unlocking creativity

making it happen
1 2 3 4
unlocking creativity
making it happen
 contents foreword
Page Page

■ consultation 7 ■ making it happen 23

definition
introduction 8 vision
unlocking creativity the mission and aims 26
the consultation process and its outcomes - mission statement
- summary of responses - aims
perspectives and needs 26

■ making the connections 17 - access

making the connections - progression
- enterprise
- consultation
- dissemination
- creative grid
a creativity framework 34
- structure
- consultation
- co-ordination
- implementation
action agendas 38
- action agendas grid
- conclusion

■ acknowledgements 45
bibliography
glossary

4
Foreword In November 2000 we launched the original Unlocking Creativity document,
“A Strategy for Development”. It was a recognition of the major social and economic
transition Northern Ireland is facing, and illustrated a prime example of government
working together with the aim of developing the creative and cultural resources of its
people to the full.

We have stimulated a dialogue and debate that has lauded the concept as visionary and
strategic, while at the same time identifying the huge challenge to build on existing good
practice and make the most of the potential creativity can bring. We have recognised the
need for an overarching policy context which, without lessening the commitment to the
creative imperative, builds on the wide body of knowledge and the extensive range of good
practice that exists - not the least of which have been the development of the
interdepartmental Creativity Action Group and the Creativity Seed Fund of £2.8m.

Creativity is “imaginative activity with outcomes that are both original and of value1”, a
definition that straddles the worlds of education, business and culture and recognises the
centrality of creativity to work, life and leisure. Our core themes of Access, Progression,
Enterprise, Consultation and Dissemination will be delivered through a creative framework
and an action agenda that will enable NI to take its place with confidence in a world of
rapid economic and social change.

We have been making the connections within Government and increasingly with our
partners in education, business and the community. We recognise, value and celebrate the
creative achievement possible in all areas of human activity and are committed to realising
the aspirations and actions outlined in Making it Happen by unlocking the creative potential
of our people.

Ken Robinson Sir Reg Empey MLA

Mr Michael McGimpsey MLA Professor of Education, University of Warwick Minister for Enterprise, Trade and Investment
Minister for Culture, Arts and Leisure

Mr Martin McGuinness MP MLA Dr Sean Farren MLA

Minister for Education Minister for Higher and Further Education, Training and Employment

27 June 2001

5
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 1

consultation

7
 Introduction The Unlocking Creativity document published in November 2000 has been
praised as visionary and strategic, underpinning the recognition in the
Programme for Government of the significance of creativity as a
cross-cutting issue. Furthermore, it illustrated how individual creativity can
be harnessed in the context of Northern Ireland’s existing educational,
commercial and cultural communities by:

• demonstrating how best to build on existing practice in creative and

cultural education;

• explaining how to promote the creative abilities and cultural

understanding of all our people, especially the young, through education
– formal and informal;

• helping to respond to the business community’s needs for creative

abilities in developing teamwork, social skills, creative and innovative
thinking, powers of communication and problem-solving ability;

• emphasising how the new technologies are providing unprecedented

access to ideas, information, people and organisations throughout the world;

• developing new modes of economic development through

entrepreneurship, creativity, personal expression and cultural change
and understanding;

• maximising the benefits of creating a new and positive image of

Northern Ireland that respects, understands and values our cultural diversity.

“This paper [Unlocking Creativity] recognises that creative education

develops the capacity for original ideas and action, and that these can
be possible in all areas of human activity, including work and play.”
Tourism Training Trust

“Unlocking Creativity presents some robust challenges to established

thinking and provides a timely reminder of the role that creative thinking can
play in helping successful businesses to evolve into world-class companies.”
Department of Enterprise, Trade and Investment

8
The adoption and launch of the document by four government departments
– the Department of Culture, Arts and Leisure (DCAL); Department of
Education (DE); Department of Enterprise, Trade and Investment (DETI); and
the Department of Higher and Further Education, Training and Employment
(DHFETE) – clearly illustrated an active commitment to joined-up
government and was a first step in the implementation of the shared vision
that had emerged through the Future Search2 process undertaken by DCAL.

The task set by Unlocking Creativity was to create policy based on broad
consensus and identify the most effective strategies with which to develop
and implement that policy. The purpose and thrust of the document and
debate in Unlocking Creativity was to be inclusive and not exclusive of
opinions or geography, and thereby create a unity of purpose across a range
of disparate sectors and communities, all of which are vital to the
fulfilment of its vision. The document was consultative, aimed at igniting
rather than closing a debate, for without continuing the process of
discussion – and providing it with a real context – any attempt at unlocking
people’s true creative potential will not succeed.

Engaging in real dialogue is fraught with difficulties. It is much easier to

create and follow an agenda in isolation, to be exclusive rather than
inclusive, and to expect people to function within structures that focus on
ease of implementation rather than on quality of outcome. Creativity,
however, must deal first and foremost with ideas, imagination, innovation
and change. The process of ongoing consultation is essential and has been
undertaken without apology for its fluid nature, its occasional hold-ups, its
frequent frustrations and its huge complexity because without it, we
cannot hope to persuade key stakeholders that their views, ideas, projects
and values are the lifeblood of the vision and the processes of the
unlocking creativity agenda.

9
 This new document, Unlocking Creativity – Making it Happen takes into
account the responses to the original Unlocking Creativity document and
the consultation process; it presents the policy and development context
and Action Agenda. The revised plan provides an initial framework that is
achievable, sustainable and measurable, thus enabling discernible
progress without lessening the commitment to the creative imperative, and
the radical approaches that are required to support it.

Unlocking Creativity – Making it Happen is intended to build on a body of

knowledge and not to repeat it. Many of the key principles and arguments
that informed the drive towards a more creative society were set out in the
original document. However, it is clear from the responses received during
consultation, that many ideas and concepts required refinement.
Some details within Action Agendas needed to be reviewed and the
strategy as a whole needed to be presented within a structure that is
realistic, targeted and accountable, yet accessible and inspiring when seen
from a stakeholder position.

Using the feedback from the consultation process, a diverse range of views
has been incorporated including the suggestions, plaudits, anecdotes,
visions, good examples, criticisms, frustrations, values and philosophies of
the respondents. While it is impossible to assimilate all the views, Section
One – The Consultation Process and its Outcomes – summarises the key
issues that have emerged and presents a rationale for the restructured
development strategy that is presented in Section Two.

10
– The Consultation Process Summary of responses
and its Outcomes
Unlocking Creativity – A Strategy for Development was welcomed
overwhelmingly. The vast majority of responses were positive and
validated the main thrust of the thinking, analysis and strategy behind the
original document. Respondents were pleased, encouraged and often
inspired by the breadth of its vision and its ambition, and by the sincerity
and intensity of the views expressed. For example:

“Unlocking Creativity heralds a new emphasis on the development

of creative education and of the creative industries as fundamental
to the knowledge-based economy of Northern Ireland.”
Queen’s University of Belfast

“The cross-departmental emphasis of the paper is enlivening. It

demonstrates the most positive benefits promised by devolution
and the very necessary basis for developments of this kind.”
Workers’ Education Association

“We endorse many of the sentiments and beliefs expressed in the

document about the value of creativity in the modern world and the
economic, social and educational benefits which can be reaped
through creative and cultural endeavour.”
Replay Productions

11
 The underlying values of Unlocking Creativity struck a chord and encouraged
people to believe that their individual creative worlds have been brought into
the public domain in a powerful and unexpected way. However, the
responses did more than express support for the document through words:
they illustrated how the process of unlocking creativity is grounded in
practice in Northern Ireland, by drawing attention to the huge amount of
creative activity already occurring. The strength and depth of this activity is
a clear indication that Northern Ireland is ready for this strategy.

Any criticisms levelled at the document were constructive, and the length
and detail of these and other responses illustrate the seriousness with
which the document was treated by all.

“Although the proposed strategy and complementary agenda for

action is laudable, concern would relate to whether it is achievable in
reality. The strategy will need to provide a strong framework with
common objectives yet allow an appropriate degree of flexibility at
operational level.”
Belfast City Council

Cautious welcomes such as this came mainly from the public sector and
conveyed reservations regarding the scale of the project and the
complexities and cost of its co-ordination. Some felt that a sharper focus
was required and that priorities needed to be streamlined and separated
from a plethora of individual initiatives.

Education and Library Boards as well as individual teachers expressed

concern over how teachers would react to new initiatives unless there
were radical changes in educational structures, particularly within the
curriculum. The slight sense of unease evident in many responses appears
to be borne out of a concern that an initiative of this scale needs to be
aware of, and take into account, the nature of the day-to-day constraints
and challenges facing the teaching profession.

12
 Many respondents highlighted the demands associated with bringing together
the different perspectives of the educationalist, the entrepreneur and the artist.
The worlds of education, business and the arts are too often seen as three
separate environments that overlap from time to time, but are largely dominated
by distinct and diverse agendas and ways of working. Unlocking Creativity tried
to draw these strands into an interdependent network, suggesting that the
potential for future success in any of the three was inextricably linked with the
core qualities and values of creativity. This approach and mind-set is a quantum
leap in terms of how we understand the roles of education and industry and how
they are related to arts and culture.

“While we appreciate the need to link creative behaviour to creative

outcomes in terms of business, industry and their economic
imperatives, we believe that creativity is a life skill, and as such is
worthy of pursuit for its own sake.”
Southern Education and Library Board

“As regards the objectives, they may lean a little too much towards
the creative end, with little or no emphasis on the process of
innovation. They also may be a little too esoteric. How do these lead
to the ultimate objective – to improve the living standards of those
living in Northern Ireland, which lags behind the rest of the UK?”
Dr. David Neilly, Managing Director, Franklins International Ltd

13
 A number of responders focused on the current emphasis on new
technologies as a means of empowering and educating both young and old
in Northern Ireland, and their rising profile as a powerful economic driver.

They were keen to emphasise that new technologies must be seen as only
one of many aids to the creative process, and that care must be taken
to ensure that new technologies do not inhibit, or indeed supplant,
individual creativity.

“The Information Age Initiative feels that Unlocking Creativity could

have placed a greater emphasis on the particular potential which
exists in the creative industries sector to harness the opportunities
which new technologies offer.”
Fabian Monds, IAI

“The knowledge-based economy will depend for its sustainability

on creative people who, as well as being highly skilled in their own
disciplines, are trained to think across fields, but who are also
equipped with wide competencies in communication, literacy, IT,
business methods and strategies including entrepreneurship.”
University of Ulster

14
 A key issue raised was the need to include areas such as health and
leisure, community and voluntary sector involvement, reflecting the extent
to which the creativity agenda is relevant to all interests and sectors in
society. Unlocking Creativity takes a comprehensive approach to promoting
the importance of creativity, and must acknowledge and take advantage of
its influence upon the broadest possible audience.

The consultation process suggested the need for greater clarity over what
are aspirations, key objectives, initiatives, projects, outcomes and methods
and how these should all be co-ordinated, monitored and evaluated.

The challenge is to set in place a strategy and structure that can turn into
reality, the ideas and debates with actions that assist individual creative
agendas, and in doing so, support the emergence and implementation of a
truly shared vision. A development model is required that is inclusive,
robust and complete at as early a stage as possible.

A core aim of this document is to set out structures with clearly stated
and agreed aims that will enable the continuing placement and
refinement of individual projects, ideas and agendas within a coherent
strategic policy framework.

“More insidious is the danger of technology actually inhibiting true

creativity – as Ken Robinson pointed out, the young child’s capacity for
language learning is infinite and the same could be said for creative
imagination. The problem with computers is, at the end of the day, that
the software is limited by the creativity of the programme writers – and
this can be very limited indeed, as most of them are focused ‘techies’. It
is essential that technology is presented as only one of a vast range of
tools available to assist the creative process – otherwise the shock of
surprise and delight that comes from true originality and innovation will
be lost.”
Anne Tannahill, Blackstaff Press

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making the connections

17
 Making the Connections Before and since the publication of Unlocking Creativity, there is evidence of
work that has created its own synergies and a number of significant actions
have been designed, begun, and in some cases completed, demonstrating
effective collaboration and co-ordination, and the value of highlighting and
validating the concept of creativity and making the connections. The list below
is by no means exhaustive, but serves to illustrate the wealth of initiatives and
projects currently under way:

• The ongoing and growing commitment to the creativity agenda is

evidenced in the Programme for Government, which detailed a
commitment to ‘providing co-ordinated community-based programmes for
maximising individual creativity’ and focused on ‘promoting
entrepreneurship, innovation and creativity’.

• The establishment of an interdepartmental Creativity Action Group, with

representatives from DCAL, DE, DETI, DHFETE and other bodies including
the Arts Council of Northern Ireland, the Northern Ireland Film Commission
and practitioners.

• The DCAL Corporate Strategy identifies the promotion and celebration of

cultural diversity and individual creativity as a strategic goal, with the
specific objectives of researching the potential of the creative industries
and implementing an awareness programme to ensure that creativity is
recognised as a key driver of educational policy.

• The Creativity Seed Fund has been established with the aim of unlocking
creativity in individuals, organisations and businesses in Northern Ireland.
£2.8m of Executive Programme Funds has been secured over three years
to complement the five core themes of Unlocking Creativity.

• DETI officials, in advance of the new agency INI, have set up a dedicated
focus group for the creative industries sector. This will draw on the
experience of regional, sector and development staff within IRTU, LEDU,
IDB, IAI and NITB. This group will concentrate on promoting the
creative agenda throughout the organisation.

• The CCEA review of the Northern Ireland Curriculum is proposing the

inclusion of a creative component at all Key Stages, illustrated for example
by the publication of Their Future in our Hands for Key Stage 4.

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• ACNI recently launched a programme in support of the individual artist
allowing greater flexibility and increased levels of funding.

• W5, the first Centre of Curiosity and Imagination, opened in March 2001.

• Creative Enterprise, a research and development programme on the

potential of the creative industries in NI will deliver its stage two report
in Autumn 2001.

• Northern Ireland Voluntary Trust Millennium Awards has £1m, available

over three years, to sponsor 300 individuals to make a positive voluntary
contribution to their community, through personal action, with arts and
communication as a core theme.

• A comprehensive skills audit of new media technologies was delivered in

April 2001, jointly commissioned by the Northern Ireland Film Commission,
the Training & Employment Agency and the Northern Ireland Interactive
Multimedia Association.

• A Board of Directors and a Chief Executive have been appointed to mount

the bid to have Belfast designated as European Capital of Culture 2008.

• Queen’s University has established a Centre for Creative Industry, a

research and development centre focusing on the organisation and
management of the creative economy. The centre will work alongside the
Sonic Arts Centre, the Institute for Electronics Communications and
Information Technology, the Institute for Governance, Public Policy and
Social Research and the NI Centre for Entrepreneurship, which includes
the University of Ulster.

• An action plan is being developed by ADAPT, and supported by DCAL,

to improve access to venues in the culture, arts and leisure sectors,
following the completion of a pilot project comprising accessibility audits,
training and a small grants scheme for an initial 40 venues.

• It is proposed to extend the Nesta ‘learning lab’ initiative to

Northern Ireland.

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 • Northern Ireland Music Industry Commission (NIMIC) has been supported
by LEDU to raise the profile of the local music industry. Success in
promoting the industry abroad and developing new business opportunities
will be the key focus of this industry-led group.

• ACNI is introducing an Artist in Education Scheme, which will complement

and build upon existing curriculum provision. The scheme, which will come
into operation in the academic year 2001/2, is primarily designed to foster a
greater knowledge and appreciation of the creative world of artists’ work.
Flexible residencies of up to six months’ duration will be supported for artists
working in schools and other learning environments.

• Dreamlab, a business development programme for a cluster of creative

companies has been developed by Dream Ireland, and will commence
in September 2001.

• The Information Age Initiative, established by DETI, has already

provided support to a number of creative projects which demonstrate
innovative use of the latest Information and Communications Technology.
It intends to have a second call for projects under Peace II in September, and
one strand of this will be for creative projects which meet both the Peace II
and the Information Age Initiative objectives, namely Digital Creativity.

• Initiatives including the showcase Northern Odyssey event and the

Diversity 21 Awards have acknowledged the value and importance of
celebrating our cultural diversity.

• The DE and the Department of Education and Science in Dublin have each
agreed to provide additional funding over the next three years to help expand
the work of the Pushkin Prizes, North and South.

• DHFETE has been piloting a highly successful initiative which allows

Further Education lecturers to spend time in a work environment
experiencing current work practices. Opportunities have progressed in
software, engineering and tourism which provide models for developing
skills and knowledge in the creative sector.

20
• The overwhelming response of the Northern Ireland public to learndirect,
the delivery mechanism for University for Industry, and to Individual
Learning Accounts – over 25,000 opened mainly in ICT, demonstrates a
willingness to engage imaginatively with learning.

• The Northern Ireland Housing Executive has identified arts as fundamental

to urban regeneration and is pursuing a ‘Percentage for Arts’
programme and a Floral, Living Arts scheme as part of the initiative.

• The Link Initiative will match ten organisations in the creative sector with
accredited training providers, as a way of improving management skills
and strategic thinking. It is funded through DETI’s Company Development
Programme, supported by DCAL and DHFETE, and administered by Arts and
Business Northern Ireland.

• A Creative Industries web presence will provide a single point of reference

for everyone involved with the creative agenda. The co-ordination of all the
creative content is a key action coming out of the Unlocking Creativity
consultation process. The facility will bring together all the organisations
and agencies involved in the Unlocking Creativity process.

• Face to Face: A Vision for Arts and Culture in Northern Ireland

was launched in June 2001.

This is only a sample of the creativity actions currently evident in education,

business and cultural development. The consultation process has brought to light
many other examples of good practice and ideas for future projects. The quality,
scope and diversity of what is already happening within the organisations,
together with networks and individuals committed to the Unlocking Creativity
agenda provide a clear indication of the existence of ways to implement the
strategy. The vision is already grounded in good practice, which if nurtured and
sustained, will deliver the aspirations. The support and enthusiasm generated by
Unlocking Creativity demonstrates that the change of mindset required to
translate, its agenda into practice, is already underway. The role of the new
administration in this process and the willingness to embrace the change which
it has brought with it, cannot be underestimated.

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 3

making it happen

23
 Definition Despite the variety of definitions and explanations of creativity and the
creative process within the initial Unlocking Creativity document, many
responses to the consultation requested further definitions. There is a danger
in spending too much time debating words instead of initiating action based
on a broad consensus. The term ‘creativity’ is strong enough in its own right to
contain a multitude of different, and at times opposing, perspectives.

However, for clarity’s sake we have selected from the many and varied
definitions that exist, that offered by All Our Futures1, a seminal document
published in 1999, which defined creativity as:

‘Imaginative activity with outcomes that are both original and of value.’

This overarching definition straddles the worlds of education, business and culture.

Vision Creativity needs to be seen and accepted as a vital quality for individuals,
communities and organisations, and one that produces the great leap of
imagination that enables thinking and actions to become exceptional. A key
issue is to define the value the various stakeholders attribute to creativity, to
encourage the connections across education, business and the community.

‘Creativity is innovation through connecting things not previously connected.’3

Creativity is an essential element of the personal and social development of all

people. Just as literacy, numeracy and ICT are key skills for all ages, creativity
also enables the growth of self-confidence, self-expression and self-esteem.
Creativity adds more value in that it encourages creative thinking, the use of
imagination, the readiness and ability to ‘see round corners’ and to help with
novel and innovative solutions. The publication of this document is timely in that
there are opportunities for its concepts and concerns to be integrated into the
School Improvement Programme, Lifelong Learning and to influence the review
of the Northern Ireland Curriculum, Curriculum 2000 and the Youth Curriculum.

24
The concepts embodied in creativity are a crucial element in fostering economic
growth both within the creative industries themselves and in the wider
commercial and industrial world. The key challenge in the 21st Century is the
rate of change. Creativity is central to the ability of all business disciplines,
including managers, accountants and marketeers, to react to and indeed
anticipate new situations with imagination, ambition and flair, and to see each
new challenge as an opportunity. Unlocking Creativity must promote new
approaches to business and industry and champion that which is truly innovative.

Creativity can transform society and its culture in individual and collective
ways. A more complete investment in creativity as an essential force will
enable multiple connections to develop between teachers, artists,
entrepreneurs, designers, inventors, children, government, industrialists,
workers and students. Once these are made, the imagination and ambition of
individual practitioners can create unique and powerful outcomes.

• Creativity empowers people as new connections are made in

the mind.

• Creativity generates wealth and employment as new connections

are made within business.

• Creativity enriches society as new connections are made

between people.

This revised strategy builds on the multiple connections already made to highlight
and value the creative achievement possible in all areas of human activity.

25
 The Mission and Aims Mission Statement

To develop the capacities of all our people for creativity and innovation, and
so promote and sustain the social, cultural and economic well-being of
Northern Ireland.

Aims

• To ensure full and co-ordinated provision for creative and cultural development
in the curricula of formal and informal education and lifelong learning.

• To ensure access to training and employment opportunities, and promote

business development through creative and cultural development.

• To validate the concept that creativity is central to all aspects of work,

learning and leisure in Northern Ireland through ensuring effective
partnerships between organisations in the public, private and voluntary sectors.

Perspectives and Needs The action agendas in the original Unlocking Creativity document were too
open-ended and unevenly weighted. Accordingly, a number of objectives have
been produced that take account of the variety of perspectives on the one
hand, and the identified needs on the other.

The perspectives reflect the interests of five separate stakeholder groups:

• society in its broadest sense, reflecting the influence of creativity on all

aspects of people’s lives;
• the learning community including all ages inside and outside of
formal education;
• the training and teaching community for both formal and
informal education
• the business world including both employers and employees; and
• Government.

26
 The needs of these groups are described through five themes:

• access – the need to provide adequate and equal access to

creative opportunities;
• progression – the need to allow creativity to influence curriculum,
assessment and career paths;
• enterprise – the need to link creativity with wealth generation
and employment;
• consultation – the need to continue to maintain a dialogue about the
role and contribution of creativity; and
• dissemination – the need to publicise and share the value of creativity
for society.

The objectives outlined below relate to the intersection of the themes and
stakeholders and form a conceptual map of Unlocking Creativity – Making it
Happen, illustrated in the Creative Grid on p.33.

Access The theme of access is fundamental: actions taken in accordance with the
objectives set out below will depend upon a range of issues including equality
of access, language, regional spread of facilities and services, infrastructural
issues and the way in which expertise and information is made available to
various stakeholders.

Success will be measured by the provision of increased creative opportunities,

and a sense of entitlement to them, for people of all ages, backgrounds and
circumstances, wherever they live and whether they have access to:

• a creative education
• opportunities to exploit creativity throughout working life
• the physical resources to unlock creativity
• the region’s intellectual and imaginative expertise and information base

27
 Objectives

• To widen and co-ordinate access to opportunities in Northern Ireland

which address the creative development needs for:

- people of all ages and backgrounds;

- learners of all ages and backgrounds;
- teachers and trainers; and
- the creative development of employers and employees.

• To co-ordinate access to facilities and expertise across the

broad range of stakeholders.

Core values: diversity, inclusiveness, equality.

Progression

This theme is concerned with developing continuity and progression in

creative and cultural education by enabling creative approaches to learning as
a whole, as well as education and training in specifically creative fields. There
is an imbalance in the current system, where creativity may be compromised
by giving a heavy emphasis to approaches to learning and assessment that are
more straightforward to measure. A balance must be found between the need
to assess and measure progress and the desire to provide flexible routes to
accreditation and to reward creative endeavour. Creativity must be recognised
and valued as a core element in the processes of learning and assessment.

The overall aim is to create opportunities for learning that match the needs of
the learner, that embrace the principles of creativity and that offer maximum
recognition of progress, irrespective of the context. The outworking of this aim
may mean creating new opportunities that add value to existing practice.

Success within the theme of progression will be:

• the implementation of a more flexible and creative curriculum in education

and training;
• a greater variety of approaches to teaching and learning;
• increased participation in creative learning activities by students of all
ages; and
• the development of methods and principles of assessment, examination
and accreditation that recognise and value the aims and outcomes of
creative and cultural education.

28
Objectives

• To signpost clear steps towards accredited programmes of learning for

people of all ages interested and inspired by creativity.

• To develop career pathways and learning approaches that recognise

achievement and excellence in creativity.

• To provide personal and professional development opportunities for

teachers and trainers linking creativity to the curriculum and to the needs
of industry.

• To include creative development as a significant opportunity in

Government’s lifelong learning policy which seeks to create a learning society.

• To encourage collaboration between various agencies and departments to

ensure that creativity is fully recognised in the development of assessment
methods and the curriculum.

Core values: flexibility, cohesiveness, relevance, co-ordination.

29
 Enterprise

This theme is about bringing a new spirit of enterprise to the creative process
and building creativity into existing business practices. The challenge is not
only to create a real awareness of how creativity can reshape traditional
business sectors, but how creative industries can be appreciated for their
economic contribution and job creation opportunities.
This challenge demands new thinking, new linkages between education, arts
and cultural groups, creative companies and more traditional sectors of
industry, in order to foster an environment that supports the development of
creative talents and new business opportunities.
The broad aim is to create a seamless link between the concept of creativity
and the practice of business both within the Creative Industries and the wider
business community.
Success within this theme will be indicated by:

• growth in the awareness and application of creativity and design in a

commercial context;
• an increase in the number of people employed in creative fields; and
• the sustainable development of the creative industries in NI.

Objectives

• To clarify career and training pathways and provide opportunities for

people interested in moving towards employment in creative sectors,
including the marginalised and unemployed.
• To encourage and promote creative ambition and provide flexible
career pathways for those who want to work in creative sectors.
• To illustrate the connection between creative approaches to
learning and business development, and the growth of the
knowledge-based economy.
• To promote new opportunities for commercial exploitation of
creative practices within both the creative industries and the
wider business community.
• To promote a mainstream role for commercial creativity within
existing economic development agencies and companies.
Core values: innovation, entrepreneurship, talent.

30
Consultation

Consultation as a theme should ensure that the unique experiences emerging

from the Unlocking Creativity process are documented and analysed and that,
as an overall community, we can benefit from the experience and expertise of
the participants on an ongoing basis. An inclusive process of consultation will
provide both the breadth and the depth of vision required.

It is vital to retain the interest and motivation of those participants who

contributed with vision, passion and experience. The retention of this interest
will ensure that the process remains transparent and democratic, and that
ideas are grounded in sound critical thinking. The public debate created by this
strand of action will be vital to the ongoing life and implementation of
Unlocking Creativity.

Indicators of Success within this theme will include:

• a continuing consultative process with stakeholders; and

• a clear understanding of how creativity is dealt with in other regions
and internationally.

Objectives

• To provide opportunities to contribute to and learn from ongoing analysis

of creativity geared to the perspective and interests of the user.

• To co-ordinate research, consultation and assimilation of information

relating to the ongoing Unlocking Creativity process.

Core values: accuracy, focus on priorities, practicality, accessibility,

new thinking.

31
 Dissemination

In essence, Unlocking Creativity has revealed many examples of the quality

and scale of creative practices, projects and initiatives that already exist in NI.
It is essential that this practice is valued and celebrated and creative
excellence promoted; and that the use of new technologies is maximised to
showcase our creativity in NI.

Success within this theme is likely to be indicated by an increased

awareness and recognition of the contribution that creativity makes to the
health and wealth of society and the economy.

Objectives

• To promote a widespread understanding of the value and benefits of

creativity to society in areas such as culture, the arts, business,
health and lifestyle.

• To discover, showcase and promote emerging talent from the new

learning programmes that will be encouraged through Unlocking Creativity.

• To reward, validate and showcase teaching that implements creative

practices in all aspects of education and training.

• To encourage and reward innovation and excellence in industry/education

partnerships and profile the growing creative ability of the workforce.

• To ensure maximum public and political support for successful Unlocking

Creativity projects with an international outward-looking perspective.

Core values: excellence, dynamism, innovation, outward-looking.

The concept of the creative grid provides a context in which the public,
private and voluntary sectors can locate their concerns, activities and future
agendas. This conceptual model with its broad objectives requires a refined
structural framework to enable co-ordination and connection.

32

SOCIETY
ACCESS To widen and co-ordinate
access to opportunities in
Northern Ireland which
address the creative
development needs for
people of all ages and
backgrounds
PROGRESSION To signpost clear
steps towards accredited
programmes of learning
for people of all ages
interested and inspired by
creativity.
ENTERPRISE To clarify career and
training pathways and
provide opportunities for
people interested in moving
towards employment in
creative sectors, including
the marginalised and
unemployed.
CONSULTATION To provide opportunities to
contribute to and learn
from ongoing analysis of
creativity geared to the
perspectives and interests
of Society
DISSEMINATION To promote a widespread
understanding of the
value and benefits of
creativity to society in
areas such as Culture,
Arts, Business, Health
and Lifestyle
The Creative Grid
LEARNERS
To widen and co-ordinate
access to opportunities in
Northern Ireland which
address the creative
development needs for
learners of all ages and
backgrounds
To develop career
pathways and learning
approaches that
recognise achievement
and excellence in
creativity
To encourage and
promote creative
ambition and provide
flexible career pathways
for those who want to
work in creative sectors.
To provide opportunities to
contribute to and learn
from ongoing analysis of
creativity geared to the
perspectives and interests
of Learners
To discover, showcase
and promote emerging
talent from the new
learning programmes that
will be encouraged
through Unlocking
Creativity
TEACHERS
& TRAINERS
To widen and co-ordinate
access to opportunities in
Northern Ireland which
address the creative
development needs for
teachers and trainers
To provide personal and
professional development
opportunities for teachers
and trainers, linking
creativity to the
curriculum and to the
needs of industry
To illustrate the
connection between
creative approaches
to learning and business
development, and the
growth of the knowledge-
based economy
To provide opportunities to
contribute to and learn
from ongoing analysis of
creativity geared to the
perspectives and interests
of Teachers & Trainers
To reward, validate and
showcase teaching that
implements creative
practices in all aspects of
education
EMPLOYERS
& EMPLOYEES
To widen and co-ordinate
access to opportunities in
Northern Ireland which
address the creative
development needs of
employers and
employees.
To include creative
development as a
significant opportunity in
Government’s lifelong
learning policy, which
seeks to create a
learning society
To promote new
opportunities for
commercial exploitation of
creative practices within
both the creative
industries and the wider
business community
To provide opportunities to
contribute to and learn
from ongoing analysis of
creativity geared to the
perspectives and interests
of Employers & Employees
To encourage and reward
innovation and excellence
in industry/education
partnerships and profile
the growing creative
ability of the workforce
GOVERNMENT
To co-ordinate access to
facilities and expertise
across the broad range of
stakeholders
To encourage
collaboration between
various agencies and
departments to ensure
that creativity is
fully recognised in
the development of
assessment methods and
the curriculum
To promote a mainstream
role for commercial
creativity within existing
economic development
agencies and companies
To co-ordinate research,
consultation and
assimilation of information
relating to the ongoing
Unlocking Creativity
process
To ensure maximum public
and political support for
successful Unlocking
Creativity projects with an
international outward-
looking perspective
33
 A Creativity Framework Structure

The rationale for reconfiguring Unlocking Creativity in a new format is based

entirely on the needs of its constituents and the impetus by them to make
things happen. Three core elements have been identified which interlock as
layers of discussion and action. These are:

• Consultation – a process of continuous refinement offering successive

and overlapping layers of discussion and planning that contribute to and
inform policy and implementation.

• Co-ordination – a comprehensive and inclusive process embracing a full

spectrum of needs and aspirations bringing government, business,
education and the community together to deliver a creative agenda.

• Implementation – building responsive systems that can easily

incorporate and nurture the best and most innovative ideas as they
emerge, adapting to change and opportunity without loss of inspiration,
focus and cohesiveness.

34
 A Creativity Framework

Consultative Process

Creative Think Tank Creative Research Group Web Sites

Co-Ordination Process
Inter-Departmental Action Group

Education Training Enterprise Culture

Implementation Process

Activities
Fund Management Research/Evaluation Networking Mentoring & Support

Outcomes
Projects & Initiatives Partnerships Profile New Types of Learning

35
 Consultation There are three strands to the consultation process.

• The Creativity Think Tank is a constantly changing and developing group of

practitioners and stakeholders who are willing to contribute to the ongoing
development of policy and practice, to ensure it is relevant and grounded.
The members of this group share their expertise of local, national and
international issues ensuring that Northern Ireland is playing its full role in
the development of creativity globally. This group will meet at least three
times a year.

• The Creativity Research Group advises on trends in creative

development with specific reference to commercial environments, both
within Northern Ireland and more widely afield. It researches, examines
and reports on the potential for practitioners from Northern Ireland to
exploit creative markets and highlight the conditions that are necessary
locally for them to be successful and ensure economic growth.

• The Unlocking Creativity Web Site will present opportunities for

discussion and debate and provide access to international best practice and
creativity forums.

Co-ordination • Responsibility for co-ordination lies with the Creativity Action Group, an
interdepartmental body with representation from DCAL, DE, DETI, DHFETE,
as well as agencies such as ACNI, NIFC and a variety of practitioners.
This group meets monthly to co-ordinate operational priorities and
interdepartmental co-operation, by managing existing strategic initiatives
and developing new joint proposals. It provides the strategic steer to the
Unlocking Creativity process.

Implementation • Full implementation of the Unlocking Creativity strategy requires an arm’s-

length, independent approach that makes the best use of the expertise that
currently exists, complemented by new modes of delivery. An independent
organisation or a consortium of existing bodies, reporting directly to the
interdepartmental Creativity Action Group, should operate as fluently and
efficiently as any private sector business. It will negotiate a variety of
contracts with government departments and private sector partners, and
have the capacity to lever funding from a number of sources to match the
contribution of government.

36
• The initial phase will involve key contracts secured through the
Creativity Seed Fund and the Information Age Initiative
(Leapfrog Programme) to deliver a variety of services necessary to
sustain, promote and exploit the action agenda outlined in this
document. The organisation or consortium will provide expertise and
commission specialist work to ensure that activities undertaken within
the Unlocking Creativity agenda are implemented within a coherent
strategic framework and will aspire to the following aims:

(1) To affect change

The organisation will lock mainstream thinking into the evaluation

and promotion of Unlocking Creativity projects to ensure that the
end result of the strategy is real co-ordinated change and not
a series of isolated activities.

(2) To increase levels of investment

The organisation will attract investment from the public and

private sector and explore opportunities for new sources
of investment.

(3) To create new opportunities and promote sustainability

The organisation will offer advice to project promoters and

thereby connect individual projects with new opportunities for
development. It must retain the confidence of the creative
community whilst bringing new perspectives for development
to the business sector.

(4) To identify, evaluate and disseminate good practice

The organisation will develop performance indicators and descriptors

that allow examples of best practice to be presented and promoted
with confidence. This will be based on the work of the Creativity
Think Tank and the Creativity Research Group, who can identify
emerging issues for Unlocking Creativity and through their research
findings, communicate the views and opinions of the sectors.

37
 Action Agendas A major challenge for the Unlocking Creativity – Making it Happen initiative is
to combine diverse approaches and agendas linked with complex delivery and
funding mechanisms, with a coherent mission and ease of access, whilst
sustaining the continuing confidence and support of multiple stakeholders.

The Creativity Framework meets this challenge by promoting

joined-up government where policies are designed and delivered in
partnership to meet a wide variety of needs. The requirements that need to be
satisfied within the Unlocking Creativity Action Agendas include:

ACTION AGENDA 1

Policies and projects being developed should reflect interdepartmental

collaboration and identification of needs and opportunities.

DCAL, DE, DETI, including its new agency Invest Northern Ireland (INI), and
DHFETE will work together on policy priorities and actions and establish
collaborative agendas.

Milestones

* By the end of 2004, we will have demonstrated that Unlocking Creativity

has contributed positively to the development of teaching and learning
processes, economic growth and cultural enrichment.

38
ACTION AGENDA 2

To identify and support existing projects and programmes of activity that are
already meeting Unlocking Creativity objectives.

The Unlocking Creativity process has highlighted numerous examples of

initiatives and projects currently underway, whose potential could be
maximised with strategic support and intervention.

Milestones:

• By the end of 2001 to have identified activity that is contributing to each objective.

• By December 2002 to have completed an initial analysis of the quality,

impact and future potential of that activity, and to have assisted in the
formulation of future plans.

39
 ACTION AGENDA 3

New opportunities for action must be identified and supported which are not
served by existing programmes.

The Action Agendas in the original Unlocking Creativity document illustrated a

range of activities and ideas; a number were strongly supported in the
consultation process including:

• Curriculum Development
• Personal Mentoring Partnerships
• Centres of Excellence
• Showcasing
• Audience development
• Clustering
• Creative Champions in schools
• Programmes of Training and Professional Development
• The ‘C’ mark and Creativity Innovation Awards
These and other emerging opportunities will be prioritised, costed and where
possible actioned over the next 3-5 years.

Milestones

• By the end of 2001 to have developed a comprehensive plan for innovative

actions supporting Unlocking Creativity and to have begun implementation
of high priority issues.

• By the end of 2002 to be overseeing a rolling programme through a

continuous process of strategic analysis, prioritisation, resourcing,
implementation and evaluation.

40
ACTION AGENDA 4

Potential funding streams must be identified and accessed that can provide
resources for the implementation of strategy.

For Unlocking Creativity to achieve its objectives, additional streams of

funding must be identified that add value to programmes already being carried
out by different departments, as well as supporting new actions. These funding
streams will enable fresh approaches to developing alternative funding
instruments, such as extended Loan Finance, Venture Capital, Gap Funding and
other models of social investment that will demand some level of risk-taking.

Milestones

• By the end of 2001 to have launched the Creativity Seed Fund and
identified other potential funds, both private and public.

• By the end of 2002 to have accessed over £3.5m towards implementing

Unlocking Creativity.

• By the end of 2004, to have built upon the Banking on Culture research
project; to have mapped new sources of financial investment and
developed an action research programme to test alternative financial
instruments.

41
 ACTION AGENDA 5

Procedures must be agreed for the branding, implementation and evaluation

of activities.

It is imperative that the outcomes of Unlocking Creativity are of the highest

quality and that they provide unequivocal examples of the benefits that
creativity brings to society.

Milestones

• By the end of 2001 to have produced performance indicators for activities

that are established under Unlocking Creativity.

• By the end of 2002 to have monitored and evaluated key projects,

disseminated the results as examples of good practice and illustrated the
potential of the projects to affect long-term change.

• By the end of 2002 to have commenced a programme of showcasing

aspects of creativity, through an annual conference and other
recognition programmes.

42
CONCLUSION Unlocking Creativity – Making it Happen aims to do just that.
The original consultation document and process elicited widespread support
for this joined-up approach by government to recognise the value of creativity
and positively maximise its impact.

This document has supplemented the original by confirming the aspirations

and opportunities, while tackling the weaknesses and the realities. It presents
a creative grid that addresses the perspectives and needs of multiple
stakeholders. It translates the objectives into actions and creates a structured
creativity framework that will ensure the delivery of these actions. In other
words it will in itself be creative by

“connecting things not previously connected”

footnotes
1 All Our Futures is the report of the National Advisory Committee on Creative and Cultural
Education (NACCCE), chaired by Ken Robinson. It argues that no education can be world-class
without valuing and integrating creativity in teaching and learning, in the curriculum, in
management and leadership, and without linking this to promoting knowledge and
understanding of cultural change and diversity.

2 Future Search was a process initiated in May 2000 through which views on the future of
creativity in Northern Ireland were elicited from representatives across a wide variety of fields
including Education, the Arts, Business and the Public Sector.

43
44
The Unlocking Creativity process has sparked the enthusiasm of
many. Our thanks are due to all who contributed their time and
expertise and made the connections work.

acknowledgements

45
 GLOSSARY

ACNI Arts Council of Northern Ireland

ADAPT Access for Disabled People to Arts Premises Today
(NI)CCEA (Northern Ireland) Council for the Curriculum
Examinations and Assessment
DCAL Department of Culture, Arts and Leisure
DE Department of Education
DETI Department of Enterprise, Trade and Investment
DHFETE Department of Higher and Further Education,
Training and Employment
IAI Information Age Initiative
ICT Information and Communications Technology
IDB Industrial Development Board
INI Invest Northern Ireland
IRTU Industrial Research and Technology Unit
IT Information Technology
LEDU Local Enterprise Development Unit
MLA Member of the Legislative Assembly
MP Member of Parliament
NACCCE National Advisory Committee on Creative and Cultural Education
NIFC Northern Ireland Film Commission
NIMIC Northern Ireland Music Industry Commission
NITB Northern Ireland Tourist Board

BIBLIOGRAPHY

“All Our Futures: Creativity, Culture and Education” - the report of the National Advisory
Committee on Creative and Cultural Education (DFEE, 1999)
“At the Creative Edge: Developing the Creative Industries” (The Nerve Centre, 1999)
Blueprint, “Creative Industries Scoping Study” (LEDU, 2000)
“Corporate Strategy 2001 - 2004” (DCAL, 2000)
“Face to Face” - A Vision for Arts and Culture in Northern Ireland (DCAL, 2001)
“Multimedia Ireland: Realising the Potential” (Forbairt, 1998)
“New Media in Northern Ireland: A Benchmarking Analysis” (Northern Ireland
Interactive Multimedia Association, 2000)
“Opening Up the Arts: A Strategy Review of the Arts Council of Northern Ireland”
(Anthony Everitt and Annabel Jackson, 2000)
“Out of Our Minds - Learning to be Creative” (Ken Robinson, 2001)
“Strategy 2010” - the Report by the Economic Development Strategic
Review Steering Group (DED, 1999)
“The Arts and the Northern Ireland Economy” (John Myerscough, Northern Ireland
Economic Council Research Monograph 2: 1996)
“Their Future in Our Hands - Proposals for Key Stage 4” (CCEA, 2001)
“Unlocking Creativity: A Strategy for Development” (DCAL, DE, DETI, DHFETE, 2000)
“Vision of the Way Ahead” (UFI, 2000)

46
 Department of Education
Department of Enterprise, Trade & Investment
Department of Higher & Further Education, Training & Employment

Department of Culture, Arts & Leisure

For copies of this publication or further information contact:

Rhonda Farmer
Creative Industries
Department of Culture, Arts and Leisure
3rd Floor, Interpoint
20 - 24 York Street
Belfast
BT15 1AQ

Tel. + 44 028 90 258949

Fax. + 44 028 90 258876
email: rhonda.farmer@dcalni.gov.uk

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