We are overhauling our website at the moment and some pages may not work fully – please bear with us …
If you spot anything clunky or have suggestions or requests, please email firstname.lastname@example.org
Thank you for your patience.
We are overhauling our website at the moment and some pages may not work fully – please bear with us …
If you spot anything clunky or have suggestions or requests, please email email@example.com
Thank you for your patience.
The Stove Network is seeking a Finance & Funding Development Manager to take a senior role within a dedicated core team running an award-winning, creative organisation that is playing a leading role in community-led placemaking initiatives in Dumfries and South West Scotland.
Over the last ten years The Stove has built a national and international reputation for using creativity to engage and involve people in taking an active part in re-imagining and shaping the places they live through an innovative programme of activity across artforms, sectors and communities. We are in receipt of Regular Funding from Creative Scotland, have established working partnerships with regional and national agencies and generate additional income from commissioned and self-initiated projects.
We are looking for someone with the ambition and ethos to use their skills in finance and organisational and strategic thinking to make a fundamental contribution to the way The Stove Network works with our partners, those we employ and the community we serve. We care deeply about who we work with, and the way we work with them, if you are looking for an opportunity to really make a difference and work as part of an inspiring team of like-minded folk then please get in touch to find out more.
The Finance & Funding Development Manager is a part-time job, 3 days per week, in Dumfries (but remotely in line with Covid guidelines) for an initial one-year contract. The salary will be £32,000 (£19,200 pro rated) which is negotiable, dependent on experience.
Please download the Job Pack with job description and further details – see below.
To apply for the position, please send a covering letter and your CV to Ailsa Watson at firstname.lastname@example.org. We will confirm receipt as soon as possible.
Deadline for applications: 5pm on Friday 5th February 2021
Interviews will be held on Thursday 11th of February, most likely via Zoom. We would like to make sure that our recruitment process is as open as possible, so if you’d like to discuss any accessibility requirements, or have questions about the opportunity in general, please get in touch with Ailsa via email@example.com or phone 07854 096282 (Mon, Wed, Thu 10-4pm).
‘For me, the question of democracy also opens up the question of what does it mean to be truly human. And it seems to me that we need to recognize that to develop the best humanity, the best spirit, the best community, there needs to be discipline, practices of exploring. How do you do that? How do we work together? How do we talk together in ways that will open up our best capacities and our best gifts?’ (Vincent Harding)
Our first foot into the New Year might seem like little has changed. With a new spike rolling in with the first snowfall of January, a third lockdown begins. And as we huddle further into our little worlds the news cycle spins and bounces off the walls with the discovery of a vaccine. And for now, we carry on.
2021 marks ten years of the Stove’s work. And we’re immensely proud of what’s been achieved in that time; from festivals and events to community buy-outs and river races. Together with our community, we’ve shaped a new vision not only for the arts but also for the vital role that communities and creativity play in the shaping of our town.
This year, we’re focused on sharing and learning together again so that we can build and support new and ambitious ideas from the voices hitherto unheard across the region.
As of December, the Stove has been focused on building a programme of new projects that will allow us to delve deeper into connecting communities, ideas and creativity together. We want to build new connections, routes and opportunities for learning across our membership and wider region.
This year we want to discover new voices, train and support new ideas as well as deepen our relationship to the places beyond the town center. We will do this by:
Our programme will stretch across sharing skills in digital communication to help communities and artists reach further and more meaningfully to people, regional projects to support bold ideas concerned with community ownership and place-making and a responsive series of events and conversations open to all.
We are committed to exploring, developing and sharing how we work with other places and people and to continue the conversation online through our new podcast channel and other outlets.
Throughout January the Stove will be planning and organizing for the year ahead, so we encourage you to keep an eye on our website and social media for announcements, job opportunities and activity.
We’d like to once again thank our membership and community who have helped to shape our ideas for the year ahead by taking part in our projects, events, consultations and conversations throughout 2020.
And to celebrate ten years of the Stove we’ll be sharing the stories of those who have come through our doors, sharing their favourite memories as well as finding out what lies next for us over the next 10 years.
Whilst the road ahead looks rough, we’re hopeful our work will cement a new vision of community and creativity that seeks to support a fairer society for all. We can’t wait to see what comes of it.
We’ve reached the end of our annual Stove Dark Time, following three weeks of conversations, discussions and reflecting on the past year. A key focus of this year’s Dark Time was incorporating into our plans for next year the feedback from our Community & Membership Survey. This survey helped us to learn more about our membership and what we mean to our wider community so that we can continue to consider better ways of working together. We received incredibly thoughtful and rich responses, which have laid the foundations for our team discussions during Dark Time. These will feed into our plans for next year in order help us make more informed decisions for the future of The Stove, Dumfries and the wider region. Although so much is still in the planning stage, here is an update on key areas we are exploring and developing:
While we are still in the early stages for much of what is mentioned above, we have already achieved a great deal through discussion and planning over the previous few weeks and are excited to build on this and see how a shared vision can be implemented. Dark Time has also helped us to touch base, reacquaint ourselves with our core values and place our members at the heart of what we do. We will keep members updated on progress on this through news updates on the website, members emails, the next AGM and specific events as appropriate. Your input into The Community & Membership Consultation was pivotal to this success and thank you again for taking the time to provide your thoughts.
The excellent Culture Counts organisation has just launched their Cultural Manifesto ahead of the 2021 Holyrood Election.
They have also started a page where they are gathering all other Cultural Manifestos being produced at this time
Particularly interesting, we think, to see ‘Place’ right at the top of the Culture Counts manifesto, given our recent experiences of connecting with different Scot Govt departments and agendas – Place looks to be a shared platform where ‘culture’ can definitely show its worth as a vital ingredient of building a healthy and inclusive society.
As part of Atlas Pandemica, local artist Peter Smith is seeking local people to become ‘gardeners’ in the town.
‘Beauty in the Broken’ is a project which has been commissioned by The Stove as part of ‘Atlas Pandemica: Maps to a Kinder World’, which uses creative ways to chart the changes that have happened around us recently and to try and navigate the way forward into a more hopeful and shared future.
Peter has created a series of Zen Gardens that will be placed around the town and is looking for a people to volunteer to tend the gardens over the three weeks they are in situ.
The project looks at the way in which Covid-19 may have broken us, but there is always an opportunity to repair in a new, beautiful way. We don’t try to hide these breaks and damage, but we repair our town and community – creating something unique and powerfully beautiful.
Peter sees this project as a social ‘Kintsugi’ – a method of repairing broken things in a way that embraces flaws and imperfections – worked out through the mindful practice of rock gardens.
The gardeners will regularly tend a set of sand and rock gardens throughout Dumfries every morning for 10-20 minutes. Rocks are placed on the field of sand and rakes are used to mark patterns and shapes into the sand. They will then be left for the day and a new design created the following day.
This opportunity is open to anyone – you do not need to have any gardening experience or experience in the creative industries. The gardens will go live over a 3-week period, from 18th January to 7th February 2021. The only requirement is availability every morning for 10-20 minutes during the 3-week period and to be able to carry some hand tools. The project looks to include a diverse mix of people from the local community.
If you would like to volunteer or for further information, please email firstname.lastname@example.org.
The deadline to get in touch is Monday 14th December at 12 noon.
For more information on Atlas Pandemica, please click here.
Thank you to everyone who took some time to visit Elsewhere last weekend, it filled us with hope to see the town again from fresh perspectives and in new lights.
The first of our images from the weekend are now available, thanks to photographer Kirstin McEwan.
If you weren’t able to attend in person, much of the wonderful work we included as part of Elsewhere is available to view online, see a selection of links below. The short film by Sian Yeshe, inspired by Eoghann MacColl’s work will be uploaded shortly!
Artists and Community Landowners is a collaborative project digging down into the stories of community landownership across Scotland and the impact it has for communities. The Stove is working with Community Land Scotland and six collaborating community trusts to explore stories of “ownership” and the effect it has had for local people, their identity, decision-making and the economic and social benefits for their community.
The Stories of Radical Landownership commission is being undertaken by Coulson and Tennant. As part of the project they have been visiting community land owners throughout the country; Bridgend Farmhouse in Edinburgh, Isle of Eigg Heritage Trust, North Harris Trusts and South West Mull and Iona Development Trust.
We (Dr Saskia Coulson and Colin Tennant) are an award-winning artist partnership, who develop projects through a lens-based practice, combining genres of documentary and fine art. Our work is underpinned by academic research and through visual storytelling, we create artistic, documentary and environmental work and draw inspiration from historical, creative and ecological references.
We aim to make works that spark conversations about the past, present and future of our man-made and natural world. We strive to create stories and produce work that can speak to various audiences; from local communities, international media, academia, art and cultural sectors We want to reach as many people as possible because we seek to create work that can advocate for change in the world.
We believe that capturing stories of radical land ownership is important, both in terms of current social documentation, but also as a means to advocate for future practices and policy. And we think that communities should not only have rights to their land, but also the ownership of their narrative. Therefore, we wish to explore and share the story of community land ownership in Scotland through collaborative visual storytelling. For several years we have been embedding forms of co-creation into the process of visual storytelling. This way of working leverages the voices of communities and can enlighten situations in ways that could have not been otherwise anticipated.
We aim to use our skills in making multimedia stories and foresee our project building on three collaborative actions:
Document– In the context of photography and filmmaking, our work sits at the intersection of fine art and documentary and this allows our work to be used across many different media platforms. We will make multimedia material that can raise awareness and visibility of community land trusts across Scotland. Understanding the needs and expectations of various audiences, we can work with project participants to tailor the narrative and identify the various platforms where these stories can have a real impact.
Enable– We have developed methods and processes in our practices which supports others in visual storytelling, specifically, using mobile phones to document their lives. We have experience in delivering training workshops, both in-person and online. We want to collaborate with the four trusts to create visual stories which show the unique background of their journey and the impact it has had on their community.
Connect– Our practice is transdisciplinary (arts and culture, editorial and academia), and we make connections to try and increase the recognition of our work and the work of our collaborators. We see this project as part of our ongoing practice. Prior to the Stories of Radical Landownership commission being publicised, we had been researching current initiatives, including the community buyout of Langholm and Wanlockhead, and would like to explore how this project could develop into a framework for other communities.
The main aim of this project is to co-create visual stories with the communities. We hope to create a mixture of multimedia pieces, including photographic essays, short films/moving image work and audio pieces. These stories are expected to take several forms. They can be made in Gaelic and English and can vary in length from each community partnership, but also culminate in a longer documentary project. We want the communities to feel ownership of these stories and to use them to demonstrate their successes, but also the challenges they face. We also want to explore how this way of working can advocate and support future community buyout projects and have an effect in areas such as policy and land reform.
We are excited to be working with four diverse community trusts at a very important and exciting time of Scottish land reform. The trusts that we are working with as part of this project are Bridgend Farmhouse in Edinburgh, Isle of Eigg Heritage Trust, North Harris Trusts and South West Mull and Iona Development Trust.
Each trust provides a unique perspective in the bigger story of radical land ownership. We are collaborating with each to capture the journey that led them to form a trust and undertake a land asset transfer, but also to explore how the concept of ‘ownership’ effects the people of the communities. We are framing this project in an approach to building stories around the past, present and future of the trusts and community land ownership in Scotland.
There are many exciting aspects of this project, but we’ve been thrilled to meet so many interesting people from so many different backgrounds and hear from them their stories of land ownership. We’ve also been working with some young people from some of the trusts and getting to know what their aspirations for the future of their communities are.
Currently, we have been immersing ourselves into the project by visiting the trusts and speaking to community members from each.
For example, earlier in the month we went to North Harris, a spectacular area of land located in the centre of a long chain of islands called the Western Isles off the North West coast of Scotland. Its dramatic Atlantic coastline and an incredible mountain range make this a very special place. The community purchased the land in 2003 and established the North Harris Trust to manage the estate. The estate comprises of 25,900 ha. of croft land, common grazings, and open hill ground. The Trust aims at building a stronger community and enhance its wild landscape.
We spent a week with the young people who live on, the estate as they undertook a John Muir Award during their October holidays. This was a great opportunity for us to get to know how young people perceive land ownership and what it means to them to grow up in a community trust. We were able to explore North Harris through their eyes, as they went on many hikes and kayak trips around the estate.
We also met community members who helped to establish North Harris Trust, and they took us to locations which meant a lot to them when they were young. The photo is of Callum, one of the founding members of the North Harris Trust. We started the week with a tour of all the places where he grew up whilst he told us stories of what it was like to be raised in such a remote and picturesque part of the world. The second photo is of Scarp, one of the places where Callum grew up but is now an uninhabited island.
We have also been visiting Bridgend Farmhouse several times over the past month to speak to the members about what it is like to be part of community trust in the city of Edinburgh. This is the only project partner that is situated in an urban context. We’ve been speaking to as many people as possible asking them about how they are involved in the trust, what they think is the value of having Bridgend Farmhouse as a community-owned asset and what they would like for the future of the organisation.
We’ve also been asking everyone at Bridgend what they think ‘radical land ownership’ means to them. We’ve been surprised that for many it is a simple idea that by having a place where you can go and do something that connects you with nature, physical making or building in the company of people you feel connected to. It is often reflected on in sharp contrast to many of the current values that are prevalent in contemporary society.
Everyone has been more careful in light of the global pandemic and we’ve been keeping up and abiding by the increased social distancing regulations. Fortunately, we have been spending a lot of time outdoors as part of this project. We’ve been lucky so far as most of the time that we have been collaborating with people the weather has been surprisingly good for Scottish standards.
We have also been meeting some community members on online platforms instead of face-to-face meetings. The silver lining of this approach is that we have been able to organise and meet a lot more people with a greater geographical reach than what we might have normally.
We’ve also been meeting with all the project partners and artists on for regular online meeting sessions. These have been great for meeting the other trusts and artists in the project and hearing about the other brilliant initiatives that are happening in regards to Scottish land reform.[/vc_column_text][/vc_column][/vc_row] [vc_row type=”in_container” scene_position=”center” text_color=”dark” text_align=”left” overlay_strength=”0.3″][vc_column column_padding=”no-extra-padding” column_padding_position=”all” background_color_opacity=”1″ background_hover_color_opacity=”1″ width=”1/1″][vc_video link=”https://vimeo.com/483296197″][vc_column_text]This short film, Our Island/Eilean Againn Fhèin was created by young people working with The North Harris Trust alongside Saskia and Colin as part of their project.[/vc_column_text][/vc_column][/vc_row]
Artists and Community Landowners is a collaborative project digging down into the stories of community landownership across Scotland and the impact it has for communities. The Stove is working with Community Land Scotland and 6 collaborating Community Trusts to explore stories of “ownership” and the effect it has had for local people, their identity, decision-making and the economic and social benefits for their community.
Virginia is working directly with Urras Oighreachd Ghabhsainn – Galson Estate Trust – on the Isle of Lewis. As a maker with a strong conversational aspect to her work, collaborative engagement underpins Virginia’s practice.
Evolving around conversation my practice is broadly participatory and exists within an environment of social engagement. Shifting from work that sits within civic spaces to work within education, questions of how stimulus from works of art and architecture can affect memory and learning is central to this. Where and how we respond to works of art also affect our perceptions of ownership, the legacy of any particular artwork and the authorship of new narratives associated with it. With the processes involved in artistic production and presentation in mind what can be learned from how we engage with artistic practices? What happens when the roles of artist, object and viewer shift and how can we challenge the processes we have in place for critique and evaluation?
I’m really delighted to be working with such an engaged community such as the Galson Estate and to learn first-hand how radical land ownership has helped to develop the Estate socially, culturally and economically. Ideas of ownership are central to my own work and I’m excited to see how the project is shaped by the community.
It has of course been challenging in terms of how we engage with each other but it has allowed the objects breathing space to develop and for us to experiment with digital archiving processes.
Expanding on my answer to question above – it is of course very hard to conduct interviews or community engagement when restrictions keep changing and when folk may live in different boroughs. Having a period in which experimentation and object production takes place is providing a buffer to this. It is also allowing the project to evolve in response to new COVID developments and allowing us to come up with solutions to community engagement.