children who were initially unsure or withdrawn showed a marked difference in level of participation as the project progressed. The way the sessions were run, and the content, seemed to be a new way of working for them, even just the context of working on an activity as an entire class. This new way of working seemed to benefit them.

6.6.6. The use of three different artforms together meant children who were not comfortable with one aspect of the activities could express themselves via another method. This led them to become more engaged with the other artforms and in turn, the project as a whole. This may have been to do with gaining more trust with the artists.

6.6.7. Teachers made observations about the children such as improved memory, increased confidence, enhanced creativity, more patience, and ability to express ideas.

6.7. existing provision of cultural activity across local authority identified

6.7.1. Before the Pathfinder commenced, there was no baseline audit of:
* existing cultural provision

* venue and facilities

* artists, cultural/creative industries

6.7.2. Equally, there was no structure within the project to carry out this kind of scoping in a systematic way. This omission is now being rectified within the council with the commissioning of a cultural strategy which will survey all of the above and will make recommendations on the way forward for cultural provision within the Council. For the purposes of this Pathfinder, however, the findings are based on qualitative evidence.

6.7.3. The council has problems maintaining its cultural venues. Responsibility for cultural venues does not currently appear to be part of any particular departmental remit. Culture/arts development budgets are miniscule and don't allow for administration, venue management, programming or building maintenance. Suggestions of viring funds from other related areas (e.g. community learning, youth work) proved fruitless as these areas are similarly lacking in resources.

6.7.4. This pathfinder sought to ask the question "who is responsible for cultural planning"?

Outwith the members of the steering group, there appears to be, a low level of understanding of the potential of cultural planning across all the different departments of South Ayrshire Council.

6.7.5. Members of the steering group, teachers, parents and carers all expressed their strong feelings on the right of the next generation to inherit valuable present day cultural resources (both naturally occurring and in terms of heritage, art collections etc). Many felt that while the landscape and natural resources are second to none, they are not currently fully exploited. There was a similar feeling with regard to heritage. South Ayrshire has a wealth of history and cultural heritage which is not being used to full potential.

6.7.6. Again, this issue is included as priority investigation for the cultural strategy. While the pathfinder has raised issues like this, it would take much more research from South Ayrshire Council to discover if these indications are indeed part of a systemic problem, if they occur across the board, or if the incidences cited above are isolated and do not reflect the real situation.

6.7.7. Following on from the Pathfinder, there is scope for measuring:

- did participants access existing provision in South Ayrshire more frequently (or for the first time) after the project?

- if not, what were the barriers to this? Money, transport links, lack of information re what's on where and when, off putting venues, unhelpful staff or something else?

7 Outcomes : value for money

It is difficult to comment on the value for money of the project.

7.1. Looked at as an "experimental creative arts programme delivered within specific nursery schools", the output cost of each element of the project can be reported easily. For example, the estimated total cost of each workshop at £323 appears reasonable.

7.2. The more intangible outcomes cannot be measured in monetary terms: the satisfaction of children, parents/carers and staff; the attitudes to and participation in creative activities particularly outwith the project; the improvement in motivation, learning and behaviour of the participants; the increased confidence and skill of everyone participating.

7.3. While at the beginning of the project it was contemplated some of these results may have had an impact on nursery spending (through the changes in behaviour etc.), it is difficult to quantify whether this is the case so soon after the end of the project.

7.4. Similarly, spending on Creative Nurseries was imagined to have an impact on use of South Ayrshire Council's facilities and therefore increase income at these venues. There wrere no systems of measurement established in advance by the Council, however so this outcome has not been measured although there is scope to measure both of these retrospectively.

7.5. The main value for money from the Pathfinder process has been in the spin off outcomes:

* the broader educational impacts from the implications of implementing creative learning at nursery level

* the emergent cultural planning partnership which, if developed and strengthened, could inform the community planning partnership process

* the realisation within the council of the need for a cultural strategy

* the subsequent commissioning of that cultural strategy with a remit to look at the potential of cultural planning.

* it is too soon to measure the impact the pathfinder has had on the findings of the cultural strategy but (as there is no doubt that there has been huge impact) this is an area for further investigation

Main Learning Points For Early Years Education

A number of key points have been learned from undertaking the cultural pathfinder and these fall into two categories: learning points and action points.

8.1. learning point : success factors

The success of Creative Nurseries was highly reliant on:

§ age range of participants and size of group

§ location and nature of workshop space

§ staff participation

8.1.1. Often, staff and artists considered group numbers were too high. Any class above 12 for a group activity can be difficult to manage. It is difficult to reconcile this due to class sizes and staff availability.

8.1.2.. The allocated workshop space appeared to often cause profound distraction to the participants. This was sometimes because of disruptions and interruptions within the space, or sometimes due to being based in the children's usual nursery space where they are used to going off and playing as they felt like it.

8.1.3. Support from the staff was very mixed. This may have been due to a lack of emphasis/enrolment in the project's aims and expectations, but may also have been partly due to the teacher's embarrassment in taking part in creative activities. A marked improvement was observed in the children's engagement and enjoyment of the sessions where staff fully participated and teachers also had an enhanced experience when involved. In occasional cases staff showed lack of understanding in the importance of our methodology, approach and need for a certain working environment.

8.2. learning point : other issues

Some teachers considered the sessions were too long. All sessions were an hour, the standard time for sessions of this kind, in order to challenge the children by giving them time together as a group.

'Cultural entitlements' is a hard concept for everyone to grasp: artists, parents/carers, staff.

The narrative approach was important as a way of working - non-drama artists would use narrative approaches in the future to lead workshops in art and music. Music could have been used more as a main art form or as a starting point for the narrative.

The planning and preparation stages of the project were under budgeted for.

8.3. action point : training

8.3.1. An in service training day for staff and teachers prior to the project would have increased their understanding of the methodology and how it could be applied to their practice. Teacher debriefs are essential and contact time is (ideally) needed on a weekly basis to ensure their classes needs are fully met.

8.3.2. Meetings with teachers throughout the process would also have been useful to allow them insight into the project's planning methods and to gain input in terms of subjects, themes and curriculum.

8.3.3. On the other hand, it may be a benefit different topics were to give the children a broader experience and introduce them to new concepts.

8.3.4.. Indeed staff members who participated in the Dolphin House training session suggested different types of training and support would be required, particularly:

- training and support for staff in the classroom (action learning with artists in residence who pass on skills, guide, advise, demonstrate techniques. This type of training can leave teachers with resources/ideas/follow up and introduces them to specialists who can be called in regularly (as and when required) to assist with new ideas/approaches to topics or subject areas).

- in service training sessions out with class contact time (preferably intensive and residential).

- sessions which would involve parents/carers too so that they can follow up on work developed in the class by taking the young people to the library/swimming pool/beach etc.

8.4. action point : resources

Education service staff, teachers and advisers highlighted the need for dedicated resources to allow schools to make the cultural shift towards creative learning across the curriculum, namely:

- dedicated resources for individual schools to allow them to access training and to buy in external expertise

- dedicated central resources to support the shift towards creative methodologies in teaching and learning (including well resourced residentials, trips outside of the classroom, a data base of artists), central budgets to bid into, to fund such work.

- the enrolment of parents/carers and the young people themselves as potential resources and partners in taking this forward.

8.4.1. Above all, this group felt that while they were doing their best to implement creative teaching and learning in the classroom, this will never happen in a sustainable joined up way without real commitment from the top - at senior local authority, political and government level. Although there was an attitude of cynicism with regard to senior managers, and a perception that things have been this way for so long, they are unlikely to change, there was a degree of optimism around recent HMIE reports and the "Curriculum for Excellence"

8.4.2. Within the Steering group members - staff within other service areas of the Council contributing resources, funding, expertise and support (e.g. transport, access to cultural venues and resources, development of strategic planning with partners and inter departmental colleagues.

8.4.3. One of the ideas currently being explored with Carrick Academy is the setting up of a pilot creative learning project with a "control group" selected from the Creative Nurseries project who would then continue up through the school system being exposed to the same creative learning methodologies through their primary and secondary school education.

8.5. action point : further research

Undertaking Creative Nurseries highlighted a number of areas of further research, including:

- comparative analysis of whether, or not, parent/carer attitudes to creative activities have changed as a result of the project;

- measure whether parents/carers use more imaginative play at home and measure whether the uptake of cultural resources in South Ayrshire has increased;

- assess support across the Council for the development of creative approaches to learning.

- follow up parents/carers who did not participate in the process.

9. Conclusions

In addition to the main learning and action points outlined in the previous section, themes emerge from Creative Nurseries, falling into two broad areas with potential linkages between them:

§ the first points to a tendency within education to see the "creative arts" as a separate strand of the curriculum;

§ the other area of findings relates to the low level of uptake in terms of use of available cultural resources in South Ayrshire

9.1. creative arts in the curriculum

There is a tendency (particularly surprising to find this starts at nursery, pre-5 level) to see creativity as "leaning about" art, music, dance, drama. The prevailing thinking seems to be that the curriculum needs to be planned to allow time for young people to "learn how to" do art music, dance, drama.

Creative Nurseries found a low level of understanding of creative approaches as a way of learning/being which can be adopted, adapted and applied across the whole curriculum from maths, science and technology to social/political/moral/religious studies. Access points for all these areas can start pre-5 if these methodologies are adopted.

9.1.2. Coupled with this, there is a low level of confidence amongst teaching staff in terms of using creative approaches to learning. Self consciousness seems to be present even with teachers of pre-5's where we imagined they would be the least unhappy about engaging creatively.

9.1.3. There are several proposals emerging from these findings, many referred to in the learning points:

- from staff, a need for a rigorous professional development programme of training in creative learning methodologies (including residential courses);

- again from staff, for pilot residential projects involving parents (who, having come through a non-creative learning programme themselves are often feeling reticent about play learning with their own children). These parent sessions should also involve their children.

- from education service, a proposal to set up a 'genome' project to pilot creative learning with one class and take them through nursery, primary and secondary education.... a long term project designed to effect transformation within the education system in south Ayrshire

9.2. uptake of cultural resources

9.2.1 It seems there is currently a relatively low level of uptake in terms of use of available cultural resources within South Ayrshire:

- cultural provision (use of libraries, leisure facilities etc)

- heritage resources (visits to Culzean castle and other historic/heritage sites

- natural resources (beach, forests, hills etc)

9.2.2. Some emerging reasons for this range from:

- access/transport links/low income families

- lack of awareness of what's available

- fear/lack of parent support in schools to take young people on trips or residentials

All of these initial findings will be further explored in the cultural strategy,

9.3. linkages

It is possible there is a link between strand 1 and 2: because of the lack of understanding of the power of creative methods of learning and the consequent limiting of these methodologies to one (minor and optional) strand of the curriculum called creative arts, there is a tendency to marginalise creative and cultural resources in the same way … "trips" are seen as leisure "extras" rather than the core of the curriculum from which learning everything from maths, science and technology to social/political/moral/religious studies will stem

9.3.1. Similarly, because parents have been through a non-creative learning programme, we are wondering if there is a link between this and a low level of awareness of the crucial role of culture and creativity. Our artists have found, for example, that some parents do not regard the reading of bedtime stories as crucial.

9.4. policy developments

Finally, an interesting point to note is the recommendations from recent national and international reports pointing to some of the same points emerging from Crreative Nurseries.

9.4.1. The "arc of prosperity" policy white paper from First Minister, Alex Salmond, looking at the potential of promoting a combination of Irish and Scandinavian policies in education and regeneration. (http://www.scotland.gov.uk/News/This-Week/Ministers-In-The-Media/070627000000)

9.4.2. The Scandinavian model is further investigated by a piece of research carried out by Children in Scotland (www.childreninscotland.org) and published in a book entitled Northern Lights building better childhoods in Norway (http://www.childreninscotland.org.uk/html/pub_tshow.php?ref=PUB0204).

9.4.3. The main strands of its findings in terms of the premises on which the Norwegian model is based are:

- listening to children (30% feel they are able to influence their local authority policies)

- use of the community as a learning environment (people, services, resources)

- use of the outdoors - cultural and natural heritage (two thirds of Norwegian nurseries base the vast percentage of their learning programme out with the classroom)

.4.4. Finally, the Scottish H.M.I.E. Curriculum for Excellence report (again with similar and complementary findings) is now being promoted nationally as part of the curriculum for excellence and will form the bases of best value audit proposal later this year.

10. Issues raised for corporate consideration:

10.1. The Pathfinder process has opened a door within South Ayrshire Council for a real root and branch look at the potential of its cultural resources: history, heritage, landscape, people, buildings, venues, artists and creative people as well as its key assets (Burns and golf are known and under exploited, there are many more yet to be uncovered),

10.1.1 The Pathfinder has led directly to a strategic process involving all council departments and partner agencies.

10.1.2. The importance of this should not be underestimated: the Pathfinder steering group has brought together a cultural planning steering group - a body of professionals who are now working together across departments and agencies. This group would be strengthened with the inclusion of the voluntary sector and other key stakeholders outwith the Council. It should link into other existing partnership groupings ( Learning and Health for example) and could form the basis of a strategic body to:
- provide training and learning in cultural planning methodology

- promote cultural planning pilots and action learning projects

- inform and influence community planning processes.

10.1.3. On the specifics of cultural planning approaches within early years education, a number of recommendations were made on how to take Creative Nurseries forward:

10.1.4. There was broad agreement that the obligation to deliver cultural entitlements could not be left to individual departments tasked with developing the arts, or education. This is an emerging finding South Ayrshire Council may wish to explore further. The steering group (with enhanced terms of scope and remit) could well be the ideal vehicle for taking this forward through looking at how delivery of cultural entitlements might work in practice across the authority.

10.1.5. There seems to be a clear commitment to developing creative learning within all areas of education provision from pre school to secondary and within community learning. There was, however, an equally clear statement that this could not happen in an authority wide, sustainable way without resource and support. Without them, creative learning provision will continue in patchy, isolated pockets with a reliance on visiting artists to deliver the activity. This group was clear that, while the Fablevision project had been excellent, if it was an isolated intervention with no follow up, back up and support for teachers to help them mainstream this way of working, there would be no change over time and the investment would be wasted.

10.1.6. There was broad agreement that the methodologies employed during the project (and articulated in terms of cultural planning approaches to education and learning) chimed exactly with the recommendations included in recent HMIE reports and recommendations. Teachers and advisers agreed that these are the kinds of approaches/methodologies being required of them by HMIE.

10.1.7. There are live discussions with Carrick Academy about taking this forward by developing a focussed pilot, which will follow a control group through their whole educational career. There are also ongoing more general discussions about:

- setting up a cultural champions group of councillors, key officers, teachers, cross sectoral service providers and local residents;

- developing a data base of local artists and linking them with different council departments, but particularly education;

- developing training programmes for teachers to assist them to mainstream creative practice.

10.1.8. The Pathfinder project did not measure whether or not parents/carers who had not been directly involved with the process were equally moved to take their charges on location visits. This is perhaps something that South Ayrshire Council could devise a way of measuring - perhaps with a questionnaire to parents/carers of participants in the project.

10.1.9. In terms of further research, there is scope for South Ayrshire Council to measure whether, after the project, did parents/carers use more imaginative play at home?

10.1.10. Also, following on from the Pathfinder, there is scope for measuring:

- did participants access existing provision in South Ayrshire more frequently (or for the first time) after the project?

- if not, what were the barriers to this? Money, transport links, lack of information re what's on where and when, off putting venues, unhelpful staff or something else?

10.1.10.1. the pathfinder raised the question: "is there a link between the low level of understanding of the value of creative approaches to learning an the low level of uptake of cultural resources locally?" There is real scope for further investigation of this question.

10.1.11. Other potential pilot pathfinder projects could be developed building on Creative Nurseries:

- investigation of a long term "genome" style project within Carrick Academy to follow young people on a creative journey throughout their school career, through establishing a specific educational steering group to work on these proposals;

- develop new project ideas which have emerged from steering group meetings;

- engage cultural planning training to support these developments.

- assess the level of current spending in early years education and evaluate whether or not there is sufficient investment (initial findings from staff and key stakeholders would indicate that currently there is not

10.2. In terms of wider impacts beyond Education:

One emerging recommendation is that other potential pilot pathfinder projects could be developed within other service areas of the Council. South Ayrshire Council may now wish to test out cultural planning methodology within the different service areas of the council as a complementary support for the community planning process

10.2.1. One of the proposals is to initiate a short course offering training in cultural planning to employees within various departments of the Council. The training would be designed to support the development of pilot cultural planning initiatives in Regeneration, Health Promotion, Community Learning and Education.

10.2.2. There was enthusiasm for the notion of developing pilot initiatives in each departmental area, however. Pilots were seen as a way of path finding, demonstrating and gathering evidence to make the case for further resources.

10.2.3. It is clear that the project would have been very much weaker in its scope and impact without the support of the steering group. It is also clear, that if there is to be progress towards cultural planning approaches across the different departments of the council, this group is going to be crucial in terms of making that progress.

10.2.4. The pathfinder has thrown up many gaps in Council provision:
- at the time of writing, there is no data base of practicing artists, creatives, cultural and creative industries

- there is no inventory of existing cultural resources/venues

10.2.5. One clear brief to the Council is the development of pilot cross sectoral inter departmental cultural planning projects which would help to develop further their creative skills

The Scottish Government needs to prioritise support for further research and pilot project development beyond the Pathfinder programme

10.3. The way forward

As usual with research initiatives, they tend to raise more questions than answers and the South Ayrshire Cultural Pathfinder has been no exception.

10.3.1. Some key questions:

* what support will be forthcoming from the Scottish Government as follow on from the Pthfinder?

* what support from the local authority will be possible in terms of taking forward some of these recommentdations (as well as the emerging findings from the cultural strategy):
- resources

- facilitation of planning across departments

- cultural resource maintenance

- viring of funds

- maintenance and development of heriage resources for the 21st century

- the underexploitation of existing resources (including artists, creatives, cultural and creative industries)

10.3.2. Some key opportunities:
- the cultural strategy

- the enthusiasm for the development of cultural planning pilots within other policy areas and within other departments of the Council (as well as within the remits of other partner members

- the very real potential (in discussion) of a pilot creative education programme within Carrick Academy

- recognition of the need for training in cultural planning methodologies with a plan to investigate other local authority areas where partners have engaged with cultural planning training to see if there are lessons to be learned which can be adopted/adapted

- the fact that the acting community planning partnership manager is a member of the Pathfinder steering group means that

a. there is potential support for further testing of the potential value of a

cultural planning approach within community planning and

b. there is real potential for the future of the steering group as a

strengthened body with a monitoring, training and guiding remit

Liz Gardiner

31st March 2008

Cultural Planning

The new National Conversation launched by the Scottish government and the recent Green Paper on the Governance of Britain launched by Gordon Brown both seek to enhance and invigorate democracy, particularly at local levels. However, both documents have little to say about they will engage the public in their conversations. In Scotland, as Community Planning Partnerships and emerging Urban Regeneration Companies (urc's) are looking at with issues of "how to" engage meaningfully with local people and develop community leadership, Cultural Planning offers the timely potential of participatory opportunities combined with long term strategic thinking.

Cultural Planning takes a holistic approach to participation and development rather than starting from the identification of all the problems and issues in a community and addressing them one by one or separately. This cultural planning approach puts people and their culture at the core. It addresses jobs, training for employment, the development of new small to medium sized enterprises, planning, and regeneration, but never in isolation.

Cultural planning draws upon European, US and Australian examples. In Scotland, it has also drawn upon the work of pioneering planner Patrick Geddes, and his concepts of Place, Work and Folk. Instead of seeing a community as a machine with inputs and outputs, a cultural planning approach views a community as an organism, that is a constant and dynamic process of change, being and becoming.

Cultural planning is a process that uses the 'culture' of a community - that is, its history, environment, its community cultural development and underlying strengths - to help:

§ people, groups and communities to appreciate their current potential and to inspire the development of new ideas and skills;

§ politicians, planners, regeneration professionals and community development workers to appreciate the current potential and resources of a community and to inspire the development of new ideas and skills;

§ build and use the creativity of local people and professionals to understand potentials which are then integrated into a broader development 'plan' for individuals and communities.

Cultural Planning is a holistic approach to sustainable community cultural development which:

§ embraces a broad definition of culture as 'a way of life' - not the 'arts'

§ takes as its starting point the process of identifying, mapping and building on community assets, values and traditions

§ develops those assets through creative activities which engage, involve and empower local people

Traditional cultural policies tend to take a sectoral focus - policies for the development of theatre or the visual arts etc. Traditional community development approaches take an organisational focus - focusing on the development of community organisations and campaigns.

Instead, cultural planning adopts a territorial remit to community cultural development. Its' purpose is to see how the pool of cultural resources in every place can contribute to the integrated development of a community (whether a neighbourhood, a city or a region). Cultural planning is not intended as the planning of culture - an impossible, undesirable activity - but rather as a cultural approach to:

§ planning and policy

§ community development and regeneration

§ local arts development.

In Scotland, the National Cultural Planning Steering Group (NCPSG www.ncpsg.org) is driving the development of cultural planning approaches in Scotland. The NCPSG is a groundbreaking and equal partnership of community sector organisations, national community development and regeneration organisations such as SURF, Scottish national youth and adult learning agencies and local authorities.

Question: What are 'cultural entitlements'?

steering group response

Providing opportunities in ALL aspects of culture - ensuring exposure

A counter to globalised commercial culture

Broadening horizons - exposure/information/participation

The opportunity to contribute to shaping our own culture

Preservation of the good aspects of history/heritage/traditional skills and music for new use in the 21st century

Notion of past, present and future

Inspiring inquisitive minds

Appreciating diversity

Question: What does the word 'culture' mean to you?

parent/guardian response

Every country has their own culture

It's each countries way of life.

What's round about you, history, way of life.

Where you live - what you are

Don't know

Different cultures

Where you come from, Scotland

The way people are brought up

Different religions/cultures

Different things around us

Religion

The environment we live in

Things round about us

Art

Different nationalities

How we live - the world we live in

Everything round about us

Where you come from

What you believe in

Music and Art

A mixture of everything

Not sure

Don't know

Music

Gardening

Arty

Don't really know

It's what's around us in everyday life

Not thought about it

Everything that has happened in the past

Farms

Agriculture

Nothing really

Different countries

Art

Music

Film

Drama

The way we live

Not sure

Religion - different cultures

Scotland

Unsure

Don't know

Religions - different people and cultures

All the things that make up a social group

Society

Everyday life

Upbringing

Entertainment

Socialising

Language

Something that should be accessible

It's not something I've thought about

A way of living

No idea

Where you come from - heritage

Don't know what it means

Different races

Different environments

Everything

A multitude of things

'Our' culture

Scotland

Race

Arts

Not really thought about it

No idea

Drama

Singing

Scottish culture

It's what is about us in our everyday life

All different aspects of the world around us

All walks of life

Theatre

Vikings

Arts

Theatre

Different people

Religions

Doesn't bring anything to mind

Scottish culture

Where you were born

Plants

Rabbie Burns

Scottish things

Different religions

Different people

Nothing

Different ethnic backgrounds

Different beliefs

The way we were brought up

Different religions

Different backgrounds

Acting

Different cultures

Religions

The way we choose to live

'Our' culture, Scotland

Everyday living

Don't know

The way people live

Everything I know about my local area

The environment around us

Buildings

The way we live, the thing we do

Heritage

Don't know, never really thought about it

The environment

Different cultures in the area

Drama

Arts

All different people and what they do

National

What people are as individuals

No idea

Arts

Arts

Outside

Whats makes us all different

Theatre

Arts

History of things

All different things

What there is around you

Nationalities

The Arts

Community - what people are interested in

Religion

I don't know

Politics

Society

Traditions

Race

Rabbie Burns

Diversity

Different lifestyles

Play and going to them

People from different backgrounds

Music/drama/concerts

Diversity/roots

Religion

Festivals/traditions

Local environment and influences

Glasgow City of Culture

Art

History

Environment

Music

Day to day life

Scottish Culture

The environment around us

Lifestyle

Keeping traditions alive

All the things I don't do (since having kids)

Arts

Theatre

Ballet

All different religions and ways of life

Arts/music from different countries/cultures

Different countries

Everybody's own 'culture'

Different religions

Art

Tradition

History

Way of life

Religion

The way we were brought up

Different religions

Different attitudes

Your beliefs, way of life

History

Art

Tradition

Different ideas of people

Each country/area has a different culture

The way we are brought up

Different cultures

Folk from different countries

Society

Scotland

Different people that live around the area

Traditions

Different ways

Don't know

Poetry

Painting

The way we bring up our children, things we do

Different people

Don't know I'm too old

Beliefs

Arts, drama, music and different cultures in the world

People

Different races

Different folk

Activities, art

Arts, music, dance - traditional

Background

History

Traditions

Everything around us

Scotland

Education

Ethnicity

Kilts - Scotland

Different ways of life

Different belief systems

Diversity

A bit of everything

Today's living

What's happening locally

Buildings, churches etc

Glasgow not Edinburgh

Where you have been brought up

A mix of people, beliefs and races

Glasgow

All different cultures

Ballet etc

It's a multicultural place we live in

Highlands and Islands

Different people

Different countries

Country

Religion

Community

Beliefs

Government

Society

Theatre

Education

Nothing

Not really thought about it

What's happening in our cities

Religion

The way we live