A Gathering of Young Creative Freelancers at the Creative Spaces Showcase 2023
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.
Heather Taylor is a writer, storyteller and creative practitioner specialising in multi-sensory creative and performance practice, inclusion and accessibility, and is a member of The Stove’s board of Trustees. She recently attended the launch of WWDN, a creative placemaking network, and shares her thoughts and hopes for its future success. Read her blog below:
Image credit – Kirstin McEwan Photography
WWDN – A place for everyone
By Heather Taylor
Hey All!
I hope you’re all doing well and enjoying the sunshine we have started to get – let’s hope that’s not the start and end of it!
I just had to share my excitement about a fantastic event I attended recently.
On the 9th of May, The Stove Network launched something truly special at the Catstrand in New Galloway. It was the kick-off for the ‘What We Do Now’ (WWDN) network, and let me tell you, the energy in the room was wonderful!
As a member of the Board of Trustees, with a deep passion for accessibility and inclusion in community development and the creative arts, this initiative holds a special place in my heart.
The WWDN network has been in the works for the past couple of years, and seeing it now, and anticipating its future, is beyond thrilling.
Image credit – Kirstin McEwan Photography
The journey began with a highly successful pilot program where creatives collaborated with six hub organisations across the region.
The results were inspiring, showcasing the transformative power of creative placemaking in our communities.
Now comes the next phase of this incredible journey. The launch event was a testament to the dedication and hard work of everyone involved.
It was heartening to witness so many people from diverse backgrounds coming together to explore creative placemaking and envision the future of this network.
What truly warmed my heart was the level of thought and consideration that went into ensuring the event was inclusive and that everyone felt comfortable in the space and most importantly – valued.
Image credit – Kirstin McEwan Photography
On a more personal note, I must admit that there are times when I question my place in both the trustee board and the creative community.
Like many others, I often grapple with imposter syndrome, wondering if I truly belong in these spaces. However, what truly struck me during the WWDN launch event was the undeniable sense of inclusivity and openness.
It became clear to me that there is indeed a place for everyone within this network. What’s even more remarkable is the opportunity it presents to dive in and make it your own.
Unlike many other initiatives, WWDN doesn’t require you to have all the answers or a predetermined end outcome. Instead, it welcomes you to come with ideas and offers support in realising them. This, my friends, is a game changer!
I have mentioned already in this post my appreciation of those involved, however, I would like again to take a moment to express my heartfelt gratitude to everyone who has been involved in bringing the WWDN network to life.
From the dedicated individuals behind the scenes to the creative practitioners who lend their talents, each and every one of you has played a vital role in shaping this initiative into what it is today.
A special shoutout goes to the incredible Stove team, whose unwavering dedication and boundless enthusiasm serve as a constant inspiration to me and countless others. Your passion for community development and the arts is truly infectious, and I feel privileged to be a part of this journey alongside you all.
Thank you for everything you do!
The launch of the WWDN network marks the beginning of an exciting new chapter in our journey towards a more inclusive and vibrant creative landscape. I can’t wait to see what we’ll achieve together!
If you are interested in find out more about WWDN and how you can get involved in the creative placemaking network, head on over to the WWDN website here.
In preparation for ‘Raise the Sails’, a community festival celebrating a new vision for Stranraer’s harbour area and marking the culmination of public art project, ‘Harbour’ by artist Maya Rose Edwards, I asked Maya to share some of their reflections on the project so far.
Maya, you’ve embedded yourself so joyously and emphatically in the town. Talk to me about Stranraer’s incredible community.
Where do I start? They’re marvellous. They stick together in a very fundamental, tangible way, a result of living somewhere on the edge of things. But despite the wonderful togetherness I’ve also found pockets of futility – people have big ideas and are very impassioned, but there’s a shared sense of being on the wrong side of history.
The younger generation faces real challenges and lack of opportunity. But, encouragingly, they have a vision of what the place could be, not blighted by what it was or hasn’t been. They’ve got an energy about them which is really exciting. Allowing space for young, positive voices is essential for community regeneration.
Stranraer is a hub for a lot of surrounding villages. There’s a distinct rurality and sometimes a certain disconnection with the rest of Dumfries and Galloway. But this also generates pride and determination: “Stranraer is brilliant and we’ll make sure you know that, and if you don’t accept it we’ll keep it for ourselves.” Fine, and fair enough!
There are pockets of potential change; people with great ideas, inspiration, a lot of fight. People that show up, show an interest, are hardworking and inquisitive. The Urban Collective, the Men’s Shed, Stevie at the fishing shop, Vivienne at the Community Re-Use Shop, young people from the college. There are so many more… I feel like I’ve developed real, reciprocal relationships in the town, proper friendships.
One thing that strikes me is that there are lots of people and organisations developing plans for the future, but they need to talk to each other. Hopefully I’ve started helping them make those connections.
Your project brims with connectivity but also has a basis in activism and disruption. How can this light the touchpaper for change?
For a community with a historical legacy of being let down again and again, there’s only so much fight that they can conjure from within themselves. For me, the ability to make a mark in this respect was so important.
The idea of occupying space, either with an artwork or your body, can generate change. Parts of Stranraer have suffered from the management of decline, but it’s happening so slowly that the locals sometimes miss it. Creating unexpected things to look at, things that catch your eye or that you can interact with, generates a strong shift in people. It’s my job to equip people with the tools to do that themselves, help them see that standing up for a change they want to see is always an option.
There’s something about being an outsider that makes this possible. Sometimes you need someone with a fresh perspective to come and say, how about we try this?
One of the biggest markers was when we spraypainted the Harbour wall mural. It kicked up some fuss, but it turned a dial. It generated conversation, which generated understanding, then finally an expectation about what’s coming next. It could have failed, but it didn’t. Tiptoeing around wasn’t going to work. I had to set an example that risky moves are ok.
Risk is an important tool. When a community doesn’t feel in control there’s a sense of disempowerment. By choosing a risky action you choose the level of control for yourself rather than having it put upon you. It’s also a great way to get a big response from a lot of people and get the conversations started.
What are your project highlights?
The high points are unquestionably about bringing people together.
The graffiti with the college kids, one of the very first things we did together. Their sense of pride was evident, marking a real moment of arrival. Similarly, we’ll be marking my departure with the festival in April.
The Sea Witch sculpture day was great. Everyone brought different perspectives but a common purpose, which then flowed outwards into the community. Looking through the beachcombed objects was important in a cross-generational way – older people had memories about the pottery and plastic soldiers, young people recognised the vapes as part of their own history. The sea collects and spits out these stories, mixed and matched and collaged together – everyone’s past, present and future is there. Creating a character from those lost objects was a beautiful thing to see.
Making sails at The Hub was fabulous fun! We had people of all ages helping each other out. Kids that wouldn’t normally be in a room together. Older women who said art drop-ins should be prescribed on the NHS, that it’s like therapy. Tiny, naughty tots just running around painting themselves. We had a blast.
None of the above means anything without quiet moments though. Someone brings you a cuppa. The hello-in-Tesco moments. The guy in the chippie asking how the project is going. Like having a baker or a teacher, every town should have a community artist. Creativity has a huge impact on people and places.
What have been your biggest challenges?
There have been just as many challenges as highlights! In simple terms, sometimes you just want to shake people who think change is impossible. That sense of futility being so ingrained, to the extent that it influences others too. Trying to unpick it has been a real challenge. But I also have a lot of respect and understanding for it.
At the very least, what seeds can I sow? I’m planting seeds in the middle of that knot of futility. But it’s a massive responsibility and has to be undertaken really carefully.
It’s also been hard to bring to attention things that people firmly don’t want to look at. That brings vulnerabilities. You can see these things very, very brightly when you come from elsewhere but dealing with them sensitively is often difficult.
I see you working with other people’s vulnerabilities but in order to do that you need to make yourself vulnerable as an artist too, don’t you? It’s reciprocal.
Yes. You’ve got to expose bits of yourself too, so it’s an exchange. That’s how I’ve built trust and relationships. I really enjoy it and it’s integral to my practice.
Stranraer is a community partly built on migration which is an interesting dynamic to work with. You have the embedded generational impacts over time and then you have people who come here and see it with fresh eyes as a great place to live. Once those people have a conversation with each other, possibilities emerge.
The way the waterfront is cut off from the town by the road is a huge problem. You can’t just wander down to the waterfront, you have to actively cross several lanes of traffic. Those historical planning decisions have massive impacts when considering public spaces.
Interestingly, not everybody sees themselves as a community of the sea; there’s also a challenge in the disconnect between the people who use the water and the people who use the land. Sometimes they don’t realise that they’re each other’s greatest asset and many of them want the same things. It’s like a glass wall, and nobody wants to be the one to make the first move. So there have been occasions when it’s my job to make the first move on behalf of everybody and nobody.
That’s interesting, can you expand on that a bit more?
For people originally from Stranraer, the water is a historically dangerous place due to sea waves from the ferries. It wasn’t always about having a good time and mucking about on the beach, it was a place of industry. Seeing people using it in a leisurely way, when first and foremost it’s a place for work, that grates. So there’s almost a moral judgement: you have the luxury of time to play around, but we need the water to make a living. I’ve come to understand that it can generate a bit of friction.
There’s something exciting about the waterfront as common ground though, as the physical place for people to come together, because of its status in between. At the minute, aside from the working harbour, parts of it feel unexciting and inhospitable. People say, why would I want to occupy that middle ground, there’s nothing there? We need to change not only what we put in that space, but what it means to people and how it can reflect them.
Let’s talk about Raise the Sails, the harbour festival on 20th April, the project finale.
It’s a free, daytime festival with food, live music and exciting activities for all ages, held at the Unexpected Garden on Saturday 20th April, 11am-2pm. There’s a very special event at 12 noon, so come down early!
I have a lot of hope for this, bringing people together. Stranraer has a long history of festivals – it’s a language the community speaks. It’ll be creatively out of the ordinary but really enjoyable, something people will remember. This is my final chance to plant a seed in those knots, and reach people I’ve missed.
Food, music, activities for kids – we’re listening to the necessities then adding so much more. I’m hoping the legacy continues to unfold quite slowly over the coming months. That those seeds start to grow.
And finally, why should folk join us at Raise the Sails?
For the sake of sheer nosiness, just pop down – you’re going to get a free meal! Be open to something you might not expect. It’s an opportunity to come together. And anyway, what else are you doing on a Saturday morning?!
See you there. Bring your hopes, dreams, friends, and family. We can raise the sails together.
‘Raise The Sails’
A special community festival taking place in the Unexpected Garden, Stranraer
The Stove Network, with support from South of Scotland Enterprise (SOSE), publish an important, new approach to Community Wealth Building and Community-Led Place Development.
The publication, entitled, ‘A Creative Placemaking Approach’ presents a methodology identifying how creativity and culture can work collaboratively with communities and support cross-sector working, addressing civic, economic, and development needs locally with communities.
This publication aims to support a vision of place and community where: creativity is used to develop a resilient and fair, future society, built on community wealth building principles, innovation, and long-term thinking.
The publication is the culmination of over 10 years of rural-based practice in the South of Scotland alongside wider research and consultation already carried out by The Stove Network, including Scotland’s first Creative Placemaking Forum, ‘kNOw One Place’ hosted in Dumfries in 2022.
“For a long time, we have seen first-hand the gap between national policies in areas such as community empowerment, wellbeing economies, sustainable tourism, place-based planning, and what it takes to really make these work for local communities. New approaches are needed that enable local communities to come together to work through ideas, think differently, address challenges and come up with their own solutions whilst at the same time building the capacity to take this forward for themselves. Significantly this is a place-based approach that is enabled, and not led by, the multiple agencies, organisations and service providers that have a stake in a place.”
Katharine Wheeler of The Stove Network and Director of WWDN (Creative Placemaking Network)
Placemaking traditionally refers to the concept of developing successful spaces for communities and encouraging connection and creativity for the common good. Creative placemaking is a cultural and arts led approach to placemaking that uses creativity as a support structure for communities to take a leading role in the development of their places.
“We believe this Creative Placemaking approach is hugely important in supporting change for communities in the South of Scotland and beyond. With unique villages and towns this approach can help unlock opportunities and potential to build stronger and sustainable communities. SOSE fully supports the approach outlined in this paper, it aligns with our values of bold and inclusive, while empowering our communities using creatives to translate ideas and thoughts for a meaningful community wealth building approach.”
Jane Morrison-Ross, Chief Executive of South of Scotland Enterprise
Creative placemaking is particularly effective at developing community engagement, amplifying less heard voices, and supporting the development of community capacity and partnerships to effect real change.
“What we have seen through creative placemaking projects is a range of impacts for communities from major physical regeneration projects, such as Midsteeple Quarter in Dumfries, to life and career progression for individuals in communities – new skills, confidence, increased social networks etc. The key connecting factor has been the effectiveness of creative placemaking initiatives as open and inclusive ’spaces’ which give less-heard sections of community new agency within local decision-making processes and new empowerment for themselves to be part of making the change they wish to see.”
Written by Anne Waggot Knott, Project Researcher and Reporter
A spotlight on the work of community artist, Maya Rose Edwards, in Stranraer.
Diving into Stranraer’s history paints an evocative picture. A proud port town and a vibrant, prosperous meeting place. Its connection to the sea meant connections right across the world.
This rich history, full of local stories, memories and reflections are explored in the work of artist Maya-Rose Edwards. Commissioned and supported by The Stove Network, Maya is using their creative practice to spark new ideas about Stranraer’s waterfront and how it can once again form a vital part of the community, infrastructure, and identity of the town.
It’s been years since the all-important ferry terminal was moved to Cairnryan and, following a fire at Ayr station over six months ago, the train from Glasgow doesn’t currently stop at its unique waterfront destination on the East Pier. Maya’s project, ‘Harbour’, has identified the challenges faced by these changes. Through creative consultations and engagement activities with local people, they’ve supported parts of this community to continue to grow in confidence, to express their opinions and to work collaboratively to lead the change they want to see in their town.
Harbour Spray PaintingSails Workshop
Research shows that proximity to the coast boosts our health and wellbeing, yet Stranraer’s wide roads, car parks and security fencing separate the town from the seashore. Despite this, the community has responded to the provocations initiated by Maya’s approach, galvanising the town’s fighting spirit, to reconnect with, revitalise and reimagine Stranraer’s iconic waterfront.
It only takes a tiny bit of research to understand that Stranraer has been let down again and again. Grand plans for the waterfront have been unveiled before, or built, removed, or fallen into decline. Promises made but rarely sustained. But, despite the departure of the final ferry, there remains a canny vibrancy in Stranraer, a strong sense of place and pride, locals and incomers, warmth and tradition, prosperity, and innovation. It’s a wonderful place to be. Yet all this potential seems somewhat unrecognised by a very specific combination of circumstances, policy decisions, and an apathy borne of a long history of false starts.
Urban Collective Presenting at a Creative Stranraer Vision + Action Meeting
But now if feels as if the tide is turning. Strong glimmers of hope are arriving. There’s a cumulative explosion of funding and progress right now, much of it driven by arts, culture and sport: Creative Stranraer, the George Hotel, the Unexpected Garden, the Urban Collective, the Stanctuary, Spring Fling Rural Mural, the new Water Sports Centre, Dumfries & Galloway Council and various community groups are working in conjunction with Stranraer’s Place Plan and associated activities. This is a huge opportunity to rethink the waterfront. It’s time to seize the moment.
That’s exactly what Maya has helped people do over the last six months.
Maya has delivered collaborative arts activities and conversations with over 500 participants. Children and families built a Sea Witch from coastal plastic gathered by the Beach Cleaners – you can see it in the Harbourmaster’s Office window; newly-empowered college students painted a guerrilla mural showing just how much they love Oor Wee Toon; drop-in visitors set hopes and dreams afloat in paper boats, and young people made Portholes to the Future.
SilhouettesPortholes to the Future WorkshopSea Witch Sculpture made for Coastal Plastic Day Harbour Spray PaintingArrivals / Departures
At the same time, unexpected installations appeared. Mysterious doorways arrived along the seafront overnight, dreamlike portals for us to depart from the present and arrive in an imagined future. Silhouettes emerged on the security fencing at the East Pier, inviting us to take ownership of that wasteland once again.
Throughout, Maya worked deeply in and with the community. Everything has been co-created. Each work involved reaching out and forging new partnerships, listening to Stranraer and building layers of understanding.
All these interventions have brought people together and sparked impassioned conversations about the waterfront. Maya encouraged an openness about the challenges and frustrations, but also reignited hopes, dreams and actions.
We’re looking forward to ‘Raise the Sails’, a free waterfront festival in April. This will be a culmination of all the work so far, a chance to enjoy food, music, performance and a bonanza of community ideas.
‘Raise The Sails’
A special community festival taking place in the Unexpected Garden, Stranraer
On the 19th December 2023, the Scottish Government published its action plan, detailing the delivery methodology of its Culture Strategy for Scotland, originally published in 2020.
This Action Plan, developed in collaboration with the Culture Sector, sets out the next steps the Scottish Government will take to support the development of culture in Scotland.
Roundtable consultations sessions were initiated in 2022, one of which was held in Dumfries in January 2023 and attended by the Cabinet Secretary for the Constitution, Europe, External Affairs and Culture, Scottish Government Culture Officials, and colleagues from across the Culture Sector, including Dumfries-based arts and community organisation, The Stove Network. These sessions looked at how cultural and creative organisations, can work with both Government and public bodies to effect positive change, locally, regionally, and nationally.
With a focus on resilience and three key pillars: Strengthening Culture, transforming through Culture, and Empowering through Culture, the action plan outlines the Scottish Government’s route to delivering their ambitious Culture Strategy.
At the round table consultation in Dumfries, The Stove was able to share with the Cabinet Secretary innovative cross-sector working in Dumfries and Galloway that uses cultural projects to empower people to change things within their own communities. An example being the way Dumfries and Galloway are working with the cultural sector to connect people on the ground meaningfully to strategic economic investment.
The Stove’s work, through What We Do Now (WWDN), a unique and ground-breaking initiative that supports a creative placemaking network within Dumfries & Galloway, working with artists, communities, and organisations, is highlighted alongside other examples, within the action plan’s second chapter, “Strengthening Culture”.
Extract from the action plan:
“Champion the economic impact of culture, in particular within the context of community wealth building and creative placemaking….
… The Scottish Government has embraced the internationally recognised Community Wealth Building approach to economic development as a key tool to transform our local and regional economies…
… harnessing local economic opportunities to address a range of challenges linked to addressing depopulation, regardless of whether affected communities are found in rural and island areas, or urban….
… There is a clear link with the principle of creative placemaking, which we know has tangible benefits for communities. For example, The Stove Network’s work across the south of Scotland, funded by the Scottish Government via the Culture Collective project ‘What We Do Now’, connects artists and community organisations to co-develop creative plans for the future of local places. We will learn from the outputs of this work and consider ways of scaling up the approaches taken.
“To see creative placemaking championed within the Scottish Government’s action plan for delivering the national culture strategy is fantastic. What We Do Now in Dumfries and Galloway is just one example of a very exciting strand of practice that is emerging across Scotland to place creativity at the heart of community-led change.”
Katharine Wheeler, Lead for WWDN
The full Culture Strategy for Scotland: Action Plan can be read here