Report written up by Alison Ford on behalf of John Tomlinson, Tom Bellerby and Sarah Sharp (Square Chapel Arts Centre, York Theatre Royal, Hull Truck Theatre and Theatre Deli Sheffield respectively) York Theatre Royal, Hull Truck Theatre, Sheffield Theatre Deli & Square Chapel, Halifax are in the very early stages of conversations about what a joint artist development programme might look like. Each venue is at a similar stage with their existing programme and are looking to find new ways to meet demands and opportunities - so rather than replace their own individual programmes, a joint programme would build capacity, increase opportunity and recognise the specific skill sets and resources of individual venues. Rather than sit around as a group of venues to decide what artists need for a joint development programme, we wanted to start the conversation with artists themselves. This is what they told us… - Collaboration opportunities with artists from different cities - Support in taking work to ‘the next level’ - Wider network of support - Sign-posting and a greater understanding of how the industry works - Shared resources and being part of a wider structure - A specific timeframe of support would be more beneficial (1 year? 2 years?) with an ‘exit route’ and a continued association - Artists will gain profile, sense of trust, agency & responsibility to progress beyond the programme - Artists will reach new audiences and challenge expectations - Artists will access a ‘miniature safety touring net’ through the parnter venues - Partner venues will have an accessible, open door policy for artists on the programme - The programme needs to be born out of Artists Needs x Venue Resources - More specific opportunities (technical residencies? Space alone isn't always useful for someone without collaborators) - Money, space, tech, programming, introductions to gatekeepers, funding, tour-booking, parameters, relationships - x amount of commissions / seed funds - Showcasing / profiling opportunities - Flexibility around opportunities (artists can't always fit into 9-5) - Clear definition around opportunities - Fostering ‘cross-pollination’ - Ensuring distance / geography / finances aren't a barrier - Help artists to take the next step and make confident choices - Programmers should have more of a voice and venue websites should be easier to navigate - Training for artists to better talk about / articulate their work Questions/Provocations: - What might a ‘Yorkshire Takeover’ look like? (In the context of the Hull Takeover in Edinburgh) - Is there a way we can localise, streamline and specify what we are already doing with the Venues North network through a more structured programme with funding attached? - The ‘Yorkshire’ identity feels strong and distinctive - What is the longevity of the support? How do we sustain and build trust? - Is there a space for a technical/design programme? - Is there the appetite for a digital database/platform? If so how do we ensure it is accessible? - How do we ensure the whole programme is accessible? - What questions haven't we asked? - How can we as creative peers share knowledge? - Would it help for venue programmers/producers to have more personalised profiles online? Inspiration: - HOUSE network - Venues North - Small Venues Network - Be SpectACTive - Theatre Bristol - Sheffield Creative Guild - National Theatre Wales - In Good Company Report written up by Alison Ford on behalf of John Tomlinson, Tom Bellerby and Sarah Sharp (Square Chapel Arts Centre, York Theatre Royal, Hull Truck Theatre and Theatre Deli Sheffield respectively) Tags: venues, talent, Talent, Independent Artists, Creative Peers, Artist Development, independent artists, Venues, Creative Support, artist development, Independent artists