Towards Cultural Democracy 2017 KCL PDF

Towards cultural democracy
Promoting cultural capabilities for everyone

EXECUTIVE SUMMARY TOWARDS CULTURAL DEMOCRACY PROMOTING CULTURAL CAPABILITIES
Image: A screenshot from 33,000

Everyday Artists at King’s – a collaborative
project between 64 Million Artists and
AUTHORS NICK WILSON JONATHAN GROSS ANNA BULL King’s College London.
FOREWORD
This report presents an exciting vision for an alternative way of thinking

about, and building, a vibrant shared culture that is meaningful and valuable
for everyone. Building on a 15-month research project it makes the case for
cultural democracy, specifically in terms of promoting everyone’s cultural
capability – the substantive freedom to co-create versions of culture.
As Director of Hull UK City of Culture 2017, I am no stranger to the transformational

power of culture. I have been lucky enough to see how arts and cultural activities can
both help to celebrate what makes a city, a people, its history and culture so special and
unique, whilst also being the means of bringing people together.
It has long been recognised that only a small proportion of the UK population makes
regular use of publicly funded cultural organisations and activities. And yet, there has also
been growing recognition of the extraordinary diversity of creative and cultural activities
that are taking place on an ‘everyday’ basis.
A number of influential recent reports have raised important questions concerning
how we can be more rigorous in our understanding of cultural value and the distinct
ecosystems in which culture and creativity exist. Picking up on these vital concerns, and
showing what more we can do to realise the creative potential of every citizen, Towards
Cultural Democracy makes a distinctive contribution by asking what could be the case,
rather than what we can measure or evaluate today.
The report is launched at a time when there are many questions in the public sphere
concerning how best to sustain and support our democracy and the democratic freedoms
of people across the globe. It is one of the most exciting features of the approach taken
here: that we might be further emboldened to see culture not simply as an ‘end’ that can
be achieved once we have secured democracy, but rather as a contributory ‘means’ that
nourishes and supports democracy itself.
Towards Cultural Democracy has taken a big step towards a more thorough understanding
of the relationship between everyday creativity, arts and creative industries. It has also
opened up a means of thinking creatively about the place of culture in our world, and that
of our children.
I believe there is much in this report that we all, whether policymakers, cultural
organisations or ‘creative citizens’, will find valuable.
Martin Green
Director of Hull UK City of Culture 2017
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TOWARDS CULTURAL DEMOCRACY PROMOTING CULTURAL CAPABILITIES
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EXECUTIVE SUMMARY
A vision of the future

Imagine a world in which opportunities to try a wide range of cultural and creative
activities are available to all young people. From playing an instrument, to designing a
website; from writing poetry to learning to breakdance. Imagine that this is made possible
not only by classes at school, and visits to galleries, theatres and cinemas with parents,
but also because every neighbourhood is one in which young people and their families
have easy access to information about cultural and creative opportunities nearby, free or
affordable for all.
Imagine, too, that within each neighbourhood there are opportunities for young
people to make their own culture – to have access to materials, time, space and support
(if they want it) to build things, draw things, write things, sing things, dance things and
invent things. Imagine that this is actively enabled by a wide range of organisations, groups
and individuals who are familiar with each other’s work and services – regularly sharing
information, resources and expertise in support of young people as they try things and
make things on their own and with (new) friends.
Now imagine that these opportunities to try a wide range of cultural and creative
opportunities – with easy access to information, materials, time, space, advice and support
– do not come to an end at the age of 18. Imagine, instead, that throughout adult life, all
people in the UK – whether in city centres, suburbs, or in the countryside – live in places
where a wide range of cultural and creative opportunities exist. Opportunities to see and
hear things; new things, old things, strange things, beautiful things, fun things and ferocious
things; things that mobilise, confuse and move; things that comfort, and things that
inspire. A world with opportunities to see and hear, yes. But so much more: a world of
opportunities to create – where everyone has substantial and sustained choices about what
to do, what to make, what to be; with everyone drawing freely on their own powers and
possibilities; their (individual and collective) experiences, ideas and visions.
This is cultural democracy. This is when people have the substantive social freedom to
make versions of culture. It is a state of the world that is possible. And this report invites
you to help make it a reality.
A call to collaboration
Based on a 15 month research project, in this report we present findings that call for a
radical but pragmatic new approach to supporting the UK’s arts and culture in all its
diversity and richness. Whilst continuing to recognise the vital importance and significance
of much existing publicly supported arts and culture, and profitable creative industries, we
cast a spotlight on the everyday cultural creativity1 that is happening around the UK but
is often overlooked. We then go significantly further in arguing the case for the cultural
creativity that could be happening if everyone had the real freedom to co-create versions
of culture – conditions of cultural opportunity that we call cultural capability. It is by
setting a new ambition for cultural policy – not only investing in great art and audience
development, but also promoting cultural capabilities – that the UK can move, as it needs
to, towards cultural democracy.
The findings and recommendations we present here are addressed to policy makers,
arts leaders, people who run creative groups – choirs, writing circles, knitting clubs and
1 We define ‘cultural creativity’ in terms of a broad range of human creativity that is in some shape or form about ‘doing
art’, rather than some other mode of human creativity such as science or education.
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EXECUTIVE SUMMARY TOWARDS CULTURAL DEMOCRACY PROMOTING CULTURAL CAPABILITIES FOR EVERYONE
anything besides – and the millions of people FINDINGS AT A GLANCE

who simply go ahead and create culture
every day, in bands with their mates, hand- 1 Beyond the professional arts and
making birthday cards at the kitchen table, profitable creative industries, there
and putting on a karaoke night at the local are many versions of culture being
pub. It is, ultimately, a call to collaboration: created together around the UK
to work together to promote sustained – often in ways that go unnoticed.
and varied cultural opportunities in every This is an ecological process: visible
neighbourhood across the UK. Our research and hidden versions of culture from
shows that there is great potential for cultural across the arts, creative industries
democracy to flourish, and there are ways and everyday creativity, are deeply
that we can all help to bring it about. interconnected and interdependent.
Understanding the UK’s cultural 2 The substantial social freedom –

ecology… and its possibilities what in this report we call cultural
We present these findings in the context capability – to co-create versions of
of two major reports that have recently culture is enabled and constrained by
called for fuller appreciation of the range people’s environments. There is huge
of culture that exists in the UK. The potential for going further to ensure
Warwick Commission called for ‘our that each neighbourhood of the UK
cultural landscape to be made more is one in which varied and sustained
visible to the public, and to reconnect the opportunities to co-create versions of
public with culture at national and local culture exist, for everyone.
levels’.2 Similarly, the AHRC Cultural
Value Project concluded that the ‘evolving 3 Recognising the full diversity of cultural
ecology of commercial, amateur, interactive creativity in society – and its ecological
and subsidised engagement needs to be nature – is an essential step in
better understood’.3 Our findings build on addressing an intractable problem of
these publications, in demonstrating the democratic legitimacy facing cultural
need to recognise the enormous range of policy and practice: that only a small
cultural creativity across the UK, including proportion of the UK population
the ‘everyday creativity’ and ‘everyday makes regular use of publicly funded
participation’ that already takes place across cultural organisations and activities.
the country, and we fully support the goal Our findings establish the foundations
of better understanding what is already for a new approach to cultural policy
going on. and practice in the UK that builds
Furthermore, and building on the on the riches of the funded sector,
work of John Holden,4 this report clearly in combination with the creative
articulates the benefits of understanding industries and everyday creativity, to
how the many different elements that promote the opportunity for everyone
collectively comprise the cultural ecology not only to see and hear wonderful
– whether the arts, the creative industries, things, but also to co-create versions
or everyday creativity – are interrelated. of culture. This is cultural democracy.
But we can go much further than this,
still. For all the merits of such a widened
understanding, conceptions of the cultural
landscape continue to be constrained What then if cultural policy could take
by what is possible now, ie, subject to account of what is not being realised, but
existing cultural and policy institutions. could be if things were different?
2 Neelands et al., 2015: 39.

3 Crossick and Kaszynska, 2016: 29. It is also worth noting that one of Arts Council England’s stated aims for its
experimental action research programme Creative People and Places is ‘to encourage partnerships across the
subsidised, amateur and commercial sectors’ (Simpson, 2016: 9).
4 Holden, 2015; 2016.
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PROMOTING CULTURAL CAPABILITIES FOR EVERYONE TOWARDS CULTURAL DEMOCRACY EXECUTIVE SUMMARY
… it is Promoting cultural capabilities ecology, and to enable it to flourish in ways

only when Through a series of detailed case studies, that are more equitable, more empowering
‘substantive we demonstrate that people can have greater and, ultimately, more creative.
freedom’ is realised or lesser freedom to create, together with Collectively, there is enormous
in relation to culture others, versions of culture. Our argument potential to go further in recognising and
– real, concrete draws on the ‘Capabilities Approach’ of actively supporting the full diversity and
freedoms to choose Martha Nussbaum and Amartya Sen; and interconnectedness of the cultural creativity
what culture to make,  in the language of that important framework, that currently takes place across the country.
as well as what it is only when ‘substantive freedom’ is Our research shows that policy makers,
culture to appreciate realised in relation to culture – real, concrete cultural organisations and ‘creative citizens’
– that people are freedoms to choose what culture to make, of many kinds have a vital role to play in
genuinely empowered as well as what culture to appreciate – that this. It is important to stress that there are
in their cultural lives. people are genuinely empowered in their many existing examples of good practice –
It is this substantive cultural lives. It is this substantive social ways in which cultural organisations and
freedom to co-create versions of culture that informal groups of many kinds are actively
social freedom to
we call cultural capability. Whilst much enabling people to make culture. Some of
co-create versions
policy interest has legitimately focused on these examples are visible to policy makers,
of culture that we
the unequal funding share of arts and culture whilst many others take place under the
call cultural
across various socio-economic variables – radar – all the while having tremendous
capability. including location, class and ethnic group value, and harbouring possibilities for
– we suggest that re-positioning the cultural expanding cultural capabilities still
policy agenda in terms of promoting cultural further in the future. Our research leads
capability will help address issues of parity to the conclusion that promoting cultural
and fairness in a much more comprehensive capabilities for everyone should be made an
and locally adaptive fashion. explicit objective of national cultural policy,
Our research shows that cultural policy and an explicit strategy of local policy makers
has the potential to move beyond a ‘supply and cultural policy stakeholders of all types.
side’ model.5 Continuing to provide This has the potential to enable the UK’s
investment via the National Portfolio and cultural ecology to flourish even further
Grants for the Arts is crucial. Publicly – and to do so in ways from which we all,
supported organisations play a vital role individually and collectively, stand
in helping the UK’s cultural ecology6 to benefit.
to flourish. But by engaging in a deep
and sustained way with how the large Experiments are happening
majority of people actually go about This report builds on a research collaboration
their cultural lives (not, principally, by with Get Creative, a campaign which
attending publicly funded organisations), began in February 2015 as ‘a celebration of
policy makers, funders and practitioners the world-class arts, culture and creativity
have the opportunity to go much further that happens every day across the UK’.
in supporting the kinds of access to Responding to a recommendation of the
information, space, expertise and networks Warwick Commission, and conversations
that increase everyone’s freedom to actively between What Next?,7 the BBC and others,
reproduce and transform their cultural lives. Get Creative is led by a consortium of
This approach has the potential to achieve cultural organisations.8 From the outset it
a goal that many already share – to achieve was clear that the campaign had several,
and sustain cultural democracy. To do potentially competing objectives. On the
so would be to nourish the UK’s cultural one hand, ‘celebrating “world-class”
5 Holden, 2016.
6 Holden, 2015. ‘Public funding’ should not be equated solely with the Arts Council, vital though this is. Local Authorities,
lottery distributors, health commissioners, amongst others, also have a key role to play.
7 http://www.whatnextculture.co.uk/ [accessed 20th January, 2017]
8 The organisations represented on the Steering Group are: 64 Million Artists, Arts Council England, the Arts Council of
Wales, BBC, Crafts Council, Family Arts Campaign, Fun Palaces, Voluntary Arts, What Next?, Creative People and Places
and Creative Scotland.
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arts, culture and creativity’, whilst also WHY DO WE NEED THIS REPORT?
‘showcasing the enormous range of THE TIME IS NOW
diversity and creativity across the UK’.9 In the context of the deep and
Subsequent to recommendations arising widespread political division expressed
from the first stage of the research, a year through the 2016 EU referendum
in to its operation the campaign established campaign and vote, it is increasingly
its primary objective, to ‘celebrate and clear that new approaches to many of
support the everyday creativity happening the UK’s political processes require
in homes and public spaces’.10 This revised urgent and radical attention. This
focus – and the connections of Get Creative includes how cultural policy operates –
to a series of related initiatives in cultural and who and what cultural policy is for.
practice, policy and research – forms the Questions about how culture is made
backdrop to the report presented here. and by who, and which creative activity
Several of the organisations involved in gets recognised and supported, are
leading Get Creative are actively involved matters in which we all have a profound
in enabling cultural opportunities in new and ever more urgent interest.
ways. Experiments in expanding cultural
capabilities are taking place now – though
without yet using this language. Amongst potential for building bigger, more diverse,
the series of findings it presents, this report and more committed audiences – as well as
demonstrates the value – for the UK’s enabling a more widely-engaged and diverse
cultural ecology as a whole – of developing community of artists – and a UK cultural
initiatives of this kind, as (just) one ecology that is not only more equitable but
important part of a plethora of existing and also more creative.
potential ways to enable the expansion of The full implications of cultural
cultural capabilities for all. democracy are unknowable in advance, of
course. We are living in times in which long-
Towards cultural democracy established ways of doing representative
The picture of cultural creativity emerging democracy are under intense scrutiny, and
through our research strongly challenges the more participatory forms may need to be
underlying logic of the prevailing approach developed if the democratic legitimacy of
to UK cultural policy – what its critics call public institutions is to be sustained. In this
the ‘deficit model’. Within this paradigm, context, the role that cultural democracy
dominant for the past 70 years that the UK could play within an overall revitalisation
has had an arts council, the leading ambition of political democracy is an important
has been to widen access to a particular and bigger question for further attention.
cultural offering that is publically funded As a prominent analyst of participatory
and thereby identified as the good stuff. democracy has written, democracy is
This report argues that promoting cultural literally ‘the power of the people’; and if
capabilities for everyone offers a new overall democratic institutions ‘do not in fact draw
approach. In doing so, we are not suggesting on the capacity of every member of society,
that ‘great’ art or profitable creative then the people do not in practice have
industries shouldn’t continue to be the focus control, and society is poorer as a result’.11
of cultural policy attention. Putting cultural In the context of a crisis of representative
democracy at the heart of national cultural democracy – in which new ways are needed
policy does not mean abandoning, diluting to connect the power of the people to the
or somehow dumbing down the arts. On shared processes and institutions with
the contrary, we believe it holds significant which we live – supporting the substantive
9 http://www.bbc.co.uk/programmes/articles/3P7n390cZc3VBpn7cPn0F5T/about-get-creative
[accessed 22nd December, 2015]
10 http://www.bbc.co.uk/programmes/articles/3P7n390cZc3VBpn7cPn0F5T/about-get-creative
[accessed 23rd November, 2016]
11 Wainwright, 2003: 1.
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What we are freedoms to co-create versions of culture here is an approach to cultural policy that moves
proposing here may well have an important part to play12 . beyond the deficit model (taking great art to the
is an approach people, ‘the democratisation of culture’) and
to cultural policy that Recommendations instead seeks to achieve cultural democracy.
moves beyond the deficit We outline 14 recommendations in all. Within this approach, great art is just one part
model (taking great The first nine are aimed at supporting the of a flourishing cultural ecology wherein the
art to the people, ‘the encompassing policy objective of promoting arts, creative industries and everyday creativity
democratisation of cultural capabilities for everyone (cultural are recognised to nourish each other, and are
culture’) and instead democracy), and are targeted at national actively supported in doing so; thereby realising
seeks to achieve government departments and agencies. widespread, sustained and substantial opportunities
The following five recommendations are for people to make versions of culture. In making
cultural
targeted at a broad set of stakeholders, this key recommendation we are not calling for
democracy.
including private trusts and foundations, a separate and additional area of policy interest
local cultural policy makers, arts and and investment; but for a root and branch
cultural organisations, and cultural re-evaluation of all cultural policy to take account
creativity initiatives,13 and aim to support of this meta-level policy objective across its entire
the development of integrated strategies. remit. A range of government departments and
Although presented separately we see agenices – beyond the DCMS and arts councils
the two sets as interlinked: national level – need to be actively involved in achieving this
objective and locally specific strategies must objective.
go hand-in-hand in order to be successful.
As such, the process being proposed is RECOMMENDATION 2
both top down and bottom up in its Investigate the best institutional arrangements
approach. A coordinated and co-creative through which to promote cultural capabilities
response to these recommendations is for everyone (cultural democracy) as a national
needed, requiring open dialogue. level policy objective. Moving towards a fairer use
of limited public funds for cultural investment – in
Recommendations to national cultural ways better able to meet the cultural interests of
policy makers & funders all sectors of society – has been held back by the
deficit model of cultural participation. Re-focusing
on the cultural capabilities of everyone offers
RECOMMENDATION 1 a model of fairness and equality that is more
Promoting cultural capabilities for everyone locally responsive and adaptive to the cultural
(cultural democracy) needs to be made an interests, practices, needs and potential of
interlinked policy objective, across a range people around the UK. The range of national level
of national government departments and institutions involved in supporting this objective
…we are not agencies. This is the most important long-term transcends the jurisdiction of the DCMS and
calling for  recommendation we make. At present, the ACE, so conversations across government
a separate UK has de facto arts and creative industries departments will be needed. Exactly what the
and additional area policies. It does not yet have a cultural policy of most effective institutional arrangements in
of policy interest the kind that we are calling for. Crucially, there support of cultural democracy will look like –
and investment; but are ways that the principle of democracy in nationally, regionally and locally – requires much
for a root and branch culture might be realised in practice, beyond the futher investigation and discussion. As just one
re-evaluation of prevailing focus on widening access to publically example of what the institutional arrangements
all cultural funded organisations, or responding to regional may involve at a national level, we suggest
policy. inequalities in arts funding. What we are proposing investigating the possibility of a ‘What Works’
12 What we are suggesting here is that an important part of the potential value of cultural democracy is that it is a condition
in which people have greater opportunity to articulate values, experiences and points of view, and this may have
implications beyond the ‘cultural’ sphere as such. Here we note the important argument of Amartya Sen that different
types of freedom can support and protect each other. (Sen, 2001). Sen makes this argument in respect of political, civic
and economic freedoms (or capabilities), but does not extensively address the question of cultural capability, which is a
significant conceptual contribution of this Cultural Enquiry.
13 Such as Get Creative, Fun Palaces and 64 Million Artists.
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centre14 (or similar) for cultural capability and capabilities as an integrated policy objective
cultural democracy: a national centre to explore should begin with a commitment to better
the most effective means for policy makers to understanding its significance across the entire
promote cultural capabilities and realise cultural cultural policy spectrum, rather than any short-
democracy in the UK, on an ongoing basis, term re-direction of funding. The nature of cultural
working across government departments and investment will develop over time, of course,
their agencies. and this needs to be investigated by national
policy makers through ongoing conversations
RECOMMENDATION 3 with stakeholders of many kinds, across the
National policy makers – in collaboration with country. But this report indicates that introducing
researchers and a wide range of stakeholders a new overarching policy objective – promoting
– should investigate how the proposed policy capabilities for everyone (cultural democracy)
objective of promoting cultural capabilities for – has the significant potential to realise a much
everyone (cultural democracy) can work alongside greater return on investment for every pound
existing core cultural policy objectives. The spent on culture in the UK. When that investment
central thrust of this report in no way invalidates takes place within an overall commitment not only
the underlying commitment cultural policy has to great art and access to it, but to the promotion
currently, and should continue to have, to much of cultural capabilities through an integrated
existing publicly supported arts and culture. cultural ecology of the arts, creative industries
Moreover, our research brings particular attention and everyday creativity, it has the potential to
to the ecological nature of the cultural landscape: generate many kinds of value (economic, social,
the arts, the creative industries and everyday cultural) exponentially. In this context, we strongly
creativity are highly connected. Change in one enourage the Industrial Strategy for the Creative
area can have effects in another. For this systemic Industries – as part of the UK government’s new
reason alone, and in the spirit of an ecological overall Industrial Strategy – to take full account of Promoting
approach, policy makers must of course exercise the central argument of this report, and to make cultural
caution in making substantive changes to policy. the case for investment in support of cultural capabilities
However, a sustained and explicit commitment capabilities. and cultural democracy
to promoting cultural capabilites may have a – has the significant
very significant and positive impact on the range RECOMMENDATION 5 potential to realise a
and depth of nationwide involvement in the arts National policy makers should support the much greater return
and creative industries, as well as in everyday co-creative activities of creative citizens and on investment for
creativity. Developing a better understanding pillar organisations whose cultural creativity every pound spent on
of the interconnections in the cultural ecology takes place across a range of visible and culture in the UK. When
represents a major first step. This can be invisible sites, and who make connections and
that investment takes
achieved, in the short-term, by raising awareness develop informal networks across these sites
place within an overall
of the issues discussed in this report; and in the of practice. Our research has highlighted the
commitment not only
longer term, through a number of the subsequent pivotal – though often invisible – role played by
to great art and
recommendations, below. a wide array of individuals and organisations in
connecting up people and opportunities across
access to it, but to the
RECOMMENDATION 4 the cultural ecology. We recommend that policy
promotion of cultural
Make the case for investment in promoting makers pay particular attention to the current
capabilities through
cultural capabilities for everyone (cultural and potential value of these creative citizens and an integrated cultural
democracy). Any re-direction of limited public pillar organisations, and look not only to support ecology of the arts,
funds represents an opportunity cost. However, them in their practices through appropriate creative industries and
in recommending the case for investment in investment (Recommendation 4), but to support everyday creativity,
cultural capabilities we do not believe that this more people to take on this co-creative role in it has the potential to
should or would result in a zero sum game, their communities. An important step for national generate many kinds
where investment in one area automatically cultural policy makers in the short- and medium- of value (economic,
leads to a reduction in another. As is implicit term is to build on current initiatives, including social, cultural)
in Recommendations 2 & 3, promoting cultural best practice from the arts sector, and emerging exponentially.
14 https://www.gov.uk/government/publications/what-works-network-membership-requirements
[accessed 19th February, 2017]
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interventions such as the Get Creative campaign, RECOMMENDATION 7

to pilot ideas raised. This might involve actively In the medium-term we recommend that all
drawing together lessons from current initatives publicly funded arts organisations be required to
in order to inform the practice of organisations develop an explicit, integrated cultural capability
and initiatives elsewhere in the UK. This could strategy. A statement of this strategy would be
include assisting publicly funded organisations a requirement for funding. Organisations (and
to become pillar organisations within their individual practitioners) would be required to think
communities: not only presenting art and inviting carefully about – and show evidence of – how they
participation, but acting as community hubs, promote cultural capabilities now, as well their
through which people can make their own culture. plans for the future. Crucially, this is not about
It may also involve supporting organisations bolting on an additional policy aim; nor should
to empower creative citizens – for example, it be construed as an additional bureaucratic
supporting organisations to ‘use individual hoop to jump through – a paper exercise to
volunteers as an effective way to develop complete in order to secure funding. Rather, it
voluntary and amateur arts activity.’15 should be seen as part of the process of gently
re-orienting all organisations towards fulfilling their
RECOMMENDATION 6 potential roles in co-creating cultural democracy,
National level policy should be informed by the characterised by cultural capabilities for all. The
development of new methodologies to investigate exercise of reflecting on how an organisation
cultural capability and cultural functionings.16 will deliver on its strategy becomes part of the
Impact and evaluation studies, which are used process itself, informing future practice. Following
to justify cultural policy interventions, inevitably Recommendation 6, arts and cultural organisations
focus on what can be measured. Towards Cultural should be supported (for example, by their arts
Democracy takes an innovative step in arguing for council relationship manager) to understand
the significance of creative potential and cultural the ways in which they already enable cultural
capability over and above what is fully realised capabilities, and the ways in which they could do
at present. In doing so, however, we recognise so further in the future.
that this raises a very real challenge in being It is important to stress that many individuals
able to evidence such ‘semi-visible’ concerns. and organisations across the ecology are
The approach being advocated here may well deeply committed to a more democratic cultural
require the development of new methodologies landscape, and there is much to learn from
to respond to this challenge effectively.17 Part them. To take just one important example, Arts
of this may well involve the development of Council England’s Creative People and Places
methods to study (local, regional and national) (CPP) programme, we recommend that this
cultural ecologies – and the range of substantive action-research initiative explicitly considers a)
and sustained cultural opportunities within to what extent promoting cultural capabilities is
them. Beyond this, and in the longer term, new already happening, at a local level; and b) how
methodologies will be needed to investigate the knowledge of innovative schemes, approaches
ways in which a policy approach explicitly focused and networks, currently being amassed through
on cultural capabilities leads to an expanded CPP evaluation, could be built on further, to help
range of cultural functionings – the realised better understand and move towards cultural
‘beings and doings’ of culture. In other words, new democracy.
methodologies are needed to investigate changes
in both the nature and extent of cultural potential RECOMMENDATION 8
(cultural capabilities), and the realisation of this Ensure sustained and broad knowledge exchange
potential (cultural functionings). between organisations of many kinds and
current Arts Council schemes throughout the
UK, which have the potential to promote cultural
capabilities, particularly those focusing on young
people and cultural learning. It is imperative that
15 Simpson, 2016: 22.

16 ‘Capabilities’ and ‘functionings’ are terms referred to within the Capabilties Approach (see Nussbaum, 2011).
17 Dr. Nick Wilson and Dr. Jonathan Gross are doing some initial further work on this through the research project,
‘The Cultural Learning Ecology in Harrow’, in collaboration with A New Direction. https://www.anewdirection.org.uk/
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current and future activities in support of cultural cultural ends. To the extent that a major ‘first
democracy learn from, and inform, initiatives step’ in promoting cultural capabilities and cultural
already taking place under the remit of the Arts democracy involves shifting mindsets and raising
Councils in England, Wales, Scotland and Northern awareness of a more inclusive way of thinking
Ireland (including, of course, CPP, mentioned in about arts, culture and creativity, it is important
Recommendation 7). Arguably, this is particularly both to ensure that stories of digital co-creation
important in respect of policies and programmes are widely shared, but also that more individuals,
relating to children and young people. Stories of young and old, are actively enabled to use digital
successful artists and musicians being denied media creatively. As part of this, we recommend
opportunities to co-create versions of culture in that the government’s Digital Strategy19 take
their formative years (eg in the school choir, the explicit account of this report’s focus on
art class etc.) are all too common. We can only promoting cultural capabilities for everyone
imagine how many more such stories there are (cultural democracy).
that are never brought to light. Clearly, the role
of primary and secondary education in promoting Recommendations to private trusts and
cultural capabilities is hugely important. But foundations, local cultural policy makers,
children and young people don’t only learn about cultural organisations, individual
art and culture in formal education; indeed, many cultural practitioners and cultural
opportunities are developed between friends creativity initiatives
and peers, and with family. There is much yet to
understand about this wider context of ‘cultural
learning’. This report also points to the fact – all RECOMMENDATION 10
too easily overlooked – that cultural learning All cultural stakeholders in the UK, across all
is a life-long pursuit. To this end, opportunities ‘scales’ of operation, need to consider their
for adult (cultural) education and learning are own local responses to the shared objective of
vital too. National government departments and promoting cultural capabilities for everyone
agencies have the opportunity to collate and (cultural democracy), and make it a strategic
share widely the insights generated across a priority. This is the most important long-term
wide range of initiatives, for children and adults, recommendation for this group of stakeholders.
and to explicitly employ these insights to support The emphasis here is on responding positively
initiatives, organisations and individuals seeking and pro-actively to the proposed cultural policy
to promote cultural capabilities for everyone objective outlined in Recommendation 1. Whilst
(cultural democracy). some indications of how this can be done have
been introduced in Recommendations 2 – 9, it
RECOMMENDATION 9 is crucial that individual stakeholders develop
Policy makers should give careful consideration their own distinctive and context-specific
to how all stakeholders can be supported, on an strategic responses to this shift in thinking
ongoing basis, in using digital technologies and about the cultural landscape; and this report
platforms for both sharing stories about and identifies a number of approaches for
promoting cultural capabilities for everyone doing so.
(cultural democracy). As identified by the Warwick
Commission, ‘the digitial revolution has increased RECOMMENDATION 11
levels of participation in informal cultural and Investigate possibilities for further collaboration
creative activity and has expanded the universe with local authorities, and how initiatives
of artists.’18 The use of online fora and platforms promoting cultural capabilities for everyone
for creative activities is widely heralded as a (cultural democracy) might be embedded within
major democratising influence in contemporary city-wide cultural strategies. There are a range
culture. Children and young people are growing of other cultural creativity interventions, beyond
up with the confidence and skills to adopt and Get Creative, which are currently pursuing a
adapt this space for an enormous variety of variety of strategies that implicitly promote
18 Neelands et al. 2015: 15.

19 The UK Digital Strategy, published on 1st March, 2017 calls for an ‘ongoing conversation’ in regards to ‘how government
and industry can collaborate to enable growth in new sectors of the future…’ https://www.gov.uk/government/
publications/uk-digital-strategy/executive-summary [accessed 2nd March, 2017.]
10
There needs cultural capabilities. Some of these are working RECOMMENDATION 13

to be a much with local authorities, which are pivotal to Continue, and go further, to develop collaborations
broader developing an integrated strategy going forward.20 with non-arts groups – including sports,
conversation that In addition to many local schemes and projects entertainment, and community groups – and
follows up on the value run by arts organisations, 64 Million Artists, for share knowledge with each other of the challenges
of cultural capability example, are looking to develop collaborations and opportunities in these collaborations. Our
and cultural democracy with local authorities to support this kind of work, penultimate recommendation acknowledges,
and the ways in including their current collaboration with Hull 2017, once again, that promoting cultural capabilities for
which this extends the UK City of Culture. We strongly support this everyone (cultural democracy) is dependent upon
kind of initiative, and in doing so, highlight the vital a wide range of conditions and practices that are
beyond traditional
need for city-wide information, and data collected not all under the purview of the DCMS or ACE.
arts and
in the course of such projects to be learnt from in There needs to be a much broader conversation
culture.
a systematic way.21 that follows up on the value of cultural democracy
as we characterise it here, and the ways in which
RECOMMENDATION 12 this extends beyond traditional arts and culture.
Develop mutually beneficial relationships with This conversation overlaps with concerns
local radio as a key channel for the promotion of about cultural value, cultural participation,
everyday creativity. An important potential benefit and democracy in general.
of cultural creativity initiatives that include the
BBC, such as Get Creative, is their capacity to RECOMMENDATION 14
draw upon its unprecedented reach across the UK Help make the case for promoting cultural
(96 per cent of households). Such reach is not of capabilities for everyone (cultural democracy).
a blanket nature; national and local broadcasting At the heart of these recommendations lies a
services complement each other, whilst playing call for better understanding of what enables
distinctive roles. Our research indicates the opportunities for co-creating versions of culture;
particular significance of the local radio network – and a provocation to change the traditional
being well placed to share examples and stories of mindset – enshrined in the Arts Council’s over-
everyday creativity, which can inspire others, and arching commitment to ‘great art for everyone’.
provide up to date and locally relevant information The case for promoting cultural capabilities for
about opportunities in the area. Currently, the everyone (cultural democracy) is one that can be
Up for Arts scheme is operating in three BBC made on ethical and political grounds of equity and
stations in the North-West of England. We see empowerment.22 However, the detail of just how
considerable potential in expanding on this scheme such a policy can be implemented requires a great
across the whole of the network, in the service of many voices to contribute on an ongoing basis.
cultural democracy, and would recommend this The recommendations provided here offer an
be given serious consideration. We also recognise initial set of proposals.23 Moving towards cultural
the importance of other media platforms from democracy is both an urgent agenda and a long-
noticeboards and free newspapers to local term one. We therefore invite readers to engage
television, which will also play an important role in discussions of our recommendations as part
at local levels. of an ongoing, collective project of realising
substantial and lasting change.
20 Fun Palaces, for example, have been working with the Local Government Association, libraries, and the Society of Chief
Librarians, leading to 59 per cent of Fun Palaces taking place in libraries in 2016 (from a total of 292 Fun Palaces, involving
124,000 participants).
21 We also note Voluntary Arts’ warning that ‘There is a real danger of CPP being seen by voluntary arts groups (and other
cultural organisations) as replacing local authority Arts Development Officers (where those posts have been lost). This is
clearly not a sustainable solution...’ (Simpson, 2016: 14)
22 And the broader values (and benefits) of political democracy with which it is interlinked, and to which it may potentially
contribute.
23 The authors of this report are also planning a further piece of research, Making Cultural Democracy, working with four
case studies across the country to investigate what is needed – at local, regional and national levels – to achieve cultural
democracy.
11
12
foreword 1
executive summary 3
1 | introduction to the report 15

1.1 Get Creative 17
1.2 Challenging hierarchies of cultural value 18
1.3 Beyond the deficit model 18
1.4 The argument 19
1.5 Urgent questions – the broader political context 24

2 | making versions of culture: three portraits 25
3 | introducing cultural capability 31

3.1 The capabilities approach 33
3.2 Pathways and networks 34
3.3 Creative citizenship 36
3.4 Pillar organisations 38
4 | why cultural capability matters 41

4.1 Freedoms and functionings 43
4.2 Cultural capability and cultural democracy 45
5 | making cultural capability a strategic priority 47

5.1 For cultural organisations 49
5.2 For interventions (campaigns, coalitions and networks) 51

6 | towards cultural democracy 53
6.1 Summary of findings 55
6.2 Summary of recommendations 56
6.3 Concluding thoughts 57
references 59
acknowledgements 61
13
14
1
Introduction
to the report
15
JANA ATHERTON-CHIELLINO
The case for promoting

cultural capabilities and
cultural democracy is one that
can be made on ethical and
political grounds of equity and
empowerment. However, the
detail of just how such a policy
can be implemented requires
a great many voices to
contribute on an ongoing basis.
16
1.1 Get Creative to reconnect the public with culture at
The findings of this report derive from the national and local levels.’
work of the Get Creative Research Project This recommendation was in part a
(GCRP). The GCRP ran between July response to the stark finding, derived from
2015 and October 2016, and was integrated an analysis of the Department of Culture
within the Get Creative campaign.24 The Media and Sport’s Taking Part survey, that
research team, based in the department it is the 8 per cent wealthiest, whitest and
of Culture, Media and Creative Industries most formally educated proportion of the
at King’s College London, evaluated Get population that makes greatest regular use
Creative, producing an interim and final of Arts Council funded organisations. An
report (both internal). This report is the important context for the launch of Get
primary public output of the GCRP. Creative, then,27 was the problematic use
The Get Creative campaign began in of public funds to subsidise the cultural life
February 2015 as ‘a celebration of the of the already privileged. Exactly how Get
world-class arts, culture and creativity that Creative – or similar interventions – might
happens every day across the UK’. Led help address this slow-burning crisis in the
by BBC Arts, in collaboration with other democratic legitimacy of UK cultural policy
stakeholder organisations from the arts is a key question, the answer to which is
and cultural sector who together form the elaborated over the course of this report. Get
Get Creative Steering Group,25 during Creative, we suggest, should be understood
its first year over 1,000 organisations and as a de facto policy intervention – a different
individuals across the country signed up way of supporting cultural creativity and
to participate in the campaign as Get opportunity.
Creative Champions.26 A mixed methods research approach was
As the BBC Arts Get Creative homepage necessary to both evaluate Get Creative and
explains, the campaign ‘came about in part investigate the wider questions for cultural
as a result of the Warwick Commission’s policy and practice that the campaign raises.
year long investigation into the Future We therefore made use of questionnaires,
of Cultural Value; a politically neutral interviews, group conversations, and
and independent study into the kind of observation (ethnography). Specifically, our
investment needed to ensure all forms of approach comprised:
culture are inclusive and accessible for • Interviews with members of the Get
all.’ The Warwick Commission report Creative Steering Group
proposed ‘Celebrating everyday arts and • Interviews with 28 Get Creative
cultural participation’, calling specifically Champions, in eight regions of the UK
for ‘A popular campaign…to celebrate • Group conversations at six What Next?
Britain’s arts in order to make our cultural chapters
landscape more visible to the public and • Two rounds of questionnaires, distributed
to all 1,000+ Get Creative Champions
24 http://www.bbc.co.uk/arts/sections/get-creative [accessed 20th January, 2017]

25 The organisations represented on the Steering Group are: 64 Million Artists, Arts Council England, the Arts Council of
Wales, BBC, Crafts Council, Family Arts Campaign, Fun Palaces, Voluntary Arts, What Next?, Creative People and Places
and Creative Scotland.
26 The Champions are the means through which the campaign operates on the ground, with organisations and individual
practitioners offering at least one event, free of charge, through which people can take part in a creative activity. See
http://www.bbc.co.uk/programmes/articles/11KvJFv5JWNGNzKSk5rZpKD/how-to-be-a-champion
27 Though not an explicit motivation for all partners.
17
INTRODUCTION TOWARDS CULTURAL DEMOCRACY PROMOTING CULTURAL CAPABILITIES FOR EVERYONE
• Ethnographic fieldwork at four sites of but also amateur theatre31 and creative Long-
cultural creativity in London and East citizenship.32 established
Anglia28 This report therefore takes its place within arts and
• Workshops in five locations around fast developing challenges to hierarchies cultural organisations
the UK, with cultural practitioners of cultural value. If the second half of are thinking in new
and academics, sharing and testing our the twentieth century saw a sustained ways about how
provisional findings. undermining of the hierarchy of popular and they not only present
high culture, we are currently witnessing performances and
Through our research with the Get Creative a number of challenges to the hierarchy of exhibitions, but
campaign we had access to a very wide amateur and professional culture. As the also provide new
range of cultural stakeholders across the authors of the AHRC’s recent Cultural
opportunities for
country; and it is via the depth and quality Value report point out, ‘giving greater
members of the
of their responses that the findings of this research visibility to the value of amateur
public to exercise
report are established. and commercial engagement forces us to
reject the hierarchical modes of provision
their own
1.2 Challenging hierarchies of where the subsidised forms are assumed to
creativity.
cultural value be superior’; and ‘[t]he evolving ecology
Get Creative has evolved alongside a range of commercial, amateur, interactive and
of recent initiatives to support and promote subsidised engagement needs to be better
cultural creativity outside the professional understood’.33
arts and profitable creative industries.
In some cases, long-established arts and 1.3 Beyond the deficit model
cultural organisations are thinking in new Recognising the diversity and
ways about how they not only present interconnectedness of the ways people
performances and exhibitions, but also create versions of culture together is a key
provide new opportunities for members of step in addressing the major problems that
the public to exercise their own creativity. continue to beset an approach to cultural
ACE’s Creative People and Places is an policy primarily focused on increasing access
important largescale experimental action to – and ‘participation’ with – professional
research project that is enabling and arts. After 70 years of the Arts Council,
encouraging significant activity in this and many years of outreach initiatives, the
respect. In others cases, such as 64 Million inherent limitations of this approach have
Artists and Fun Palaces – each of which now been demonstrated. Not only does it
was set up within the past four years – the remain stubbornly the case that only a small
raison d’être of these organisations is to proportion of the UK population makes
support unrecognised cultural creativity regular use of publicly supported culture,
wherever its happening, as well as in but recent research shows that people
new places and new ways, outside of the participate in places and in ways that, on
recognised system of the arts.29 Get Creative the surface at least, have little or nothing
represents just one manifestation of this to do with publically funded cultural
rising tide of interest, which is observable organisations.
in academic research too, where recent This constitutes a sustained challenge
projects have begun to investigate not only to prevailing approaches to cultural
everyday participation30 participation. Miles and Sullivan,34 Jancovich
28 The Old Vic Community Company, an evangelical church in East Anglia, a disability theatre company in Essex called
Razed Roof, and a network of break dancers in North East London. At each site we combined participant observation with
interviews (with both organisers and participants) and group discussions.
29 In June 2016, 64 Million Artists published an ACE commissioned report Everyday Creativity: From Great Art and Culture
for Everyone, to Great Art and Culture by, with and for Everyone. This included three areas of recommendations focusing
on i) valuing everyday creativity in arts and culture; ii) supporting existing and encouraging more grassroots activity; and
iii) democratising an existing funded infrastructure.
30 http://www.everydayparticipation.org/ [accessed 20th January, 2017]
31 http://amateurdramaresearch.com/ [accessed 20th January, 2017]
32 http://creativecitizens.co.uk/ [accessed 20th January, 2017]
33 Crossick and Kaszinska, 2016: 29.
34 Miles and Sullivan, 2012.
18
PROMOTING CULTURAL CAPABILITIES FOR EVERYONE TOWARDS CULTURAL DEMOCRACY INTRODUCTION
and Bianchini,35 Belfiore,36 Stevenson37 and already taking place (outside of publicly
others have criticized attempts to increase funded cultural organisations) do not go
participation in the funded arts and culture far enough. They risk being constrained
for operating according to a ‘deficit model’, by current limits on everyday creativity,
in which those who are positioned as non- describing what is possible now – subject to
participants are told, implicitly or explicitly, existing social conditions and institutions.
that they should participate more. The We need to go further in understanding the
deficit model disregards the wide range creative potential that is present but not yet
of ways in which people are involved in exercized, and which could be if things were
cultural creativity at times and in places that different.
ostensibly have little or nothing to do with This report therefore provides a new
publically funded organisations. It relegates way to understand creative potential: the
many of these activities (and the people who substantive freedom to co-create versions of
do them) to second-class cultural status, or culture. We call this cultural capability. This
simply renders them invisible, sustaining conceptual framework, and the empirical
dubious hierarchies of cultural value. material which supports it, takes us beyond
As part of the critique of the deficit model, the initial, hugely important critiques of the
the idea of cultural ‘cold spots’ is in the deficit model. The idea of cultural capability
process of being systematically debunked. – a substantive freedom that is socially
The work of the Understanding Everyday emergent but individually exercised – not
Participation project, based at the University only enables new insights into how cultural
of Manchester, is beginning to demonstrate creativity happens, it also helps identify a
the rich variety of cultural activity that takes new direction for cultural policy: supporting
place around the country, including in places the cultural capabilities of everyone. We
where publically funded arts and culture call this cultural democracy, and it offers a
are not highly visible or made much use of. clear and progressive path beyond the deficit
As the criticisms of the deficit model imply, model.
the long-standing emphasis on widening
participation – to the exclusion of other 1.4 The argument
understandings of what cultural policy might One of the key difficulties that besets
achieve – is borne of an overall approach discussion of cultural policy and related
primarily focused on the cultural offer made debates over cultural value, cultural
by those organisations supported by arts participation and everyday creativity is the
councils, and the need to justify public slipperiness of the central concepts involved.
expenditure on these organisations. As the We have been at pains throughout the
Warwick Commission’s 8 per cent figure Get Creative Research Project (GCRP)
shows – and despite all the considerable to ensure that we develop a rigorous
effort that has been put into it – this conceptualization.38 In now clarifying the
approach to cultural policy has reached a argument introduced in this report we
dead end. introduce each of the main points together
These arguments are a crucial starting with an explanation of the related key terms.
point. But there is a danger that critiques
of the deficit model that stress what is
35 Jancovich and Bianchini, 2013.

36 Belfiore, 2012.
37 Stevenson, 2013 and 2016.
38 In keeping with Belfiore (2016) we believe that critical research of this nature can and should play a role in policy debates
by way of exerting ‘conceptual’ influence.
19
Culture become; furthermore, it does this by virtue

Culture39 is bigger than ‘the arts’40; but of our ‘customary difference’43 from others
notwithstanding the enormous contribution – which is where debates over ‘high’, ‘low’
made by cultural studies since the late- and ‘popular’ culture have been fought, and
1950s to our understanding of this fact, there why we see value in referring to ‘versions of
remains a strong tendency to treat culture culture’ (in the plural), that may compete
and the arts as synonymous. In this report with each other for resources and approval.
we explore the possibility of a more inclusive Culture is then the ever-present condition
and ‘personalist’41 understanding of culture and the continually reproduced outcome of
– that takes its cue from the following our capacity as human beings to act with
indication of what persons are: creativity.
One of the amazing things about human Cultural creativity

persons is the ability to engage beliefs and Creativity is everywhere. Human beings
ideas in ways that interact with bodies and possess the capacity for creativity,44 which
the material world in order to creatively they realise (or not) in many contexts – not
form patterns of actions, interactions, and just in the arts. Unfortunately, the way
collective social environments…a great deal in which we think and talk about human
of human social existence is not directly creativity tends to be overly restrictive.
determined by genetic codes or instinctual Whilst it is sensible to broadly distinguish
species behaviors. Instead, human persons between the creativity involved in ‘doing
are free to use their manifold capacities for science’ as opposed to ‘doing art’, for
representation, belief formation, language, example, (this report is concerned with
memory, creativity, identity development, the latter not the former), it is nonetheless
and so on variously to shape the meanings problematic to imply that it is only in ‘the
and structures of their social existence arts’ (ie a particular sector of professionalised
together. The result is the immense variety, creative and cultural practices) that human
richness, and complexity of human cultures beings create the conditions that give rise
and subcultural meaning systems evident in to valuable and meaningful ‘aesthetic’
history and the world today.42 experiences (this being what art affords).45
Taking this into account, in this report we
Culture is what ‘shapes the meanings and adopt the term cultural creativity to refer to
structures of [our] social existence together’. this broad range of human creativity that
It defines who we are and who we might is in some shape or form about ‘doing art’,
39 The term ‘culture’ has famously been described as ‘one of the two or three most complicated words in the English
language’ (Williams, 1958). At least three dominant usages have gained common currency – i) as a general process of
intellectual, spiritual and aesthetic development; ii) as a particular way of life, whether of a people, a period, a group,
or humanity in general; and iii) as a description of the works and practices of intellectual and especially artistic activity,
including music, literature, painting and sculpture, theatre, film, and so on. In referring principlally to the ‘cultural
landscape’ it is the third of these which initially appears most relevant. However, there is an obvious danger here of
limiting culture to a certain set of human activities and their outcomes that are visible and legitimised by the ‘art world’.
All too easily this reinforces an exclusivist position – where some artworks and artforms are considered, but not others.
40 For the purposes of this report we take ‘the arts’ to refer to a particular sector of professionalised cultural activity,
encompassing the ‘fine arts’, and including literature (poetry, novels, short stories), performing arts (music, dance,
theatre), visual arts (drawing, painting, ceramics, sculpture, also photography and film). There are, of course, many
blurred boundaries here (eg participatory arts, architecture, design, culinary arts) and overlaps with the ‘cultural and
creative industries’ (see DCMS, 1998; Hesmondhalgh, 2007 for discussion).
41 ‘Personalist theory claims that all adequate understanding of human life must take seriously the fact that human beings
are persons and not something else. This requires that we understand what persons are, what distinguishes them from
nonpersonal entities.’ (Smith, 2015: 8)
42 Smith, 2010: 119.
43 See Mulhern (2009) for further discussion.
44 Whilst generally understood in terms of novelty and value, we follow Martin and Wilson (2014) in also seeing creativity as
discovering the possibilities of the world and bringing them into being.
45 We have chosen not to highlight discussion of ‘art’ per se in the report, despite its centrality, as further detailed and
comparatively lengthy conceptual justification is necessary (one of the co-authors of this report is currently working on
a book-length study that aims to fulfill this function). However, it may well be that in making the case for cultural capability
at policy level this becomes necessary.
20
By showing rather than some other modes of human carry potentially belittling connotations
how cultural creativity such as science or education.46 with them. A key feature of our particular
creativity The UK’s cultural landscape is then account is that it enables investigation of
happens as part of dependent on the ‘plethora of creativity’47 the inter-relationships and connections
an ecology, and that happens up and down the country, and between the arts, the creative industries,
indicating how easily its being shared. There is much cultural and everyday creativity.
these examples of creativity taking place around the UK
cultural creativity that is neither directly publicly funded Cultural ecology
could not have happened nor commercially profitable. Some of this The work of the Get Creative Research
– had particular is ‘visible’ to policy makers and cultural Project shows that these three domains
organisations. This includes, for example, of cultural creativity – the arts, creative
environmental conditions
the many amateur choirs and orchestras industries and everyday creativity – are
been ever so slightly
represented by Voluntary Arts. Other forms deeply interconnected and interdependent.
otherwise – our
of cultural creativity are ‘invisible’ to cultural Cultural creativity takes place ecologically.50
research demonstrates
policy and cultural organisations, such as the We cannot fully understand the one (say,
that there are examples of music making in an evangelical the arts), without reference to the others
potentially all sorts of church, and the break dancing in a shopping (ie the creative industries and everyday
arts, creative industries mall, that we discuss in this report. creativity).51 Moreover, the relationship
and everyday creativity between the arts and the creative industries
that are not currently Everyday creativity on the one hand and everyday creativity
happening, Whether visible or invisible, we call all on the other is dynamic. As our case
but could. cultural creativity which is neither part studies illustrate, previously unrecognised,
of the publicly supported arts or the un-institutionalised cultural creativity can
commercially supported creative industries come to be recognised, legitimised and
everyday creativity. By referring to everyday supported by arts organisations and funders,
creativity, we emphasise that these instances or become profitable within markets.
of cultural creativity: People’s potential to pursue and realise
• are characterised precisely by not being cultural creativity is enabled or constrained
recognised or directly supported through by their particular environments. By
public subsidy (the arts) or profitability showing how cultural creativity happens
(the creative industries). as part of an ecology, and indicating
• are, nonetheless, often very important how easily these examples of cultural
to those involved in co-creating their creativity could not have happened – had
version(s) of culture. particular environmental conditions been
ever so slightly otherwise – our research
As the term suggests, these activities demonstrates that there are potentially all
can be part of our everyday lives, as well sorts of arts, creative industries and everyday
those special occasions of performance or creativity that are not currently happening,
exhibition, and they can take place in every but could.
space, location and context imaginable.
Our conception of everyday creativity Cultural capability
here embraces the notion of culture being Bringing analytical attention to this is not
‘everywhere, resistant, hardy’ and ‘shared’.48 a matter of abstract theoretical speculation.
At the same time it avoids the problematic Rather, it has profound implications for
terms ‘homemade’49 and ‘amateur’, which making cultural policy, and undertaking
46 We recognise that there are blurred boundaries here and some readers may reject the notion that their cultural creativity
is connected with art at all (see previous footnote).
47 Buber, 1962: 383-86.
48 Willis, 1990: 1-2.
49 Holden, 2015.
50 Holden, 2015.
51 Recent research on Creative People and Places (CPP) includes these two telling observations from CPP respondents:
‘People are doing [everyday participation] but don’t see it as ‘arts’. It is important for ACE to see this as part of the
continuum.’ (Simpson, 2016: 5); and ‘We need to be clear that CPP is part of the arts ecology – it is not the arts ecology.’
(Simpson, 2016: 14)
21
cultural policy research. So long as creativity varies considerably across

evaluations and impact studies only focus circumstances. But it very often involves
on what can currently be observed and/or the substantive freedom to play (and try
measured they will never begin to properly things), to spend time with other people
account for the creative potential of human (to affiliate), and to make sustained use
beings, or grasp the ways in which current of our imagination, senses and capacities
policies and institutions are constraining for thought.56 Taken together, substantive
practice. When cultural creativity is freedoms such as these enable people to
understood to be ecological in nature, and pursue and realise cultural creativity, thereby
very much dependent on surrounding co-creating a version of culture.
conditions, radically new answers may be This condition of substantive, social So long as
opened up to the key question, ‘What is freedom is what we call cultural capability. evaluations
each person able to do and to be?’52 Importantly, and to re-iterate, it remains and impact
Following Martha Nussbaum’s capabilities an individual choice as to whether or not studies only focus on
or ‘human development’ approach, our to exercise this capability. what can currently
research explores the ‘substantive freedoms’ In demonstrating the ecological nature be observed and/or
that people have (or not) to pursue and of our cultural landscape, and showing measured they will
realise cultural creativity. For Nussbaum, that, in many cases, cultural creativity never begin to properly
the idea of substantive freedoms – or could easily not have happened if the right account for the creative
capabilities – provides a framework through environmental conditions had not been in potential of human
which to assess the basic justice of a nation place, our research identifies the significant beings, or grasp the
state.53 Importantly, to have a capability is potential both for more cultural creativity, ways in which current
not the same as choosing to exercise it. For and for developing a much stronger grasp
policies and institutions
example, the freedom to have good health of the types of conditions, structures and
are constraining
is one that depends on access to decent institutions that constrain cultural creativity
practice. When cultural
healthcare, conditions of public sanitation, from being realised. This is why the idea
and information about nutrition, exercise of cultural capability is so important: it
creativity is understood
and hygiene. Politicians and citizens may provides a conceptual framework with to be ecological in
judge this to be a ‘core capability’ that which to address what kinds of culture-as- nature, and very
governments need to ensure. This does not, conditions (constituted by both immaterial much dependent on
however, in and of itself, mean that everyone and very concrete elements, including, surrounding conditions,
living in those conditions will in fact have for example, the activities and policies of radically new answers
good health. It means, rather, that they have cultural organisations, the availability of may be opened up to
real opportunities available to them to live a materials and information, and the place the key question,
healthy life.54 of art in schools), are needed in order to ‘What is each person
Our research shows that cultural creativity ensure that the substantive, social freedom able to do
requires a number of enabling conditions to co-create culture-as-outcome, is shared and to be?’
which, in combination, constitute the by all.
substantive freedom to co-create versions
of culture.55 What is required for cultural
52 Nussbaum, 2011: 18.

53 States, through their public policies, should ensure the substantive freedom of their populations across a number of
core capabilities. For example, the substantial freedom of bodily health, ‘including reproductive health; to be adequately
nourished; to have adequate shelter’. Or the substantial freedom to play, ‘[b]eing able to laugh, to play, to enjoy
recreational activities’. Nussbaum, 2011: 33 and 34. To fail to support the core capabilities is to fail in the duty of
government – a duty, Nussbaum argues, derived from the dignity of what it means to be a human.
54 Nussbaum provides a helpful account of these ideas in a video that can be viewed here: http://www.hup.harvard.edu/
catalog.php?isbn=9780674050549 [accessed 20th January, 2017]
55 In this report we are introducing the idea of cultural creativity as both the ‘broad range of human creativity that is in
some shape or form about ‘doing art’’ (p.1, above) and ‘co-creating versions of culture’. These are alternative
descriptions of the same process. The report demonstrates the dialectical nature of this process, as culture is both
a condition and an outcome. This insight is one of the key reasons that the idea of cultural capability is so important. The
idea of cultural capability carries the potential for opening up crucial discussions about the concrete conditions needed
to ensure everyone has the substantive, social freedom to make culture. In other words, we need to think much harder
about co-creating the cultures in which culture can be (democratically) created. Our accounts of cultural creativity and
cultural capability offer new conceptual tools with which to do this.
56 Here we are employing the language of Nussbaum’s ten ‘central capabilities’. Nussbaum, 2011: 33-34.
22
Promoting cultural capabilities cultural capabilities is central to what we

Conceptually, cultural capability can define as cultural democracy.
indeed be understood as a single capability. Promoting cultural capability for everyone
Empirically, however, cultural capabilities constitutes a bold new aim for cultural
are referred to in the plural to indicate that policy in the UK. Building on a number of
they are always more or less present (or important precedents,57 this report strongly
absent) within the very particular set of advocates a policy approach aimed towards
circumstances of each and every person in achieving cultural democracy. This contrasts
society. Furthermore, an important insight with ‘the democratisation of culture’, which
from the GCRP is that versions of culture is the prevailing approach of the deficit
are very often co-created by people coming model: taking great art to the people.
together rather than made by any one Cultural democracy, by contrast – as we
individual on their own. characterise it here – is when everyone has
Although the sheer diversity of people and the power (whether or not they choose to
organisations involved defies simple analysis, exercise it) to pursue and realise cultural
the research brings particular attention creativity, thereby co-creating versions
to two essential modes of co-creative of culture. The possibility of cultural
activity, involving creative citzens and democracy (variously defined) has been of
pillar organisations, respectively. Creative interest to people working in the tradition
citizens are typically both organisers of community arts since at least the 1960s.
and participants, involved in cultural Now is the time to bring this approach to
creativity in ways that contribute to their the heart of cultural policy in the UK.
neighbourhoods and communities. Pillar More fully realising cultural democracy
organisations similarly play a vital role in is important not only because it provides
nurturing and supporting people’s cultural the most promising way to redress the
creativity. However, they are able to use democratic deficit at the heart of UK
their organisational resources, and extensive cultural policy, so starkly demonstrated by
collaborations with other arts and non- the 8 per cent figure. Its implications may
arts-based organisations, to catalyze both be many and varied. It may, for example,
amateur and professional creative practice. increase cultural vitality;58 contribute to
In calling for promoting cultural capabilties individual and collective wellbeing; and
as a new policy objective, we are not just even have broader implications for the
appealing to a novel abstract theorisation, quality of democratic life in the UK. In
but highlighting these very tangible short, this is about enabling everyone to
resources and relationships within the speak, to be heard, and to share in the
cultural landscape that can be, and should creation of the versions of culture with
be given more attention. which we all live. Clearly, this is a over-
arching vision that is already widely shared.
Cultural democracy Taking ACE’s flagship cultural participation
Currently, UK cultural policy primarily project Creative People and Places (CPP)
addresses itself to the arts and the creative as an example, however – with its mission
industries, and increasing access to each of of ‘enabl[ing] and encourag[ing] innovative
these areas. What is missing is a broadly approaches to increasing participation
inclusive approach to supporting the cultural in the arts, in particular in areas of the
creativity of all. Our research shows that country that currently have the lowest
much more could and should be done to levels of arts participation (Simpson, 2016:
ensure everyone has the substantive freedom 2) – it is also apparent that there remains
to co-create versions of culture. A serious a very real danger of sustaining a deficit
and sustained commitment to promoting model approach and the ‘democratisation of
culture’ (taking ‘the arts’ to the people, as it
57 Particularly practitioners and researchers working in the tradition of community arts. See, for example, Adams and
Goldfarb, 1990; 1995.
58 Jackson et al suggest that ‘cultural vitality’ is indicated by ‘evidence of creating, disseminating, validating and supporting
arts and culture as a dimension of everyday life in communities’. Jackson et al, 2006: 4.
23
were) at the expense of promoting cultural by cultural capabilities, can be more fully
capabilities and cultural democracy.59 realised in the UK, and in Chapter 6 we
summarise some first steps in the form of
1.5 Urgent questions – the broader 14 recommendations.
political context
We are living in times of change. This is a
situation of opportunity as well as risk. In
the context of the deep political divisions
The benefits of cultural
expressed through the EU referendum democracy are potentially
campaign and vote in 2016, it is increasingly very wide-ranging indeed,
clear that new approaches to many of being experienced across arts and
the UK’s political processes – including, culture, education, creativity, industry,
potentially, how cultural policy operates and health, wellbeing and fulfilment, and
what it is for – require urgent and possibly impacting individuals, organisations
radical attention. These questions – of how and communities in many different
culture is made and by who, and what gets ways (including self-expression,
recognised and supported – are matters in recognition, voice, transferrable
which we all have a profound and ever more skills, career development,
pressing interest. friendship and community).
As an ongoing process, sustained by, and
in turn sustaining, human creativity, cultural
democracy is not to be understood as some
utopian ‘end’, but rather as an on-going
‘means’ of fostering self-actualisation
through mutuality. The benefits of cultural
democracy are potentially very wide-
ranging indeed, being experienced across
arts and culture, education, creativity,
industry, health, wellbeing and fulfilment,
and impacting individuals, organisations
and communities in many different ways
(including self-expression, recognition, voice,
transferrable skills, career development,
friendship and community). Crucially, by
highlighting possibilities as well as outcomes
cultural democracy promises to make a real
and positive difference for everyone, from
playground to pension.
Our findings – most importantly,
that under the radar and highly visible
cultural creativity are interconnected and
interdependent, and that there are major
possibilities for promoting everyone’s
cultural capabilities – raise possibilities
for a new overall approach to cultural
policy and practice, capable of supporting
cultural creativity much more broadly and
inclusively. Our research identifies new ways
in which cultural democracy, characterised
59 ACE’s £37 million CPP scheme has funded consortium-led projects in 21 locations around the UK. This comment from
one CPP interviewee is revealing in this context: ‘We want to enable the community to be more active in putting on the
small and the regular but the community don’t necessarily want to collaborate: they have no sense of ownership. They
want to be supported in their own events – then they would be more up for collaborating. But they are being asked to
collaborate while they are struggling to do the stuff they want to do.’ (Simpson, 2016: 9)
24
2
Making versions
of culture
Three portraits
25
ALEJANDRO ALVAREZ
Our research illustrates

some of the many ways in
which cultural creativity
takes place outside the arts
and creative industries.
26
This chapter presents three
portraits of people co-creating
Portrait | 1 night prayers or all-night rehearsals, for
their own distinctive versions of example on a Friday night starting at 10pm
culture. These portraits illustrate: and going right through until 7am.
1 the plethora of cultural

…so we meet and we just sing all night.
creativity outside the arts CJ – UNDER THE RADAR Whereas if it’s prayer it’s usually there’s
and the creative industries CJ60 always sang at church in Zimbabwe, something that we’re praying for, like
(ie everyday creativity) where she grew up. She is now in her mid- the Paris bombings […]. And then
2 the interconnections between 20s and lives in a small city in the south- during the night then they’ll flip it to
the arts, creative industries east of England. She is deputy worship more of a worship, just so that people
and everyday creativity leader at the charismatic evangelical don’t fall asleep. […] Start with the slow
church she attends, a team of around 40 stuff. Then when it gets to 2am when
3 how cultural creativity can people who lead music at services. Having people are getting tired, that’s when
move in and out of institutional studied bio-medical science at university, you’re [doing] praise songs and people
visibility she now works part-time as a healthcare are dancing all night, it’s amazing.
assistant so that she can have time to
4 ways in which people and participate in a training programme with CJ’s singing is communal, and continuous
organisations facilitate the worship team at the church. with prayer. It is in many ways a part of
co-creative conditions for their She sings to worship God and to help CJ’s everyday life, integrated into her
own and other people’s cultural others in their worship, but as well as this spiritual practice, as well as something
creativity spiritual purpose to her creative practice, she shares with friends and has fun with.
she wants to have fun, whether that’s Whilst some of the enjoyment she takes
5 the value that cultural creativity
singing in a karaoke competition or leading in her creativity is similar to our research
has for people
a jam session. Singing and jamming with participants in secular contexts – including
6 that the freedom to co-create friends is also part of her everyday life, experiences of fun, community, and
versions of culture is a social such as having jam sessions over Skype. confidence – the development of her
condition CJ describes the music at her previous spirituality through her singing, and using
church, an all-black church in a city in that to support others to get in touch with
the Midlands. There the emphasis on God, shows a different value that can be
communal musical and spiritual practice attached to cultural creativity, and which
was even stronger. The church had a may be shared by many of the 51 per cent
gospel choir who would sing at services, of people in the UK who follow a faith.61
and sometimes they would have all- This extremely committed involvement
in cultural creativity takes place almost
entirely outside the system of publicly
funded arts, and would not register on
official statistics of cultural participation
such as the DCMS Taking Part survey.
Nonetheless, her cultural creativity plays
a major part in CJ’s life, and contributes
to the life of her church.
60 Some names have been changed.

61 The British Social Attitudes Survey, 2016. http://www.bsa.natcen.ac.uk/latest-report/british-social-
attitudes-28/religion.aspx [accessed 24th May, 2016]
27
MAKING VERSIONS OF CULTURE TOWARDS CULTURAL DEMOCRACY PROMOTING CULTURAL CAPABILITIES FOR EVERYONE
Portrait | 2
FLO – THE BLURRED LINE
BETWEEN PROFESSIONAL
AND EVERYDAY CREATIVITY
Flo is in his early thirties and a couple
of times a week does breakdancing
(‘breaking’) in the central square of the
Stratford Centre, a shopping mall in East
London. Flo grew up in a small town in the
French Alps, and at the age of 15 a friend
began to teach Flo and his friends a few
basic steps. Flo has danced ever since and
says ‘it’s had a massive influence in my life’.
From dancing together on the street, he
and his friends began to take lessons with changed over the years, and ‘now I just
His relationship
teachers in a community centre. When he dance to keep fit, see my friends, have a
with breaking is also
moved to Grenoble to study for a degree good time and forget about my worries.
in Business and Marketing, his teachers at I just put the music on and just let go and
an example of the
the community centre put him in touch with that’s it.’
way in which people’s creative
informal groups of dancers he could join in Flo’s dancing has been the central
activities can weave in and out 
the city. As part of his degree, Flo had the passion of his life. Even though he is now of professional and amateur
opportunity to study for a year in Coventry. doing another type of paid work, he takes status, with a passion
There, continuing to train several times a aspects of his approach to breaking becoming a profession, and
week, he was approached by a company – such as his creative use of humour professional practices – such
that places dance teachers in schools and in his dance, and his commitment to as devoted training – being
community centres. For the next eight incremental improvement – and integrates a source of satisfaction
years, Flo worked full time as a dancer: this into his day job. He continues to train in themselves.
teaching breaking in schools, community for his own enjoyment, to teach and to
centres, prisons, with homeless people, compete in breaking ‘battles’. The role
and at children’s birthday parties. He also of breaking within Flo’s life has changed,
performed as part of a troupe – often at but it continues to be a prominent part
corporate events. of his weekly activities, and is part of
Having lived in Coventry and then Leeds, the structure of his life. Whilst his job is
two years ago Flo moved to London to be located in South West London, he lives in
with his girlfriend. In London he found it North East London – and one of the main
more difficult to make a living as a breaker, reasons for this is so that he can be close
and took a job as an administrator at the to the Stratford Centre, which gives him
Royal Academy of Dance. Whilst working the opportunity to train after work and
full time he continues to train three times then get home in time to see his girlfriend.
a week, for two to four hours each time. Flo’s story illustrates how cultural
The sense of community in breaking was creativity – his co-creating a version of
one of the things he first liked about it. At culture, breaking – can move between sites
the same time, breaking involves personal of greater and lesser institutional visibility.
commitment to improve and achieve steps His relationship with breaking is also an
which at first seem impossible. When he example of the way in which people’s
was young, dancing was important for Flo creative activities can weave in and out
‘psychologically’, as it made him feel he of professional and amateur status, with
was ‘somebody’, through the praise and a passion becoming a profession, and
recognition he received for his dancing professional practices – such as devoted
from people in his town. He says that the training – being a source of satisfaction in
positive effects for his ‘ego’ continue to themselves. [A case study of the network
be an important part of why he dances, of dancers and dance sites of which Flo is
but his motivations and enjoyment have a part is provided in Chapter 3.]
28
PROMOTING CULTURAL CAPABILITIES FOR EVERYONE TOWARDS CULTURAL DEMOCRACY MAKING VERSIONS OF CULTURE
Portrait | 3 cost of £120 per year. With these funds,

supplemented by a small income derived
from programme sponsorship and jumble
sales, the choir is currently able to put on
three concerts a year.
LINDA & ROSE – BEHIND Linda and Rose’s cultural creativity
THE SCENES takes place within a large group, requiring
Linda and Rose sing in a large choir in the significant commitments of their time
north of England. They are in their sixties and energy – taking on administrative
and retired. Linda’s creative activities have responsibilities. The choir is run by a
been a continuous thread running through committee of members who volunteer
her adult life. She joined the choir in 1969, to undertake a range of administrative
at the age of 21, and has only missed ‘two roles. This is an example of people
and a half concerts’ since. She liked to sing whose commitment extends not only to
at home when she was growing up, with their individual cultural practice, but to
members of her family singing at the piano the reproduction of the organisational
on Sundays. Her aunt suggested that she conditions in which their practice takes
join the choir, and she has been an active place. The choir has been active for nearly
member ever since. This has included 25 a hundred years, and the way in which the
The choir is run
years taking minutes at choir meetings, organisation operates is a classic example
by a committee
drawing on her skills as a secretary. Rose of the kinds of formerly constituted
of members who has had a more intermittent relationship voluntary arts groups that up to 10 million
volunteer to undertake a range with her creative interests, though they people participate in each week in the
of administrative roles. This have always been present. She had a very UK.62
is an example of people whose busy working life as a nurse, managing A recent challenge has arisen for the
commitment extends not only wards and doing hugely long shifts. She choir’s organising committee, as the
to their individual cultural lacked confidence in her singing (as well management company that administers
practice, but to the reproduction as time), and it was only with a friend’s the town hall on behalf of the council has
of the organisational conditions encouragement that, once retired, she ‘trebled’ the hire price. This is the hall that
in which their practice joined the choir. Rose was quickly recruited the choir usually performs in, and it is a
takes place. to the organising committee, and within six space the members love. It is uncertain
months was made the General Secretary. how they can meet this increased price
Linda and Rose both describe the for their 2017 concerts. Whilst Linda and
enjoyment they take in contributing to Rose indicate that the organisation is
the large sound that the choir’s 70 voices not deeply dependent on the support of
make together. ‘Singing with a group of other organisations, it is, nonetheless,
people and […] just making that overall dependent on local infrastructures
sound – when it’s right [...] there’s nothing such as the availability of suitable and
like it is there, really, and you know that affordable performance and rehearsals
you’re part of it.’ They also emphasise space. The effort and commitment of its
the social aspects and ‘camaraderie’ membership, then, is not the only factor in
of the choir. But Linda and Rose also the reproduction of the conditions through
highlight the challenges the choir faces. which Linda and Rose get creative.
The membership is dwindling and ageing.
Recruitment is an on-going concern and,
as General Secretary, it is something that
Rose is always actively working on. The
choir faces financial challenges, which are
inseparable from the issue of recruitment,
as the organisation’s primary income is
membership fees – a not inexpensive
62 Dodd, 2008.
29
GREG FUNNELL
What are people (and what is

each person) actually able to
do and to be?
30
3
Introducing
cultural capability
31
NIRZAR PANGARKAR
Our research shows that

people’s lives are subject to
conditions of greater or lesser
cultural capability – as at
different times and places,
they have greater or lesser
substantive freedom to
co-create versions of culture.
32
3.1 The capabilities approach benefits are distributed very unequally
Our research illustrates some of the many amongst the population. Similarly, citizens
ways in which cultural creativity takes place of a country may have access to basic goods
outside the arts and creative industries. and services, but if their legal and civil
At the same time, it shows that not only is rights are tightly constrained by repressive
everyday creativity interdependent with legal and political conditions, their ability
the arts and creative industries, but a whole to flourish is significantly constrained.
range of social conditions play an important Crucially for Nusbaum, GDP serves as a
part in enabling and constraining people’s poor indicator of whether the people of
freedom to co-create versions of culture. a country are in a position to live a life
The prevailing model of ‘access’ and commensurable with the ‘dignity’ of what it
its language of ‘barriers’ and ‘widening means to be a human. This, for Nussbaum, is
participation’ is woefully inadequate in what public policy should ultimately be for:
explaining how cultural creativity does or to ensure people live in conditions in which
does not happen. This language is of course their core capabilities – a set of substantive
integral to the deficit model, which takes as freedoms – are protected. These are basic
its starting point the aim of increasing levels conditions in which people can make
of engagement with arts organisations that meaningful choices about how to live their
have been deemed sufficiently ‘excellent’ to life; and whether or not these conditions are
receive public money. Once we recognise ensured is, for Nussbaum, the key test of the
the enormous diversity of cultural creativity basic justice of a nation state.
beyond those organisations – and make By shifting the attention of policy
the case that it is no longer defensible makers to the question of substantive
for cultural policy to make increasing freedoms – What is it that people can do and
participation in the publicly funded arts be? – the Capabilities Approach provides
its primary ambition – a key question for a powerful set of intellectual tools for our
policy makers becomes: ‘how does cultural purposes here. It not only helps to sharpen
creativity happen, and how does it fail to our focus in addressing the question of
happen?’ how cultural creativity comes about or
In answering this question, and addressing fails to come about. It also helps us to
its implications for cultural policy and articulate the fundamental challenge our
practice, there is much to learn from also research is making to the basis of cultural
asking, ‘What are people (and what is each policy in the UK. Drawing on Nussbaum’s
person) actually able to do and to be?’.63 language, which identifies capabilities as
This is the central question of Martha socially dependent freedoms, but which
Nussbaum’s ‘Capabilities Approach’ to are exercised (or not) individually, our
development economics. The starting point research shows that people’s lives are subject
for the Capabilities Approach is that the to conditions of greater or lesser cultural
long-standing focus on Gross Domestic capability – as at different times and places,
Product (GDP) has provided a very poor they have greater or lesser substantive
indicator for how well a state’s public policy freedom to co-create versions of culture.
is doing in improving the lives of its people. Drawing on our fieldwork and on the
GDP can often rise and things in no way insights of the Capabilities Approach, we
get ‘better’ for much of the population. It can begin to understand the diverse range
is often the case that GDP soars but the of factors that are influential in supporting
63 Nussbaum, 2011: 18.
33
INTRODUCING CULTURAL CAPABILITY TOWARDS CULTURAL DEMOCRACY PROMOTING CULTURAL CAPABILITIES FOR EVERYONE
or undermining the substantive freedom But these vectors of engagement

to create versions of culture together – not do not give sufficient emphasis to the
only in the domain of everyday creativity, interdependence of sites of cultural creativity.
but also within and across the boundaries of Our research shows that even many
the arts and creativie industries, with which comparatively independent, self-organised,
everyday creativity is inextricably linked. invisible instances of everyday creativity
As we suggest in Chapter 6, much further are often interdependent with much more
research is needed to in order to understand visible sites and structures of creativity,
what enables cultural capability – and including those provided by the arts or the
indeed the answer to this key question will creative industries. It is often from highly
vary considerably across time and place. visible organisations that self-organised
But our research to date is able to provide versions of culture spring – and, vice versa,
initial indications of a number of potentially the highly visible often emerges from the
crucial factors. everyday. This point can be illustrated
through the example of the break dancers
3.2 Pathways and networks in East London (Case Study 1) with whom
In our fieldwork, research participants we conducted ethnographic fieldwork.
told us they developed their creativity
through school, university, arts and
cultural organisations, churches or extra-
curricular groups. For others, it was … much further research
through more informal routes, including is needed to in order to
family or friendship groups. Brown et al64 understand what enables
helpfully introduce the idea of ‘vectors of cultural capability – and indeed
engagement’, which include: the answer to this key question
will vary considerably
1 Family-Based Engagement across time and place.
provides a measure of arts activity
occurring in a family social context.
2 Faith-Based Engagement
that occurs on the context of faith
or in a place of worship.
3 Heritage-Based Engagement
that serves to celebrate or sustain
a cultural heritage or ethnic identity.
4 Engagement in Arts Learning
captures the level at which a
respondent is actively acquiring skills,
either formally or informally.
5 Engagement at Arts Venues
serves as an aggregate measure
of use of purpose-built arts venues
for activities in all disciplines.
6 Engagement at Community Venues
serves as an aggregate measure of
use of parks and outdoor settings,
restaurants, bars and coffee shops,
and community centers as venues
for activities in each discipline.
64 Brown et al, 2008.
34
PROMOTING CULTURAL CAPABILITIES FOR EVERYONE TOWARDS CULTURAL DEMOCRACY INTRODUCING CULTURAL CAPABILITY
CASE STUDY 1
ISTOCK.COM/ZORANM
Break dancing
In North London
In Chapter 2 we met Flo, who dances
in the Stratford Centre shopping mall
several nights a week.
On Tuesday evenings, however, he joins

a group of 10 to 15 other dancers in an
upstairs room in a church in Hackney. The
room is provided by Alex, a 23 year-old
friend of Flo he met through breaking. Alex
teaches school children breakdancing in this
room on Tuesday afternoons, and as part
of his payment is allowed to make use of
the room to dance with friends from 19.00
– 22.00. Alex first began breaking when a
school friend invited him to the Stratford
Circus Arts Centre (an Arts Council England
National Portfolio Organisation), where a
programme funded by Newham Council
offered weekly breaking classes for young
men. Alex enjoyed the classes and was keen
to dance more often. The teacher, Mike,
invited him to a weekly training session held
elsewhere, with much more experienced and through the system of ‘battles’ (dance- run jams and battles. Break dancing is
dancers. Alex’s dancing progressed, and offs) that are a feature of the scene, in an exemplary case of everyday creativity
now, 6 years later, Mike attends a training which dances are assessed by a panel of for the way it illustrates the deep
session run by Alex, as do two 17 year judges. Moreover, whilst breakers put an interdependence between self-organising,
olds Alex has taught at their school, who explicit value on originality, dancers make unrecognised creativity and organised
he invited to come and train with more clear that developing new steps is first infrastructures that enable it; and for the
experienced dancers. dependent on building your ‘foundational ways in which everyday creativity involves
Alex and Flo now mentor Zain and steps’, and this takes time. Even after creative citizens: people developing a set
Jahan, just as Mike mentored Alex. And dancing for a number of years, every of conditions in which they and others can
Zain and Jahan, even though they are Wednesday Jahan travels for over an hour get creative.
only 17, have their own ‘protégés’ at across London to visit his first breaking
school who they teach, informally, in the teacher to ‘get drilled in basics and
school gym. These networks of break footwork and just the foundational steps’. In each of these ways,
dancing involve mentoring as a standard These foundational steps are a key part of the break dancing
part of how the practice works. Training the ‘general rules’ of breakdancing, as Zain scene moves in and
sessions are simultaneously communal and puts it. Dancers ‘follow those rules’, but the out of self-organised spaces –
individual, with dancers working hard on expectation is that each breaker will bring with dancers training at home, 
their individual moves and capacities while their own idiosyncrasies and creativity to in the street, in shopping
receiving advice and guidance from the steps. centres – and highly organised
fellow dancers. In each of these ways, the break dancing opportunities, such as those
Breaking may not be a traditionally scene moves in and out of self-organised provided through school-based
‘legitimate’ art form. And yet there are spaces – with dancers training at home, or local authority projects,
clear systems of authority and expert in the street, in shopping centres – and
and commercially
judgement in operation – internal to ‘b-boy’ highly organised opportunities, such as
run jams and battles.
culture – through the ways in which more those provided through school-based or
experienced dancers provide mentoring, local authority projects, and commercially
35
Examples of making versions of culture enables such mentoring to happen from a Cultural
such as this highlight how forms of distance (eg YouTube videos and podcasts). capabilities
cultural creativity can move in and out In many cases, however, we found that being are often
of the institutional visibility of arts (and in the same room (or outdoor space) with developed by watching
educational) organisations. All the while, others in a supportive social environment others do creative
they contribute to the UK’s culture, and are is often crucial for people to realise their things and being inspired
of value to many. A further example of the cultural capability. And whilst cultural to have a go; this, of
interdependence of visible and everyday creativity is often practiced alone, even course, is an enormously
versions of culture – and the important role solitary creative practice has a social aspect: important factor in the
played by creative citizens – is a network of whether it is being inspired by what other case for supporting
self-organising craft groups we learnt about people have done, employing technologies as
high quality arts
in Norfolk (see Case Study 2, below). part of the creative process, or sharing work
provision. In crafting,
Aldridge Crafts is a shop and online online and receiving feedback.
breakdancing and
business in a small market town. Something
of a local community hub, co-owner Jane 3.3 Creative citizenship across our fieldwork,
Aldridge knows many of the people who As our three portraits illustrate, individuals
examples of co-creating
come into the shop, and runs evening and often make versions of culture in groups versions of culture
weekend classes in a local hall, as well as or through organisations. Access to space involve imitating,
taster sessions in the store. She describes can be very important; and in some cases, copying and mirroring
how ‘there’s a whole world out there, mixed an essential enabling condition is the more experienced
media and journalling and scrapbooking and support of paid staff with experience and practitioners, with
jewellery making’, of ‘skills that people can expertise in providing a particular kind of demonstration an
learn very quickly and very easily and get supportive environment. This is of increased important
real pleasure from’. There are also a range of significance for some demographic groups, part of the
under-the-radar, grassroots groups. We see such as people with disabilities. At the process.
here the possibility that cultural capability same time, community, friendship and
may grow exponentially, as people develop being together are common features of the
conditions for themselves and others to get value of cultural creativity. One particularly
creative on an everyday basis. striking observation regarding the social
Cultural capabilities are often developed conditions that enable cultural creativity is
by watching others do creative things and that people are often both participants and
being inspired to have a go; this, of course, is organisers. Indeed, frequently there is no
an enormously important factor in the case clear distinction between the two roles.
for supporting high quality arts provision. This finding has a number of implications.
In crafting, breakdancing and across our It extends understanding of ‘creative
fieldwork, examples of co-creating versions citizenship’ and its potentially transformative
of culture involve imitating, copying and effects. The Media, Community and the
mirroring more experienced practitioners, Creative Citizen65 project contends we
with demonstration an important part of are living in the age of the creative citizen.
the process. This is often distinct from more People are increasingly involved in cultural
formal teaching, but may take the form of creativity in ways that contribute to their
leading or modelling, thereby facilitating neighbourhoods and communities. For
others. When it comes to individuals example, through ‘hyper-local’ journalism,
exercising their cultural capability, having a or setting up online platforms to profile
leader, mentor or demonstrator to follow is local musicians.66 Our findings – regarding
often key. the frequent crossover between developing
Whilst some practices require cultural one’s own creativity and contributing to
creativity to be facilitated through a close the conditions in which others can get
personal relationship in keeping with the creative too – extend the applicability of
master-apprentice model of conservatories the term ‘creative citizen’ to a wider range
and art colleges, technology increasingly of people and their cultural practices; and
65 Hargreaves et al., 2016.

66 See also Gauntlett, 2011 on (digital) ‘platforms’ of creativity.
36
CASE STUDY 2
Crafting in
Norfolk
‘‘There’s lots of little […] independent
crafting groups. […] Obviously you’ve
got the WI [Women’s Institute] groups,
quite often you’ll get people branching
off from that.
It tends to be mainly local ladies’ groups,

crafting groups […]. It’ll start together with
just a few friends getting together round
someone’s house on a Monday morning and
it gradually expands. So you tend to find
lots of these little crafting groups pocketed
about […]. You know, people get round
somebody’s house. We know that there’s
a beading group that meets up locally cos
there used to be a beading shop over in
Wymondham – the next town along – which
unfortunately closed last year. So, where
P. SMITH
they were running something, they’ve And quite often

basically just started their own group. To they’ll come and
sort of fill the gap. And quite often they’ll tell us because
come and tell us – because that way if we that way if we know anybody
know anybody who’s interested we’ll send who’s interested we’ll send
them along there. And it’s very reciprocal. them along there. And it’s
It’s the same with the haberdashers down very reciprocal. It’s the same
the road, Susan’s Workbox. She caters for with the haberdashers
the fabric crafters. So she does the basics down the road just
of fabric and cross stitch and knitting and down here …
everything else. And we bat people back
and forth, because what one doesn’t have
the other one does. Jane Aldridge, Get
Creative Champion
DARIA NEPRIAKHINA
37
open up new ways of understanding the cultural creativity of people in their Creative
contributions that creative citizens can and neighbourhoods and networks in ways that citizens often
do make to cultural capabilities.67 many cultural organisations may not be able develop micro-
Creative citizens often develop micro- to. It is also striking that creative citizens conditions – creative
conditions – creative environments – that manifest behaviours often attributed to environments – that
are conducive to their own and other entrepreneurs (eg networking; innovation; are conducive to their
people’s cultural creativity: for example, risk-taking). In the context of schools, own and other people’s
access to a space, and a friendly and colleges and universities thinking in new cultural creativity:
welcoming atmosphere. But they also ways about how they prepare students for for example, access
provide introductions, recommendations and life beyond formal education, and increasing to a space, and a
information that create pathways for people interest across many areas of education
friendly and welcoming
beyond that immediate environment. It may in the figure of the entrepreneur, giving
atmosphere. But
be particularly through the ways in which consideration to the skills, behaviours and
they also provide
people cross social boundaries of different practices of creative citizens may provide
kinds – as creative citizens often do, and a closely related but importantly distinct
introductions,
as they make possible for others – that twist to these emerging aspects of education
recommendations
opportunities to co-create versions of culture in the UK. In other words, young people – and information
can be expanded. Agencies seeking to create and mature students – could be trained and that create pathways
cultural capabilities together should consider prepared for creative citizenship as part of for people beyond
how to mobilise creative citizens such as their education. that immediate
Flo and Alex, just as much as they mobilise environment.
theatres, choirs and dance schools. It may 3.4 Pillar organisations
be precisely by recruiting creative citizens, Our research indicates that there are many
moving between visible and invisible sites of arts and cultural organisations playing a vital
cultural creativity – helping bring into being role in actively supporting and nurturing
conditions for themselves and others to get people’s cultural creativity. Previous
creative – that cultural capabilities can be research has drawn attention to ‘pillar
most effectively co-created and expanded organisations’. These are organisations
across the UK. (including arts centres, schools and
It’s also important to note that versions community organisations) acting as a
of culture are not merely administered or mainstay for diverse cultural participation
facilitated by creative citizens, but rather, and community activity in an area,
cultural creativity is, in part, constituted thereby playing a crucial role in enabling a
by their actions. In other words, organising community’s ‘cultural vitality’.68 Conducting
is a key aspect of cultural creativity. research in California, Jackson et al found
Culture is reproduced and transformed, in these organisations to be ‘key catalysts for
part, by many acts of more or less visible both amateur and professional arts practice’,
organisation, networking and management. as they ‘collaborate with a range of arts
Making the teas for the choir is a key part and non-arts organisations as part of their
of cultural creativity. Creative citizens – and programming’.69 Through our research,
the environments, relationships, groups and we encountered many organisations that
organisations they bring about and sustain – can usefully be understood to function as
are part of what cultural creativity is. pillar organisations. However, whilst in the
This potentially has implications in research of Jackson et al pillar organisations
a number of areas of policy making. As are typically well-established, medium-to-
mentioned above, funders should consider large institutions,our research suggests that
investing in individual creative citizens, there is a strong case for also highlighting
who have the potential to leverage the the possibilities of micro-sized organisations
67 Research on CPP has also emphasised this role played by individuals. For example, one CPP interviewee observes ‘It’s
individuals that make change – the go-to people that like to make stuff happen.’ (Simpson, 2016: 14) Another notes ‘by
forming a relationship with an individual that can lead to a relationship with a group. Approaching group committees can
be quite slow. Whereas one keen person can sell it back to the group.’ (Simpson, 2016: 16)
68 Jackson et al. 2006.
69 Jackson et al., 2006: 15.
38
CASE STUDY 3
The Old Vic

Community
Company (OVCC)
When Kevin Spacey took over the
running of the Old Vic theatre in 2003
he said that ‘every theatre should
be a community theatre’ and that he
wanted to make the Old Vic ‘London’s
local theatre’.
As part of Old Vic New Voices – the

education and community programme that
developed – the theatre’s first community
productions were held over a three-year
period. But Alexander Ferris, director
of Old Vic New Voices, took the decision
that in order to fully realise the value of
these community productions to their
participants, it was necessary to establish a
continuity between one production and the
next, rather than disbanding the group each
year. This led to the creation of the Old
Vic Community Company (OVCC), which in
August 2016 presented its third production.
The OVCC’s participants have been
recruited through open auditions. At the
2016 auditions, held over four days, more the opportunity to work with highly skilled At the 2016 auditions,
than 1,000 Londoners came forward to theatre professionals, but to making the held over four days,
be actors, choir members, or part of the production values of the performances more than 1,000
backstage team. The auditions take the as high as possible. The plays the
Londoners came forward to 
form of a carefully planned (but relaxed OVCC performs are commissions from
be actors, choir members,
and fun) two-hour workshop, with the idea professional playwrights. They are asked
or part of the
that all participants will have an enjoyable to develop a piece that gives interesting
backstage team.
and valuable experience even if, as will be creative opportunities to all parts of the
the case for the large majority, they do company, and which responds to material
not become members of the company. For developed through public workshops
both the auditions and the productions exploring topical themes such as housing,
themselves, the OVCC hires professional ageing, and, for the 2016 production,
theatre makers with a demonstrable climate change. Ferris and his team make
interest in and facility for working closely an explicit commitment to building a diverse
with community participants, to ensure that company that reflects the population of
members of the company have the best London. They have developed a number of
possible experience in the best possible strategies to achieve this, including working
conditions in which to develop their skills. closely with third sector organisations,
The OVCC is supported by a range of and appointing three members of the
charitable trusts and foundations, and the company to be ‘community activists’ –
company’s relatively substantial budget letting people in their neighbourhoods
allows Ferris and his team to commit know about the OVCC and the range of
themselves not only to giving participants opportunities it offers.
39
(eg Susan’s Workbox in Case Study 2), skills together. There is an explicit reflexivity
which are plentiful, playing just this kind to this. The way the OVCC works involves
of role too. presenting back to all those involved how
One of the things that is notable about it is that cultural creativity – in this case,
pillar organisations is their ability to putting on a community theatre piece to
provide an interface between amateur and ‘professional’ standards – works. Making
professional activity. Our research illustrated the process visible has potential implications
a variety of ways in which organisations for the participants in their future creativity
create spaces for people with different levels activities: as, for example, Alexander and
of expertise to work together on a project, his colleagues hope that the OVCC will
and for people to learn from professionals in ultimately be run by its members – or that
their field, whether through formal classes some members of the OVCC will set up
or informal exchange of knowledge and their own community theatre companies.
skills. These kinds of interactions could
be described as amateurs learning from
professionals. However, this terminology
To promote cultural
is problematic given evidence both from
this study and others of the blurred line
capability and to facilitate
between these categories.70 To promote cultural democracy,
cultural capabilities for everyone (cultural the arts and creative industries
democracy), the arts and creative industries require a rejection of any false
require a rejection of any false dichotomy dichotomy between amateur and
between amateur and professional. At the professional. At the same time,
same time, opportunity for new participants opportunity for new participants
to work with experienced practitioners, to work with experienced
such as through the Old Vic Community practitioners […] is one important
Company (see Case Study 3), is one important way in which people can be enabled
way in which people can be enabled to to create versions of
create versions of culture together. culture together.
The OVCC is an example of a high-
profile ‘presentational’ pillar organisation
developing an unusually large-scale
community project, and presenting it –
through season brochures and press
releases – as integral to the organisation’s
creative life. The Old Vic draws on its
considerable expertise, resources and
reputation to support the creativity and
skills development of a large number of
participants (now over 150) who bring
with them a diverse range of backgrounds,
abilities and ambitions – whilst laying
particular emphasis on the voices of
participants being heard. The project
is striking for the breadth, depth and
volume of creative opportunities it offers,
and for the extent to which the team
running the initiative have developed a
particular workshop model – and a mode
of collaboration between professionals
and company members – through which
participants are supported in developing
70 See for example Finnegan, 1989; Whiting and Hannam, 2015, and Holden, 2015.
40
34
Why cultural
Introducing
capability matters
cultural
capability
41
HELEN MURRAY
Our research reveals an

important sense in which
cultural capabilities are not
just ‘a means to an end’ …
They often have significant
value in their own right.
42
4.1 Freedoms and functionings the following elements of why cultural
The three portraits of people making capabilities matter:
versions of culture introduced in Chapter 2
are indicative of the range of interviews at a) Self-expression, recognition & voice
our ethnographic sites and with participating The enjoyment and value of self-expression
Get Creative Champions. Through in-depth and recognition were emphasised across
interviews we explored not only people’s our fieldwork, by a diverse range of
creative practices today but how cultural participants. Flo, for example, who we
creativity came about within the course of met in Portrait 2, stressed the on-going
the individual’s life. What we discovered can importance to his sense of confidence and
helpfully be explained once again through social identity that breakdancing has had,
reference to the Capabilities Approach (as starting from the time at the age of 15 when
introduced in the previous chapter). In people in his village first came to know him
particular, what we find highlighted is the for his dancing. Closely connected to the
relationship between substantive ‘freedoms’, experience and value of self-expression, a
ie, capabilities, and the ‘functionings’ wide range of research participants identified
that can happen as a result. As Nussbaum the opportunity to have their voice heard
explains, a ‘functioning is an active – and to be listened to – as a central part
realisation of one or more capabilities.’71 of what they value about their creative
To the extent that existing cultural activities.
policy and the research that supports it
largely focuses on what can be observed b) A contrast to challenging aspects of
actually happening (here and now), working life
it is an approach that is based on our Our research participants described how
undersanding of functionings, rather than their creative activities can be a welcome
freedoms. However, this report highlights contrast to challenging aspects of life, such
the significance of also giving attention to as the stresses of preparing for exams,
freedoms – opportunities, or capabilities – for the demands and habits of work, and
co-creating versions of culture. Our research organisational environments (such as
reveals an important sense in which cultural school and work) that feel constraining.
capabilities are not just ‘a means to an For some interviewees, part of the value
end’, however. They often have significant of their creative activities lies in the
value in their own right. For example, ‘self- opportunities they provide to suspend
expression, recognition and voice’, which means-ends rationality and judgements
we discuss below, can be understood both of value.
as a key condition (means) and a valuable
outcome (end) of cultural capability. As c) Improvement, challenge & the
both means to an end and valuable ends in development of (transferrable) skills
themselves, cultural capabilities matter not Our fieldwork found many instances in
just in respect of enabling cultural creativity which one of the conditions that enables
to happen, but, more broadly, in terms of cultural creativity is the temporary setting
the flourishing they enable within people’s aside of judgments of value – allowing
lives. Through our research, we identified people to feel relaxed and to develop
the confidence to have a go (and keep
71 Nussbaum, 2011: 24-25.
43
WHY CULTURAL CAPABILITY MATTERS TOWARDS CULTURAL DEMOCRACY PROMOTING CULTURAL CAPABILITIES FOR EVERYONE
going).72 At the same time, our informants creative activity, and the conditions that
also expressed the enjoyment they take in continue to enable it. Many of our research
gaining new knowledge and developing new participants also strongly emphasise the
skills. There is pleasure to be had in having a friendships they have made and the diversity
go, but also in learning new techniques and of people they meet – explaining that this
developing specific capabilities. is one of the most valuable and enjoyable
Participants in the Old Vic Community parts of their cultural creativity. Our
Company, for example, (see Case Study 3) fieldwork documents a range of examples of
strongly emphasised the importance they everyday creativity helping to bring a sense
place on learning and developing knowledge of community into being. Both individual
and skills through participation in the research participants and Get Creative
company. They are not just rehearsing Champions lay emphasis on the value of
to prepare for a performance – they are this. Moreover, this is a key component
developing skills and capacities, which may in understanding how the co-creation of
equip them for different roles or greater versions of culture actually emerges.
creative independence in the future.
f) Reproducing & transforming culture
d) Developing a career Flo provided an account of break dancing as
A minority of our research participants are a public culture, deriving from the streets of
involved in aspects of cultural creativity Brooklyn. In doing so he gave a description
which are specifically related to their of a particular culture and how (in his view)
career. For example, some participants in it should work. In describing his breaking,
the OVCC are seeking to begin a career in and his preference for dancing in public
professional theatre. We also met people spaces, Flo was in effect explaining how his
supplementing their working life in the arts own creativity reproduces and potentially
or creative industries with participation transforms a culture (break dancing), but
in a creative activity that satisfies them in also the culture-within-a-culture that is
ways their paid employment does not. A the group of people that he dances with.
volunteer member of the backstage team at Similarly, Fiona and Rose are conscious of
the OVCC, for example, is a professional themselves as part of a tradition of choral
set designer. She was unsure whether she singing – and a particular choir, with its Friendships
should commit time to doing unpaid ‘work’ own traditions and history – that they are can provide
as part of the OVCC, but it has given her contributing to. Our fieldwork shows that the routes in
the opportunity to contribute to kinds of part of the value of cultural creativity is often
to a creative activity,
production that she is not involved with the experience people have of themselves
and the conditions that
through her paid employment, and which as, in this sense, actively reproducing (and
continue to enable it.
she thinks she will enjoy. Here, as we saw sometimes transforming) culture. This
with Flo’s dancing career above, and as observation is particularly telling in respect
Many of our research
we found in several of our fieldwork sites, of how ‘sub’, ‘counter’, or ‘common’73 participants also
clear distinctions between professional and cultures relate to ‘Culture’ with a capital strongly emphasise the
everyday creativity are difficult to sustain. C, ie that Culture which many (often friendships they have
young people) perceive to be a hegemonic made and the diversity
e) Friendship & community mainstream culture they don’t belong of people they meet –
Research participants across a broad range to. Arguing for the substantive freedom explaining that this is
of creative sites strongly emphasise the to co-create versions of culture places one of the most valuable
pleasures of taking part in a practice that is no obligation on anyone to conform to a and enjoyable parts of
collective: to be part of the ‘overall sound’ preconceived model of what culture is; but their cultural
of the large choir in the north of England, it does embrace diversity. creativity.
of a cast, or of a crew of break dancers.
Friendships can provide the routes in to a
72 This finding confirms the accounts of creativity made by a number of theorists – from Henri Poincaré in the nineteenth
century to Chris Bilton, 2007, – who argue that creativity involves the combination of rational and irrational processes,
constraint and freedom, deliberate action and openness to the unplanned.
73 See Willis, 1990.
44
PROMOTING CULTURAL CAPABILITIES FOR EVERYONE TOWARDS CULTURAL DEMOCRACY WHY CULTURAL CAPABILITY MATTERS
4.2 Cultural capability and cultural Situations in which

democracy everyone has cultural
As our research shows, cultural capability is capability (whether
enabled – or undermined – socially. People’s or not they each choose to
freedom to co-create versions of culture is exercise it) we describe as
conditioned by their environment. Situations cultural democracy.
in which everyone has cultural capability
(whether or not they each choose to exercise
it) we describe as cultural democracy.
The extent to which cultural capability is
deliberately enabled and promoted within
the cultural lives of neighbourhoods, cities,
regions and nations will vary greatly. In
drawing attention to this, our research poses
fundamental challenges to the deficit model
and the prevailing ambitions of cultural
policy. This is outlined in more detail in
Chapter 6. Before this, in Chapter 5, we look
in more detail at some of the strategic
challenges involved in promoting cultural
capability.
Right:
Community
Painting at
Kirkcudbright
Arts Trail
45
46
5
Making cultural
capability a
strategic priority
47
Our research suggests that

cultural organisations have the
potential to go much further in
co-creating cultural capability,
and to do so more strategically.
48
5.1 For cultural organisations culture created by the diverse groups
Cultural creativity takes place ‘unseen’ they work with. This includes providing
all over the UK. At the same time, as space for people to tell their own stories
demonstrated in previous chapters, cultural (metaphorically, and sometimes literally),
organisations play important roles in and providing support for people to set up
enabling people to create versions of culture their own creative groups. These approaches
together. But our research suggests that are common to many Champions, reflecting
cultural organisations have the potential the high proportion of community arts
to go much further in co-creating cultural groups who have signed up to the campaign.
capability, and to do so more strategically. It is typical of community arts approaches
Of course, every organisation is different, that activities are led by professional artists
with its own specific (tangible and and facilitators, and that the value of
intangible) resources to offer – be it participants’ voices is central.
information, equipment, space, expertise
or networks. Through our research we b) Recognising and enabling the
documented many ways in which cultural creativity of different groups
organisations are already actively involved For some cultural organisations a major aim
in promoting cultural capabilities (and of their work is to change public perceptions
enabling creative citizens), even if this of who can be creative and how. One such
is not the language they currently use to group of organisations are those specifically
describe their work. By presenting some working with people with physical and
of these approaches here, drawing on learning disabilities. Around a quarter of
examples from the Get Creative campaign Get Creative Champions who filled out our
and its Champions, we seek to inform questionnaires indicated that they work
the development of more self-aware and with these groups,74 in the context of 11.6
strategic approaches to the ways in which million people in the UK identified as having
cultural organisations promote cultural a disability.75 One Champion described
capabilities across the UK, and encourage their mission as changing representations of
organisations to get creative in thinking disabled people, and working with people
about how they might do this. Whilst such to ‘be creative within their own physicality,
strategic activity might be construed as whatever that might be’. This is an example
going above and beyond the immediate of cultural democracy in action, as this
artistic remit of the organisation concerned, creative work – through interventions in
we suggest that the potential benefits for the both practice and in discourse – contributes
organisation and its local community – in to the expansion of opportunities to
the medium and long term – are very likely co-create versions of culture.
to outweigh the immediate costs involved.
c) Going on the road
a) Enabling voices to be heard Many Get Creative Champions run courses
Get Creative Champions demonstrate a or events in areas away from their main
variety of ways in which they recognise building in order to attract a different
and give visibility to the versions of demographic who would not otherwise
74 In the GCRP questionnaire in November 2015, 28 per cent of Champions said that their activities specifically targeted
learning disabled participants and 22 per cent worked with physically disabled participants. In the April 2016
questionnaire, 25 per cent of Champions worked with each category. This may not be representative of all Champions.
75 https://www.gov.uk/government/uploads/system/uploads/attachment_data/file/321594/disability-prevalence.pdf
[accessed 21st May, 2016]
49
MAKING CULTURAL CAPABILITY A STRATEGIC PRIORITY TOWARDS CULTURAL DEMOCRACY PROMOTING CULTURAL CAPABILITIES FOR EVERYONE
be willing or able to attend their venue. These pathways are often provided through Promoting
For some organisations, an important partnerships between organisations. One cultural
aspect of this process is understanding the adult education organisation, for example, capabilities
demographic of the area in which they are described how people move from their here involves providing
embedded, and in some cases, Champions organisation onto a university, to pursue conditions in which
have undertaken extensive consultation their interest at a higher level. Alternatively, people can exercise
in advance. If initiatives of this kind are to with other Champions these pathways their voices –
expand, providing genuine opportunities took the form of ‘elevators’ within a single individually and
for people to co-create versions of culture, organisation, offering opportunities for collectively – and do
careful attention to local specificity and people to move to more advanced levels of so in a way that is
difference is essential. One community practice. explicitly connected 
arts organisation, for example, described a
to considerations
scheme they run in which they set up short- f) Good quality experiences
of place making
term informal spaces for cultural creativity Linking all of the approaches Champions
and local
in disused shops, building links with local take to working with new participants,
community groups to find out what people our interviewees emphasized that quality
identity.
are already doing and what they might be of experience is a key factor. The director
interested in. In this way, the organisation of a circus school, for example, explained
tries to support and showcase work that that they have consistently high demand
is ‘entirely related to the town […] and despite doing no advertising for their classes.
we hope that people have a sense of pride He suggests this demand is a consequence
and belonging through art’. Promoting of providing inspiration and motivation
cultural capabilities here involves providing through the quality of the workshops
conditions in which people can exercise their offered, giving people opportunities to work
voices – individually and collectively – and with experienced professionals, and offering
do so in a way that is explicitly connected showcases and public platforms through
to considerations of place making and local which the general public can see what they
identity. do. The quality of the experience is, of
course, likely to be comprised by a variety
d) Taster events of elements, including the skilfulness of
Taster events, demonstrations and open days practitioners in responding to and working
are employed by many of the Champions. with groups, as well as their skills in the
Importantly, some reported that unless creative form in question.
taster events are held in a different location Notwithstanding all this good work, our
to an organisation’s usual activity and/ research suggests cultural organisations
or are carried out through links with third could go much further in promoting cultural
sector, community or educational groups capabilities. There is particular potential to
in the area, they may not attract new do this by developing new partnerships and
participants. To the extent that taster events networks, as this is a crucial way in which
are an effective approach to expanding new opportunities for people to co-create
opportunities for co-creating versions of versions of culture can be opened up. At
culture, our research suggests that they present there are significant limitations to
need to be carefully embedded within an the ways that partnerships and networks
overall strategy that will often, if not always, across different domains of cultural creativity
involve collaboration with third sector, operate; and this is an area where a more
community and educational organisations concerted, strategic approach could yield
with the capacity to draw on their own significant benefits across the UK.
established relationships across a diversity
of communities and populations.
e) Pathways & elevators

Many Champion organisations expressed the
need to strike a balance between recruiting
new participants and supporting longer-term
engagement, which provides people with the
opportunity to develop their skills, develop
their voices (metaphorically) and be heard.
50
PROMOTING CULTURAL CAPABILITIES FOR EVERYONE TOWARDS CULTURAL DEMOCRACY MAKING CULTURAL CAPABILITY A STRATEGIC PRIORITY
5.2 For interventions (campaigns, arts, and are therefore often overlooked
coalitions and networks) by cultural policy.78 Jasjit Singh, in his
Get Creative is an important example of an literature review on British South Asian
intervention seeking to develop new kinds arts, distinguishes between those activities
of collaboration in order to recognise and among this group that are ‘public-facing’
support a wide diversity of cultural creativity and those that are ‘community-facing’. The
across the country; and even though the former are publicly funded and may carry
campaign itself has never articulated its a public function in relation to diversity
aims in this way, we would suggest it is an or community cohesion objectives.79
experiment in the promotion of cultural Community-facing groups, by contrast, are
capabilities. But what is the context of usually privately funded and take place in
collaboration in which it is seeking to relatively hidden events, often advertised
operate? A 2008 study estimated that 10 within community networks and in venues
million people are involved in voluntary owned or run by members of minority ethnic
arts groups, and a more recent study of the communities such as religious institutions
Perthshire and Kinross area of Scotland and cultural centres. This invisibility is
found one-third more groups than this especially pronounced for craft activities, as
estimate would suggest, as many of these they are more likely to be women’s activities
groups are informal and unaffiliated.76 that occur in private space.
Voluntary arts groups are therefore a hugely Jeanette Bain-Burnett, in carrying out
important part of (everyday) cultural mapping studies of BAME voluntary arts
creativity in the UK, and yet it seems that a groups in Plymouth and Liverpool, found
relatively low number of them have signed that there are (particularly in Liverpool)
up for the Get Creative campaign so far.77 plenty of BAME cultural and creative arts
This is likely to be due to a combination of groups, but they are not linked into wider
factors, including that there is often little networks. Furthermore, she found that
appetite for networking across art forms people would often come together in order
among these groups. Understanding why to organise an event such as a carnival or
this is the case requires further research. mela, getting involved for the purposes of
It is important to investigate whether, putting on the event, and then disband when
under current ways of thinking about it was over, until the next year. She could
cultural policy, this kind of networking not find any national umbrella organisations
across art forms does not appear relevant or among BAME arts of the kind that
worthwhile; and whether this might change Voluntary Arts is used to representing, other
if there was a new approach to cultural than PanPodium, the British Association
policy along the lines being pointed towards of Steel Pans.80 There are, however,
in this report. informal networks such as the Gospel Choir
Our research is consistent with work that movement which have a strong showing
has found that much of Black, Asian and within BAME spaces.
minority ethnic (BAME) cultural creativity What each of these examples points
occurs in private or community-facing towards, in detailing important aspects of the
organisations which do not form themselves context in which Get Creative is operating,
into national institutions or umbrella bodies, is the possibility of pro-actively addressing
and/or may not label themselves as the and promoting the mechanisms by which
76 Dodd et al., 2008; Kirkhill Associates, 2015.

77 While 25 Champions (17 per cent) in the November 2015 questionnaire indicated they designated themselves as voluntary
arts groups and 19 (13 per cent) indicated they were part of Voluntary Arts, many of these also indicated another
category, such as community arts, arts education, or venues. However, in our analysis of all of the Champions who
had signed up for the campaign during its first six months in two areas of the UK (Wales and the East of England) and
subsequent interviews with Champions in eight areas of the UK, we could only identify two voluntary arts groups. It is
possible that most of the Champions that indicated this category are umbrella organisations representing different parts
of the voluntary arts sector. In addition, it seems likely that some Champions have selected ‘Voluntary arts’ in error,
misunderstanding the category.
78 Bain-Burnett, 2014; Singh 2015.
79 As Penrose, 2013, describes in relation to the Edinburgh mela, and Hodgson, 2013, in relation to the Bradford mela.
80 Bain-Burnett, 2015.
51
MAKING CULTURAL CAPABILITY A STRATEGIC PRIORITY TOWARDS CULTURAL DEMOCRACY PROMOTING CULTURAL CAPABILITIES FOR EVERYONE
cultural capabilities are enabled. This will on the BBC Get Creative homepage.
require a strategic approach to any national- Our research indicates that there is also
level intervention that not only more fully considerable potential in the campaign’s
recognises and actively supports a wide current steps towards a more devolved
diversity of cultural creativity (including model that seeks to actively support the
everyday creativity), but makes promotion development of local Get Creative networks
of cultural capabilities an explicit and in several locations around the UK,
strategic objective. each with links to their local media, and
In many ways, cultural organisations autonomy as to how their network operates.
have developed effective strategies for At the same time, we have to be realistic
working with groups who do not usually about the significant challenges involved.
participate in the recognised, legitimised The experience of Get Creative so far
and institutionalised arts. But despite the points to the crucial importance of this kind
important existing approaches of individual of intervention in cultural capability and
organisations, such as those documented cultural democracy (including campaigns,
above, there remains the danger that any new coalitions and networks)81 having clear
intervention seeking to promote cultural objectives. Moreover, these objectives need
capability that primarily operates through to be persuasively communicated in such a
organisations that are already an established way as to foster engagement and ownership
part of the arts reinforces the inequality from the individuals and organisations
summed up in the Warwick Commission’s invited to be involved. Top down policy
‘8 per cent’ figure. Without partnering more on its own cannot deliver on the promise
widely, any such initiative puts significant of cultural democracy, not least because it
limitations on its ability to expand cultural raises questions about whose vested interests
capability and realise the value of doing are being served. But it also seems unlikely
so. In order to radically increase cultural that entirely bottom up interventions can
capability in the UK, it is necessary to achieve the required scale to genuinely reach
go beyond networks and organisations across the UK and to affect broad and lasting
within the arts, whilst seeing them as change. Both top down and bottom up
making an essential contribution. Other change-making are needed in combination
important places where versions of culture This report shows that cultural democracy
are co-created include, for example, self- – cultural capability for all – is already
led voluntary arts groups; online creative supported in a number of ways, even if
forums; creativity as part of spiritual not described in these terms. It also shows,
practice; and ethnic and cultural groups however, that there is much more that could
who carry out their creative practice in be done to support everyone in co-creating
community-facing rather than public-facing versions of culture; and this includes, in
groups. particular, the development of a more
Reflecting on the successes and the strategic approach to promoting cultural
limitations of the Get Creative campaign capabilities – both on the part of individual
so far, there are grounds for cautious cultural organisations, and across cultural
optimism that strategic interventions of policy as a whole.
this kind can really make a difference. The final chapter of this report
Particular strengths of Get Creative include summarises the key findings of the report,
the range of organisations involved, the and then looks to the future, providing a
extent of goodwill expressed by over 1,000 set of 14 recommendations for how cultural
organisations and individuals signing up as democracy can be supported in the UK, at
‘Champions’, and the potential reach offered multiple sites of policymaking and practice.
by the involvement of the BBC, including
the opportunity for a wide range of genres,
groups and sites of creativity to be featured
81 These can be understood as interventions at the meso level, mediating between the micro level of individual
organisations and creative citizens, and the macro level of national cultural policy.
52
6
Towards cultural
democracy
53
The possibility of a new

approach to cultural policy
is emerging in the UK – one
characterised by promoting
cultural capabilities and
cultural democracy.
54
6.1 Summary of findings
At the heart of this report are six key findings.
1 Cultural creativity – a broad range of human creativity that is in some

shape or form about ‘doing art’ – takes place both inside and outside the
professional arts and creative industries.
2 The cultural creativity that takes place outside the professional arts and
creative industries, referred to variously as ‘amateur’ or ‘homemade’,
but which we call everyday creativity, is inextricably linked with publicly-
funded and profit-making culture. We don’t yet know enough about these
relations to explain precisely how they work and what all of their
consequences and potentials are.
3 People have greater or lesser freedom to co-create versions of culture

and, in so doing, pursue cultural creativity. We call this substantive freedom
cultural capability, and our research shows it to be a socially emergent
power that people exercise individually, but which is dependent on their
environments.
4 Co-creating versions of culture takes place within cultural ecologies

of mutually supportive (and sometimes competitive) cultural activity.
Interventions enabling and promoting the cultural capability of everyone
need to consider how best to work across boundaries – of the arts,
creative industries and everyday creativity – and operate ecologically:
guided by the cultural practices and interests of local populations.
5 The role of creative citizens and pillar organisations within cultural

ecologies is crucial in providing opportunities for people to co-create
versions of culture. Initiatives enabling cultural capability need to consider
how best to work with and support individual actors and outward-facing
pillar organisations who operate across sites of visible and invisible
cultural practice.
6 In the light of recent initiatives, including Get Creative, the possibility of a

new approach to cultural policy is emerging in the UK – one characterised
by promoting cultural capabilities for everyone (cultural democracy). The
goal is not only to provide universal access to ‘great’ art, but the conditions
in which everyone has the freedom to co-create versions of culture. This
new approach is at an experimental stage, and needs to be nurtured if it is
to fulfil its potential.
In presenting these six findings, this report demonstrates that there are opportunities
for cultural policymakers, arts organisations and creative citizens of all kinds to work
together in new ways. Our research shows that these new ways of working together
have the potential to address the slow-burning crisis of democratic legitimacy in
cultural policy and practice in the UK.
55
TOWARDS CULTURAL DEMOCRACY PROMOTING CULTURAL CAPABILITIES FOR EVERYONE
6.2 Summary of recommendations RECOMMENDATION 4 … there are

We make 14 recommendations in all. (These Make the case for investment in cultural opportunities
are described in detail in the Executive capabilities for everyone (cultural democracy). for cultural
Summary, and are here restated in brief.) policymakers, arts
The first nine are aimed at supporting the RECOMMENDATION 5 organisations and
encompassing policy objective of promoting National policy makers should support the creative citizens of all
cultural capabilities for everyone (cultural co-creative activities of creative citizens and kinds to work together
democracy), and are targeted at national pillar organisations whose cultural creativity in new ways. Our
government departments and agencies. takes place across a range of visible and invisible research shows that
The following five recommendations are sites, and who make connections and develop these new ways
targeted at a broad set of stakeholders, informal networks across these sites of practice. of working together
including private trusts and foundations, have the potential
local cultural policy makers, arts and RECOMMENDATION 6 to address the slow-
cultural organisations, and cultural National level policy should be informed by the
burning crisis of
creativity initiatives82 and aim to support development of new methodologies to investigate
democratic legitimacy
the development of integrated strategies. cultural capability and cultural functionings.83
in cultural policy and
Although presented separately we see
practice
the two sets as interlinked: national level RECOMMENDATION 7
objective and locally specific strategy must go In the medium-term we recommend that all
in the UK.
hand-in-hand in order to be successful. As publicly funded arts organisations be required to
such, the process being proposed is both develop an explicit, integrated cultural capability
top down and bottom up in its approach. strategy.
A coordinated and co-creative response
to these recommendations is needed, RECOMMENDATION 8
requiring open dialogue. Ensure sustained and broad knowledge exchange
between organisations of many kinds and
Recommendations to national cultural current Arts Council schemes throughout the
policy makers & funders UK, which have the potential to promote cultural
capabilities, particularly those focusing on young
people and cultural learning.
RECOMMENDATION 1
Promoting cultural capabilities for everyone RECOMMENDATION 9
(cultural democracy) needs to be made an Policy makers should give careful consideration
interlinked policy objective, across a range of to how all stakeholders can be supported, on
national government departments and agencies. an ongoing basis, in using digital technologies
and platforms for both sharing stories about
RECOMMENDATION 2 and promoting cultural capabilities for everyone
Investigate the best institutional arrangements (cultural democracy).
through which to promote cultural capabilities for
everyone (cultural democracy) as a national level
policy objective.
RECOMMENDATION 3
National policy makers – in collaboration with
researchers and a wide range of stakeholders
– should investigate how the proposed policy
objective of promoting cultural capabilities
for everyone (cultural democracy) can work
alongside existing core cultural policy objectives.
82 Such as Get Creative, Fun Palaces and 64 Million Artists.

83 ‘Capabilities’ and ‘functionings’ are terms referred to within the Capabilties Approach (see Nussbaum, 2011).
56
PROMOTING CULTURAL CAPABILITIES FOR EVERYONE TOWARDS CULTURAL DEMOCRACY
Recommendations to private trusts and 6.3 Concluding thoughts

foundations, local cultural policy makers, An ecological approach
cultural organisations, individual There is an enormous and amorphous
cultural practitioners and cultural grassroots of individuals and groups who are
creativity initiatives going ahead with their cultural creativity
with little or no concern for arts policy
discourse or state support. In order to know
RECOMMENDATION 10 how best to support cultural democracy,
All cultural stakeholders across the UK, across we need a fuller understanding of cultural
all ‘scales’ of operation, need to consider their ecologies. We strongly echo John Holden’s
own local responses to the shared objective of call for more research in this respect.84 A
promoting capabilities for everyone (cultural key lesson of ecological approaches is that
democracy), and make it a strategic priority. without addressing the complexity of the
systems within a location, interventions are
RECOMMENDATION 11 likely to have unintended consequences.
Investigate possibilities for further collaboration For this reason, amongst others, it is crucial
with local authorities, and how initiatives that local knowledge and interests guide the
promoting cultural capabilities for everyone development of investments and initiatives
(cultural democracy) might be embedded within in support of cultural democracy. Much can
city-wide cultural strategies. be learnt from the approach of Asset Based
Community Development, as explored in
RECOMMENDATION 12 the Media, Culture and the Creative Citizen
Develop mutually beneficial relationships with project.85 Moreover, what is needed may
local radio as a key channel for the promotion well not be large amounts of additional
of everyday creativity. resources – though in some cases this might
be the case, but rather greater visibility of
RECOMMENDATION 13 activities and opportunities for information
Continue, and go further, to develop collaborations sharing. Cultural democracy – ensuring
with non-arts groups – including sports, the cultural capability of all – is not about
entertainment, and community groups – and directly providing people with access to
share knowledge with each other of the challenges specific means of self-expression. But it may
and opportunities in these collaborations. well involve, amongst many other things,
informing everyone as to how they can train
RECOMMENDATION 14 to be an actor, learn to use a camera, try
Help make the case for promoting cultural breakdancing, or whatever else it might be.
capabilities for everyone (cultural democracy).
A variety of initiatives
There is scope – and need – for different
kinds of initiative in support of cultural
Cultural democracy – democracy. Some may focus more on self-
ensuring the cultural expression and individual agency; whereas
capability of all – is not about others are more explicitly concerned
directly providing people with access with community-building. A variety of
to specific means of self-expression. interventions in policy and practice, of these
But it may well involve, amongst many kinds, is necessary, and is in keeping with
other things, informing everyone as the insight that cultural creativity – how
to how they can train to be an versions of culture are co-created – is itself
actor, learn to use a camera, try enormously varied.
breakdancing, or whatever
else it might be.
84 Holden, 2015.
85 Hargreaves and Hartley, 2016.
57
TOWARDS CULTURAL DEMOCRACY PROMOTING CULTURAL CAPABILITIES FOR EVERYONE
The openness of cultural democracy Fun Palaces, Our Cultural Commons

The results of promoting cultural capabilities and 64 Million Artists. The evidence
for everyone cannot be fully known in presented in this report helps to identify
advance. François Matarasso has written new strategic goals for funders and cultural
recently that cultural democracy is an policymakers of all kinds in responding to
inherently open process.86 As people these challenges and opportunities, as well
co-create culture, we will not know what as recommendations directed specifically
will result. Promoting cultural democracy towards the development of initiatives in
may well involve funders and policymakers support of cultural democracy. But this
being prepared to live with greater degrees is a conversation that ultimately requires
of uncertainty than is typically the many voices to be heard within it, and
case: supporting activities in ways such much greater understanding of the cultural
that outcomes and outputs are far from ecologies within which future attempts to
knowable in advance.87 enable cultural democracy will be taking
place. The process of developing a new
A new language for new coalitions vision of cultural policy and practice, aimed
A major consideration is finding the right at cultural democracy – and working out
language – both to carefully communicate how it can operate in practice – is only just
complex arguments, and to tell convincing beginning.
stories that bring about positive change.
We have introduced a series of terms:
cultural creativity, everyday creativity,
creative citizens, pillar organisations, Promoting cultural
cultural capability and cultural democracy. democracy may well
Our primary aim in doing so is to provide involve funders and
analytical and conceptual rigour to support policymakers being prepared
the arguments presented. However, cultural to live with greater degrees of
democracy will be constrained unless uncertainty than is typically
everyone is empowered to understand and the case: supporting activities
contribute to it on their own terms. We in ways such that outcomes and
recognise that this will require creativity outputs are far from
in order to adopt new terms that move us knowable in advance.
beyond the status quo, but which may,
ultimately, not rely on the vocabulary
introduced here.
An on-going process: invite everyone

Recent initiatives seeking to recognise
everyday creativity and promote cultural
capabilities may be the expression of
broad shifts in cultural practice in the
context of the digital revolution and the
slow-burning challenge to the authority
and privileged funding of high culture.
Cultural funders and policymakers are only
at the earliest stages of working out how
to respond to these socio-cultural shifts,
and to the new directions that are coming
out of progressive arts organisations as
well as initiatives such as Get Creative,
86 https://arestlessart.com/2016/10/07/what-next-it-depends-whos-asking/ [accessed 20th January, 2017]

87 This calls for collective critical reflection and developing communicative tolerance, as outlined in Nick Wilson’s account
of social creativity (Wilson, 2010).
58
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63
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Towards cultural democracy

Promoting cultural capabilities for everyone

Image: A screenshot from 33,000

This report presents an exciting vision for an alternative way of thinking

As Director of Hull UK City of Culture 2017, I am no stranger to the transformational

A vision of the future

anything besides – and the millions of people FINDINGS AT A GLANCE

Understanding the UK’s cultural 2 The substantial social freedom –

2 Neelands et al., 2015: 39.

… it is Promoting cultural capabilities ecology, and to enable it to flourish in ways

interventions such as the Get Creative campaign, RECOMMENDATION 7

15 Simpson, 2016: 22.

18 Neelands et al. 2015: 15.

There needs cultural capabilities. Some of these are working RECOMMENDATION 13

1 | introduction to the report 15

3 | introducing cultural capability 31

4 | why cultural capability matters 41

5 | making cultural capability a strategic priority 47

TOWARDS CULTURAL DEMOCRACY PROMOTING CULTURAL CAPABILITIES

The case for promoting

24 http://www.bbc.co.uk/arts/sections/get-creative [accessed 20th January, 2017]

35 Jancovich and Bianchini, 2013.

Culture become; furthermore, it does this by virtue

One of the amazing things about human Cultural creativity

cultural policy research. So long as creativity varies considerably across

52 Nussbaum, 2011: 18.

Promoting cultural capabilities cultural capabilities is central to what we

Our research illustrates

1 the plethora of cultural

60 Some names have been changed.

Portrait | 3 cost of £120 per year. With these funds,

TOWARDS CULTURAL DEMOCRACY PROMOTING CULTURAL CAPABILITIES

What are people (and what is

TOWARDS CULTURAL DEMOCRACY PROMOTING CULTURAL CAPABILITIES

Our research shows that

63 Nussbaum, 2011: 18.

or undermining the substantive freedom But these vectors of engagement

64 Brown et al, 2008.

On Tuesday evenings, however, he joins

65 Hargreaves et al., 2016.

It tends to be mainly local ladies’ groups,

they were running something, they’ve And quite often

The Old Vic

As part of Old Vic New Voices – the

Our research reveals an

71 Nussbaum, 2011: 24-25.

4.2 Cultural capability and cultural Situations in which

Our research suggests that

e) Pathways & elevators

76 Dodd et al., 2008; Kirkhill Associates, 2015.

The possibility of a new

1 Cultural creativity – a broad range of human creativity that is in some

3 People have greater or lesser freedom to co-create versions of culture

4 Co-creating versions of culture takes place within cultural ecologies

5 The role of creative citizens and pillar organisations within cultural

6 In the light of recent initiatives, including Get Creative, the possibility of a

6.2 Summary of recommendations RECOMMENDATION 4 … there are

82 Such as Get Creative, Fun Palaces and 64 Million Artists.

Recommendations to private trusts and 6.3 Concluding thoughts