The Black Country: Unlocking creative voices

The open call process for The Space’s national commissioning programme offers us an annual snapshot of the digital aims of applicants. As well as funding, we offer the guidance and insight a creative may need to produce something for the first time. For example, we’ve seen rising interest over the years in particular types of technology, increased recognition of digital accessibility, and blossoming digital ambition across the country.

But it’s also revealed less optimistic trends; areas of the country where for one reason or another there are disproportionately fewer applications for support. One such area is the Black Country – comprising Dudley, Sandwell, Walsall and Wolverhampton – where a persistently lower number of applicants echoed claims that voices from the region were under-represented not just nationally, but even within the Midlands.

While the area contains thriving cultural organisations and fantastic individual artists, there is a perception in these boroughs that national funding does not come to the area, and with fewer examples to counter this perception, fewer people apply for available nationwide support.

Targeting support for new digital work

Partnering with Creative Black Country, we set out to design a programme of support that would specifically target this region – Black Country Digital Firsts (BCDF). Funding was earmarked for fifteen projects over two years, providing both financial support and guidance around delivering new work. It was hoped that this would not only encourage those commissioned to go on to apply to UK-wide funding programmes but also create a rich catalogue of positive case studies that might inspire confidence in others in the region.

Applicants were to be sourced via open calls and, in order to lower barriers for applicants, the new programme was designed with three crucial elements:

• Increased opportunity for networking between commissioned artists – a desire that was voiced repeatedly during outreach sessions during the programme development stage.
• A revised, simpler application process that allowed applicants to come with looser ideas and goals rather than fully developed proposals.
• Greater time and resource for developing successful applicants’ ideas into commissionable, deliverable projects, including support in budgeting, rights, accessibility and audience development.

Unleashing creativity

On launching the open call, we found immediately the ambition, creativity and quality of applications was no lower than from other parts of the country. Proposals often centred applicants’ voices and experiences, and there was a notable desire to celebrate local communities.

Colleagues from Creative Black Country noted that local storytelling felt vitally important. Lots of individual communities in the region felt ostracised and isolated and wanted to join together with other communities feeling the same. This echoed the desire voiced by many artists we spoke to during the development of the programme, who wanted more opportunities to connect with one another.

During our work with the cohort, we have noticed a persistent level of imposter syndrome. This is despite the artists being unquestionably talented, passionate and able to deliver high quality work and, in some cases, already very busy with multiple locally-funded projects.

Continues…

Black Country by the sea baby! – part of the Black Country Digital Firsts programme – from artist Alex Billingham

Renewed confidence

Equally, some artists on the programme told us they had given up on creative careers, with many having to interrupt their creative practice due to life obstacles including commitments as parents and carers. Alongside the perception that funding does not come to the area, there is a fear that the creative has left it too late or has to move to another area to pursue a creative practice.

While the support available on the BCDF programme includes guidance on development processes and contracting, paperwork remains an obstacle for many. Not simply that it is time-consuming or intimidating or confusing; but more that the creative community – without enough positive visible case studies for funding coming to the region – remain concerned that their place on a national programme is vulnerable; that a document not filled in correctly will result in funding being withdrawn.

Applicants work with mentors who offer reassurance as, of course, places on the programme are safe. But it speaks to the unfamiliarity of national funding in the region, and how funders themselves are perceived.

Reaping the rewards

As the programme of support has continued, the level of return on investment has been significant. Comparatively small pots of funding have been leveraged into engaging, sustainable creative projects, that serve as an example to other artists and creative organisations. Artists have furthered their creative practice, developing both skills and confidence, and the voice of the Black Country is evident in the work that is being produced.

As we move into year three of the programme, The Space and Creative Black Country are now focusing on using this rich portfolio of projects to inspire a thriving network of artists in the Black Country to take their place on broader UK funding programmes and hear their voices nationwide.