In the previous section, we provided a definition of creativity and a list of creative skillsets. We also specified some of the benefits of working with creative practitioners.

To start this planning section, we will share some key pointers on process, collaboration, and funding before turning our attention to setting the purpose for your project. We will then discuss planning with/for participants, audiences, practitioners and stakeholders.

Introduction to planning section 

# Consider both the PROCESS and the OUTPUTS

Consider both the PROCESS and the OUTPUTS

Diagram showing an iceberg above and below the sea. In the portion above the sea words related to creative outputs including film, dance, exhibition and book. Below the surface are words related to creative processes including prototyping and critique 

Where possible, don’t decide on outputs too early. Work with a creative practitioner who inspires you and focus on the process. Get that right and amazing outputs will follow.

Creative process versus creative outputs pop up 

Often, when people think about the arts, they think about outputs such as exhibitions or films. However, there is an incredibly rich process that sits underneath. 

If you are thinking only about creative outputs, we encourage you to consider the creative process. Where could you invest time in creativity?

Think about the opportunities for mutually-beneficial dialogue and exchange. We often get feedback that collaborations with creative practitioners are surprisingly transformative.

Take a look at the videos below from two of our previous [Creative Fellowships](https://www.artsandcultureexeter.co.uk/creative-fellowship) in which academics talk about the benefits of the process of creativity. 


introduction 

Process over outputs video grid block 

# Collaboration is the glue that holds it together 

Think closely about the skillsets and experience that you would like to learn from, as well as what you can offer in exchange. Be alert to assumptions and biases. When it doubt, talk it out.

Trust and respect take time to develop and are necessary to support open conversations and to air any concerns that might come up along the way.

The people you meet through your project may end up becoming long-time collaborators and one of your favourite parts of the process.

Take a look at a video below with Dr Natalie Ohana from the Law School talking the value of her collaboration with multidisciplinary artist Tom Stockley. 

Collaboration is the glue that holds it together

# Funding – where to find it, how to plan for it  

There are four principle routes to funding:

- Research Councils (contact DoRIs/Research Services)

- Philanthropy (contact Global Advancement)

- Trusts & Foundations (contact DoBEs/Exeter Innovation)

- Discretionary project funds (across UoE)

There is often a ‘chicken and egg’ relationship between funding and project size.  It is useful to have an approximate budget in mind and then scale your project deliverables to match. Alternatively, you might wish to map out your dream project and then trim to meet budget constraints. Most likely, you will need to do a combination of the two to reach a balanced budget and a rounded project outline.

It doesn’t have to be big to be valuable - a small project can still have high ambitions.    

The following examples give a rough indication of budget scales, but it is difficult to generalise when every project has many different variables. 


Funding – where to find it, how to plan for it​

This project could include running workshops with project partners or audiences, resulting in a modest output (eg. zine).

£2,000 - £5,000

This project could fund R&D time over several weeks, or create a one-day event, or produce a simple website or short film.

£10,000 - £15,000 

This project could fund a creative producer to hold the process, working with a few practitioners over months.

£30,000 - £50,000

This project could fund in-depth engagement, or a large scale/multi-location output, with part-time specialist input, over a year.

£100,000 upwards

Funding amounts 

You can head to the [Finance](https://www.artsandcultureexeter.co.uk/resources/get-creative/finance) part of our [Delivery](https://www.artsandcultureexeter.co.uk/resources/get-creative/delivery) section for more detailed information on structuring a budget.

### [Move on to the Purpose Section->](https://www.artsandcultureexeter.co.uk/resources/get-creative/purpose)

Finance

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Copyright notice

Define the purpose of your project 

Examples of interesting questions/challenges that inspired creative projects

Tips for finding your question 

### What is your interesting question or challenge?


What is your interesting question or challenge?

This question is your starting point. If using our [Project Planning Canvas](https://www.artsandcultureexeter.co.uk/resources/get-creative/canvas) you'll see the 'Purpose' sits at the heart of your project. By understanding your project's purpose, it will help you make decisions about the shape and content of your project. 

Feel free to adapt and refine your question as your plans progress. Thinking about __PEOPLE__ and __PRACTITIONERS__ will add nuance to your original question. 

We will return to your question when we are defining the __PURPOSE__ of your project.

Purpose planning canvas 

Think about each of the key stages in your project, from the initial idea to the intended impact and legacy. 

Project stages

At what stages would you like to work with a creative practitioner?

### What ACTIVITIES and RESOURCES will you need to plan for?

What ACTIVITIES and RESOURCES will you need to plan for?

If using our [Project Planning Canvas](https://www.artsandcultureexeter.co.uk/resources/get-creative/canvas), start collecting ideas in the relevant sections and add further details as plans develop.(Sections highlighted in the image to left) 

For example – 

- __*Pre-Project – Discussions with designer.*__ Will need meeting room, refreshments, documentation.

- __*Co-Creation – Workshops with target participants.*__
Will need promotion, workshop room, refreshments, photography, materials, travel.

What key activities and resources will you need? 

Progress One Update 

At this point, you should have decided on your interesting question, and started thinking about how this could be explored creatively in different parts of your project. Hold these initial ideas lightly – they will help guide you, but stay open to change.

From here, we encourage you to work through the [PEOPLE](https://www.artsandcultureexeter.co.uk/resources/get-creative/people) and [PRACTITIONERS](https://www.artsandcultureexeter.co.uk/resources/get-creative/practitioners) sections of this toolkit.

Progress one update 

Progress one update , next sections 

###  [Move onto the People section->](https://www.artsandcultureexeter.co.uk/resources/get-creative/people)


__P.S. We'd love to hear your feedback on this new online resource. [Fill in a short survey to help inform its development ->](https://forms.office.com/Pages/ResponsePage.aspx?id=d10qkZj77k6vMhM02PBKU-7FOEeTdJ1LsWpUAymlPMBURUxSTElTWUlPVFhSR0pYSlkyTjkzUUNPNyQlQCN0PWcu)__

*© Copyright Arts and Culture, University of Exeter 2024. All rights reserved.*

Copyright and survey link

People

Who do you want to reach and why?

Practitioners

Working with Creative Practitioners 

Delivery

Project Delivery

Purpose

Define the Purpose of your Project

Introductory flowchart 

### Test your assumptions about participants and audiences.

### What is the benefit for audiences and participants?

What is the benefit for audiences and participants?

Progressing an Interesting Question: Example One

[All That Glitters](https://www.artsandcultureexeter.co.uk/arts-commission/All-That-Glitters), 2023 Arts Commission with theatremaker [Tom Jackson-Greaves](https://www.tom-jackson-greaves.com/) exploring the complexed and nuanced world of critical minerals in Cornwall. 

Progressing an Interesting Question: Example One 

Tom jackson greaves stands dressed as a cowboy holding a sign saying sold

All That Glitters, Arts and Culture Arts Commission 2023

Progressing an interesting question - All That Glitters 

Progressing an Interesting Question: Example Two 

Artist [Hannah Mumby](https://hannahmumby.co.uk/) collaborated with researchers and academics at the Global Systems Institute to devise a new resource supporting co-production. 

Progressing an interesting question: Example Two 

Co production oracle 

Progressing your interesting question - Co-Production Oracle 

Progressing an Interesting Question: Example Three

Founder and director of [Wild Hive](https://www.wildhive.co.uk/?srsltid=AfmBOoqj-sjaCCJmtoDmbjIfoDiXrg6Cr39dI_-G6ncfH3gG-72BUoOO) Bee Watson created [a new wallpaper commission](https://www.artsandcultureexeter.co.uk/news/wild-hive-wallpaper) inspired by the flora and foliage on the University of Exeter Streatham Campus. 

Progressing your intersting qustion: example three

Wildhive wallpaper commission 

# Progressing an Interesting Question: Example Three 

Progressing an Interesting Question: Example Three 

Remember – ‘the general public’ is not one entity​

- It is a popular ‘go to’ to propose working with schools as part of a creative project. It requires careful thought and planning to make sure your proposal meets a need. 
- Co-devise with teachers and students, they are the experts.
- Link teachers’ resources to the National Curriculum (or equivalent for international partnerships). Identify specific Key Stage, subjects and learning outcomes.
- Working with pupils will likely required DBS checks, and more stages through ethics committees.


- Partner with education specialists in galleries, libraries, archives and museums. They will have connections through existing programmes. 
- Partner with agencies that work with many schools, such as NSEAD (National Society for Education in Art & Design), ATM (Association of Teachers of Mathematics), etc.
- Ensure your outputs will be of use before committing to generating resources.

Guidance on Specific Audiences: Schools

The university has amazing in-house expertise in working with schools. Arrange a few informal conversations with colleagues to find out what networks and research already exist.

Working with schools 

UoE In-House School Experts 

- Golden rule - don't 'parachute in', picking up and then dropping communities when your funding ends. 
- Take time, co-design the project together, ensure legacy is factored in for long-term benefits.

- This is delicate work, best approached through partnering with a support agency (Age UK, Shelter, Young Carers' Alliance etc) who are qualified to meet the needs of that group.

Guidance on Specific Audiences: Communities

The university also works extensively with a broad range of communities. Again, arrange a few informal conversations with colleagues to find out what networks and research already exist.

UoE Working with communicaties

UoE teams working with communities

### Make a note of your AUDIENCES and PARTICIPANTS 


Make a note of your AUDIENCES and PARTICIPANTS 

If using our [Project Planning Canvas](https://www.artsandcultureexeter.co.uk/resources/get-creative/canvas), update it now, adding your priority participants and audiences under __PEOPLE__. Also consider __ENGAGEMENT__: What is your existing relationship with these groups? What additional planning might be required. What location/timing considerations must be factored in?

People and participants 

Progress Update Two 

You should now have a clear picture of your priority participants and audiences.


If using our [Project Planning Canvas](https://www.artsandcultureexeter.co.uk/resources/get-creative/canvas):

Return to __PURPOSE__: Does this need updating? Revisit the question and include the benefits or change that you want to bring about for/with your participants and audiences.

Return to __ACTIVITIES__ and __RESOURCES__: With your participants and audiences in mind, what further details can you add? For example, you might need to specify that workshops run in the school holidays, or that additional time is needed for preliminary conversations with communities.

Project planning canvas ourpose and activities

You have the __WHAT__ (Purpose) and the __WHO__ (People). Now it’s time to figure out the __HOW__ (Practitioners).

### [Move onto the Practitioners section ->](https://www.artsandcultureexeter.co.uk/resources/get-creative/practitioners)


Move onto practitioners

Copyright and survey link 

# Complement or contrast?

Which artform best suits your project? There is a dizzying array of options, so take some time to consider a few alternatives. Consider artforms with an immediate connection to your purpose OR artforms that are surprisingly different.   

For example, a research project on respiration might choose to work with a choir (complementary) or a ceramicist (contrasting). Try a few unexpected combinations and see what spark. 

Consider all the senses 

Consider depth of engagement

### What forms of engagement align with your purpose?

What forms of engagement align with your purpose?​

Consider the duration and intensity of project delivery. How is time best used to achieve your purpose?

# Build in Prep Time

Allow time for creative practitioners to get up to speed with your work. Use site visits, shadowing, some preliminary reading and/or conversations to begin the ideas percolation process (ideally 1-3 months in advance, to be discussed with the creative practitioner to meet their needs).

Note – rates of dyslexia for artists are higher than the general population, so confirm preferred modes of correspondence too.

Build in prep time

# Consider the benefits of embodiment and tacit knowledge  

Non-declarative, embodied experiences can promote well-being, change perceptions of a topic, and embed new learning. How could making and movement practices enable the change you wish to bring about in your project?

__*"Physical movement is needed to link our abstract mental notions with new concrete experience… The brain gets ideas so the body can act. At the same time, the action of the body provides sensory feedback to the brain. It is through action that the biological wholeness of learning becomes apparent."*__ 

Zull, J.T. (2002) The Art of Changing the Brain: enriching the practice of teaching by exploring the biology of learning. p.204.  


Consider the benefits of embodiment and tacit knowledge​

# How do you want people to feel?   

What emotional experiences are you wanting to create for participants and audiences? How can this support change?   

__*“Affect (a positive or negative feeling toward an event, such as climate change, or an object, such as a technology) and emotions (a more intense reaction such as fear, anger, pride, or guilt resulting in changes in motivational action tendencies, physiological reactions, expressions, and subjective feeling) have been shown to exert major influences on human thinking and behavior, and they are likely to play a critical role for a sustainable behavior change...”*__  

Brosch, T. & Steg, L. (2021). [*Leveraging emotion for sustainable action. One Earth.* Vol. 4, Issue 12, 17 December 2021, pp.1693-1703](https://www.sciencedirect.com/science/article/pii/S2590332221006163).  

How do you want people to feel 

Solo or Collective Practitioners?

Example One: Solo Practitioner

Left: the wallpaper installation on display in the Queen's Building. Right: Bee Watson.


Bee Watson in front of her wallpaper commission 

We commissioned Bee Watson, Director of [Wild Hive](https://www.wildhive.co.uk/?srsltid=AfmBOoox7dkn4yXE8zSksrkdQSGcICubBlWYIlAnbsl1HvdMHIdUMjRn), to research the Streatham Campus, have a tour with the Grounds Team, run workshops with staff and students, and then design a new wallpaper for the Queen’s Building. Bee arranged the printing of the wallpaper, we arranged the installation on site.   

[Discover more about her creative process in a specially written blog -> ](https://www.artsandcultureexeter.co.uk/news/creating-a-paper-flower-wallpaper-design)

bee watson solo practitioner exmaple 

Example Two: Collective Practitioners

Collective practitioner exmaple 

We worked with imPOSSIBLE Producing to commission Tom Jackson Greaves to make a new theatre piece, responding to the theme of critical minerals. They visited mines, interviewed staff and local communities, and brought on a director, production manager, playwright, sound and lighting designers to realise the final performances.

[Discover more about the creative process and the performance ->](https://www.artsandcultureexeter.co.uk/arts-commission/All-That-Glitters)

example 2 - collective practitioners 

# Consider your role as HOST when working with creative practitioners

All of this takes TIME. It is better to work at a modest scale if you haven’t worked with a creative practitioner before. Hosting will always take longer than you think. Double your first estimate.

The word ‘host’ can suggest territorial power dynamics that are not in the spirit of equity and collaboration. Our intention here is to promote care and consideration, to help those project partners who find the university intimidating and/or baffling.

Consider your role as HOST when working with creative practitioners​

Consider your role as host 

# What support crew might you need? Part One 

The management of creative projects is both highly rewarding and labour intensive. The more people who are involved, the more time is required to ensure a positive experience. 

Consider recruiting the following roles, either part-time or full-time, to help you realise your creative ambitions.   

Long-term and complex projects with multiple practitioners and outputs benefit from this additional support. Factor into budgets and timescales.

Don’t feel that a project must be large to be successful. Working closely with one creative practitioner and a small, clearly-focused participant group is also highly valuable and manageable for an individual.

What support crew might you need

Support crew carousel part 1 

# What support crew might you need - Part Two    

To realise large-scale creative projects, you might need to bring in further technical expertise.  Consider these roles for specific elements of project delivery and contact potential providers for quotes. Alternatively, think through the existing skillsets in your team and what internal resources can be applied.

What support crew might you need part two

what support crew might you need part two 

# If relevant, make a note of your SUPPORT CREW

Make note of support crew 

Think through the support crew that you might need across the duration of your project. Make a note in the KEY RESOURCES section of your Project Planning Canvas. This could also have BUDGET implications.

Planning Canvas - key resources and budget 

# Consider skillsets that are relevant to the project when recruiting

When you advertise for a creative practitioner, you will need a brief that outlines your project purpose, and your priority participants and audiences. You will also need to specify the relevant skills and experience required to deliver the project. Consider the following criteria, depending on your needs.


Consider skillsets that are relevant to the project when recruiting

- __Participant/Audience Expertise:__ Experience of working with schools or communities or families or faith groups, etc.
- __Facilitation:__ Experience of structuring and delivering practical sessions.
- __Curiosity:__ Examples of previous work,  showing an interest in the subject.

- __Project Management:__ Experience of delivering outputs on time and within budget.
- __Academic Context:__ Experience of working on research projects, and/or with HEI students.

Go to the [‘Commissioning a Creative Practitioner’](https://www.artsandcultureexeter.co.uk/resources/get-creative/commissioning-a-creative-practitioner) guide in our Delivery section for more information about this process.

# One final group to consider - Stakeholders

As the name suggests, __STAKEHOLDERS__ are individuals or groups that also have an interest in the outcomes of your project. These include: 


One final group to consider - stakeholders 

Stakeholders

For each STAKEHOLDER, consider your project from their perspective​

# Make a note of your PRACTITIONERS and STAKEHOLDERS


Make a note of your PRACTITIONERS and STAKEHOLDERS.

Update your Project Planning Canvas, adding your priority __PRACTITIONERS__ and __STAKEHOLDERS__ in the PARTNERSHIPS section.   

__Sensecheck:__ Is there a logical flow between the purpose, people and practitioners? Do the benefits (purpose) align with the needs (participants and audiences) and will this be explored meaningfully through your selected artform (practitioners)? 

partnerships canvas

Progress Update Three 

You should now have a clear sense of the purpose, the participants who will take part in the process, the audiences who will engage with the outputs, the creative practitioners you will work alongside, and the stakeholders you need to keep in the loop. 


partnerhsips and purpose

Now use the [Delivery section](https://www.artsandcultureexeter.co.uk/resources/get-creative/delivery) to complete your [Project Planning Canvas](https://www.artsandcultureexeter.co.uk/resources/get-creative/canvas). 

__COMMUNICATIONS:__ How will you reach people? What stories will you tell?

__EVALUATION & IMPACT:__ How will you measure the benefits of your project? What plans do you need to put in place for legacy?

__BUDGET & DURATION:__ Do you need to make any modifications to ensure your project meets time/money constraints?

__ACTIVITIES & RESOURCES:__ Update these sections as outputs are agreed, either in advance or in conversation with creative practitioners. Crosscheck against time/money constraints.

You'll also find information on commissioning a creative, what to include a callout and preparing an artist agreement. 

delivery section 

### [Move onto the Delivery section->](https://www.artsandcultureexeter.co.uk/resources/get-creative/delivery)


Move on to the delivery section 

This part of the toolkit offers practical information and guidance around the delivery of creative projects at the University of Exeter. Split into five different sections, the guides cover the process of commissioning a creative practitioner, copyright in the arts, developing outputs such as exhibitions and performances, advice on communications and engagement, finance, and evaluation.   

Each section contains a number of different guides along with downloadable templates, University contacts, and other useful links. 


Introduction 

## Download pages from the toolkit
We've designed this toolkit to allow to you to download a pdf version of any of the guides for use offline. Here's how: 


Download pages from the toolkit

Browse and Access the Guides 

### Can't find what you're looking for?
Get in touch with the Arts and Culture team, we still may be able to help you [artsandculture@exeter.ac.uk](mailto:artsandculture@exeter.ac.uk)

*© Copyright Arts and Culture, University of Exeter 2024. All rights reserved.*

Planning for Creative Projects

Consider both the PROCESS and the OUTPUTS

Collaboration is the glue that holds it together

Funding – where to find it, how to plan for it

Move on to the Purpose Section->