Collaborating with local people to shape relevant and inspiring arts programmes.
This resource gives examples of shared decision-making from across the CPP programme. It includes case studies, tools and tips to help you think strategically, recruit, deliver collaboratively and reflect together.
This resource is for you if… You are:
⊲ an arts practitioner
⊲ a creative producer
⊲ an organisation of any size …with a mission to engage local people in arts, culture and creativity.
⊲ to develop locally-resonant, creative programming by involving your local community in sharing decisions to shape it.
It was published in 2017.
Evaluation in participatory arts programmes
A selection of approaches, models and methods developed across Creative People and Places 2013-2016
Since the Creative People and Places (CPP) programme began in 2013, individual programmes have been developing a range of interesting evaluation approaches, models and tools.
Each CPP Place commissions a local evaluation, conducted by an external evaluator / agency to answer the main programme evaluation questions. The National Evaluation draws on these evaluations in the programme-level review.
The three programme evaluation questions driving the CPP National Evaluation are:
1. Are more people from places of least engagement experiencing and inspired by the arts?
2. To what extent was the aspiration for excellence of art and excellence of the process of engaging communities achieved?
3. Which approaches were successful and what were lessons learned?
This compendium presents a sample of these examples from 2013 to 2016 – offered and written by CPP directors and managers, critical friends, local evaluators and artists – to readers who may be thinking about their own evaluation in community contexts and participatory programmes.
Creative People and Places
Creative People and Places is about more people choosing, creating and taking part in brilliant art experiences in the places where they live.
Funded by Arts Council England, there are 21 independent projects based in areas where there are fewer opportunities to get involved with the arts.
91% of our audience come from neighbourhoods with low and medium levels of arts engagement.