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Creative Scotland Open Fund Closure and the Public Funding Environment

A Gathering of Young Creative Freelancers at the Creative Spaces Showcase 2023 | Photo by Kirstin McEwan

A Joint Statement by CEO, Matt Baker and Board Chair, Lynsey Smith.

The Stove team and board of trustees were deeply shocked to learn this week of the imminent closure of Creative Scotland’s Open Project Fund for individual creative practitioners. The richness and diversity of the culture created in Scotland ultimately depend on individual practitioners. As a country and a culture, we are profoundly impoverished and damaged by the shutting off of this key source of support for the creation of artistic work and the survival of artists.

We’d like to express our committed solidarity with the freelance creative sector and, in particular, with people who have been developing projects for funding that now will not be able to proceed – this is a heartbreaking and existential situation for everyone who works in the creative sector.

The Stove sees itself as part of the regional support structure for the creative and community sectors in Dumfries & Galloway – if any of our members need help in progressing a project impacted by this decision, or have questions/ideas about what is going on and how to respond, then please do contact us, and we’ll do all we can to help.

We feel that it is important for all of us in the creative sector to stick together during these very difficult times. Moreover, we should stand in solidarity and work collaboratively to support all other sectors—Education, Communities, Local Authorities, Health, etc.—who find themselves in a similar predicament. What we are facing is the potential decimation of every aspect of our society that relies on public funding.

Two weeks ago, the Scottish Government announced that it could only guarantee to honour funding commitments that were legally binding; all others must be considered under question. This stance was prompted by the financial settlement imposed by the UK Government, which is announcing a similar stance regarding its own financial position. A narrative of resource scarcity persists across all levels of government, affecting us all—whether it be in healthcare, our children’s education, transport, or our cultural lives.

We must continue to fight for the value of culture and creativity at every opportunity—it is, we believe, the lifeblood of communities and an essential, uplifting force for good in individuals’ lives. However, we must also endeavour to form alliances and support networks with our workers across all sectors affected by this public funding crisis. If we all stand together it will be harder to pick us off group by group.

The Stove has worked tirelessly over the years to advocate for increased public investment in culture and creativity. We have pioneered new visions and approaches, contributed to numerous consultations, lobbied politicians, and spoken at Holyrood. At every opportunity, we emphasise the significance of culture within communities, particularly in a rural setting, and propose ideas for developing new revenue streams to bolster the prosperity of freelancers in Dumfries & Galloway—the foundation of our cultural life here.

We have championed the D&G Cultural Strategy and invested considerable time and resources into fostering the development of new mechanisms. These mechanisms, derived from this strategy, aim to inject additional income into the local creative economy. In 2023-24, we offered 180 individual commissions to local freelancers, collectively valued at over £200,000. Like many other organisations, we await news of our core funding from Creative Scotland. This week’s announcements underscore the complexity of these decisions and the importance of collaborating with our freelance community to devise a better system for everyone. Everything is interconnected, and our actions are inextricably linked.

We stand in solidarity with creatives everywhere and with public and third sector workers. Together, we must forge a better way to ensure that each individual is valued and supported within our society.

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News

Nithraid – Celebrating Dumfries’ Historic Connection to Salt.

Salt, that stuff we pop on our chips, might not seem so important in today’s digital age, where your domestic fridge can tell you when its contents are soon needing replenished, but back in the past, salt was one of the world’s most precious commodities.

Centuries ago, Dumfries and its coastline were a vital part of the global salt industry, and as such we pay homage each year to this by hosting the town’s annual river festival.

But, what has this got to do with Nithraid?

Well, lots! 

Mark Zygadlo and Alex Rigg, with a little help from a few others, built this tower. That’s us in the first picture above. According to Blackthorn Salt, we are currently the only Salt Graduation Tower builders in Europe, and this is the only one to have been built, probably in our lifetime. 

Alex and Mark have worked together on many projects from timber framing to performance art. Mark was involved in Nithraid’s inception and Alex, as well as taking part in many of them, is leading the Rite of the Salty Coo at Nithraid 2024.

Salt and the Salty Coo. Salt is a central element of Nithraid. Salt is a potent symbol in many traditions; bread and salt are offered in welcome in eastern European homes. Salt is a preservative and represents lasting friendship and, if spilt, is bad luck. We toss a pinch over our left shoulder, into the devil’s eye, to reverse the bad luck! Salt has been made in southern Scotland for centuries, exported from the Solway along with livestock, meat and wool. Hence the origin of the Salty Coo. 

When all the boats have arrived, she gets put in the river and floats downstream with the tide.

Here she is getting her feet wet!

Imports? Exports?

Dumfries, until the early 19th century was a very busy seaport. The Port of Dumfries; Carsethorn, Glencaple, Kingholm and Dock Park, was one of the main trading harbours of Scotland. For instance, it was Scotland’s biggest tobacco port before the American Revolutionary War of 1789. But the Nith, being tidal and shallow in its upper reaches, and ships ever increasing in size, meant the tobacco trade moved to Glasgow which, like Dumfries, had to train and scour its river to admit bigger ships.

What is the Rite of the Salty Coo?

Every year, as part of Nithraid, we cover the Coo with salt and bring her to the river to watch as the boats come up with the tide, echoing the historic trade in the Port of Dumfries. This year they will bring flags which will be taken to the Suspension Bridge and flown from Flag poles.

These flags have been made in communities all over Scotland, expressing their hopes and fears for the environment.

The Tide?

The tides in the Solway are huge, at Nithraid this year the difference between high water and low water will be over thirty feet! On a big tide like this seawater rushes up the Nith in a bore, a wave, which can reach right into the middle of town. It will pass Glencaple at about 2.15pm and get to Dumfries if there hasn’t been too much rain, by about 3.00pm.

Tides are an enormous global dynamic system. As the earth turns in relation to the moon and the sun, unimaginable volumes of water are drawn up by their magnetic fields and surge towards or away from the edges of our land areas creating the phenomenon of rising and falling tides. 

The rising tide rushing into the Nith reverses its direction of flow for a couple of hours, during which time Nithraid boats will be helped into town on a wave of salt water. The sea reaches as far in-land as the caul, five miles up river from Glencaple and the Nithraid’s course.

Salt is produced from seawater in the machine pictured above, called a Salt Graduation Tower. Seawater is pumped to the top and trickles down through the blackthorn twigs which pack the framework. Water evaporates in the process and the salinity of the seawater being circulated increases until, just at the right moment, it is pumped off to crystallise in heated tanks.

This is an ancient method of making salt, it requires very little more than seawater and wind.

Written by Mark Zygadlo.

Supported by;

Nithraid River Festival recognises and explores our town’s long relationship with the river and its importance to the people and communities it connects, both past, present, and future.

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News Opportunities

‘The Rite of The Salty Coo’ Call-out

This call-out is now closed.

Ahead of Nithraid 2024, our friends at Oceanallover are looking for people to get involved with ‘The Right of the Salty Coo’. Full information below.

On Saturday the 24th of August Oceanallover and Dumfries Slow Fashion will be taking the Salty Coo for a walk through town and across the river to meet the Nithraid as it arrives at The Green.

There will be four stages on the way where we will celebrate the Salty Coo with music and dance and take photographs for Pulp Magazine.  

Oceanallover is looking for people to get involved:  

  • Making costume for ‘The Rite of the Salty Coo’ working with Alex Rigg from Oceanallover. 
  • Making your own up-cycled clothing with expert help, the wearing it for a Slow Fashion photo-shoot.
  • Dressing up in Oceanallover costumes to walk the Salty Coo to the river.
  • Come along with us and the Coo just to be there, travelling from Mid-Steeple and over Devorgilla.
  • We need a herd of children to come and make wee Coos in the morning of the 24th and then join the drove to the river.

We need:

  • 4 costume-making trainees aged between 16 and 25
  • 10 Models/movers to work with Dumfries Slow Fashion and  Oceanallover. 
  • 20+ people to look fabulous and have their pictures taken in the street for the October edition of Pulp Magazine.

Contact:

Oceanallover; Auchenstroan House; Moniaive; Dumfries; DG3 4JD

Phone – 01848 200 357 

E-mail – [email protected]

Categories
News Opportunities

New Role: Communications & Marketing Manager

This position is now closed.

The Stove is looking for someone to bring a campaign and story-led communications/marketing approach to the multi-disciplinary team which incubates and crafts the work of the organisation.

Communication is critical to the creative placemaking practice of The Stove, the person we are seeking will lead The Stove Communications Team and drive innovation in external and internal comms to a wide range of participants, stakeholders and audiences.

We are open to the widest diversity of people and approaches – what is critical for us is that you have the potential to be part of the unique blend of personalities and talents at The Stove.

ABOUT THE STOVE

The Stove is a creatively-led organisation with a national and international reputation as a leader in community-embedded arts practice based in Southwest Scotland. We were the first artist-led community development trust in the UK and deliver high-quality activity uniquely integrated with an activist approach which supports local people to shape the places they live and work.

We work across our home region of Dumfries and Galloway as one of the UK’s leading exponents of Creative Placemaking – using creativity as a tool to support community-led change.

Our work has a particular focus on people experiencing disadvantage/inequality, and young people, and engages with the widest possible range of people on issues relevant to their lives in ways that can make a lasting difference.

The Stove is based on the High Street in Dumfries, where we operate a Community Venue, delivering a programme of activities/projects from large-scale community events/festivals to regular groups/workshops. In 2022-23 we delivered 264 unique public events with a combined audience of 8344 and 5703 people actively participating in events/ workshops.

ABOUT THE ROLE

Money and Conditions

The Communications and Marketing Manager is a full-time role at a salary ranging from £28,000 – £32,000 PA depending on experience, talent and potential.

The role is based in Dumfries and will involve travel across the region, nationally and internationally. A commitment to localised economies is at the forefront of our practice and as such it is a condition of this role to be based within Dumfries and Galloway to undertake it.

Key Duties & Responsibilities

  • Implementation of Marketing/PR and Communications Strategy & Brand Management of The Stove. This includes a number of key Stove initiatives which function as sub-brands e.g. What We Do Now, Creative Stranraer, Creative Spaces and Wild Goose Festival.
  • Campaign design and planning to support the development of creative projects and organisational aims/objectives
  • Oversight of all Stove online assets
  • Oversee delivery of marketing & PR projects (Digital: email, website, social media, partnership channels)
  • Create and curate compelling content, including posts, articles, videos, and graphics support Stove projects and initiatives
  • Contributing to planning and delivery of community engagement (inc Stove membership) processes for projects and organisational aims/objectives
  • Managing Stove recruitment processes
  • Line management of Marketing Officer and Web & Data Manager

For more information and for further details of this role, download the full application pack below:

Application Process

We want you to communicate yourself and your approach to us in the way that is best for you. There are no rules to the application process beyond the following, we need to:

  • Have your final submission by the 26th August and send to [email protected]
  • Get an understanding of your experience, skills and potential
  • Hear about your interest in role and how you would approach it
  • Receive nothing from you that is bigger than 10MB
  • Interview dates will be 12 & 13th September, by applying for this role you are declaring yourself available for these dates.

We are open to communication from you in whatever form is comfortable and natural to you. If you have any questions about this, or anything else please do not hesitate to get in touch.

It’s important that our people reflect and represent the diversity of the communities and audiences we serve. We welcome and value difference, so when we say we’re for everyone, we want everyone to be welcome in our teams too. Wherever you’re from, and whatever your background, we want to hear from you.

Access Requirements

If you have any access requirements at any stage of the selection process please contact Lindsey Smith ([email protected]  01387 252435)

Categories
News Project Updates

Exploring Community & Creativity in Callan

At the end of June our Artistic Director Martin O’Neill and our Marketing Officer Erin Aitchison travelled over to Callan in Ireland to visit Workhouse Union. This trip is part of a year-long learning exchange between Workhouse Union and The Stove to share organisational practices, knowledge, and experience with creative placemaking. Read Erin’s account of the trip below.

In June, I ventured overseas with our Artistic Director Martin to Callan in Ireland to visit Workhouse Union. Workhouse Union is a community co-design and creative placemaking organisation that supports the development of inclusive, meaningful, positive places and communities.

When I was asked if I wanted to be part of the exchange, I was ecstatic. This trip provided an excellent opportunity to use and share all I have learned about Creative Placemaking since joining the Stove, as well as learn first-hand from Martin throughout the week.

We arrived in Callan, a rather small town 11 miles South of Kilkenny, in the evening on Monday the 17th of June. We had flown over to Dublin from Glasgow and enjoyed a quiet coach journey from the airport straight to Callan – a feat in public transport that Scotland could take some notes from!

We were greeted by Workhouse Union’s Creative Director, Rosie Lynch, who walked us up the High Street, picking out interesting snippets of Callan’s history as we wandered to our accommodation. During our trip, we stayed with Rosie’s lovely mum Heather and we are very thankful for her hospitality and kindness throughout our visit.

After a good night’s sleep and some breakfast, the real fun started. Tuesday was a day of exploration as we were given a tour of Workhouse Union. The team is situated in a wing of Callan Workhouse, a gorgeous listed building, that is also used as studio space for artist Ciaran Murphy, alongside a garden that was managed by Camphill Callan. WHU has an office, library and research room, and a screen printing studio ‘Print Block Callan’ – that we were able to see in action later in the week.

We met team members Noortje Van Deursen, (Creative Producer & Co-Design Facilitator), and Alice Bowler (Community Co-Design Facilitator) as we chatted about our roles and how we each operate in our respective organisations. The explorative theme of the day continued in the afternoon when we were given a tour of Callan and told more about the network of art organisations and collectives that operate in the town. We visited KCAT Arts Centre; a multi-disciplinary centre that fosters creative ambition and professional development for those working in the arts. We toured the artists’ workshop spaces, meeting some of the artists in residence on the way, and watched the construction of a new exhibition that was opening that Friday by Jason Turner.

On Wednesday, we had a day of shared learning with the WHU team and answering questions that ranged from how we action administrative procedures, to embedded Creative Placemaking in Scotland and Ireland. We were joined by Mark Girling, WHU’s Administrator, who joined us at the Stove earlier this year as part of the exchange. Afterwards, we stopped for lunch stop at the gorgeous Fennelly’s coffee house before getting stuck back in to sharing processes and experiences with the team. My highlight of the trip was on the Wednesday evening, when WHU hosted a Midsummer pot luck supper. At the supper we were introduced to the wider creative community in Callan; from artists to photographers, to theatre makers. It was a wonderful evening of sharing creative experience and feeling the embedded sense of community Callan has.

On our last full day of the exchange, we took part in Printblock’s ‘Maker’s day’. ‘Maker’s Day’ is for experienced textile printers to bring a project and use the studio facilities with support and advice from studio technician Michelle McMahon.

Although Martin has experience with screen printing, this was my first time trying it out. The design that we went with was a graphic made up of various images that I had captured over our trip. Martin had sketched elements from them and compiled them all into one graphic.

We printed our design onto fabric first – learning the intricate mechanics of screen-printing from Michelle before graduating onto tote bags. Whilst printing and chatting with the other attendees, you again got a sense of the engaged community Workhouse Union has created in their corner of Callan and beyond.

To summarise my experience of the learning exchange, it is clear that Callan is a place where creativity flourishes thanks to the community spirit that appears to permeate everything that is happening there. I could see so many examples of creative placemaking, and community-led engagement that I have learned from and taken back to our team in Dumfries. I’m looking forward to seeing the relationship between our organisations grow and adapt over the next year and beyond.

Written by Erin Aitchison

Categories
Musings News

Change?  That’s What It’s All About!

By Tony Fitzpatrick

Well, this blog has changed already. I started some scribblings a couple of weeks ago and at that time I was still a member of the Board of Trustees at The Stove Network (TSN). Now I’m not. For me, that’s quite a big change!

At the AGM in February this year I bade farewell as Chair of TSN, a role I’d been in for almost nine years. As part of reporting what the board had been doing and how it had been changing over the year, I said I’d be stepping down, firstly as chair, then as a board member once we had a new chair in place. We were ready for change but wanted managed change, a transition. Sensible.

In a subsequent email to Lynsey Smith (now our wonderful new chair) I wrote that my experience on the board had been probably one of the most “fabulous, enticing, disruptive and creative experiences of my life,” In short, it had changed me. What I’d also seen was that The Stove too was changing and enriching the lived experience of even more people in and now beyond Dumfries.

I knew when I signed up for the board that it would be about organisational change and professional development and that the board had to stay alert, keep up, be water-tight in governance terms but also, importantly, not get in the way of the dynamics coming from our creative community and the people of the town.

I had a clear sense that what was happening in and from The Stove building was different. There was a palpable sense of energy and some urgency that I didn’t quite understand but soon realised it was being driven by the desire and need for change. It was coming from the people of the town, those involved in the many fresh and new projects and businesses in the town centre. It was also coming from a growing band of creative and energetic young people, many of whom were coming to or returning to the area after periods of work, study and travel elsewhere.

In industry they have ‘accelerator projects’ to nurture and bring to life innovative practices and ideas. I saw The Stove as Dumfries’s accelerator project for the creative industries and indeed for the town. I also saw The Stove equally as a creatively driven community development project which was increasingly supporting wider economic development aims in a very tangible way. There were risks too and that was a great thing.

In my previous life, I had been involved in some amazing creatively driven change programmes and projects, but they were often scattered in the towns and villages across the region and not happening to any lasting extent in Dumfries. There were of course a growing number of exceptions like Big Burns Supper, The Usual Place, the revamped Theatre Royal, the Dumfries end of Spring Fling and the D&G Arts Festival. But there was clearly much more creative potential to be unlocked in our regional capital.

I don’t intend to list the programmes, events and happenings that have come from TSN over those years, but for anyone who has spent any curious time in The Stove Cafe, you’ll have spotted that there’s more than great coffee and food happening.

There’s a real vibe and sense of creative energy in the place. I can always spot a ‘newie’ in The Cafe. Their coffee often gets cool as they chat, look around curiously, wonder what those people are doing going up and down those stairs, take in the latest exhibits or eavesdrop at that wee buzz of a meeting going on in the corner.

An hour in The Cafe is like a wee bit of performance art in itself. But there’s a warmth to it all. A welcoming. And a kind of urban-cool. It also feels different. As that 70’s anthem went “…something’s happening here; what it is ain’t exactly clear…”

All of this is the very stuff of change. Any given hour in the daily life of that Cafe and building generates and emits change. Look into what happens in the evenings, in those upstairs rooms and in the creative productions that come out of the place, and you begin to understand what The Stove is, what it does and how it changes things.

The team have had now thousands of young people, businesses, creative and community practitioners, academics and folk from and beyond the town and region and country through those doors. Any trail through the published programmes of the last decade will be testimony to that. I urge you to have a look at the incredible and growing archives on the TSN website. If you caught Heather Taylor’s blog piece last month, you would have some feel for the next network driver: the “What We Do Now” creative placemaking network. An initiative that has all the makings of a paradigm shift.

So, what happens when an organisation that is driven by creative change and innovation faces a very real existential threat?  Well, every such organisation, community and individual faced just such a challenge that lasted almost two years. That pandemic thing.

Almost overnight we all experienced enforced change. The personal, community and organisational turmoil and fear was very real. Some coped better than others. At our AGM this year and last, I found myself repeating that I still don’t think we have truly understood the implications of ‘what just happened’. I’m sure we all still are seeing ways in which social, personal and organisational norms and behaviours have changed, even through those pressures to ‘get back to normal’. But strike up any random discussion about COVID and you’ll find things are far from forgotten or back to normal.

I was truly in awe of what the team and membership of TSN achieved during and following those lost years. Rather than lock-down and close the curtains, The Stove adapted, accelerated its innovative capacity, went online, on to social media, big-time, and into print and set up a small but very significant virtual community experience that proved a real lifeline, not just for the creative sector, but for many in the community in general. Have a look at the Atlas Pandemica pages on the Stove website. As relevant now as ‘back then’!

As this piece goes out, we find ourselves again in one of those periods when political leaders predictably thrust upon us the word “change” as a wedge issue. “What we need now is change” vs “The last thing we need now is that kind of change”. Corny though it was, I rather liked Barack Obama’s take on the change thing:

We are the ones we’ve been waiting for: we are the change that we seek

Barack Obama

It’s something like that which drew me to The Stove Network. Now that I’ve gone, wrench that it was, I’m now a small part of that change. That’s what it’s all about! See?


A note from Lynsey Smith – Chair

‘Tony has played an instrumental part in the development of The Stove over the past eight years and has passed on a very steady ship to me.  He has been of great support to me as I transitioned into the role of Chair and will remain a close friend to us all.  He has taught us many things on his journey, most significantly his ability to make everyone feel part of something, his flat hierarchical approach and gentle nature.  Thank you, Tony, from the bottom of our hearts.’

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