AmbITion Scotland Programme 2009-11 Evaluation Report

AmbITion Scotland (2009-11)

Programme impact evaluation conducted for Creative

Scotland

December 2011

AmbITion Scotland evaluation - Final report culturesparks.co.uk

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© Culture Sparks 2011 Suite 1/1, 6 Dixon Street Glasgow G1 4AX t : +44 (0)141 248 6864 e : [email protected] w : culturesparks.co.uk

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Contents

Executive Summary 4

1. Introduction 11

2. AmbITion Scotland programme overview 12

2.1 Strategic objectives 12

2.2 Desired Outcomes 13

3. AmbITion Scotland-Programme participants 14

3.1 AmbITion Scotland - In Partnership 14

3.2 AmbITion Scotland - In Association 18

3.3 AmbITion Scotland – InVolved 28

4. Evaluation Process 34

4.1 Aims and Objectives 34

4.2 Methodology 35

5. Findings from the evaluation research activity 36

5.1 Findings from Initial Qualitative Research with participants 36

5.2 Key Findings from the Mid-point Qualitative Group discussions with Participants. 39

5.3 Key Findings from Quantitative research with Partners & Associates. 47

5.4 Key Findings from research with Specialist Advisors.62

5.5 Summary of Key Findings from Online feedback from events. 73

5.6 Scottish Centre for Emerging Technologies 78

5.7 Summary of comments from the AmbITion Scotland Team. 79

6. Conclusions and recommendations 84

6.1 Conclusions 84

6.2 Recommendations 86

Appendix A 89

Overview of AmbITion Scotland Online activity 89

Appendix B 95

Appendix C - Partners & Associates Online survey Questionnaire 106


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Appendix D - Specialist Advisors Online survey Questionnaire 111

Executive Summary

The AmbITion Scotland programme 2009-2011(funded by Creative Scotland) had two strategic objectives - To promote a creative environment through digital development and to create a supportive environment for digital development - enabling wider access to a specialist knowledge base.

Based on the information gathered and contained in section 5 of this report, we consider that both of these objectives have been successfully achieved. This was particularly the case for Partners, and to a lesser degree with Associates (as could be anticipated). In addition the open events clearly engaged effectively with a broad range and high number of arts organisations in Scotland.

The programme ran from autumn 2009 until autumn 2011, and consisted of 15 Partner organisations (which were funded up to £50,000 each, subject to cohesive business cases, and which received 5 days business case development consultancy), 40 Associate organisations (which received 1 day of consultancy to complete a digital audit) and a series of supporting events, workshops, web casts and online resources, in which over 750 organisations and over 1800 individuals participated.

The objectives of the evaluation were to –

- Gather feedback and input from programme participants in the approach of ‘action research’, to assist with the refinement, development and execution (especially at the beginning and mid-point) of the programme to maximise the opportunity for organisations to obtain the full potential benefit from the programme.

- Gather feedback from participants who attended the open sessions, events and activities – identifying the level of relevance and interest of the session.

- Measure perceptions of the participants related to achievement the stated programme objectives (at the end of the programme).


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Additionally, feedback was also gathered from the Specialist Advisors / Consultants, and the AmbITion Scotland team, to include any insight and comments they wished to make in relation to the outcomes of the programme, and any learning for the future.

A combination of qualitative and quantitative methods were used, including –

- Individual qualitative depth interviews with organisations prior to the programme commencing.

- Qualitative group discussions with organisations at the mid-point.

- Post event, online evaluations (for each individual event). - Web analytics to provide statistical information on the

interaction and use of digitally based communication activity.

- End of programme quantitative surveys with Partners, Associates and Specialist Advisors to create the maximum opportunity for feedback from every organisation who participated. As the technology capability in each organisation increased during the programme, there was an increased use of technology based research techniques.

In addition video case studies were created and featured on-line (with participant permissions) illustrating the ‘learning journey’ of development and to serve as inspiration to others regarding the range and type of change possible. www.getambition.com

Key points from the mid-point Qualitative research

• Arts organisations were aware of their limited resources (time and money), when considering digital development in their organisation. AmbITion Scotland was considered to provide them the opportunity to build skills and carry out the digital development that they knew was needed.

• It was recognised that outside help could be extremely useful to help pinpoint where change is necessary and to prioritise focus. Some organisation didn’t know, what they ‘didn’t know’ and therefore required very early support.

• The range of existing skills, knowledge and capabilities amongst participants was noted (from ‘early adopters’ of technology to those organisations who were more hesitant and uncertain).

• Some instances of early collaboration had been lost when focus shifted to delivering individual business plans. This was regretted.


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• For participants only involved in webinars and road shows, AmbITion was successful in providing general information, knowledge and reassurance.

• Without any built-in mechanisms for following up after their consultancy period ended, some Specialist Advisers were left uninformed of progress or practical outcomes. More regular and ongoing contact could have proven useful in the case of the Partners, to assess whether organisations have progressed appropriately.

• The research structure (focus groups held in Glasgow) was considered limiting by those AmbITion Scotland participants who were unable to attend, for various logistical reasons.

In order to overcome this issue, it was considered appropriate to increase the use of technology in the research and evaluation process, removing any logistical / distance issues from the participation in the evaluation process.

The findings from this mid-point feedback were absorbed by the AmbITion Scotland team, which led to an increased number of skills development and training sessions. This included the development of Video Case histories and more online content.

Key points from the end of programme quantitative research with Partners and Associates

• A high proportion of Partners and Associates participated in the evaluation research making the findings very robust.

• Most had become aware through marketing by Creative Scotland (and previously, Scottish Arts Council), and many found the initial application process to be ‘challenging’ and ‘thought provoking’. The application process was considered to be ‘fair’.

• There were mixed experiences related to creating a ‘business case’ with equal numbers finding it ‘difficult’ and easy’.

• There is clear evidence that the Partners and Associates had obtained positive benefits from the programme (in line with the programme objectives). These included – - Improved levels of public engagement - Increased organisational efficiency - Improved and effective online audience participation /

communication


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- Development of content produced with digital tools, delivered over new digital distribution channels and consumed through digital services. In some cases this was described as “ more attractive” content

- Training staff and assisting boards / senior management to become more digitally aware

- Developing digitally based CRM / ticketing systems and web sites.

- Changing working practices - Raising technological capacity with integrated ICT

implementation

• The most common challenges were considered to be – - Lack of time (for key individuals within the participants) - Lack of resources (staff / money – especially Associates) - Steep learning curve - Staff changes in Partners / Associates, during the life of

the programme.

• The AmbITion Scotland team were highly valued, and the events, seminars, workshops and web-casts were all considered to have been very worthwhile.

Key points from the end of programme quantitative research with Specialist Advisors

• The selection process for Specialist Advisors and the initial application process were both considered to be ‘fair’, and most found the preparation of a ‘business case’ with participants to be ‘easy’.

• Specialist Advisors reported many of the same positive outcomes from the programme as were identified by the Partners and Associates.

• The AmbITion Scotland team were also highly valued – considered to be approachable, professional, responsible, knowledgeable and accountable, and ‘keeping the project on track’.

• The major challenges from their perspective were – - Associate company engagement (to either fulfil the one day

consultancy and / or to continue to develop their project without further support).

- Overcoming (what they perceive as) sector wide hesitation to engage with technology.

- Staff changes (at participating organisations). • Specialist Advisors suggested that clear criteria for success

at the outset of the process with the individual organisations would have been beneficial.

• There was an observation from Special Advisors that frequently practical and fundamental assistance was required by participants (as opposed to the assumed ‘high level


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consultancy’ only). This was occasionally reflected in the lack of detail in core business planning in some organisations, emphasising the need for greater early support.

Key points from the event evaluation quantitative research

• Attenders came from around 750 different organisations across Scotland, with over 1800 individuals either attending or viewing the content live online. The archived material has been accessed a further 11,000 times.

• Attenders included CEO’s (9%), Senior Managers (27%) and some Artistic Directors (3%) indication the broad spread of participant engagement with the subject matter.

• The majority (75%) considered the content of the activity to be both ‘ interesting’ and ‘relevant’

• Event management criteria such as location, venues, facilities and catering were all rated highly.

Key points made by the AmbITion Scotland team

• The team consider that the project has fulfilled its objectives.

• The pace of change related to ‘digital issues’ is thought to be relentless and it creates a demand for ongoing support as well as short term intervention of specialists.

• Regular contact and feedback from programme participants and stakeholders is important to keep evolving the nature and structure of support required to provide the maximum benefit to participants.

• They considered there is still substantial work to be done to educate many senior managers, and Artistic Directors/ CEO’s (and boards) in relation to fully harnessing the potential opportunities created as a consequence of digital technology development.

• A culture of sharing information, especially on less successful initiatives should be encouraged.

• The combination of skills within the project made a major contribution to its success – the mix of Specialist Advisors, Hannah Rudman’s technical expertise, and the light touch support and direction from Ashley Smith Hammond and Julie Tait of Culture Sparks.

• Longitudinal, academic evaluation should be applied to the programme as it seeks to deliver medium-long-term benefits.

Conclusion


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In order to evaluate whether this programme has achieved the objectives and aims, we have compared the individual objectives, with the evidence gathered via feedback from Partners, Associates, Specialist Advisors and individuals who attended the events.

Based on the information gathered and contained in section 5 of this report, we consider that both of the key objectives have been successfully achieved. This was particularly the case for Partners, and as could be anticipated, to a lesser degree with Associates. In addition the open events clearly engaged effectively with a broad range and very high number of arts organisations in Scotland.

Recommendations

These recommendations are made, in the event that the AmbITion programme be repeated, developed or extended at some point in the future.

• A number of organisations were frustrated and disappointed to

have missed the opportunity to participate fully as Partners. This applied to many Associates and a number of organisations who attended the events, and often related to not being aware of the project in the early stages or not having sufficient knowledge or time to prepare a more compelling application. The awareness issue could be addressed by an increase in marketing activity at the beginning of the programme.

• A ‘rolling’ process of applications across a longer time period would also increase the reach of the project with organisations being able to apply at the time appropriate to their organisational development, without a ‘single’ deadline for a limited competition.

• While the application process should be rigorous, and linked to the aims of Creative Scotland’s Cultural Economy programme, ideally the process should be simpler for applicants. A ‘light touch’ support process would be beneficial in generating ideas, refining thoughts prior to application.

• The variation in participation level (Partners up to £50,000 / 5 days consultancy – Associates no funding / 1 day consultancy), could be bridged with greater flexibility in the size / scope and funding level of individual projects.

• A number of organisations would have benefitted from

additional / specialist support at the very early stages of the application process in order to assist them in focussing


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on appropriate aims and objectives, and in the development of their application.

• Some organisations found the skills of their appointed

Specialist Advisor did not turn out to be an ideal fit. In some cases this was not identified to the Project team by the organisation. To overcome this issue a combination of increased assessment prior to appointment of Advisors, requesting ‘compatibility’ feedback once an Advisor is appointed, and allowing greater flexibility and/ or a greater number of Advisors who have a wide range of skills and experience in the culture sector, would be beneficial.

• Capacity (internally within organisations) and lack of digital knowledge and skills appear weak in many organisations. Therefore the challenge may be to assist organisation appreciate that they currently do not know, as part of the early work to assist the development of digital development. This relates not only to educating managers but perhaps also with support / underwriting of risk to encourage embracing change.

• Cross sector working can be highly effective, although bridges are required between the culture and creative industries by organisations and programmes such as Culture Hack Scotland, NESTA and Culture Sparks to signpost and facilitate.

• The ‘ning’ online social network was not as effective as

desired as a networking and communication tool across participants and Specialist Advisors and it became less effective as the programme progressed. Other online networking tools which offer greater integration should be considered.

• The ‘legacy’ resource is considerable and provision should be

made to ensure this continues to be accessible online.

• There was a desire from many participants to increase the extent of collaborate across different arts organisations. A forum to facilitate this demand should be considered.

• The anticipated benefits of including the Scottish Centre for Emerging Technologies in the programme were not obtained fully. This was due in part to changes in the funding and structure of SCET during the programme, organisations not having suitable projects and also the non-contractual relationship of their involvement. Therefore perhaps more formal agreements (e.g. service level agreement) between all associated organisations would help avoid any variations in


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expectations. (Note: It should be noted that SCET involvement was not funded via AmbITIon Scotland, - SCET is publicly funded by the SFC).

• Due in part to the self determined focus on IT infrastructure,

digital communication issues (including ticketing systems, web sites and social media activity) and Customer Relationship Management, there was less emphasis amongst the participants in relation to creative development / creative outputs with digital resources. This is perhaps logical in that the digital infrastructure needs to be in place before it can be utilised to fulfil creative potential, but it could be encouraged more strongly in the future with stronger marketing / increased consultancy emphasis towards Artistic Directors to help unlock digital potential.

Note: For information. The programme has submitted monthly progress reports to Creative Scotland throughout the project. In addition the individual recipients of Partner funding are required to provide direct reporting and evaluation to Creative Scotland with regard to the use of the funds received.

1. Introduction

This document has been prepared to summarise the evaluation activity which was commissioned by Creative Scotland in relation to the AmbITion Scotland programme. This programme was launched in Autumn 2009 and concluded in Autumn 2011.

In this report we will set out the aims and objectives of the project and provide comment on the achievement of the objectives.

Evaluation research was conducted amongst participants, Specialist Advisors and attendees at the events within the programme to provide a broad and detailed overview.

The Culture Sparks staff members who conducted the evaluation research were not involved in the delivery of the AmbITion Scotland programme, and provide an independent perspective. However, they did benefit from a close understanding of the programme from colleagues, and attendance at a number of events.

This document compliments the regular monthly / quarterly reports submitted to Creative Scotland by the AmbITion Scotland team, and does not repeat that information.


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James Law

Associate Partner

Culture Sparks

December 2011

2. AmbITion Scotland programme

overview

2.1 Strategic objectives

The AmbITion Scotland programme was underpinned by two strategic objectives:

A. To promote a creative environment through digital development - AmbITion Scotland set out to provide expertise and support for Scottish arts organisations over 18month period to stimulate change by developing and exploiting the use of digital technologies across all areas of their organisation and artistic practice. It was envisioned that by fully engaging with AmbITion Scotland, arts organisations would build their own knowledge, access specialist support networks, and develop methods to engage new and more loyal audiences and plan for growth.

AmbITion Scotland aimed to encourage the leadership and staff within the arts sector to develop the use of digital


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technologies enhancing an organisation’s own technical abilities and capacity, harnessing the benefits of knowledge and best practice in this rapidly expanding area.

B. Create a supportive environment for digital development - enabling wider access to a specialist knowledge base

AmbITion Scotland was designed to bring together, arts practitioners and researchers, leading thinkers, business and digital experts throughout the programme. It set out to consider creativity, artistic vision, business model development, audience development and organisational development in light of digital technologies and support arts and culture businesses to use them to innovate and respond to a fast changing, consumer driven, technological environment.

The programme was designed to draw on the past experience and significant repository of best practice case studies resulting from the AmbITion England project and to offer participation in a widespread programme of professional development events and seminars. These were aimed at facilitating knowledge transfer amongst Scottish organisations, - locally and nationally - and intended to create a professional support networks to last long after the programme ended.

2.2 Desired Outcomes

A. Increased organisational effectiveness in arts organisations through:

• significantly raised technology capability and integrated ICT implementation

• changed working practices, job roles and organisational / operational structures following the implementation of digital development

• efficient, integrated, digitally-based customer relationship management systems; ticketing systems; websites; fundraising and other databases


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• trained staff, ‘digitally literate’ boards, and skilled senior management teams in the implementation of new technologies, business and artistic practices

B. Improved levels of public engagement with the arts

through:

• organisations acquiring better knowledge about existing audiences

• organisations developing more attractive content that potential audiences can easily find

• organisations being enabled to provide equitable access to content for anyone with a connection to the internet, including those with mobility, hearing and sight impairments

• audiences being able to participate and communicate with arts organisations effectively and deeply online

The programme was developed and delivered by the AmbITion Scotland team consisting of Julie Tait, Culture Sparks (Glasgow Grows Audiences), Hannah Rudman, Rudman Consulting, and projectmanager Ashley Smith Hammond.

3. AmbITion Scotland-Programme participants

There were three levels of engagement within the AmbITion Scotland programme:

3.1 AmbITion Scotland - In Partnership


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This was the most in-depth change management aspect of the programme. Organisations from across Scotland made bids into a competitive fund (for up to £50,000) to support change in their organisation throughout a 12 – 24 month process, with five days of support from an external Specialist Advisor / consultant. Fifteen arts organisations were selected to participate at partnership level.

- Arika Heavy Industries - Artlink Edin & Lothians - Catherine Wheels Theatre Company - Cove Park - Craftscotland - Cumbernauld Theatre Trust Limited - Edinburgh Printmakers - Helmsdale Heritage & Arts Society (Timespan) - Horsecross Arts Ltd - Promoters Arts Network - RSAMD - Scottish Poetry Library - Stellar Quines Theatre Company - Taigh Chearsabhagh Trust - Woodend Arts Association & sound festival The details of the scope of each of the projects are contained in the following table. It should be noted that as the individual projects evolved there were some changes in emphasis and details to fit with evolving priorities and / or opportunities.

Applicant Organisation, Location, Specialist Advisor

Original Project Description Final project description


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Arika Heavy Industries, Edinburgh, Anne Bonnar

To increase our ability to deliver on our core aims of engagement with experimental ideas in art via organisational development and extended engagement activities.”

To increase artistic experimentation, enhance public engagement and develop more sustainable operational systems through web redevelopment, content creation and management, new customer relationship management, event management and operational systems development

Artlink Edin &Lothians, Edinburgh, Beth Aplin

“Artlink has a unique opportunity to significantly increase the engagement of disabled audiences with the arts by establishing networks of experience using digital technology through forming strategic partnerships with key organisations”

Further research and development of a public facing customised digital solution linked to EPPP technology designed specifically for visually impaired, deaf and hard of hearing audiences of the arts in Edinburgh & the Lothians, informed by their experiences, and in collaboration with arts providers and access practitioners

Catherine Wheels Theatre Company, East Lothian, Abigail Carney

"embed an integrated approach to digital development across the organisation, focussing on enhanced audience experience and direct sales to venues and promoters."

To develop a fully integrated digital public engagement programme and increase the organisational operational efficiency through brand consolidation and web redevelopment to include range of virtual resource spaces aimed at key audiences

Cove Park, Argyll & Bute, Blether Media, later sulimented by Hannah Rudman

" ensure that our remoteness remains inspiring and not isolating, we will embed digital development to sustain our resilience and build artistic and wider communities"

Embed digital development to increase resilience and build artistic and wider communities through web redevelopment, social media marketing, improved digital systems use organisationally and integrated staff training programme

Craftscotland, Edinburgh, Mike Greenwood

“We aim to allow: audiences to engage with the craft sector, us to understand our audiences, a positive shift in the way we support the craft sector and the generation of income.”

Web redevelopment to increase audience participation, provided dedicated resources for a community of makers through new digitally enabled subscription package, introduce new customer relationship management, an online shop and build sustainable skills and working practices

Cumbernauld Theatre Trust Limited, North Lanarkshire, Anne Bonnar

"An online audience interaction programme will be developed, to engage extant and emerging audiences in a sustained digital exchange throughout a series of live performances."

Deliver a dynamic audience development programme enabling artists and audiences to connect and collaborate using digital tools on redeveloped website, including a digital rehearsal space and an online sales facility; integrate customer relationship marketing with new box office system, aligned to a staff training programme and improve operational efficiency through purchase of new IT equipment


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Edinburgh Printmakers, Edinburgh, Taylor Nuttall, later supported by Hannah Rudman & Chris Elvery

We want to:- A) enhance our operational effectiveness by employing digital systems to automate administration systems related to financial, commercial, evaluation and communication activities. B) develop digital content to engage a broader public in our activities, services and products.

Undertake web redevelopment to incorporate online booking system and online sales of stock linked to new stock management system; an online forum and social networking; development and delivery of rich media; and to research the use of an online game to exploit EP's archive

Helmsdale Heritage & Arts Society (Timespan), Highland (Sutherland), Adrian Lear

"Timespan will create an online meeting place; linking culture, heritage, people and their ideas by enabling an exchange of digital information in this remote area."

Undertake web redevelopment including an online meeting place; a social network to develop a creative community; facilitate digital content production and exploitation and undertake a digital development staff training programme

Horsecross Arts Ltd., Perth and Kinross Roger Tomlinson

“Working smarter by harnessing, connecting and augmenting existing digital systems to improve internal management processes, enhance audience understanding and develop communication of artists with audiences.”

Undertake web redevelopment to enable deeper audience engagement, create new digital content and develop integrated event planning and customer relationship management systems

Promoters Arts Network, Isle of Mull, Danny Meaney

“To make web 2.0 functionality the primary mechanism by which PAN enables communication, support and advocacy for its membership of rural voluntary arts promoters.”

Utilise web 2.0 technology to deliver core organisational objectives through population of content, publicising and moderation, development of a bespoke social network platform and delivery of digital literacy training and support for membership

RSAMD, Glasgow, Sarah Gee

“To embed a digital culture throughout the Academy from learning through to practice through to delivery and audience engagement and interaction.”

Create www.rsamd.tv (working title), a repository and social network website, and undertake further research and strategy development

Scottish Poetry Library, Edinburgh, Ewan McIntosh

"To create a model poetry resource - innovative, imaginative, integrated and sustainable - reaching a wide range of users, while also expanding the SPL s income-generating capacity."

Expand and consolidate web 2.0 practice, redevelop website, introduce open source library management system and customer relationship management; generate new revenue through development of a digitally enabled Friends scheme


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Stellar Quines Theatre Company, Edinburgh, Jane Hogg

“To become an entrepreneurial hub for female-centric theatre in Scotland, creating new projects, training opportunities and connections with audiences and collaborators worldwide through digital technology.”

Create a virtual hub for women in theatre driven by a revamped content management system, website with new rich digital content, a creative lab for artists and audiences and a digital learning programme

Taigh Chearsabhagh Trust, Outer Hebrides, Hannah Rudman

"Taigh Chearsabhagh aims to break away from the boundaries of location and communicate its creative message to a larger audience."

Undertake web redevelopment with integrated content management and customer relationship management systems, enhance digital media output and develop more strategic social networking practice

Woodend Arts Association & sound festival, Aberdeenshire, Dave Cummings

"Woodend Barn and sound aim to create a rural digital hub including remote networking possibilities, interactive audience and partner communication and external digitally transmitted events."

Create a digital hub in North East Scotland, streaming otherwise inaccessible events at Woodend Barn; undertake web development to enable distribution of interactive, rich content; and undertake IT upgrade and systems development

Note: These Partner organisations were required to submit individual reports directly to Creative Scotland regarding the use of the funds awarded.

3.2 AmbITion Scotland - In Association

Organisations who were unsuccessful in the full bid process had the opportunity to benefit from a one-day diagnostic session from a Specialist Advisor / consultant who provided advice to develop their ideas further. The desire was that they would be able to


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action their initiatives within their own resources or seek alternative sources of support to implement their plans.

Forty arts organisations were selected to receive Associate level support which included 1 day of consultancy, and opportunity for additional support from SCET1 (Scottish Centre for Enabling Technology). This was hoped to include the potential for feasibility consultancy, prototyping and / or support via an intern to assist progress, should the Associates choose to take up these opportunities.

Aberdeen International Youth Festival

Aberdeen Performing Arts

An Lanntair

Booth Scotland Ltd Citizens Theatre Collective Gallery

Dance Base Ltd Dance Ihayami Deveron Arts

Dundee Contemporary Arts

Dundee Rep Theatre Giant Productions

Glasgow Photography Group / Streetlevel Gallery

Glasgow Women’s Library

Greenock Arts Guild Limited

Inverleith House, Royal Botanic Garden Edinburgh

Macrobert / Tolbooth National Youth Orchestra of Scotland

New Moves International Limited

North East Arts Touring

Out of The Blue

Peacock Visual Arts Poor Boy Theatre Company

Promote YT (Scotland)

Puppet State Theatre Company

Regional Screen Scotland Ltd

Scottish Music Information Centre

Scottish Youth Theatre Shetland Moving Image Project

Smallpetitklein Dance Company Limited

Stills The Travelling Gallery

The Work Room

Theatre Cryptic Traverse Theatre (Scotland) Limited

Tron Theatre

Visible Fictions Wasps Artists’ Studios

Wee Stories

Y dance (Scottish Youth Dance)

1 SCET was not funded via the AmbITion Scotland project, but is publicly funded by SFC and offered to support

the project and participants.


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Applicant Organisation, Location, Specialist Advisor

Original project description

Project undertaken & described in Mini Audit

Aberdeen International Youth Festival, Aberdeenshire, Dave Cummings

To develop digital management and in-house design systems, e-commerce capabilities. Social media, SMS and e-marketing audience engagement. Produce more live streaming, podcasting and interactive opportunities.

AIYF aim to make the following changes: updating hard and software systems; an upgraded website informative and engaging for audiences; and a robust IT system that can grow with the organisation.

Aberdeen Performing Arts, Aberdeen, Roger Tomlinson

Engage, communicate and entertain through online streaming, projection and multi-media displays showcasing our performing arts to new and existing audiences creating an ambitious arts experience.

Specification development - personalisation, segmentation and tailoring which the system(s) will need to achieve, together with the rich content and dialogue and inter-action desired by APA. Followed by: Website re-development; Ticketing and marketing CRM systems; Rich Content Creation Tools and Resources

An Lanntair, Isle of Lewis, Hannah Rudman

To increase meaningful participation in the arts through greater programmed integration, more digital content production, dynamic access to and distribution of content and increased participation in project work and information through the education and outreach programmed.

We would like to keep things as simple as possible, enhancing our web presence and making it more interactive. This would include a better online sales offer and the introduction of things like download-able worksheets/gallery packs etc for schools/community groups, ultimately contributing to a bigger online resource for educational activities. Also, increasing the amount of video and audio material, interviews with artists/musicians, virtual gallery tours etc, that is produced in-house as an added extra to our other activities.

Booth Scotland Ltd., Inverness, Jane Hogg

To provide an innovative and interactive platform for arts and cultural organisations to communicate with their audiences more effectively; bringing the arts sector and arts audiences closer together.

Note: this project has not yet been complete due to exceptional circumstances and an extension has been granted to Spring 2012.

Citizens Theatre, Glasgow, Roger Tomlinson

To create a seamless online experience for audiences that brings together the interactivity of our website with a new online ticketing experience that is personal, efficient and builds loyalty.

"Roger Tomlinson spent a day with The Citz team to define the Functionality Specification for a new ticketing and CRM system. After the one day consultancy, the Citz agreed to share the process of procuring a ticketing and CRM solution, and with the assistance of Culture Sparks and a sharing of the costs, Roger Tomlinson was engaged to advise and manage


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the process."

Collective Gallery, Edinburgh, Taylor Nuttall

Collective will implement a programme of web-based participation to develop audience engagement and inform organisational development. A public panel of web users will evaluate and comment on the research, development and framing of individual projects.

The idea is to improve our offer to participants, artists and audiences by being able to offer more connection between the programme and people... Overall improved web functionality, web maintenance (more control of content management system), podcast episodes (is there a better way then podOmatic, direct through Collective’s website), text messages to/from Collective audience.

Dance Base Ltd. Edinburgh, Blether Media

To develop new audiences and further Dance Base's achievements in CRM & digital technology by producing online video content.

Due to internal capacity issues Dance Base withdrew from AmbITion Scotland

Dance Ihayami, Edinburgh, Cameron Leask

Develop a website that's an interactive platform to advertising to audiences and clients, giving us the opportunity to promote ourselves to the widest market available.

We want a website with a suitable content management system and client records management system that is an interactive (company and users) business, operational and audience development tool, which will: Generating income; Increase engagement of public with DI; support collaborations and partnerships; Create an audience asset; Create a ‘virtual administrator’; Project a professional image of company.

Deveron Arts, Aberdeenshire, Chris Elvery

Deveron Arts aims to significantly improve opportunities for bringing our artistic work, rooted in Huntly's community, to a global level trough international networking and critical engagement.

The majority of the conversation and the focus of the adviser's time was around helping Deveron to develop a new online marketing strategy including the development of a website with Content Managed facilities to allow them to control the output (this has been difficult and problematic in the past).


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Dundee Contemporary Arts, Dundee, Danny Meaney

To grow an increasingly rich and live interactive dialogue between our visitors, customers and artists by more effectively using rich media and personal content generation.

(1) A targeted piece of market research to assess third level students’ (FE/HE) entertainment preferences and how they make decisions with relation to cinema entertainment. (2) A short desk research exercise to look at what other cinemas are doing – suggest technological requirements for development in conjunction with a primary research activity using an online survey with existing cinema Twitter followers.

Dundee Rep Theatre, Dundee, Mike Coulter

To create an online creative community through an internal intranet and an external social networking platform that encourages audience engagement with all Dundee Rep’s activities.

Due to internal capacity issues Dundee Rep withdrew from AmbITion Scotland

Giant Productions, Glasgow, Chris Elvery

Developing our digital needs from simple everyday tasks through to a new web based arts project for children and artists.

1. Given the haphazard state of our current IT set up, this needs to be the priority in terms of time and money. 2. As part of this we want to look at CRM solutions because at the moment all our contacts and databases are split across several different excel spreadsheets and we have no organisation way of keeping track of correspondence etc. 3. If there is time we would like to look at pointers towards a digital strategy.

Glasgow Women’s Library, Glasgow, Ewan McIntosh

"An online community for learners and learning practitioners, providing a safe, supported, online environment for knowledge-sharing and creativity for women across Scotland."

SHORT TERM (1) ensure that all staff are confident in both the practical techniques and the rationale behind our use of both our revamped website and the different social networks (2) guidelines for our online engagement. MED TERM (3) use volunteer team to contribute to our website and social networks (4) develop our online digital resources as part of our social enterprise development LONG TERM (5) increase the level of digital content on our website drawing on both the Library collections and the lifelong learning

Greenock Arts Guild Limited, Inverclyde, Danny Meaney

To create a benchmark for best practice in the use of accessible technologies that engage and empower audiences and enhance operational and sales efficiency.

The project is the design and implementation of the technology roadmap for the new building


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Inverleith House, Royal Botanic Garden Edinburgh, Edinburgh, Chris Elvery

Development and modernisation of IT infrastructure to ensure that Inverleith House remains contemporary and accessible while promoting meaningful engagement with our exhibitions and events programme.

Inverleith would like to develop a separate website for Inverleith House (albeit linked to the Royal Botanic Gardens website). The production of such a website would allow the showcasing of exhibitions. Would also like to develop tours/ exhibition information that could be made available as an application on mobile 'phones.

Macrobert / Tolbooth, Stirling, Dave Cummings

To understand, develop and engage with the audience for the arts in Stirling, through the shared use of integrated online, box office and CRM technology.

TOLBOOTH: We wanted to use our consultancy day to evaluate our current online communications. Looking at best practice and gaining an insight as to which areas to develop. Aim to achieve a better understanding of how to maximise the return of social communication through the use of limited resources in response to budget cuts. MACROBERT: The consultancy will be used to evaluate the effectiveness of our current social media and web activity, to bench mark it against other organisation based on the consultant’s experience and to draw possible ideas for improvement.

National Youth Orchestra of Scotland, Glasgow, Mike Coulter

We wish to develop a new website to enable us to become more interactive and accessible in our communications strengthening public engagement and benefiting a wide audience.

Due to internal capacity issues NYOS withdrew from AmbITion Scotland

New Moves International Limited, Glasgow, Hannah Rudman

The development of a digital programme and online archive that will work with the existing National Review of Live Art (digitised archive University of Bristol’s Theatre Collection). a one-year post (Digitisation Technician) at the University of Bristol to complete the digitisation of the NRLA up to and including the 30th anniversary edition, plus a 3-year position (Head of Digital Research & Development) within the company developing the NMI website to accommodate an exciting new digital programme and online archive.

Due to internal capacity issues New Moves withdrew from AmbITion Scotland


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North East Arts Touring, Aberdeenshire, Abigail Carney

Through digital technology, NEAT will become a more active and connected network interacting with promoters on a higher level, developing their skills, thereby developing audiences.

To enable rural and community venues to sell tickets and record details of audiences digitally in an easy to use and compact way; and to utilise the data in the same way as larger venues with full box office systems. NEAT wants to design a hand held device (that could be compared to chip and pin machines, or train conductors ticket machines), that would run a CRM box office software programme.

Out of The Blue, Edinburgh, Mark Daniels

We aim to create a virtual shop window for the work and services of artists and creative industries housed in OOTB studios.

To develop and engage new audiences through the use of digital media technologies and to improve OOTB’s branding and online presence.

Peacock Visual Arts, Aberdeen, Mike Coulter

Improve our use of digital technology better to deliver our artistic vision, make us more effective and to give audiences more opportunities for active engagement.

Due to internal capacity issues Peacock withdrew from AmbITion Scotland

Poor Boy Theatre Company Angus, Blether Media

Developing use of technology to improve communications, increase organisational effectiveness, establish and engage new audiences and make space for creation of new creative content… During our work with digital artists during Playrooms it became apparent that other creative practitioners expected a higher level of digital outputs, equipment, literacy and expertise on Poorboy's part.

Needed to streamline & implement basic critical business systems.

Promote YT (Scotland), Edinburgh, Mike Coulter

To create a web portal that serves the diverse stake holders in Scottish youth performing arts providing information, empowerment and growth opportunities to the sector.

In the short-term we wish to create the basic structure of a portal site which would have the following benefits: A ‘youth’ micro-site; A ‘practitioner’ micro-site, with online foruming; A ‘public’ micro-site. In the medium to long-term we would look to appropriately resource and maintain the portal site in order to meet the changing needs of the sector.


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Puppet State Theatre Company, Edinburgh, Abigail Carney

Puppet State Theatre Company aims to develop more mobile, virtual and integrated operations, sensitive to the needs of audiences.

We would like to use digital media to lever our organisation’s capacity to work as a small Scottish theatre company and develop our work and our profile at home and internationally: a) Promotionally: building merchandise sales and multimedia content into an improved, more accessible website; b) Administratively: as a small team honing our virtual office capabilities; c) Artistically: digital developments are likely to be at the heart of future shows

Regional Screen Scotland Ltd Scottish Borders, Mike Coulter

Regional Screen Scotland aims to develop digital methods and systems tailored to the challenges of communicating and interacting with cinemagoers in rural and remote communities."

Commissioned and jointly developed a new web site for Regional Screen Scotland & a separate site for the Screen Machine (with integrated ticketing and mapping) using Wordpress. Started using MailChimp, Facebook, twitter, flickr. Transferred staff accts to google mail.

Scottish Music Information Centre, Glasgow, Sarah Gee

To revolutionize the ways in which the Scottish Music Centre presents and delivers the material in its collections to a world-wide audience

SMC wants to present online resources more coherently, with more context with accompanying interpretive materials tailored to different kinds of user, and potentially accessed in a range of formats via a range of devices. it will integrate of newly-digitized sheet music and recordings into SMC’s website, and online catalogue, allowing users to directly view and/or listen to these resources online. Then create more educational materials around this resource.

Scottish Youth Theatre, Glasgow, Chris Elvery

Development of digital information and communication technologies, comprehensive database and record keeping systems integrated with communication applications to support effective communications and efficient operations.

Development and segmentation of customer communications across existing digital platforms. Design, implementation and evaluation of new digital platform specific to 15-25s audience. Development and streamlining of existing platforms in line with user-focused digital communications and marketing efforts.

Shetland Moving Image Project, Shetlands, Hannah Rudman

To establish and develop a virtual, interactive, globally accessible digital archive of heritage and contemporary moving images.

This project is in its infancy and is currently unfunded and the project leaders are not yet constituted in any way as an organization. Therefore they don't have any IT or confirmed plans for IT. Next steps described in SMIP Feasibility study and project plan.


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Smallpetitklein Dance Company Limited. Dundee, Jane Hogg

Our ambitious aim ensures digital technology is embedded at the heart of our organisations activities, discovering new ways to engage, interact and connect with audiences.

We would like to stream one our performances over the internet to allow new ways of discovering our work. We want to create a buzz about our work by getting our dancers to provide video blogs during the rehearsal process and back stage access at our performances. We want to develop an app that will serve as an interactive teaching resource. We would want to develop a generic template for this teaching resource that can be updated with information regarding current touring programmes over the years. Through this app participants would be able to book and pay for our range of community classes and receive a small discount by booking in this way. We would like to develop a new, more interactive website that suits both a younger and adult audience.

Stills Edinburgh, Mike Coulter

Stills will grow audiences through: a CMS to host critical and artistic content, an integrated toolbox to improve administrative capacity, and an online social network.

This digital developmental process aims to position Stills at the cutting edge of digital developments, equipping us to exploit new technologies as and when they occur. Not only will it improve organisational efficiency and engender an open-source ethos, it will also provide the platform for Stills to be a leader in integrating creative digital arts practice within real and virtual contexts. Stills will be well-positioned for major national and international partnerships, providing creative and critical exchange at the highest level.

Streetlevel Gallery (Glasgow Photography Group), Glasgow, Mark Daniels

Street Level will develop its current digital capacity to enhance organisational effectiveness, artistic production and to extend learning on the work of the gallery.

Social media changes & strategy creation / implementation; Change website to an CMS system w a customised skin & search function (w staff support & training). Long term: host artists projects online; Design and integration of 'widgets' (task specific custom plug-ins) to bolster social networking, buying online, mailing list management, user input etc.

The Travelling Gallery Edinburgh, Mark Daniels

To increase the accessibility of the Travelling Gallery programmes and tours, to raise our profile locally, nationally and globally and to streamline our organisational procedures.

Mobile broadband/online facilities on TG: for organisational uses & for artistic programming. Website developed to be more interactive. Marketing through social networking etc.


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The Work Room Glasgow, Mark Daniels

To develop an interactive digital forum for artists which: provides space for debate and sharing of information, online resources, international networking, and remote collaboration.

Note: the consultancy was completed in March 2011, however, despite chasing on a number of occasions, confirmation of the outcome of the activity has not been obtained from The Work Room..

Theatre Cryptic, Glasgow, Blether Media

Cryptic aims to retain and enhance the audiences experience of a Cryptic event by rewarding their loyalty through providing personalised digital ‘Cryptic Treats’.

Cryptic treats delivered via QR codes

Traverse Theatre (Scotland) Limited, Edinburgh, Chris Elvery

A 21st Century Customer Relationship Management system, with a dynamic website at its heart, ensuring that digital communications become the dominant communications channel at the Traverse

Traverse Theatre has a website (www.traverse.co.uk) which was designed as a temporary measure and is no longer fit for purpose. Some of the issues, were well known to the current developer who will also be part of this process. The Traverse would also like to develop a strategy for wider digital communications, including new content development (video, audio etc.), maximisation of social networking and integration and use of other innovations for exploitation of content.

Tron Theatre, Glasgow, Dave Cummings

To develop a fully integrated ticketing and online operation, running from a single database, which allows for greater customer relationship management and increased organisational efficiency.

Integrate our existing social media activity through creation of a blog to maximise the potential for reaching the widest audience possible; creating active engagement with our customers and a more far-reaching digital audience. Introduce a system for tracking, reporting and monitoring this online activity and for monitoring the impact of increased online activity on box office and catering revenue

Visible Fictions Glasgow, Mike Coulter

By creating an interactive online community we will give a voice to all who interact with us, becoming a leader in online audience development strategies.

Utilise social media to reach, communicate and inspire our target markets. As a rapidly increasing network, VF is excited by the creative ways in which to use social media

Wasps Artists’ Studios, Glasgow, Cameron Leask

To engage and energise Wasps national community of artists and build one-to-one relationships with Open Studios attendees and the wider public

To use digital technology to build a strong online community of Wasps’ Artists and to develop an all-year-round relationship with Wasps Open Studios Weekend attenders and our wider mailing list.


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Wee Stories, Edinburgh, Chris Elvery

Streamline existing IT systems with regards to on site and remote access and review and expand the use of digital media in engaging with audiences.

1. Requirement for a more customer focussed website which allows greater engagement 2. Improved infrastructure

Y dance (Scottish Youth Dance), Glasgow, Cameron Leask

YDance would greatly increase it’s effectiveness in all aspects of its business through the introduction of a centralised customer relationship management system.

The adoption of a centralised customer relationship management system for the whole organisation

3.3 AmbITion Scotland – InVolved

Other arts organisations across Scotland were invited to sign up, contribute to and draw from the knowledge base from the programme’s inception. This was intended to provide access, on and off line, through a regular programme of events, training and networking and further skills transfer. It was planned that Scottish cultural organisations would benefit not only from the AmbITion Scotland activity but also from the original information and network created through AmbITion [England]. This was a self-selecting group, who responded to open invitational marketing by email, and word of mouth across the sector, and direct invite by the AmbITion Scotland team. A programme of 30 separate events took place over an 18 month period.

The following activity and events were undertaken -

Date Event Speaker(s) Attendees

Online Viewers

On demand Viewers

28/01/10 Getting Digital Introductory Half Day Edinburgh

Kyle McRae (Blether Media), Hannah Rudman, AmbITion

36 7 126

04/02/10 Getting Digital Introductory Half Day Glasgow

Kyle McRae (Blether Media)

51 N/A NA


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10/03/10 Inverness Getting Digital Roadshow

Bill Thompson (BBC) Jane Hogg (Arts and Theatres Trust Fife) James Wooldridge (Ludus Dance)

50 18 JH – 11 JW - 9

06/05/10 Dundee Getting Digital Roadshow

Prof. Paul Harris (University of Abertay) David Stark (RSNO) Clive Gillman (DCA)

30 17 903 total

27/05/10 Stirling Getting Digital Roadshow

Ewan McIntosh (No Tosh, 4IP) Andy Catlin (Queens Hall) Julia Denby (GLOW) and Paul Gorman (Visible Fictions)

49 45 JF & PG – 291

AC – 384 EM - 722

10/06/10

Edinburgh Getting Digital Roadshow

Bill Thompson (BBC) Katy Beale (Tate) Martin Reynolds and Faith Liddell (Festivals Edinburgh)

82 25 BT – 672 FL/MR – 439 KB - 738

25/02/10 Webinar 1: Listening Online

Mike Coulter (Digital Agency)

32 17 21

25/03/10 Webinar 2: Talking Online

Chris McGuire (Occupancy Marketing)

27 24 9

22/04/10 Webinar 3: Tracking Impact

David Sim (Open Brolly & 4TM)

31 50 659

29/07/10 Webinar 4: Mobile

Gavin Dutch (Loc8 Solutions)

24 50 1643

16/09/10 Webinar 5: Managing Multiple Accounts

Damien Smith (ISO) 29 44 205

21/10/10 Webinar 6: E Copywriting

Jonathan Melville (Reel Scotland)

30 64 198

2/11/10 AmbITion Scotland Networking Day

Facilitator: Ben Young Speakers Hannah Rudman and Andrew Akhtar (SCET)

50 na NA

18/11/10 Webinar 7: CRM

Roger Tomlinson 21 57 382

10/1/11 Host Your Own – Stellar Quines, Hands On Audio Visual

Hannah Rudman & Erin Maguire

6 NA NA


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Filming And Editing

4/2/11 Spring Training 1 – Google & Facebook


14 NA NA

22/2/11 Spring Training 2 – Rich Media


11 NA NA

23/2/11 Webinar 8 – Open Data (with Festivals Innovation Lab)

Roland Harwood & Ben Werdmuller

40 30 708

1/3/11 Host Your Own – Woodend Barn, Practical Copywriting for Online Channels

Sam Thom 8 NA NA

18/3/11 Host Your Own – Deveron Arts, Open Source Design Tools

Dan Austin 7 NA NA

25/3/11 Host Your Own – Giant, Digital Marketing Strategy

Chris Elvery 7 NA NA

18/3/11 Spring Training 3 – operational effectiveness


6 NA NA

30/3/11 Digital 2011 (in partnership with Interactive Scotland & SCET)

Various 300+ 40 Am – 985 Pm – 400

Panel - 606

31/3/11 Digital 2011 CEO Breakfast (in partnership with Interactive Scotland &

NA 40 NA NA


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SCET)

1/4/11 Host Your Own – Scottish Music Centre, Practical introduction to field recordings, soundwalks and soundmaps.

Ian Rawes (UK Sound Map) Tim Nunn (theatre maker and artist) Tim Cooper (composer and sound designer)

29 NA NA

6/4/11 Host Your Own – Cryptic, Advanced Twitter Training

Mike Coulter 10 NA NA

15/4/11 Spring Training 1 – Google & Facebook


5 NA NA

20/4/11 Host Your Own – Stills, Social Media workshop

Barry Dewar 12 NA NA

25/5/11 Spring Training 2 – Rich Media


11 NA NA

1/6/11 Names and Faces – networking

NA 7 NA NA

2/6/11 Spring Training 3 – operational effectiveness


12 NA NA

6/7/11 Webinar 9 – Copyright & IP

Ken Marr (Targeting Innovation)

26 65 363

6/7/11 Names and Faces – networking Edinburgh

NA 13 NA NA

3/8/11 Names and Faces – networking Glasgow

NA 4 NA NA

7/9/11 Webinar 10 – Five Minute Theatre, content

Marianne Maxwell (NTS) Robert Dawson Scott (STV.TV) Hannah Rudman

51 68 558


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partnership case study (in association with Glasgow School of Art)

(Envirodigital)

7/9/11 Names and Faces – networking Glasgow

NA 12 NA NA

5/10/11 Names and Faces – networking Edinburgh

NA 2 NA NA

18/11/11 Webinar 11 & Workshops – Digital Fundraising (in partnership with Arts & Business Scotland and in association with Glasgow School of Art)

Sarah Gee (Angel Shares) Rachel Beer (Beautiful World)

45 49 -

Total Total number of attenders at events 1220

Total number of live webcast viewers 602

Total number of online views ( to Nov 2011) 11,032

A total of 745 different organisations (and over 1800 individuals) participated in this aspect of the programme, with the archived online material being accessed over 11,000 times. The names of these organisations are shown in appendix 1.

In addition to the events, a number of other resources were developed as part of the programme. This included a series of web sites, ‘How to...’guides, social marketing tools, and video mini case studies developed as a result of feedback research to assist with skills development and communication issues.


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Resource Purpose / focus Author Usage statistics

Getambition.com Central information forum and signposting

AmbITion Scotland team

Visits 26406 Absolute Unique Visitors 16465

Resources.getambition.com

Searchable, usable receptacle for AmbITion Scotland learning materials


1845 visits

1133 unique visitors

(period 15/9/10-31/10/11)

Toolkit.getambition.com

Resource to guide users through the “AmbITion approach” of organisational change


1702 visits

1102 unique visitors

(period 1/1/10-31/10/11)

Connections.getambition.com

Searchable, useable database of participants in the AmbITion Scotland programme & their areas of digital work


317 visits

190 unique visitors

(period 1/2/11-31/10/11)

Getambition.ning.com

Social network for arts organisations interested in digital development


769 members (3/11/11)

Facebook.com/getambition

Social network for arts organisations interested in digital development – alternate platform


380 lifetime likes

128,596 post views

(period 1/1/10-31/10/11)

Twitter.com/getambition

Social network for arts organisations interested in digital development – alternate platform


1932 followers (3/11/11)

1696 following (3/11/11)

1005 tweets (1/11/09-31/10/11)

1492 tweets total (3/11/11)

Flickr.com/getambition

Photos from AmbITion Scotland events


8407 views

How To Guide 1 Webcasting Hannah Rudman 70 (unique page views)

How To Guide 2 Geolocation Ewan McIntosh 149 (unique page views)

How To Guide 3 Implement CRM Roger Tomlinson 175 (unique page views)

How To Guide 4 Open Source Marcus Wilson & Hannah Rudman

286 (unique page views)

Mini Case study Cryptic AmbITion Scotland team

30*

Mini Case study Promote Youth Theatre


32*

Mini Case study WASPS AmbITion Scotland team

33*

Mini Case study Giant AmbITion Scotland team

12*

Mini Case study Citizens theatre AmbITion Scotland team

31*

Mini Case study Stills AmbITion Scotland team

53*

Mini Case study Regional Screen Scotland


68*

Mini Case study ATT Fife AmbITion Scotland team

78*

Mini Case study Woodend Barn AmbITion Scotland team

83*

Case Study video Stellar Quines AmbITion Scotland team

131*

Case Study video ATT Fife AmbITion Scotland team

101*

Case Study video Taigh Chearsabhagh


128*

Partner webcast – AMA Conference

20/7/11 Jerry Yoshitomi (Meaning Matters(, Matthew Cain ( Channel 4), Will McInnes (Nixon McInnes)

AMA / Creative Scotland

Day 1: 276

Day 2: 163


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*Figures are limited to the period 3/11/10 – 3/11/11. Blip.tv figures only available for most recent calendar year.

4. Evaluation Process

4.1 Aims and Objectives

The aim of the research was to engage with participants – a – prior to the programme starting b – at the programme mid point c - at the end of the programme

The objectives were to – - Gather feedback and input (especially at the beginning and

mid point) in the approach of ‘action research’, to assist with the refinement, development and execution of the programme to maximise the opportunity for organisations to obtain the full potential benefit from the programme.

- Gather feedback from participants who attended the open sessions, events and activities – particularly the level of relevance and interest of the session.

- Gather perceptions on the benefits of participation.

Partner webcast – AMA Conference

20/7/11 Jerry Yoshitomi (Meaning Matters(, Matthew Cain ( Channel 4), Will McInnes (Nixon McInnes)

21/7/11 Jane Finnis (Culture24( Sebastian Chan (Powerhouse Museum)

AMA / Creative Scotland

Day 1: 276

Day 2: 163

Partner webcast – British Council Showcase Digital Day 2011

Digital Theatre/NTLive!/Watershed

Sadler’s Wells / Hoipolloi / Envirodigital / National Theatre Wales

British Council Session 1: 155

Session 2: 292

Partner Webcast – FST Emporium

Hannah Rudman FST 114

Innovation Case Study Videos

Edinburgh International Book Festival


86


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- Measure perceptions of the participants related to achievement the stated programme objectives.

- Where possible, the approach of ‘action research’ was

adopted to feedback knowledge and information to the AmbITion Scotland team, during the life of the project to facilitate continuous development and improvement.

Additionally, feedback was also gathered from the Specialist Advisors / Consultants, and the AmbITion Scotland team, to include any insight and comments they had in relation to the outcomes of the programme, and any learning for the future.

4.2 Methodology

We have used a mixture of qualitative and quantitative methods with a sample of programme participants across the range of activities. This has included –

- Individual qualitative depth interviews with organisations prior to the programme commencing.

- Qualitative group discussions with organisations at the mid-point.

- Post event, online evaluations (for each individual event).

- End of programme quantitative surveys with Partners, Associates and Specialist Advisors to create the maximum opportunity for feedback from every organisation who participated. As the technology capability in each organisation increased during the programme, there was an increased use of technology based research techniques.

- Web analytics to provide statistical information on the interaction and use of digitally based communication activity. A summary report on this is included in Appendix A.

In addition video case studies were created and featured on-line (with participant permissions) illustrating the ‘learning journey’ of development and to serve as inspiration to others regarding the range and type of change possible. www.getambition.com


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The above research process compliments the monthly reports from the programme team to Creative Scotland. These provided details of progress, activity, and feedback from participants and highlighted areas where the programme evolved in line with evolving priorities. These reports also included social media activity. This document does not seek to replicate the information already provided to Creative Scotland over the course of the programme.

5. Findings from the evaluation research activity

5.1 Findings from Initial Qualitative Research

with participants

Depth interviews were conducted with a sample of Associates and Partners, at the beginning of the programme, in order to explore a number of key themes:

• Motivations & Aspirations - organisational needs and objectives

• Technology - how it is used, systems in place, audience information and staff skills

A total of 16 in depth interviews took place with ‘Associates’ and ‘Partners’


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Partners - Catherine Wheels, Woodend Barn, RSAMD, PAN, Taigh Chearsabhagh, Timespan. Associates - Peacock Visual Arts ,North East Arts Touring (NEAT), Promote YT, Traverse, Giant, Workroom, NYOS, Cryptic, Greenock Arts Guild, Stills. 5.1.1 Motivations All recognised that the programme was a unique opportunity to access digital development support and resources. Each organisation was aware of the need to use new tools and technology, and how they should focus on this in order to develop audiences, raise awareness and stay competitive. Many organisations felt they needed an audit to review existing technology/digital practice to identify how their resources should be deployed in the future. The ‘rural’ organisations who participated in the research – Woodend Barn, NEAT, Taigh Chearsabhagh and Timespan all highlighted the capacity for technology to break down geographical barriers, which had motivated them to get involved in AmbITion Scotland.

5.1.2 Aspirations Building upon existing knowledge, skills and confidence were the overarching aspirations for all AmbITion Scotland participants. Organisations had different levels of technical experience and knowledge, ranging from NEAT who admitted they were “not very clued up” to Cryptic who “try and be one step ahead of the rest of the industry” – as a result of this, aspirations varied considerably. Partner organisations recognised that the five days of consultancy would be a major catalyst for digital developments, where as the Associate organisations tended to have aspirations focussed on improving efficiency and maximising their potential.

5.1.3 Technology How it is used For many organisations there was no in-house IT support and this limited how technology was used – often leading to time being wasted. However, larger organisations, such as the RSAMD benefit from having a dedicated IT department to rely on. This demonstrated that a robust IT infrastructure is a foundation upon which other developments can be built.


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Organisations use a variety of systems and software, mainly for managing their contacts and finances, creating marketing materials and backing up their administration information. Most participants had a good understanding of what a CRM (Customer Relationship Management) system was, however, apart from the Royal Conservatoire of Scotland (formerly) RSAMD) who used fundraising package Raisers Edge, none of the organisations interviewed had such a system in place. Even though CRM systems were generally perceived as being costly and labour intensive, most participants thought that such a system would improve communication, customer service and potentially fundraising within their organisation. Staff Skills All participants identified staff skills gaps regarding using technology and recognised that they needed to become more skilled in order to increase efficiency.

Most staff appeared to have developed their skills ‘on the job’ and had not participated in any formal systems or software training. However, those who are part of forum or a member of an Audience Development agency seemed to have benefitted from more regular training. In terms of future training, those with more advanced skills in using technology and social media were interested in metrics (tools for monitoring and evaluating performance), and also coding. Audience Communication The main methods of audience communication used by participants were – website and e-flyers. In addition, there was a trend of using networks - offline (e.g. Young Audiences Scotland) or online (e.g. forums and discussion groups) to facilitate audience communication. Most of the organisations had experimented with social media, but it was not viewed as the main channel of audience communication. It was considered that social media plays a role in growing awareness of their work, rather than generating ticket sales. Some of the more technology focused organisations had experimented with mobile phone communications, but found this to have limited success. Audience Information Organisations do not appear to be using technology to collect audience information, and continue to use traditional methods such as paper questionnaires or comments books.


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Those who do collect audience information are not inclined to share it, unless they are part of a collective group such as Young Audiences Scotland or the Highlands and Island Museum Forum, which facilitates the sharing of informal feedback. It is evident that organisations are keen to collect more audience information by improving systems/mechanisms used.

5.2 Key Findings from the Mid-point Qualitative

Group discussions with Participants.

Four focus groups were held in Glasgow in January and February 2011 to consult with the four types of participants engaging with AmbITion Scotland:

• Associates (with one day of allocated consultancy) • Partners (with five days of consultancy and grant funding) • Specialist Advisors • Involved members -who had participated in events and online

(drawn from the wider AmbITion Scotland mailing list)

Each focus group was recorded and transcribed. The qualitative data was subject to a content analysis looking for crosscutting themes within and across the different groups.

5.2.1 Achieving the aims of AmbITion Scotland. As previously stated, the aims of the AmbITion Scotland programme are:

• Promoting a creative environment through digital development

• Creating a supportive environment for digital development - enabling wider access to a specialist knowledge base.

Within the context of these two overall aims for AmbITion Scotland, there was a strong message from the focus groups that the process had been more supportive than creative.

The Specialist Advisors particularly commented on the fact that a lot of their work had been tied up in teaching organisations the basic ‘nuts and bolts’ of digital technology. Rather than developing radically new ideas, the advisor’s role was very much one of handholding and getting some of the barely digital organisations up to a minimum level of competency. It could be argued that creative aspirations will flow more readily once the base technology


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capability and capacities are in place, so developing this aspect of the sector first could enhance creativity later.

There has clearly been a lot of mutual support and information sharing – knowledge transfer between peers, although much of this may have been behind the scenes. Both Partners and Associates agreed that there hadn’t been any truly creative output thus far, but that once plans are implemented this might change. Those who had clear aims for participating were also focused more on organisational effectiveness than creativity. It was hoped that these practical steps would then allow for creative output further down the line.

Organisations engaging only with the wider events felt that they were unable to comment on AmbITion’s strategic aims. However the overall programme was seen as being worthwhile and an invaluable source of information, with its online resources and webinars. For them AmbITion had equally been about building skills and changing practices.

5.2.2 Application process and Business Plans. For participants who missed the deadline for applying for Partner or Associate level engagement, there was frustration of not having heard about the programme sooner. As funding opportunities are always going to be competitive, Associates also acknowledged the difficulties in improving the application stage. However where very similar programmes had been proposed, Associates would have appreciated some more transparency and feedback on why the selected organisation had been awarded Partner funding.

One suggestion that was repeated several times was to arrange some light consultancy up front before the application process to help organisations articulate what they actually wanted. This might have consisted of a day spent with advisors (speed-dating, surgeries etc.) so that organisations could speak to specialists for ideas on how to improve their applications. Advisors also supported this suggestion, arguing that many of the associations seemed unable to articulate some of their ideas early on during the consultancy.

Had more support and group training taken place pre-application, there would have also been the possibility of identifying common aims and themes between organisations, and potentially even going down a cluster-application route. These Partnerships could have been something very small, specific and bespoke, or they could have been linked by organisational size, geography, art form etc. More than anything else, the focus groups expressed this missed opportunity of knowledge sharing and collaboration at the early stages of the programme.


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This sentiment carried through to the business plans developed at Partner level, where focus group members commented on what a number of them considered to be a “brutal” turnaround period. (Note: this is obviously subjective relative to other priorities, and perhaps highlights the issue of a single deadline for applications). Many felt that the time allocated to business cases after being selected was not long enough, and that there was not enough flexibility built in as plans inevitable evolved during the course of the consultancy.

5.2.3 Relationship with advisors The consultancy days spent with Specialist Advisors received the most mixed feedback from the focus groups. While seen as largely supportive and enthusiastic, advisors were often lacking specific technical knowledge. This suited some who were looking for larger, more strategic development, but frustrated others who had hoped for more immediate, practical outcomes.

Where organisations were matched up with a suitable advisor, the consultancy days were a highly supportive environment to learn and experiment within. However several problems were also flagged up. In one particular case a mismatch occurred where the advisor’s speciality was a skill-set that the organisation already had covered. In this instance a better matching process and skill-set audit would have been appreciated early on. (Note: following this finding, participants in the programme were reminded that a mechanism for changing advisor had been set up.)

Another mismatch occurred because of timing, where an organisation had already been engaging with mobile technology development prior to AmbITion, and due to their own deadlines had to proceed with this separately rather than develop it further within their consultancy days.

The Specialist Advisors that responded were also conscious that the majority of their days were spent on basic ‘nuts and bolts’. Their suggestion was for AmbITion to offer more practical group training early on to bring everyone up to a consistent level of digital competency.

For Associates who only had one day of consultancy, the time allocated seems to have helped the majority to tease out some ideas regarding their digital development. Despite the initial disappointment of not having been awarded Partner-level funding, there was also recognition that a lot can be achieved with just a day’s consultancy. It also gave them a wider access to specialist knowledge in terms of hints, tips and contacts.

One advisor that had worked with three Associates commented that it was almost pointless pitching the Associate level consultancy as one


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full day, as this was almost always going to be split over several hours instead. A suggestion was made to consider alternative ways of allocating time to organisations, so that the process can be a little more flexible.

5.2.4 Knowledge and learning events The focus groups reported that the majority of the various knowledge and learning events were well run and motivating. Many valued the social element of the road shows, as they were able to engage with other sector organisations. The webinars and live-streamed events were also seen as being informative and often time-efficient, with remotely connecting participants not having to travel across Scotland to attend them. Apart from some teething issues with sound and connectivity early on, live-streaming facilities were accessible and easy to use. The main criticism of attending live events online had to do with scheduling them in into normal working hours. Many found this time-management aspect slightly awkward, trying to devote their full attention to the events and simultaneously being unavailable to colleagues in the office. As a result the facility to go back to recorded events at a later date was highly valued by some, while others preferred watching live, with the ability to ask questions and participate in live chat.

Some focus group members also commented that they while they had not been able to attend all webinars, they had actively promoted them to other members of staff within their organisations. In the case of one part-time staff member who could not travel due to health reasons, it had proven to be a valuable and enjoyable experience.

Others commented that it was a challenge to attend as an individual and then feed back to the rest of their organisation. The most positive responses clearly came from instances where the knowledge and learning events provided attendees with either very practical skills (such as using web or video tools), or where the wider organisation made a conscious effort to engage in the training as a team.

5.2.5 Online Social Network – (the “ning”) While other online resources were highly valued, the online social network (“ning”) was less valued and participants seemed to place much more value on more direct relationships with advisors and each other (phone bank, face-to-face consultancy and collaboration).

In particular there was an awareness of the lack of traffic on the site. While no criticisms were levelled at its functionality or


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purpose, this lack of activity often caused users to drift away after their first few visits. Any spare time was much more readily spent focusing on proposals than searching for answers on the ning. Some users seem to have visited it around the time of their business plans, but this was to access resources and information rather than to speak to people and contribute to the community.

In instances where focus group members had posted comments on the ning, either to get answers to a specific question or just to seed a general conversation, they had received no replies. This reinforcing silence seems partly due to the reality of platform loyalty and the old habits that you have to break to make the ning one of your daily digital communication tools.

(Note: some group respondents may have had inappropriate expectations from the ning and may have misunderstood its role – indicating that clearer communication may have been helpful. However, another key aspect was that the ning did not easily integrate with other online tools and may this have led to a reduction in reference and use.)

5.2.6 SCET All focus group members that engaged with SCET on some level found them to be incredibly useful in providing practical answers to queries, and a fresh perspective on the business plan development carried out with Specialist Advisors. The advice that SCET provided was also valued because they were not seen as having a vested interest as a preferred supplier or provider.

However many Partners also felt that they had been left uninformed of the availability of SCET, either directly by the AmbITion team or by their individual advisors. (Note: this perception is despite multiple communications on the subject including emails and featuring in webinars). Most of the organisations that had managed to arrange helpful meetings with SCET had done so proactively.

5.2.7 Programme Highlights The message from both advisors and organisations was that communication and interaction between organisations was one of the overriding highlights of AmbITion. In particular November 2010’s networking event was singled out as having had a fantastic buzz and positive atmosphere in the room amongst the participants. It demonstrated that organisations benefitted from feeling like they were part of a larger community, and knowing what their peers were up to for comparison or collaboration.


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Organisations would have hoped for more of this throughout the programme, suggesting that it gave them the confidence and motivation to take the next step. Because of the strong appeal of their content, many of the road shows and webinars would have also worked well as standalone events beyond AmbITion Scotland.

The Specialist Advisors also considered that the Host Your Own Training is a very positive initiative because with one training initiative, you’re not only hitting the AmbITion participants but many other organisations outside of AmbITion, and therefore address the objectives of collaborating and sharing amongst the wide sector.

5.2.8 AmbITion Scotland team For those engaging with AmbITion as Partners or Associates, the team was found to be very accessible and approachable. Focus group members who were at a very basic stage of their digital development mentioned that it was comforting to deal with a team that spoke a common language. Many also found the presentation style at the various hosted events very enjoyable. However a few gaps in communication were also flagged up regarding the role and availability of services such as SCET, the phone bank etc. Several Partners were unaware of the phone bank even at the time of the focus groups, or felt that they had not been directly told about SCET’s remit within the AmbITion programme. In the case of one organisation who felt that they had been poorly matched with their Specialist Advisor, the issue was never really brought to the team’s attention. Although there might have been willingness on AmbITion Scotland’s side, the organisation felt that there wasn’t really a mechanism for feeding back and that perhaps the nature of the programme didn’t allow for this. It was difficult to know whether it would be a good fit until they met their advisor, and after being allocated organisations also had no idea who the other Specialist Advisors might be. (Note: this issue was addressed with advice and reminders related to the mechanism for changing advisor).

5.2.9 Organisational Change One key challenge facing some organisations was issues surrounding wider organisational buy-in, particularly for Associates. For individuals in arts marketing roles, the ongoing challenge was to show their boards that digital development is fundamental to the whole organisation, and not just about marketing. In this context AmbITion was seen playing an important role in providing significant weight to their cases.

The focus groups commented that there was a collective energy to AmbITion, revealing that this was a genuine trend that needed to be pushed forward. This added further weight to individual internal


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lobbying by showing that the rest of the sector was going in the same direction.

However some focus group members felt that the decision-making still had to come from above, and that if their chief executive or other senior members had attended some of the events, some further organisational change might have been possible. The Specialist Advisors agreed with this, arguing that for a certain size of organisation requires some digital expertise on the board.

One of the advisors highlighted one of his Associates that had only got to the point of getting their invitation to tender sorted. At the end of his consultancy period, all of the work seemed to stop because the organisations simply didn’t have time in their diaries to carry the work forward. This stopped any chance for organisational change.

5.2.10 Future of AmbITion Scotland – what could it do better? The legacy of the AmbITion programme run in England was mentioned as a significant online resource, and many organisations referred to this during the application stage. All focus groups agreed that it would be a loss for the AmbITion programme to stop, at least without some kind of legacy support. Specifically the continuation of road shows, webinars, case studies and the phone bank were all seen as valuable learning tools for the arts sector.

The majority of focus group members reported coming away from road shows and webinars feeling excited and motivated. The primary reason for this was the feedback and ideas that they were able to get from interacting with other arts organisations. As a result most of the improvements already suggested have featured increased collaboration, case studies and mutual learning throughout the programme.

One specific Associate organisation realised that the Partner that had received funding for a very similar programme had simply written a better and more articulated application. This admittedly might have been because they wanted to develop their ideas but were initially unsure of exactly what they wanted. More upfront consultancy to tease out ideas and help organisations articulate these during the application process would have been welcome.

The focus groups also highlighted a slight division between the courses hosted for Associates and Partners. Despite not having been awarded funding, several Associates agreed that they would have benefitted from some of the training courses that were run for


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Partners only (e.g. writing briefs for web development), as this would have helped with their overall knowledge building. (Note: this was actually available online for all).

The advisors also wondered if there might be scope for increased collaboration between each other. Where organisations had specific requirements (such as CRM) that an assigned advisor had limited knowledge on, some time could have been allocated away to another advisor. (Note: this was envisaged and possible within the programme structure). This of course would have assumed equivalent day rates, but could potentially provide an opportunity to pool Specialist Advisor resources slightly better.

5.2.11 Conclusions from the mid-point focus groups Arts organisations across the board are acutely aware of money and staff time as limited resources, and have to factor that in when considering a way forward for their own digital development. In that respect AmbITion provided them a space away from other organisational pressures, in which they could build skills and carry out the digital development that they often knew they needed.

A strong message from the focus groups was that AmbITion in their opinion was ideally about a ‘journey together’, and that while there had been some instances of collaboration early on, this had been lost when focus shifted to delivering individual business plans.

For participants only involved in webinars and road shows, AmbITion was successful in providing general information, knowledge and reassurance. Several of these organisations mentioned that they do engage in digital development, but are perhaps not in a place to expand on that just now. For them it AmbITion has been about affirmation of moving in the right direction through hearing about the experiences of other organisations at networking events, case studies etc.

Without any built-in mechanisms for following up after their consultancy period ended, specialist advisers were left largely uninformed of any practical outcomes to date. Regular contact one month, three months or six months down the line could have proven useful. Especially in the case of the Partners, there is arguably a role for advisors to stay involved after that initial period to assess whether organisations have spent their money correctly and wisely.

However, particularly for Partners, there was a strong sense that the business plans and funding applications were just an initial stage, and that the programme is only just starting now as organisations go off to work on implementation with web developers.(Spet / Oct 2011)


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The research structure (focus groups held in Glasgow) was the subject of comment from those AmbITion Scotland participants who were unable to attend, for various logistical reasons.

In recognition of this issue it was considered appropriate to increase the use of technology in the research and evaluation process, removing any logistical / distance issues from the participation in the evaluation process.

5.3 Key Findings from Quantitative research

with Partners & Associates.

In order to maximise evaluation feedback from Partners and Associates, and to reflect the increased digital capabilities within organisations, an online survey approach was used to provide quantification of opinions, while allowing a series of open qualitative comments.

Email invitations (and reminders) were sent to all registered contacts within the organisations.

5.3.1 Achieved sample.

Partners – 16 individuals, from 13 of the 15 Partner organisations participated in the research. This represents over 87% of organisations and is therefore extremely robust and accurate information.

Associates – 19 individuals, from 16 of the 33 Associate organisations participated. This represents around 50% of all Associates and again is very robust and reliable information.

The online approach taken enabled greater participation (and therefore accuracy of findings) than was originally suggested in our


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evaluation proposal, where we anticipated including feedback from around a third of Partners and Associates.

5.3.2 Initial awareness and marketing

Most participants (60%) recall being made aware of the AmbITion Scotland programme by email or newsletters from Creative Scotland (SAC). The remainder were less clear but recall word of mouth discussions, and emails from other arts organisations including emails from Culture Sparks.

There were a few suggestions on how to improve the marketing (from 6 people out of the 35 respondents). These included telephone marketing, direct mail marketing, provide greater depth of detail to clarify the specific nature of the digital focus of the activity, and being more challenging in content

For example - “ I suppose it’s the challenge of getting people to stop and think for a minute. Ask pertinent questions. Arrestingly. Perhaps impertinently!” – (Associate).

5.3.4 Initial Application Process

The initial application process was managed by Creative Scotland, (Scottish Arts Council) not the project team. Respondents were asked to identify the words of phrases which applied to their experience of the initial application process.

Words / phrases Overall Partners Associates

Challenging 40% 44% 37%

Thought Provoking

34% 56% 16%

Straightforward 26% 31% 21%

Complex 23% 13% 32%

Clear criteria for success

20% 19% 21%


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Frustrating 20% 19% 21%

Inspiring 17% 25% 11%

Confusing 17% 13% 21%

Easy 3% 6% 0%

Base 35 16 19

Partners were more likely to have considered the experience to have been – ‘Challenging’, ‘Thought Provoking’, ‘Straightforward’ and ‘Inspiring’ (compared to Associates).

While Associates also found the process ‘Challenging’, they were more likely to have seen it as ‘Complex’ and ‘Confusing’.

Only one individual considered the process to be ‘Easy’.

Base: 35 Partners / Associates

The greatest number participants considered the process to have been ‘Fair’ – either ‘Very Fair’ or ‘Quite Fair’ - (17 individuals), while only 2 individuals considered the process to have been ‘unfair’ and explained their reasons as follows –


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“We felt disenfranchised from the scheme as we were not admitted to the main element. Although we were able to discuss this with the people running the scheme and continued to work on it...it was increasingly difficult to sustain engagement as time went on” (Associate) “It was a bit frustrating that we were not supported to do the part of our project that was artistic led – the feedback being that it was not clear enough. When (we thought) the point of that part of the project was that it was meant to be experimental” (Partner).

A number (9 individuals) were unable to advise if they considered it ‘Fair’ or not, most commonly because they had not been involved in the application process.

5.3.5 Creation of a Business Case.

Of those who had to create a Business case in support of their application (26 individuals), a substantial proportion – around a third (9 organisations)- found this to be difficult (quite or very). This was balanced by a similar number (10 individuals) who found the process ‘Quite Easy’.


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Base 26 Partners / Associates

Those individuals who indicated they considered it to be difficult were asked to identify “how this could have been made easier?”. The following comments were made -

“Creating a Business Case is very time consuming, especially for a small company such as ours with very limited resources (3 staff, 2 of whom work part-time). We could have definitely done with more time. Also, we were trying to create a business case for what is essentially an experimental project. As a result a lot of what we were proposing was always likely to change, or have limited initial evidence to support possible outcomes, ROI etc. At times I felt there was a bit of a mismatch between our aspiration, AmbITion and plans for the project and the formal Business Case structure we were being asked to respond within. A simplified business case format with an emphasis on the research and development side would have been welcomed. Also, we had a good relationship with our consultant who was extremely helpful when it came to putting the Business Case together - reading, suggesting changes, providing advice etc. If this had not been the case I think we would have struggled to make it as solid as it was” (Partner).


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“I think the greatest difficulty was the deadline, and the feeling that we needed more time. I realise that this made us focus, but some elements might have been thought out more thoroughly. Working with a consultant was very useful - but this did make the process necessarily longer due to the need to meet/correspond/plan with them, and turning the whole business Case around in the timeframe was tricky.” (Partner). “ Not sure this why I answered quite difficult. My comment is more relation to the fact that making a good business case is something that isn't easy - and in a way never should be” (Partner). “I think it was difficult because the organisation wasn't fully aware of the areas for development until the work began with our advisor - which began the process of really examining the organisation as a whole. It was difficult in how time consuming it was to complete the research and articulate this - but I don't think this could have been made any easier. It was an essential examination of the organisation” (Partner). “It was clearly advertised that AmbITion was about making a step change to your organisation. However, I focussed on the audience development aspects of our work - perhaps this was because the fund was being administered by Culture Sparks* who I associate with being an audience development agency. However, I realised during the AmbITion programme that we could have applied for funding to support us with improving our operational IT systems which could have fundamentally improved the effectiveness of our organisation. It would be fantastic if AmbITion had somehow been a two stage process where you get free consultancy, then can pitch for funding one you realise what the potential is. However, this may have not been possible?” (Associate) (*note: this was a misconception as this aspect was administered by Creative Scotland)

“Our organisation simply did not have the resources or capacity to take on the additional work - we thought we did, but with the project running at the same time as cuts to our funding any additional time we had was expended on lobbying councillors and MSP's” (Associate)


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5.3.6 Contribution of AmbITion Scotland to Partners and Associates.

Respondents were asked to identify the extent to which the AmbITion Scotland had contributed to a range of issues within their organisation. These issues reflected the overall aims and objectives of the AmbITion Scotland programme. Therefore these responses are very important to understand the perceptions of the individual organisation in relation to the programme fulfilling the overarching aims and objectives.

At an overview level, 61% of all responses indicated that participation in AmbITion Scotland had made a positive contribution towards the programme objectives within their organisation, in comparison with 31% of responses which indicated ‘little or no’ perceived contribution.

Partners were more likely to indicate a positive contribution (69%), in comparison with Associates (54% positive contribution). This is logical given the greater level of engagement and funding received by Partners.


Partners were more likely to indicate ‘substantial contribution’ linked to ‘improved levels of engagement’ (31%). ‘enabling audiences


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to participate online (25%)’, ‘developing more attractive content’ (38%) , ‘obtaining efficient, integrated , digitally based CRM systems’ (38%) and raising technology capacity and integrated ICT implementation’ ( 38%).

All of these indicated the development of content produced with digital tools, delivered over new digital distribution channels and consumed through digital services.

Associates were more likely to indicate ‘some contribution, but more benefit anticipated’ in relation to improved levels of engagement’ (68%), ‘enabling audiences to participate online (74%)’ ‘training staff (58%), ‘developing more attractive content’ (42%) , ‘obtaining efficient, integrated , digitally based CRM systems’ (37)% and raising technology capacity and integrated ICT implementation’ (37%).


The areas where the AmbITion Scotland activity has lower levels of contribution were ‘Acquiring better knowledge about existing


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audiences’ and ‘providing equitable access to anyone with an internet connection – mobility, hearing, sight impairments’.

5.3.7 Attitudes towards the knowledge and learning events

The majority of Partners and Associates were very positive in their attitudes towards the programme of knowledge and learning events which has taken place as part of the AmbITion Scotland programme.

In overview, they were ‘professionally staged’, were ‘relevant’, ‘interesting’, have left ’a legacy’, and many would have liked to attend ‘more’ events.

A fuller evaluation of this subject by attenders to the events is included at section 5.5 of this document.



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5.3.8 Attitudes to various elements within the programme

There were mixed views on the ‘helpfulness’ and ‘use’ of a number of aspects within the programme. In particular the ‘How to guides’, ’web casts’ and ‘Case studies’ were seen as ‘helpful’ and had been ‘used’ by both Partners and Associates. The Facebook page’ was more likely to have been seen as ‘helpful’ by Associates.

The majority of both Partners and Associates had not ‘ posted a question on the ning’, ‘appointed an intern to work on the programme’, ‘made connections via the connections site’ and had not used ‘the phone bank’.

Respondents were given the opportunity to expand and give more details in relation to these elements. Comments included –

“There was a rush of social networks springing up all over the place for a while. In the end, nobody has time to hop from one to the other. Facebook pages seemed to be the best way forward rather than ‘nings’, but lately many of us are planning to leave FB and migrate to google+. It's a fickle old world.” (Partner)


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“The resources and support sessions were excellent - unfortunately our lack of capacity meant we weren't able to make full use of them” (Partner) “Some of the items listed weren't even on my radar - not sure if that's something to consider in terms of site layout, information overload and ease of use, or just that we have under-used the resources available through the Ning site simply due to organisational demands on time.” (Partner). “The 'ning' network never felt as if there was enough active engagement from others to make it worthwhile spending the time to engage with it ourselves - ironic given the nature of the programme...” (Associate). “There are so many social networks/e-marketing facilities which need updating that I found the ning to increase my time in front of the computer rather than get out there and do stuff with people/chat on a personal level.” (Associate). “Simply not enough time to participate in these things which seemed of doubtful benefit to us” (Associate)

5.3.9 Attitudes towards the AmbITion Scotland team

Respondents held a very positive view of the AmbITion Scotland team – ‘professional’, ‘knowledgeable’ and ‘responsive’, with most considering ‘they communicated’ well, and ‘kept the project on track’.

This was the case for both Partners and Associates.


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5.3.10 The major challenges

The most common issues indicated as the ‘major challenges for their organisation in relation to participating in the AmbITion Scotland programme’ were related to:

- ‘lack of time’, - ‘lack of resource’ (staff / money), - ‘steep learning curves’ and - ‘staff changes’ during the life of the project.

These issues are explained in greater detail by the open comments made by respondents.

Partner Comments -

“We issued an invitation to tender but despite being widely advertised, and tenders coming from overseas and elsewhere in the UK we were very disappointed in the quality and did not award a tender, delaying the process considerably - it's still not finished. In the absence of much helpful input from our


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Specialist Adviser we ended up writing our own application and our own invitation to tender. Perhaps other partner organisations had more assistance than we did.” (Partner)

“Mainly just getting our heads around a totally new way of doing something. We are converts to digital technology, having been luddites, but it can be quite mind blowing at times because of the speed and extent of the changes and/or possibilities it offers. Also, finding the extra resources (people, time, money) to really achieve everything we want to achieve is a challenge. AmbITion Scotland investment is a kick start, but we will need more to really get motoring and exploit all the things we think we could. Also trying to integrate our existing work into the new work proposed through the AmbITion programme can be a challenge, both in terms of finding artists who want to go on that journey with us but also in terms of working out what is appropriate and what is not. It has made us think a lot about who and what we are and would like to be. Also, the whole project is taking us a lot more time to achieve than we thought it would. I think this is inevitable with something so different to what we did before, but also we are a tiny company so it can be hard to keep on top of all things at the same time” (Partner)

“Getting organisational buy-in to delivering the project - it's one thing to be told departments will participate, it's another to actually secure staff time and contributions. Second major challenge is conservative culture - despite recent advances many staff are more comfortable to do things in 'old fashioned' ways than to learn new things and step out of their comfort zone.” (Partner) “Finding the time to implement the project on top of existing workloads; delays in implementation due to inability to focus on more than one aspect at a time and simultaneous need to get expert advice at appropriate times. The size of our project - one member of staff has had to project manage it on top of existing job description, and it has completely dominated the last couple of years - in a good way, but it has at times felt an immense project with many aspects to balance and coordinate. Finding the right expertise, eg for CRM implementation.” (Partner) “Project managing the implementation of the project was harder than anticipated and finding the right web developer was daunting.” (Partner)

“The Specialist Advisor was not a good match. Most of the events were not relevant as they pertained to activity we already carry out, however they were interesting and could see them being


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useful for organisations without the knowledge in house.” (Partner) “Budget - time to raise funds to make up shortfall Bringing integration partners together to collaborate on development Managing a major project alongside core work Bringing a large organisation together to participate and engage in the project... and then capturing all their various digital activity!” (Partner) “Initially finding time to train everyone up on use of digital cameras etc. Encompassing use of cameras as valuable tools for recording content on a regular basis - again lack of time, not always enough bodies around to do the work. Board are still not all digitally literate or up to speed with value of digital/social media - work in progress. Our location geographically has made it hard to be part of many of the AmbITion events.” Partner)

My organisation is fortunate enough to have an experienced online innovator within the team, but I felt that this sometimes hindered us as she did not have many peers to discuss the issues she was facing. However this has provided me with the opportunity to readdress this role in our organisation next year. The other thing is that as a small team it has been extremely difficult for us to continue resourcing our ongoing day to day online tasks such as maintaining and improving the current website with managing the substantial changes we are making through AmbITion.” (Partner) “Staff time. Fixed programme, not responsive to particular types of organisations. Lack of technical infrastructure.” (Partner)

“steep IT learning curves and engaging with a sector that at times is reluctant to embrace change.” (Partner) “Location. While aspects of most training sessions were available as webinars, the workshops never were and there were very few in the North! The other challenge was understanding some of the technical language, but the Specialist Advisor was extremely helpful in that area.” (Partner) “The major challenges where the changing of key staff within our organisation and Amb:IT;ion management and communication of that.” (Partner) “'Forced' time scales which do not suit our particular audience groups who need to be directly involved in the development work.” (Partner)


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“My organisation has yet to complete the project and I feel that the timescale provided was not long enough. However, I am still in touch with Ashley, and I am confident that I can still call upon her expertise if required, as we continue on the project journey.” (Partner)

Associate Comments -

“Administrating the programme was quite challenging: it required a lot of staff time to get started and keep momentum and thus it all took longer than anticipated. Once underway, and having chosen the right consultant to work with us fulfilling the programme, it has worked very well. The consultant, Hannah Rudman, has the great ability to keep it simple, be patient, avoid long words and understand one's needs based on an understanding of what a business is doing and thus what it actually needs from a cornucopia of IT possibilities. We have been lucky to engage her” (Associate) “We have found it hard to sustain developments once our Specialist Advisor had finished. The lack of any bursary / grant funding to boost our IT capability (even modestly) to better deal with developments has hindered the momentum of what was achieved in the initial stages. But we are working on it!” (Associate) “Lack of resources in house + uncertainty where our project lay as our Advisor was not what we expected.” (Associate) “Lack of time and resource and difficulties navigating institutional bureaucracy” (Partner) “not enough (staff) time” (Associate) “As an Associate, the lack of actual funding support meant that any participation relied on our already strained resources, particularly w.r.t. staff time.” (Associate) “Finding out what we need and not being able to access funding or support to get the work done. SCET was merely a 'gesture'. We never did get anything out of them.” (Associate) “I think it's been an excellent programme and we have learned a lot through the seminars etc. it's been a challenging implementing some of the actions due to a lack of staff resources and money but we're getting there slowly but surely. There is a lot more we could do. Also, as mentioned earlier, I can now fully see the potential of this support in making organisation change - would be great if there is an AmbITion Phase 2.” (Associate).


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“time! I felt that there was something to be gained from being involved, especially with our Specialist Advisor, however the time limit on the project put constraints on what we could do as my organisation was going through a very turbulent and could not arrange times to meet when it suited us and the advisor and then we ran out of time”. (Associate) “Funding, staffing” (Associate) “The major challenges were facing up to the fact that we have to communicate with our artist tenants more effectively, we had to build a whole new site (just completed and its great), I had to re-evaluate my working day to encompass social media and basically just making the time to step out of the day to day and prioritise new tasks that will allow us to communicate with our audiences more effectively. Although I feel we are in a really good position now - we felt like we had a mountain to climb at the start” (Associate) “That there was no funding attached to the package” (Associate) “To work together with another organisation with which the initial application was submitted.” (Associate) “As the key AmbITion person in the company, I've benefited from it more than others and am kind of seen as the one in charge of the website. There's some skill sharing to be done!” (Associate) “Developing a new strand with no additional resources (apart from a day with Specialist Advisor). If nothing else, AmbITion has highlighted just how stretched the organisation is and that we cannot take on any additional work without increasing staff.” (Associate)

,

5.4 Key Findings from research with Specialist

Advisors.

All individuals who were appointed as ‘Specialist Advisors’ or consultants to organisations on the AmbITion Scotland programme were invited to participate in an online consultation and survey .


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A total of 9 individuals (out of 18) participated representing 50% of the total number of Specialist Advisors. Again this is an increased proportion in comparison with original expectations and provides very robust information. The respondents to the survey were asked if their comments could be attributed to them or if they wished to remain anonymous. These who agreed to be attributed have been identified next to their comments in this section of the report.

When asked to recall how they initially found out about AmbITion Scotland, 4 individuals were aware due to their previous activity with the AmbITion (England) programme and were made aware by Hannah Rudman, with 3 being made aware by Scottish Arts Council (Creative Scotland). The others could not recall the source of their original awareness.

5.4.1 Initial Application process

Base ; 9 Specialist Advisors

None of the Specialist Advisors considered the application process to have been ‘unfair’.


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Only two made suggestions in relation to how the marketing activity related to the programme could have been improved. These comments were –

“Few people outside those already working in the Arts industry knew about it” (Chris Elvery, Specialist Advisor). “Managing expectations...(could be improved)... in terms of the different levels of engagement resulting from the different levels of programme -e.g. Partners / Associates. (Roger Tomlinson, Specialist Advisor)

Specialist Advisors were asked to indicate the words or phrases which they considered were applicable to the initial application process.

Initial application - Words / phrases

Straightforward 8 Challenging 1

Thought Provoking 2 Clear criteria for success

2

Easy 1 - -

In addition, Specialist Advisors were given the opportunity to comment on the application process, and made the following comments – “it was a while ago now, but my memory is that the criteria for selection weren't very clear - although I know that it must have been hard to specify criteria when, at that point, they (the Partners / Associates) didn't know the skills they might need. (Specialist Advisor). “The process seemed to me to be clear, albeit challenging -in a constructive way. It was about encouraging organisations to raise their game and increase their capacity and competency through new resources. The thought processes behind the bid and the sustained development of a business case, focusing on outcomes and deliverables were, I believe, useful and positive” (Mike Greenwood, Specialist Advisor) “Any competition with insufficient funds mean that applications which should have been successful were not”. (Roger Tomlinson, Specialist Advisor)


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Writing in “Arts Professional” magazine, Specialist Advisor Anne Bonnar made the following comment regarding the tendering process – “The process for recruiting the specialist advisors for AmbITion Scotland is a good example: several weeks, widespread advertising and a clear specification demanding a two page email response –what a breath of fresh air.”


None of the Specialist Advisors considered the process of selection, conducted to select the Specialist Advisors to be ‘unfair’. The following comments were made in relation to the selection process. –

“ Not sure what the criteria was for pairing Specialists to companies or which specialists worked with Partners as opposed to Associates.” (Chris Elvery, Specialist Advisor). “We submitted a company application re advisors but only one of us was picked to be used. There was no feedback on why I had been/the others hadn't, which felt a bit odd. I was the only member of the team who could make it up to a pre-meet of consultants in Glasgow, arranged at very short notice, so there was a feeling that that might have been part of the selection process without it being overt.” (Specialist Advisor) “I was selected so it would be difficult to have any other view.” (Specialist Advisor)


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The only suggestion made about improving the selection process was –

“The criteria needed to be clearer up front. Criteria appeared to be deployed, quoted in feedback, which clients were not aware were significant, such as a bias to open source and away from proprietorial solutions from specialist suppliers.” (Roger Tomlinson, Specialist Advisor)

5.4.2 Creation of a Business Case


Only one Specialist Advisor had any difficulty in assisting with the preparation of a Business Case to support an organisations application. This is expanded as follows -

“In both cases, it linked back to the organisation's core business planning (or lack thereof). It's very hard to make the business case for a project if there isn't a core business plan to link it into!” (Specialist Advisor)


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5.4.3 Contribution of AmbITion Scotland on participating organisations


Specialist Advisors held clearer and stronger perceptions in relation to the outcomes of the project (in comparison with Partners and Associates), indicating that they considered the programme had achieved the overall aims and objectives.



Page | 68

These views on contribution were supported by the following comments. – “I worked with one partner organisation. Overall AmbITion has impacted significantly on a broad range of their activities - although there is still much more to be achieved in the future.” (Specialist Advisor) “Distinctly different experiences with two clients - one very engaged and willing to lead own learning etc, The other not that engaged and a feeling that they had expected someone else to do all the work.” (Specialist Advisor) “Main issue was engagement with businesses. I think the Associates saw their Specialist time as a "consolation" for not being a Partner. 2 of my programmes took over a year to engage whatsoever. Culture within the industry of getting things for free.” (Chris Elvery, Specialist Advisor) “In terms of a main organisation they have only just launched the project for which I am presently undertaking part one evaluation. Part two will follow in the new year once the outcomes of the project have been embedded.” (Specialist Advisor) “I think/hope I had two unusual organisations but neither really seemed to have made enough time in their diaries for this project - everything was delayed, not prioritised, etc. Frustrating.” (Specialist Advisor) “The challenge was that implementation could not go far enough, and with Aberdeen Performing Arts required entirely a commitment from within their own existing budget.” (Roger Tomlinson, Specialist Advisor)

Specialist Advisors were asked to comment on their interaction with the Partners and Associates. This highlighted that the largest proportion found Partners and Associates to have made an ‘excellent contribution’, however a number of Specialist Advisor found the Partners / Associates ‘difficult to work with at times’, and didn’t ‘exceed their expectation’.


Page | 69


5.4.4 Attitudes towards the knowledge and learning events

Specialist Advisors held very positive views in relation to the programme of knowledge and learning events which have taken place within the AmbITion Scotland programme.


Page | 70


The most helpful elements of information sharing activity, as perceived by Specialist Advisors, were – ‘How to...Guides’, ‘Case Histories’, ‘participation in webcasts’ and ‘participation in ning’.

The least helpful / not used, were thought to be‘ Making connections with other organisations via Connections site’ ‘Swap Shop’, ‘the phone bank’ ‘posting or using photos from Flick r’.


Page | 71


These thoughts were expanded by the following comments –

“The aims of all the online networks and resources were appropriate, but I'm not certain that they connected sufficiently with those they were intended to serve.” (Specialist Advisor) “The Phone Bank - simply did not work for me at all. I think for me the relationships built up were based on a clear set of outcomes and going over that was outside remit. Plus the type of work I do is not simple, technical yes or no answers.” (Specialist Advisor)

Specialist Advisor attitudes towards the AmbITion Scotland team

Specialist Advisors held very positive views of the AmbITion Scotland team, with strong agreement that ‘The team were knowledgeable and helped me answer my questions’ (8 out of 9), ‘The team were responsive when I raised an issue or voiced a concern (8 out of 9), ‘The team were very professional (8 out of 9) and ‘The team were supportive and encouraging (8 out of 9). Most – (6 out of 9) thought that ‘the team kept the project on track’.


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None of the Specialist Advisors agreed that they ‘were not sure what the team did’ and only one thought ‘the team could have communicated more effectively.

5.4.5 Major challenges for the Specialist Advisors in fulfilling the AmbITion Scotland programme.

Specialist Advisors were asked to identify what they considered were the major challenges in relation to fulfilling the AmbITion Scotland programme. The comments provided included –

“Getting company engagement/ Billing for Associate projects, which meant in some instances billing for work 12 months + after first engagement”. (Chris Elvery, Specialist Advisor) “Working directly with the partner organisation: none.” (Specialist Advisor) “challenging engrained attitudes in the cultural sector to digital content - this will take a long time to change and there will be resistance.” (Specialist Advisor) “Personnel changes in some orgs bit disruptive, time consuming.” (Mike Coulter, Specialist Advisor) “Not enough time in relation to the needs of the organisation and their expectations, especially Aberdeen Performing Arts” (Roger Tomlinson, Specialist Advisor)

5.4.6 Further comments from Specialist Advisors regarding their experience with the AmbITion Scotland programme.

The Specialist Advisors were given the opportunity to make any further comments they wished in relation to their experience with the AmbITion Scotland programme, and the following comments were included.

“ Ashley ( AmbITion Scotland Project manager) was great - never had any dealings with the rest of the team. Need to change the culture within Arts orgs to consider their own sustainability rather than focussing on external finance” (Chris Elvery, Specialist Advisor)


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“I fully support the aims of this programme, and recognise the many talented and dedicated people in all areas who have contributed to making it a success. What I became increasingly concerned with as the programme developed, is that so much more could have been achieved with so many more organisations benefiting if a more creative and collaborative approach had been taken from the outset. I believe that the AmbITion model may well have worked on its first outing in England, but it is now potentially dated and flawed and does not serve to best distribute much needed investment in this area. I strongly hope that if there is a 'second round' (and I hope there will be) that an alternative approach will be taken to enable far more organisations benefit in concrete ways.” (Specialist Advisor) “Critical to my success in delivering to the organisations, and indeed to my enjoyment of the whole programme, was without a shadow of a doubt Ashley's support. She was quite simply superb. Whatever you are paying her isn't enough. !” (Mike Coulter, Specialist Advisor) “I thought the project was worthwhile, and had the potential to make an enduring difference to the way the organisation worked. I thought the level of support from the project team was good, as was the range of learning resources and events organised to complement the project. Being London-based it was not possible for me to attend events in person.” (Mike Greenwood, Specialist Advisor) “The programmes were good and ambitious. Those who only got a few days consultancy felt they had a "consolation prize" which only made worse their awareness of what they wanted/needed to achieve.” (Roger Tomlinson, Specialist Advisor)

5.5 Summary of key findings from online

feedback from events.

Immediately after each event, seminar workshop and webcast, participants were invited to take part in an online survey to provide feedback on the content and quality of the event.

While these surveys were tailored to each individual event, a series of common questions were asked each time. The following summary


Page | 74

provides details of the responses to these combined questions to provide a solid overview of the views of attenders.

Over 75 different organisations (10% of all attending organisations) participated in the feedback research related to the events. The largest numbers were from Performing Arts organisations, followed by Visual Arts organisations, with ‘others’ comprising Education establishments, Local Authorities, and Creative Scotland staff in addition to freelancers and students.

5.5.1 Sample Composition

Base 272 Attenders

A wide cross section of roles and responsibilities were represented amongst the attenders.


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Base 272 Attenders

The majority of participants to the events were from organisations who were not participating as either Partners or Associates, thereby expending the reach of the programme, as had been intended.

Base 272 Attenders

5.5.2 Perceptions of the event


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The majority (75%) of participants considered the content of the event to be ‘Interesting and Relevant’ when asked to rate the

activity.

Base 272 Attenders

The majority of respondents (77%) indicated that following the event, they had a ‘clear’ (57%) or ‘very clear’ (20%) understanding of the resources that the AmbITion Scotland programme will leave behind.

Respondents indicated awareness and use of the following websites following the event.

Following event

Awareness

Visited

AmbITion Scotland website (www.getAmbITion.com)

54%

34%

AmbITion Scotland social network 47% 23%

Website(s) suggested by speakers - 23%

Base 271 Attenders

The ratings of various elements of the Events indicate very high levels of satisfaction with the choice of locations / venues, the facilities provided, and the catering arrangements.


Page | 77

Base 272 Attenders

5.5.3 List of organisations who participated in the event evaluation

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Page | 78

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5.6 Scottish Centre for Emerging Technologies

SCET describes itself as a leading Software & Technology Solutions Company associated with Scottish Enterprise and University of the West of Scotland. In line with their aims to support development of emerging technology, SCET joined the AmbITion Scotland programme without cost or charges, to support any appropriate projects within the programme. This was not a contractual relationship, but considered to be of mutual benefit between publicly funded organisations with complimentary objectives. The support was intended to be flexible dependent on the specific needs of individual projects which overlapped into the SCET remit and


Page | 79

included the potential for feasibility consultancy, prototyping and / or support via an intern to assist progress. Initially this was envisaged to relate to Associates projects only, however due to requests from Partners, it was extended across both.

As there was some confusion amongst participants in relation to the nature of support from SCET a short video was prepared and located on the AmbITion Scotland website.

However, the extent of SCET involvement in the programme was curtailed due to significant changes in both structure and staff during the programme time period. These were linked to changes in the level of Public Funding to SCET.

Although the AmbITion Scotland team had not offered any guarantees to participants and had simply signposted and highlighted the opportunity, none-the-less there wasa degree of frustration for a small number of participants who had to find alternative approaches to fulfil their individual project aims, without the anticipated support from SCET. With no formal contract or service level agreement, the AmbITion Scotland team were unable to exert any influence on SCET to fulfil their planned involvement in the programme.

5.7 Summary of comments from the AmbITion

Scotland Team.

“The AmbITion vision is to generate a critical mass of arts organisations that proactively consider digital development as key to their business, organisational and artistic growth and sustainability. Scottish Arts Council in 2008 shared that vision, and set about commissioning the design and delivery of a national programme of holistic digital development activity through a programme approach. Having already successfully piloted a methodology and approach in two regions of England 2007-09, Rudman Consulting joined forces with Culture Sparks (then Glasgow Grows Audiences) to create a bespoke solution for Scotland: the AmbITion Scotland 2009-2011 programme,

Overall, AmbITion Scotland 2009-2011 has been shown to be an external success (see the Executive Summary). The AmbITion Approach is still seen as a challenging but robust methodology for achieving


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organizational change (see the Key Findings from Quantitative Research with Partners and Associates) and the AmbITion programme is being studied as a model for digital development and organizational change in different sectors2 (and copied in different countries)3.

AmbITion Scotland’s Participant organisations have benefitted through being able to develop their artistic, business and organisational strategies for sustainability in the 21st century; and are now fitter for purpose across their artistic and business objectives, in a digital and knowledge economy. The participating Scottish arts and cultural organisations are AmbITion Scotland’s success legacy: their change in mindset to a positive outlook around the potential of digital opportunities for new artistic practices, products, and business models; their collective knowledge around the importance of integrated IT systems and social media; their improved digital capacity and capability; and their emerging digital creativity.

The programme was delivered through a collaborative ecology: project managed by Ashley Smith Hammond; governed by Julie Tait, with the support of the Culture Sparks team; the expertise and experience of Rudman Consulting; the support of the strategic partners and specialist advisors; the guidance of the reference group; and the investment of time, insight, vision and money from Scottish Arts Council/Creative Scotland.

The AmbITion Scotland delivery team, in considering whether it met its objectives, reflects with pride that overall the programme has unquestionably supported the sectors’ digital development. Some of the methods used to do this have worked better than others, but thanks in part to the iterative nature of the evaluation process the team were able to make ‘running repairs’ as they were needed. For the AmbITion Scotland team, the formal and informal feedback mechanisms (including the programme and event evaluations) have made a huge difference in relevance to participants. For instance, during the early phase of the evaluation (1-1 interviews) it became clear that associates were still confused about the full scope of support that was available to them – they understood the day with a specialist advisor but weren’t fully aware of the SCET or the intern offer. The team were able to be responsive to this and increase the communications around the associate offer and spell out its full potential by increase communications, including a short video explaining what SCET could offer participants. Formal post event feedback showed that participants were in general happy with the knowledge and learning events but became a valuable feedback 2 TEAM Tourism Consulting & Rudman Consulting (2011) “Technology in Tourism” report for Scottish

Enterprise. 3 See Digital Tourism Wales programme.


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mechanism for other suggested training topics. Informal feedback could be even more powerful. Some of this feedback helped AmbITion Scotland pioneer a new method of delivering events – Host Your Own Trainings – the broad outline of which was suggested by a participant reflecting on her own professional network and their training needs. Informal feedback also asked for more networking and the team responded by starting up Names and Faces, informal monthly gatherings moving back and forth between Edinburgh and Glasgow.

Over the course of the two years delivering AmbITion Scotland one technological constant has been the speed of change in the digital tools, which are relevant to the cultural community. In the realm of social media alone the massive growth of users on Facebook has pushed more organisations to feel that they must be present in that space to remain relevant. AmbITion Scotland trainings have supported participants in doing this. Similarly the appearance on the scene of Google+ has triggered many organisations to scramble to make sense of the new space and its relevance (or lack of) while AmbITion Scotland’s own choice of social network platform, Ning, has in the space of the programmes delivery gone from highly relevant to somewhat obsolete. Similarly those organisations locked into large institutional IT systems (like city council systems) remain disadvantaged in terms of flexibility to adopt and experiment with new technologies. As long as technology remains a target moving at high speed there will be a need for support to the sector that is being required to make best use of the technologies but often does not know where to begin.

The AmbITion Scotland team still see the need for change from the leadership of organisations. Some boards are coming around to supporting digital development but many remain sceptical of digital tools, which by allowing two-way conversation from audiences are perceived to potentially dilute the control over brand voice and public image. This is opposed to the team members delivering the work on the ground, who grasped the potential of such tools more immediately. This was a challenge identified from the programme’s inception. It is diminishing, though still present. The team have seen that the organisations that found the most success from their participation in AmbITion Scotland have had strong commitment from senior staff and boards from the beginning.

Reflecting on some of the challenges of delivery of the AmbITion Scotland programme the team have noticed that capacity is a consistent project and one which is suggestive of ongoing issues for the sector in terms of its own resilience. In the March 2011 monthly update to Creative Scotland the team reported the following:

‘…about half of the participants are experiencing slow progress. At the moment which was envisioned to be the end


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point for work with AmbITion Scotland associates strategic issues regarding organisational development are beginning to shine through. One thing that many of the delayed projects have in common is an issue around staff turnover, which has reduced organisations’ capacity to focus on longer and medium term strategic issues like digital development… Together these structural issues impact more than two thirds of the still to submit Associate group. In such circumstances as these, organisational development will remain a major challenge because the focus must become crisis management rather than the improvement of an already healthy business. In addition, the constant staff turnover has a serious impact on an organisations’ ability to increase its overall capacity. Staff members learn new skills but take them away when they go. New staff members have no institutional knowledge and the work begun with one staff member is not archived or passed on to the next. The work is lost, leaving the organisation back at square one.’

This reflection remains relevant here at the end of the programme. In the end six organisations had to withdraw due to capacity issues and an additional five struggled to prioritise AmbITion Scotland within regular workloads. A full quarter of associate organisations, then, experienced this suggesting that these are not isolated issues but ones which are reflective of the wider sector as well as the challenging financial climate brought on by the financial crisis. One lesson learned by the team from this experience has been that the value of this type of work only became self-evident to participants upon reflection, often initiated by their involvement with evaluation activities and case study creation activities. The team needed to be in constant contact with many of them to encourage continued engagement. We observed that perhaps the incentives (and the penalties) related to participation and progress needed to be more tangible to encourage greater self-motivation from the participant cohort.

Indeed, across all of the participants – partners and associates – almost everyone fed back to say that their staff time was at a premium and that they had underestimated the amount of work and learning that would be required to engage with AmbITion Scotland successfully. Some associates ultimately fed back that though they had been disappointed not to be selected as partners that they found once they started working with their specialist advisor that their day of consultancy was actually as much as they were able to handle. It is perhaps particularly valuable for the group of associates and involved participants that there will be additional AmbITion Scotland activities programmed in 2012-2014 as these organisations are now better prepared for more intensive digital development.


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In general the AmbITion Scotland team have observed a culture of risk-averse management across the broad participant cohort. Experiments that take place in the public domain (those not art form related) were strongly avoided. Sharing information about lessons learned from failed experiments was also in most cases considered to be out of the question. This may result from a defensive position for those organisations in receipt of public money not wanting to be seen to squander precious resources, and / or being concerned for their reputation amongst colleagues and peers. But, this position also creates challenges for communal learning. As the AmbITion Scotland team look forward to the next phase of activity it will need to support participants in their information sharing so that others can learn from the groups’ experience rather than repeat the same mistakes.

Longitudinal academic research would be a welcome addition to AmbITion Scotland activity and legacy: to both track the medium to long-term impacts on the participant organisations and wider sector; and ensure that the methodology and programme is discussed, ratified and analysed in a formal academic setting. Programme evaluation, such as this one, should continue to ensure iterative improvements to the programme content

There is still work to be done to achieve impact on the whole sector in Scotland, and to further support arts and cultural organisations to become confident creators of, and collaborators in, digital innovation. The time window for that work continues to be now - digital developments progress apace, the constant we can be sure of is change. The AmbITion Scotland programme team have consistently listened to feedback as well as integrating the impacts from market/external influencers to help it iteratively improve the programme. This remains a constant practice and whilst plans for AmbITion Scotland 2012-14 further integrate recommendations from this 2009-11 programme evaluation, the team will remain flexible and responsive, and anticipate continually amending 2012-14 plans and processes as feedback is collected.”

The AmbITion Scotland team: Hannah Rudman, Julie Tait and Ashley Smith Hammond

December 2011.


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6. Conclusions and recommendations

6.1 Conclusions

In order to evaluate if this programme has achieved the objectives and aims, we have compared the individual objectives, with the evidence gathered via feedback from Partners, Associates, Specialist Advisors and individuals who attended the events.

6.1.1 Strategic objectives

The AmbITion Scotland programme was underpinned by two strategic objectives:

To promote a creative environment through digital development - AmbITion Scotland set out to provide expertise and support for Scottish arts organisations over an 18month period (later extended to 2 years) to stimulate change by developing and exploiting the use of digital technologies across all areas of their organisational, business and artistic practice.


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Create a supportive environment for digital development - enabling wider access to a specialist knowledge base. AmbITion Scotland was designed to bring together, arts practitioners and researchers, leading thinkers, business and digital experts throughout the programme. It set out to consider creativity, artistic vision, business model development, audience development and organisational development in light of digital technologies and support arts businesses to use them to innovate and respond to a fast changing, consumer driven, technological environment.

Conclusion : Based on the information gathered and contained in section 5 of this report, we consider that both of these objectives have been successfully achieved. This was particularly the case for Partners, and to a lesser degree with Associates (as could be anticipated). In addition the open events clearly engaged effectively with a broad range and high number of arts and cultural organisations in Scotland.

While there was perhaps more focus by the participants on this programme on the basics - organisational and infrastructural aspects- this successful digital development enables the possibility of increased creativity via digital tools and channels. With the critical mass and collective knowledge of the sector improved, the potential for increased digital creative collaborations and innovations can be realised.

6.1.2 Desired key outcomes.

Increased organisational effectiveness in arts organisations through:

• significantly raised technology capability and integrated ICT implementation

• changed working practices, job roles and organisational / operational structures following the implementation of digital development


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• efficient, integrated, digitally-based customer relationship management systems; ticketing systems; websites; fundraising and other databases

• trained staff, ‘digitally literate’ boards and skilled senior management teams in the implementation of new technologies, business and artistic practices

Improved levels of public engagement with the arts through:

• organisations acquiring better knowledge about existing audiences

• organisations developing more attractive content that potential audiences can easily find

• organisations being enabled to provide equitable access to content for anyone with a connection to the internet, including those with mobility, hearing and sight impairments

• audiences being able to participate and communicate with arts organisations effectively and deeply online

Conclusion: There is clear evidence that the programme has resulted in the desired outcomes, to varying extents across Partners, Associates (in line with their individual project objectives) and the across wider arts and cultural sector throughout Scotland.

6.2 Recommendations

These recommendations are made, in the event that the AmbITion programme be repeated, developed or extended at some point in the future.


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• A number of organisations were frustrated and disappointed to have missed the opportunity to participate fully as Partners. This applied to many Associates and a number of organisations who attended the events, and often related to not being aware of the project in the early stages or not having sufficient knowledge or time to prepare a more compelling application. The awareness issue could be addressed by an increase in marketing activity at the beginning of the programme.

• A ‘rolling’ process of applications across a longer time period would also increase the reach of the project with organisations being able to apply at the time appropriate to their organisational development, without a ‘single’ deadline for a limited competition.

• While the application process should be rigorous, and linked

to the aims of Creative Scotland’s Cultural Economy programme, ideally the process should be simpler for applicants. A ‘light touch’ support process would be beneficial in generating ideas, refining thoughts prior to application.

• The variation in participation level (Partners up to £50,000 /

5 days consultancy – Associates no funding / 1 day consultancy), could be bridged with greater flexibility in the size / scope and funding level of individual projects.

• A number of organisations would have benefitted from

additional / specialist support at the very early stages of the application process in order to assist them in focussing on appropriate aims and objectives, and in the development of their application.

• Some organisations found the skills of their appointed Specialist Advisor did not turn out to be an ideal fit. In some cases this was not identified to the Project Team by the organisation. To overcome this issue a combination of increased assessment prior to appointment of Advisors, requesting ‘compatibility’ feedback once an Advisor is appointed, and allowing greater flexibility and/ or a greater number of Advisors who have a wide range of skills and experience in the culture sector, would be beneficial.

• Capacity (internally within organisations) and lack of digital knowledge and skills appear weak in many organisations. Therefore the challenge may be to assist organisation appreciate that they currently do not know, as part of the early work to assist the development of digital development. This relates not only to education managers but perhaps also


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with support / underwriting of risk to encourage embracing change.

• Cross sector working can be highly effective, although bridges are required between the culture and creative industries by organisations such as Culture Hack Scotland, NESTA and Culture Sparks to signpost and facilitate.

• The ‘ning’ was not as effective as desired as a networking and communication tool across participants and Specialist Advisors and it became less effective as the programme progressed. Other networking tools which offer greater integration should be considered.

• The ‘legacy’ resource is considerable and provision should be made to ensure this continues to be accessible online.

• There was a desire from many participants to increase the extent of collaborate across different arts organisations. A forum to facilitate this demand should be considered.

• The anticipated benefits of including the Scottish Centre for Emerging Technologies in the programme were not obtained. This was due in part to changes in the funding and structure of SCET during the programme, organisations not having suitable projects and also the non-contractual relationship of their involvement. Therefore perhaps more formal agreements (e.g. service level agreements) between all associated organisations would help avoid any variations in expectations.

• Due in part to the self determined focus on IT infrastructure, digital communication issues (including ticketing systems, web sites and social media activity) and Customer Relationship Management, there was less emphasis amongst the participants in relation to creative development / creative outputs with digital resources. This is perhaps logical that the digital infrastructure needs to be in place before it can be utilised to fulfil creative potential, but it could be encouraged more strongly in the future with stronger marketing / increased consultancy emphasis towards Artistic Directors to help unlock digital potential.


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Appendix A

Overview of AmbITion Scotland Online activity

Website Summary Total traffic over two years:

Summary Visits 26406

Absolute Unique Visitors 16465

Pageviews 56148 Average

Pageviews 2.13 Time on Site 00:02:23 Bounce Rate 62.30%

New Visits 60.82%

0

500

1,000

1,500

2,000

Nov

-13

Dec

-13

Jan-

14

Feb

-14

Mar

-14

Apr

-14

May

-14

Jun-

14

Jul-1

4

Aug

-14

Sep

-14

Oct

-14

Nov

-14

Dec

-14

Jan-

15

Feb

-15

Mar

-15

Apr

-15

May

-15

Jun-

15

Jul-1

5

Aug

-15

Sep

-15

Oct

-15

Total Website Visitors

Visitors


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Website: Visits from Social Media sites Around 7% of visits came from social media. Note that actual figure may be much higher (up to 4x), since Twitter traffic is not interpreted accurately by Google Analytics.

Social Media referrals Visits 2185 8% of site total

Pageviews 4038 7% of site total Average Pageviews 1.85 -0.28 less than site average

Time on Site 00:02:12 92% of site average Bounce Rate 70% 8% higher than site average

New Visits 37.25% -24% less than site average

Website: Visitors by Location Most visitors came from the UK, with 5% coming from the US and 13% from all other countries combined:

Location

Visits Pages/visit Avg Time on Site

United Kingdom 21,686 2.26 00:02:38

United States 1,419 1.44 00:01:25 Australia 266 1.84 00:02:00

India 192 1.4 00:01:23 Ireland 186 1.77 00:02:29

0

50

100

150

200

250

Nov

-13

Dec

-13

Jan-

14

Feb

-14

Mar

-14

Apr

-14

May

-14

Jun-

14

Jul-1

4

Aug

-14

Sep

-14

Oct

-14

Nov

-14

Dec

-14

Jan-

15

Feb

-15

Mar

-15

Apr

-15

May

-15

Jun-

15

Jul-1

5

Aug

-15

Sep

-15

Oct

-15

SM Visits SM Visits


Page | 91

Website: Mobile Devices Just over 2% of visits came from mobile devices.

Mobile Devices Visits 736 Pages/Visit 1.4

Website: Top Content The following content was most popular, with hits dropping off for the remaining pages:

Top Content Visits Unique Visits

home page 17400 13792 resources 3626 2303 about 2548 2053 category/events 2400 1971 category/videos 1222 938

Users are visiting the website for resources, as well as to find out about Ambition and its events.

66%

14%

12%

4% 3% 1%

Mobile Device Types

iPhone

iPad

Android

iPod

BlackBerry

Other


Page | 92

Twitter As of 18/11/11, the @GetAmbition Twitter account:

Made 1,549 Tweets

Is following 1,704 users

Has 1,975 Followers

Has been placed in 96 lists

The account made around 40 Tweets per month, on average:

Klout

Klout is a measure of online influence. The Klout Score measures influence on a scale of 1 to 100, with 100 being the most influential. Klout uses data from social networks in order to measure:

• How many people you influence; (True Reach)

• How much you influence them; and (Amplification)

0

20

40

60

80

100

120

140

160

Nov

-13

Dec

-13

Jan-

14

Feb

-14

Mar

-14

Apr

-14

May

-14

Jun-

14

Jul-1

4

Aug

-14

Sep

-14

Oct

-14

Nov

-14

Dec

-14

Jan-

15

Feb

-15

Mar

-15

Apr

-15

May

-15

Jun-

15

Jul-1

5

Aug

-15

Sep

-15

Oct

-15

Tweets by @GetAmbition

Tweets


Page | 93

• How influential they are (Network Score)

Ambition has a Klout score of 36 and is described by Klout as a “Socialiser - You are the hub of social scenes and people count on you to find out what's happening. You are quick to connect people and readily share your social savvy. Your followers appreciate your network and generosity.”

Facebook Page Likes Over the analysis period, the Ambition Facebook paged gained 384 Likes. These Likes represent a user subscribing to a page, in order to receive that page’s updates/and posts in their Facebook news stream.

Post Likes and Comments Users can interact with Ambition’s Facebook posts by clicking Like for the individual post (as distinct from Liking the Facebook page, above). They can also interact by leaving a comment in response to a post on the Ambition page.

0

50

100

150

200

250

300

350

400

450

11/2

/13

12/2

/13

1/2/

14

2/2/

14

3/2/

14

4/2/

14

5/2/

14

6/2/

14

7/2/

14

8/2/

14

9/2/

14

10/2

/14

11/2

/14

12/2

/14

1/2/

15

2/2/

15

3/2/

15

4/2/

15

5/2/

15

6/2/

15

7/2/

15

8/2/

15

9/2/

15

10/2

/15

Total Facebook PAGE Likes


Page | 94

The Facebook page was visited by 1210 unique users.

0

50

100

150

200

250

300

350

11/2

/13

12/2

/13

1/2/

14

2/2/

14

3/2/

14

4/2/

14

5/2/

14

6/2/

14

7/2/

14

8/2/

14

9/2/

14

10/2

/14

11/2

/14

12/2

/14

1/2/

15

2/2/

15

3/2/

15

4/2/

15

5/2/

15

6/2/

15

7/2/

15

8/2/

15

9/2/

15

10/2

/15

Total POST Likes and Comments


Page | 95

Appendix B

Organisations that attended or viewed the

seminars, workshops and presentations.

100%Open 14c Studio 1745 Trading Company

21nine Advertising 29 5pm.co.uk

9-20recruitment 999 Design Group Aalto school of economics

Aberdeen Arts Centre

Aberdeen College Aberdeen Foyer

Aberdeen International Youth Festival

Aberdeen Performing Arts Aberdeen University

Aberdeenshire Council

Aberystwyth university Abigail Carney Associates

Academy of Music & Sound

ACCA UK Action Factory Community Arts Ltd

affective media ltd Aillum Ltd alastaircook.com

Algiz Media All About Audiences All The Rage

Alpha Facilities Ambergreen Amor Group

An Lanntair An Tobar The Tobermory Arts Centre

Anarkik3D Ltd

AND festival Andy Haldane Productions Anne Curtis

Anon Poetry Applecloud Films Ltd. Argyll & Bute Council

Arika Heavy Industries

Art in Healthcare Art Pistol

Artlink Arts and Theatres Trust Fife

Arts Guild Theatre

Arts In Merkinch Arts Marketing Association Aspire Media

AttFife ATYN Creative Ltd Audiences East Scotland

Audiences London AV9 Limited Axis

Bad Pony Media/Bad Pony Television

Bahrain Polytechnic Bang! Productions

BBC Scotland Beam Benchmark Communications


Page | 96

Benjamin McCulloch Audio

Bett Associates Consultants

Bettridge Centre

Binary Fable Birds of Paradise Theatre Company

BITWeb.tv

Black Swan Dance Theatre / Brown Paper Tickets

Blackwatch Media bleep purple

Blether Media Blobina Animations Bluemungus

Bodysurf Scotland Bonnar Keenlyside Booth Scotland Ltd

Border Crossing Media

Bothy Messages Bouncesports

break-step productions ltd

bridgwater college Bright Digital Marketing

Brink Productions British Council Brown Paper Tickets

Brunton Theatre bsp Buidheann Leasachaidh Ionad Hiort

Burnside Research Byre Theatre c4di

Caledonian University

Callisti Calman Trust

Calman Trust Ltd Canongate Books Carn to Cove

Caroline von Schmalensee Technical Communicator

Carpets Plus Caru Ventures Ltd

Catalyst Catherine Wheels Theatre Company

Catriona Ross

CCA Celtic Music Radio Center for Nordic Studies, University of the Highlands and Islands

Central Station Centre for Contemporary Arts (CCA)

Centre for Educational Leadership Edinburgh University

CIRCA Connect Cisco Scotland Citizens Theatre

Citrus Mind Limited City of Edinburgh Council City of Literature Trust

CIVIC cj-smith.net CMF Consulting

CMN Cognition DDS Collective Gallery


Page | 97

Collins Gallery Comms FM Ltd Connect Communications

Conscia Contently Managed Coriolis Media

Cornerhouse Courtney Consulting Ltd Cove Park

craftscotland Creation Editor Ltd Creative Partners

Creative Cultures Scotland

Creative Scotland Creative Scotland

Creative Services (Scotland) Ltd

Creative Services, North Lanarkshire Council

Creative Solutions

Creatively Digital Crostorfin Associates Cryptic

Cultural Enterprise Office

Culture and Sport Glasgow Culture Sparks

Cumbernauld College Cumbernauld Theatre Dance Base

Dance House Dance Ihayami David Cumings

David Leslie Associates

DDA Defnet Media

Design Unbound Ltd. Deveron Arts Diamond Edge Productions

DigiCult Digital Curation Centre Digital Design Scotland

Digital IP DigitalAgency.com Direct Distribution

Distrify Limited DMU Dogstar Theatre Company

Doune The Rabbit Hole Festival

Dovecot Studios dp digital media

Drake Music Scotland

DUFI Art Ltd Dumfries & Galloway Arts Festival

Dumfries and Galloway Arts Festival

Duncan of Jordanstone Dundee City Council

dundee contemporary arts

Dundee Rep Theatre East Lindsey District Council

East Lothian Council

Eat Balanced Limited ECA - Moving Targets

Ecometrica Eden Court Eden Court Theatre

Edinburgh International Festival

Edinburgh Art Festival Edinburgh City Libraries


Page | 98

Edinburgh Festival Fringe

Edinburgh Festival Fringe Edinburgh Festival Fringe Society

Edinburgh Fringe Edinburgh International Book Festival

Edinburgh International Festival

Edinburgh International Film Festival

Edinburgh International Science Festival

Edinburgh Jazz and Blues Festival

Edinburgh Mela Edinburgh Museums and Galleries

Edinburgh Napier Uni

Edinburgh Napier University

Edinburgh Playhouse edinburgh printmakers

Edinburgh Research and Innovation

Edinburgh Science Triangle Edinburgh Sculpture Workshop

Edinburgh Skillset Screen & Media Academy

Edinburgh University EDTC Technology Gateway

Education Scotland Elevator Video Ltd Ellipsis Digital Ltd

Elspeth Gardner Ceramics

Escrivo Internet Consulting

ESEP Global

EUSA EventScotland Everything Everywhere

Exeter Phoenix Falkirk Council Falkirk Council, Cultural Services

Festival City Theatres Trust

Festival Fringe Society Festivals Edinburgh

Festivals Edinburgh FiddleFolk Fife Contemporary Art & Craft

Fife Council Fife Folk Museum Trust Filmhouse

FilmLive Media Ltd Fin Taw Studio & Gallery Findhorn Foundation

Fitscorer Flatrate Fledgling Press Ltd

Fletcher Communications

folly Forestry Commission

Found Sounds Ltd Freelance freelance developer

Freetobook Fresh Focus Marketing Frugal Cool Sustainability+Design

full circle arts GamesAnalytics GANE

GANE - Growing Audiences North

GAP Productions GEAC


Page | 99

East

GFT GFT and Glasgow Film Festival

GFT/Glasgow Film Festival

Giant Gibson Communications Ltd Giglets ltd.

Gilmore Productions Glasgay Glasgow Caledonian University

Glasgow East Arts Company

Glasgow East Arts Company (Platform)

Glasgow Film Theatre

Glasgow Grows Audiences (GGA)

Glasgow Homelessness Network

Glasgow international Festival of Visual Art

Glasgow Life Glasgow Museums Glasgow Print Studio

Glasgow School of Art

Glasgow Sculpture Studios Glasgow Women's Library

Glasgow's Concert Halls

Glimpse GMG Radio

Good4HEALTH Ltd Good4HEALTH Ltd. Greenock Arts Guild

GSA guardian care Haddo User Group

Haiku Interactive Hamill Associates Hands Up for Trad

Harvey Nash Hazelton Health Improvers

Hebrides Ensemble Hebrides Ensemble Heehaw Digital

Heriot-Watt University

HI~Arts HI-Arts

Highland Council Highland Print Studio Hockyfrilla

HOPE COUNSELLING AND THERAPEUTIC SERVICES

Horsecross Horsecross Arts

Horsecross Arts Ltd Howard Arts i2eye design studio

IA Centre ICCE, Goldsmiths ICIPIA Limited

IES Ltd ifoundry Illumina Digital

Illumina Scotland Imaginate Incentive Media

Independant Independent Consultant/Artist

Indiana University

Inigo Media Inner Ear Ltd. Innovation Business

Innovative Craft insitebright Inspiring Open Innovation Team


Page | 100

Interface Interface - The knowledge connection for business

Interface3

Intermezzo International Network for Contemporary Performing Arts (IETM)

Inverleith House

Inverness Old Town Art

IonRay Studios Jammy Music Publishers Ltd

Jane Hogg Consulting

Janice Parker Projects Johnston Carmichael

Joyworks! Juliebee Writing & Photography

Jumbuck Entertainment

Jumbuck Entertainment Ltd.

K2L Ltd kasule design

Kerekes Gmbh Kevin McPhee Key Advice

Kinetica King's Theatre & Theatre Royal Glasgow

Kingston University

Kinura Web Video kirkcaldy YMCA kk Interactive Ltd

klabkidz Knockando Woolmill Trust Learning and Teaching Scotland

Leckie & Leckie Lemon Design literaturetraining

LizLeonardMedia Loc8 Solutions Loc8 Soutions

Loop & Layer LTS Lucidity Media

Ludometrics Lyceum Theatre Lynsey Stewart dot com

M van Fullbroeck Associates Ltd

Macrobert Arts Centre Malcolm cruickshank, textile artist

Manaseven Manchester University Mannalution Limited

MashedUpMedia Matchlight Matthews Marketing

MBM Commercial LLP McClure Naismith LLP McIntosh Creative

MDDA mediaco-op MeetingMatrix International Meeting and Event Technology Lab at Queen Margaret U

MeetingMatrix International Meeting and Event Technology Lab, Queen Margaret Uni

Merchant City Glasgow and Glasgay!

Merchant City Marketing

Merchant City Merchant City Tourism & Merchant City


Page | 101

Tourism & Marketing Co-op

Marketing Co-operative Tourism Marketing Co-op

MET Lab, Queen Margaret University

Midmar Hall Mimtech

Mind Over Matters MiNetwork Mint Digital

MMPC Mobius Digital Moray Art Centre

Moray College Moray Council Moray School of Art

Morton Consulting Motherwell Concert Hall Motherwell Concert Hall and theatre

motiontime Moving Targets / ECA MTP LTD

Mull Theatre Museums Galleries Scotland Musicians' Union

Music-Makers My Pinkie Promise n/a

Nairn Book & Arts Festival

National Galleries of Scotland

National Galleries of Scotland

National Museums Scotland

National Theatre National Theatre of Scotland

National Trust for Scotland

National Youth Choir of Scotland

nb

NEAT Neil Wilson Publishing Ltd NESPaP

NESTA Net Resources Ltd New Makar Marketing & Copywriting

New Media Partners New Media Scotland New Moves

NewcastleGateshead Initiative

NEXI Internet Television Ltd

NLC

nmp nmp Ltd No1 Currency

North Ayrshire Council Cultural Services

North East Arts Touring North Lanarkshire Council

North Lands Creative Glass

North South Media NoTosh Digital Media | Education

NoTosh Digital Media | Education Ltd

NSDesign Ltd NTS/Robert Burns Birthplace Museum

Numbercult NVA NVA Europe Ltd.

NXV Ltd NYCoS NYOS

Occupancy Marketing Off the Wall Once Were Farmers

One Thumb Mobile Onyx - Disaster Recovery + Onyx Group


Page | 102

Ltd Business Continuity

Open Book PW Out of the Darkness Theatre Company

outerglobe

OXYGEN FILMS PAL Technologies Ltd PAN

Panel Par Equity Paragise ltd

PCM creative PCM creative media PCM projects

PCMprojects Peacock Visual Arts photoworks

PHPR Ltd Ping Pirate Productions

Pirnie Limited Pitlochry Festival Theatre Plan B Collective

Planning Aid for Scotland

Plexus Media Ltd PointShift

polka dot factory PoLR PoLR Ltd

Polybius Games Pooka.Pro Poorboy

Prescient Software Principal Proiseact nan Ealan

Promote YT Promote YT (Scotland) Promoters Arts Network

property log bookc company

Prophet Scotland Publishing Scotland

Puppet Animation Scotland

Puppet state Puppet State Theatre Co

Puppet State Theatre Company

Purple Feather Ltd pza

Queen Margaret University

Quotabl.es Quotables / Mint Digital

Radiator Raise the Roof Productions Random Accomplice

RCAHMS Reeling & Writhing Regional Screen Scotland

Renfrewshire Arts and Museums

RGU Richard Faint

Right Lines Productions

River Clyde Homes Robert Gordon University

Roger Tomlinson Limited

Royal Commission on the Ancient & Historical Monuments of Scotland

Royal Lyceum Theatre

Royal Scottish Academy of Music and Drama

Royal Scottish National Orchestra

RSAMD


Page | 103

RSNO RTPI Rude Mechanicals

Rundomo RZSS Saltire Foundation

Sara Keith Design Saraband Saville-Ferguson

sbworks SCDI School of Law, Glasgow University

Science City York Scotland Scots Music Group

ScottCom Ltd Scottish Arts Council Scottish Ballet

Scottish Book Trust Scottish Centre for Enabling Technologies

Scottish Centre for Enabling Technology

Scottish Chamber Orchestra

Scottish Dance Theatre Scottish Ensemble

Scottish Enterprise Scottish Healthcare Scottish Music Centre

scottish music industry association

Scottish National Jazz Orchestra

Scottish Opera

Scottish Poetry Library

Scottish Refugee Council Scottish Screen

Scottish Storytelling Centre

Scottish Traditions of Dance Trust

Scottish Youth Theatre

Scottish Youth Theatre

Scran Scran/RCAHMS

Screen Academy Scotland

SEPA SERPS Invaders Ltd.

Seven Stories Shelter Scotland Shetland Moving Image Project

SIAA Skylark Energy Systems Smallpetitklein Dance Company

Solar Bear Ltd Solvebrand Ltd sound

sound festival & Woodend Barn

sound, north east scotland's festival ofnew music

Source Developments

SourceRail Spagetti Place plc Specialmove

Spider Online Spot Specific Stable Recordings

StAnza StAnza: Scotland's International Poetry Festival

Stellar Quines

Stellar Quines Stellar Quines Theatre Co Stellar Quines Theatre Company


Page | 104

Stills Stirling Centre for International Publishing & Communication

Stirling Council

Stirling Council Adult Learning Team

StoreSeen Limited Storm ID

Storm ID Stow College Strathclyde Forensics

Strathpeffer Pavilion

Street Level Street Level Photoworks

Sts-Digital Ltd Stuart Brown research & production

STV

SurefireTV SwellPath Interactive T/A Triple Text Translations

TAB taigh chearsabhagh Taigh Chearsabhagh Museum & Arts Centre

taigh chearsabhagh trust

TAQTW Tarbat Community Hall Group

Technology Consult Telaco Ltd Tern

The Arches The Audience Business The British Council

The Butterworth Gallery

The Buzz Agency The Byre Theatre

The CatStrand The Centre for Nordic Studies at UHI

The Common Guild

The Edinburgh Mela The Edinburgh Mela The Festival Fringe Society

The Findhorn Foundation

The Forest The Forest of Black

the future laboratory

The Glasgow School of Art The Grassic Gibbon Centre

The Holywood Trust The Hub The Journal

The Leith Gallery The List The List Ltd.

The LOT Edinburgh The Lyceum Theatre The MET Lab, Queen Margaret University

The Motherwell Concert Hall and Theatre

The National Youth Orchestras of Scotland

The Presentation Business

The Queen's Hall The Royal Collection The Royal Scottish Academy of Music & Drama

The Royal Town The Ruby Trubies The Saltire Society


Page | 105

Planning Institute

The Studio The Technology Club Ltd The Travelling Gallery

The Tron Theatre The Union The Work Room

The Writer's Compass (formerly literaturetraining)

Theatre Cryptic Theatre Workshop Scotland

Theatrical Solutions

thekiltedcomposer.com tictoc

Timespan TInCAN (The international Contemporary Arts Network)

National Youth Orchestras of Scotland

Tolbooth Tolbooth / Stirling Council

Tourism Innovation Group

Touzie Tyke Town Hall & Symphony Hall Travelling Gallery

Traverse Theatre Traverse Theatre Company Traverse Theawtre

Tribalogic Ltd. Tricast Solutions Ltd Tricast Solutions ltd.

Trigger Tron Theatre Ltd

TVI - The Value Innovators Ltd

Twintangibles TWS

University of Dundee

undp Unique Events

Universal Hall Universal Hall Ltd University of Abertay Dundee

University of Dundee

University of Edinburgh University of Glasgow

University of Manchester

University of St Andrews University of Stirling

University of Strathclyde

University of the West of Scotland

University of Westminster

Usher Hall, Edinburgh

UWS Vanishing Point

Visible Fictions VisitScotland/EventScotland

Visual Arts and Galleries Association

Visual Arts and Galleries Association (VAGA)

Vital Grooves Voice

Voice of my Own Wasps Artists Studios Wasps Artists'


Page | 106

Studios

Vector76 Waverley Books Waves PR

Wasps Studios We Make Sense Ltd WebAge

WebPhysio Wee Stories West Lothian Council

Wilderness Of Tigers

Wildfire Wilson Digital

Woodend Barn Winterwell Associates WOM@TT (World of Music @ The Tabernacle)

Wriggly Rascals Ltd World Club HQ Ltd wowdewow

www.mulliganplus.com

Wright & Co WWF UK

xanthe film & tv ltd

[email protected] Youth Scotland

YDance Yomego Young Scot

Appendix C - Partners & Associates Online

survey Questionnaire

AmbITion Scotland Evaluation


Page | 107

Culture Sparks are conducting an evaluation of the 2010 / 2011 AmbITion

Scotland programme and your participation is vital to gathering information to assist in establishing if the project has fulfilled its

key objectives.

Please be as honest and open in your feedback as possible.

If you have any comments or questions about this survey or the evaluation programme more generally,

please get in touch with me at [email protected] or 0141 248 6864.

1. How did you initially find out about the AmbITion Scotland opportunity?

35 (100.0%) 2. Could the marketing of the programme have been improved in any way?

6 (17.1%) Yes 10 (28.6%) No 19 (54.3%) Don't know 3. How do you think the marketing of the programme could have been improved?

6 (100.0%) 4. Which of the following words or phrases do you think apply to your experience of the initial

application process? 14 (40.0%) Challenging 8 (22.9%) Complex 6 (17.1%) Confusing 7 (20.0%) Clear criteria for successful selection 1 (2.9%) Easy 7 (20.0%) Frustrating 12 (34.3%) Thought provoking 6 (17.1%) Inspiring 9 (25.7%) Straightforward 0 (0.0%) Unnecessary 0 (0.0%) Overwhelming 5. Please use the following box to expand on your thoughts in relation to the application:

29 (82.9%) 6. How fair do you feel the application selection process was from your perspective?

8 (22.9%) Very Fair 9 (25.7%) Quite Fair


Page | 108

7 (20.0%) Neither/Nor 2 (5.7%) Quite Unfair 0 (0.0%) Very Unfair 9 (25.7%) Don't Know 7. Why do you say that?

35 (100.0%) 8. If you were required to create a business case to support your application,

how easy or difficult did you find the process of developing a business case? 1 (2.9%) Very Easy 10 (28.6%) Quite Easy 3 (8.6%) Neither/Nor 6 (17.1%) Quite Difficult 3 (8.6%) Very Difficult 4 (11.4%) Don't Know 8 (22.9%) Did not have to create a business case 9. In what way could it have been made easier for your organisation?

9 (100.0%) 10. To what extent has AmbITion Scotland contributed to the following within your organisation?

Substantial Contribution

Some contribution but

more benefit anticipated

Little or no contribution to

date

Don't know if it has contributed

Not relevant to my

organisation

Raising technology capacity and integrated ICT implementation

8 (22.9%) 14 (40.0%) 12 (34.3%) 1 (2.9%) 0 (0.0%)

Changing working practices, job roles and or organisational / operational structures

3 (8.6%) 20 (57.1%) 9 (25.7%) 3 (8.6%) 0 (0.0%)

Obtaining efficient, integrated, digitally-based customer relationship management systems: i.e. ticketing systems, websites, fundraising and other databases

7 (20.0%) 12 (34.3%) 12 (34.3%) 1 (2.9%) 3 (8.6%)

Training staff, improving ‘digital literacy’ of boards and skilling the senior management teams in the implementation of new technologies, business and artistic practices

3 (8.6%) 22 (62.9%) 8 (22.9%) 0 (0.0%) 2 (5.7%)

Acquiring better knowledge about existing audiences

1 (2.9%) 13 (37.1%) 16 (45.7%) 4 (11.4%) 1 (2.9%)

Developing more attractive content that potential audiences could easily find

9 (25.7%) 14 (40.0%) 11 (31.4%) 1 (2.9%) 0 (0.0%)

Providing equitable access to content for anyone with a connection to the internet (mobility / hearing / sight impairments)

2 (5.7%) 9 (25.7%) 17 (48.6%) 6 (17.1%) 1 (2.9%)

Enabling audiences to participate and communicate with your organisation effectively and deeply online

4 (11.4%) 23 (65.7%) 7 (20.0%) 1 (2.9%) 0 (0.0%)

Overall, increasing organisational effectiveness

3 (8.6%) 20 (57.1%) 11 (31.4%) 1 (2.9%) 0 (0.0%)


Page | 109

Overall, improving levels of public engagement with your organisation

7 (20.0%) 20 (57.1%) 7 (20.0%) 1 (2.9%) 0 (0.0%)

11. Please indicate the extent to which you agree or disagree with the following statements regarding

the Specialist Advisor you worked with: Agree

Strongly Agree Neither

agree nor disagree

Disagree Disagree Strongly

Don't Know

The Specialist Advisor made an excellent contribution to our project

10 (28.6%)

8 (22.9%)

10 (28.6%)

2 (5.7%) 4 (11.4%)

1 (2.9%)

We found the Specialist Advisor difficult to work with at times

1 (2.9%) 5 (14.3%)

11 (31.4%)

10 (28.6%)

8 (22.9%)

0 (0.0%)

Communication with the Specialist Advisor was very easy

7 (20.0%)

17 (48.6%)

5 (14.3%)

4 (11.4%)

2 (5.7%) 0 (0.0%)

The Specialist Advisor ’s skills were not a perfect match for our project

3 (8.6%) 11 (31.4%)

7 (20.0%)

9 (25.7%)

4 (11.4%)

1 (2.9%)

There was not enough time with the Specialist Advisor

5 (14.3%)

7 (20.0%)

16 (45.7%)

6 (17.1%)

0 (0.0%) 1 (2.9%)

The Specialist Advisor fully understood our needs

5 (14.3%)

13 (37.1%)

9 (25.7%)

4 (11.4%)

3 (8.6%) 1 (2.9%)

12. Please indicate the extent to which you agree or disagree with the following statements regarding

the programme of knowledge and learning events which have taken place within the AmbITion Scotland project:

Agree Strongly

Agree Neither agree nor disagree


Don't Know

The programme of events was interesting

9 (25.7%)

18 (51.4%)

7 (20.0%)

0 (0.0%) 0 (0.0%) 1 (2.9%)

The programme of events was not relevant to my organisation

0 (0.0%) 3 (8.6%) 7 (20.0%)

21 (60.0%)

3 (8.6%) 1 (2.9%)

The events I attended were professionally staged

7 (20.0%)

22 (62.9%)

4 (11.4%)

0 (0.0%) 0 (0.0%) 2 (5.7%)

There was not enough marketing activity for the events

0 (0.0%) 0 (0.0%) 8 (22.9%)

23 (65.7%)

3 (8.6%) 1 (2.9%)

I would have liked to have attended more of the events than I did

5 (14.3%)

15 (42.9%)

11 (31.4%)

1 (2.9%) 1 (2.9%) 2 (5.7%)

The events have a valuable legacy because they can be accessed on demand online at a future date

9 (25.7%)

19 (54.3%)

3 (8.6%) 2 (5.7%) 0 (0.0%) 2 (5.7%)

13. Please indicate the helpfulness of the following, if used:

Helpful Not helpful Not used Don't Know Member of the ‘ning’ 7 (20.0%) 16 (45.7%) 9 (25.7%) 3 (8.6%) Posted a blog on the 'ning' 1 (2.9%) 3 (8.6%) 30 (85.7%) 1 (2.9%) How to Guide(s) 22 (62.9%) 0 (0.0%) 10 (28.6%) 3 (8.6%) Case Studies 19 (54.3%) 0 (0.0%) 14 (40.0%) 2 (5.7%) Participated in a web cast 19 (54.3%) 1 (2.9%) 13 (37.1%) 2 (5.7%) Posted a question on the 'ning' 3 (8.6%) 4 (11.4%) 25 (71.4%) 3 (8.6%) Swop Shop 0 (0.0%) 1 (2.9%) 31 (88.6%) 3 (8.6%) Appoint an Intern to work on the

project 1 (2.9%) 2 (5.7%) 30 (85.7%) 2 (5.7%)

Made connections with other organisations via Connections site

7 (20.0%) 1 (2.9%) 26 (74.3%) 1 (2.9%)

The phone bank 4 (11.4%) 2 (5.7%) 28 (80.0%) 1 (2.9%) The Facebook Page 11 (31.4%) 1 (2.9%) 22 (62.9%) 1 (2.9%)


Page | 110

Tweet using the #getambition hashtag 15 (42.9%) 1 (2.9%) 16 (45.7%) 3 (8.6%) Post or use photos from the Flickr

stream 1 (2.9%) 2 (5.7%) 29 (82.9%) 3 (8.6%)

14. Please expand on any of these issues if you have additional comments:

12 (34.3%) 15. Please indicate the extent to which you agree or disagree with the following statements regarding

the AmbITion Scotland programme team?

Agree Strongly



Don't Know

The team could have communicated more effectively

1 (2.9%) 4 (11.4%)

13 (37.1%)

12 (34.3%)

5 (14.3%)

0 (0.0%)

The team were very professional 9 (25.7%)

23 (65.7%)

3 (8.6%) 0 (0.0%) 0 (0.0%) 0 (0.0%)

The team kept the project on track 9 (25.7%)

13 (37.1%)

10 (28.6%)

1 (2.9%) 0 (0.0%) 2 (5.7%)

I'm not sure what the team did 1 (2.9%) 3 (8.6%) 10 (28.6%)

17 (48.6%)

2 (5.7%) 2 (5.7%)

The team were responsive when I raised an issue or voiced a concern

13 (37.1%)

13 (37.1%)

7 (20.0%)

1 (2.9%) 0 (0.0%) 1 (2.9%)

The team were knowledgeable and helped me answer my questions

10 (28.6%)

18 (51.4%)

6 (17.1%)

0 (0.0%) 0 (0.0%) 1 (2.9%)

16. What do you feel have been the major challenges for your organisation in relation to participating in

the AmbITion Scotland programme?

33 (94.3%) 17. Is there anything more the AmbITion Scotland team could have done to assist you achieve greater

success with this programme? 7 (20.0%) Yes 12 (34.3%) No 16 (45.7%) Don't know 18. What more could they have done?

7 (100.0%) 19. Do you have any other comments to make about your experience with the AmbITion Scotland

programme? 19 (54.3%) 4. Finally, please complete the following details:

20. Your Name (this will be kept confidential):

35 (100.0%)


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21. Your Organisation (this will be kept confidential):

35 (100.0%) 22. You are an...

16 (45.7%) AmbITion Scotland Partner 19 (54.3%) AmbITion Scotland Associate 23. Are you willing to take part in further research, if this is required? This may take the form of a

Telephone discussion or perhaps an Online focus group. 25 (71.4%) Yes 10 (28.6%) No 24. Do we have your permission to attribute any comments to your organisation?

17 (48.6%) Yes 18 (51.4%) No 25. Do we have your permission to advise the AmbITion Scotland team of your comments?

28 (80.0%)

Yes

7 (20.0%) No

Appendix D - Specialist Advisors Online survey

Questionnaire

AmbITion Scotland Evaluation


Page | 112

Culture Sparks are conducting an evaluation of the 2010 / 2011 AmbITion

Scotland programme and your participation is vital to gathering information to assist in establishing if the project has fulfilled its

key objectives.

Please be as honest and open in your feedback as possible.

If you have any comments or questions about this survey or the evaluation programme more generally,

please get in touch with me at [email protected] or 0141 248 6864.

1. How did you initially find out about AmbITion Scotland?

9 (100.0%) 2. Could the marketing of the programme to potential consultants/advisors

have been improved in any way? 2 (22.2%) Yes 1 (11.1%) No 6 (66.7%) Don't know 3. How do you think the marketing of the programme could have been improved?

2 (100.0%) 4. Which of the following words or phrases do you think apply to your experience

of the initial application process? 1 (11.1%) Challenging 0 (0.0%) Complex 0 (0.0%) Confusing 3 (33.3%) Clear criteria for successful selection 1 (11.1%) Easy 0 (0.0%) Frustrating 2 (22.2%) Thought provoking 0 (0.0%) Inspiring 8 (88.9%) Straightforward 0 (0.0%) Unnecessary 0 (0.0%) Overwhelming 5. Please use the following box to expand on your thoughts in relation to

the application process? 5 (55.6%) 6. How fair do you feel the application selection process was from your perspective?

2 (22.2%) Very Fair


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2 (22.2%) Quite Fair 3 (33.3%) Neither/Nor 0 (0.0%) Quite Unfair 0 (0.0%) Very Unfair 2 (22.2%) Don't Know 7. Why do you say that?

9 (100.0%) 8. Could the selection process have been improved in any way?

1 (11.1%) Yes 1 (11.1%) No 6 (66.7%) Don't Know 9. In what way could the selection process have been improved?

2 (100.0%) 10. If you were required to help create a business case to support the application

by one of the organisations, how easy or difficult did you find the process of developing a business case?

2 (22.2%) Very Easy 3 (33.3%) Quite Easy 2 (22.2%) Neither/Nor 1 (11.1%) Quite Difficult 0 (0.0%) Very Difficult 0 (0.0%) Don't Know 1 (11.1%) Did not have to create a business case 11. In what way could it have been made easier for you to assist the organisation(s)?

1 (100.0%) 12. To what extent do you consider that your involvement in the AmbITion Scotland project has

contributed to the following, within the organisation(s) you worked with? (We realise that you may have worked with several organisations, and that experiences may have differed between organisations - but we would like your overall impressions.)

Substantial Contribution

Some contribution but

more benefit anticipated

Little or no contribution to

date

Don't know if it has contributed

Not relevant to organisation(s) I worked with

Raised their technology capacity and integrated ICT implementation

5 (55.6%) 4 (44.4%) 0 (0.0%) 0 (0.0%) 0 (0.0%)

Changed their working practices, job roles and or organisational / operational structures

5 (55.6%) 3 (33.3%) 0 (0.0%) 1 (11.1%) 0 (0.0%)

They obtained efficient, integrated, digitally-based customer relationship management systems: i.e. ticketing systems, websites, fundraising and other databases

4 (44.4%) 2 (22.2%) 1 (11.1%) 0 (0.0%) 2 (22.2%)


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Trained staff, improved ‘digital literacy’ of boards and skilling the senior management teams in the implementation of new technologies, business and artistic practices

6 (66.7%) 2 (22.2%) 1 (11.1%) 0 (0.0%) 0 (0.0%)

They acquired better knowledge about existing audiences

3 (33.3%) 3 (33.3%) 1 (11.1%) 1 (11.1%) 1 (11.1%)

They developed more attractive content that potential audiences could easily find

3 (33.3%) 5 (55.6%) 0 (0.0%) 0 (0.0%) 1 (11.1%)

They provided equitable access to content for anyone with a connection to the internet (mobility / hearing / sight impairments)

2 (22.2%) 3 (33.3%) 2 (22.2%) 1 (11.1%) 1 (11.1%)

Enabled audiences to participate and communicate with their Organisation effectively and deeply online

4 (44.4%) 3 (33.3%) 2 (22.2%) 0 (0.0%) 0 (0.0%)

Overall, Increased their organisational effectiveness

4 (44.4%) 3 (33.3%) 2 (22.2%) 0 (0.0%) 0 (0.0%)

Overall, Improved their levels of public engagement with their organisation

3 (33.3%) 4 (44.4%) 1 (11.1%) 1 (11.1%) 0 (0.0%)

13. Please use the space here to provide any specific or additional comments you

may have related to the impact of the project with the organisations you worked with (including any differences between the different organisations you worked with):

7 (77.8%) 14. Please indicate the extent to which you agree or disagree with the following statements

regarding the organisation(s) you worked with: (Again, we realise that you may have worked with several organisations and experiences may have differed between organisations - but we would be grateful for your overall impressions.)

Agree Strongly



Don't Know

They made an excellent contribution to the project

5 (55.6%)

2 (22.2%)

2 (22.2%)

0 (0.0%) 0 (0.0%) 0 (0.0%)

We found the organisation(s) difficult to work with at times

2 (22.2%)

2 (22.2%)

1 (11.1%)

2 (22.2%)

2 (22.2%)

0 (0.0%)

Communication with the organisation(s) was very easy

1 (11.1%)

4 (44.4%)

2 (22.2%)

2 (22.2%)

0 (0.0%) 0 (0.0%)

Their desires were not a perfect match for our skills

0 (0.0%) 0 (0.0%) 4 (44.4%)

4 (44.4%)

1 (11.1%)

0 (0.0%)

The organisation(s) we worked with exceeded our expectations regarding their willingness to engage

1 (11.1%)

2 (22.2%)

3 (33.3%)

2 (22.2%)

1 (11.1%)

0 (0.0%)

There was not enough time with the organisation(s)

1 (11.1%)

3 (33.3%)

3 (33.3%)

2 (22.2%)

0 (0.0%) 0 (0.0%)

The organisation(s) fully understood our contribution

1 (11.1%)

4 (44.4%)

1 (11.1%)

3 (33.3%)

0 (0.0%) 0 (0.0%)

15. Please indicate the extent to which you agree or disagree with the following

statements regarding the programme of knowledge and learning events which have taken place within the AmbITion Scotland project:

Agree Strongly



Don't Know

The programme of events was interesting

2 (22.2%)

5 (55.6%)

1 (11.1%)

0 (0.0%) 0 (0.0%) 1 (11.1%)


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The programme of events was not relevant to the organisation(s) I worked with

0 (0.0%) 0 (0.0%) 1 (11.1%)

6 (66.7%)

0 (0.0%) 2 (22.2%)

The events I attended were professionally staged

2 (22.2%)

2 (22.2%)

2 (22.2%)

0 (0.0%) 0 (0.0%) 3 (33.3%)

There was not enough marketing activity for the events

0 (0.0%) 1 (11.1%)

2 (22.2%)

4 (44.4%)

1 (11.1%)

1 (11.1%)

I would have liked to have attended more of the events than I did

1 (11.1%)

5 (55.6%)

3 (33.3%)

0 (0.0%) 0 (0.0%) 0 (0.0%)

The events have a valuable legacy because they can be accessed on demand online at a future date

3 (33.3%)

3 (33.3%)

2 (22.2%)

1 (11.1%)

0 (0.0%) 0 (0.0%)

16. Please indicate the helpfulness of the following, if used:

Helpful Not helpful Not used Don't Know Member of the ‘ning’ 6 (66.7%) 1 (11.1%) 2 (22.2%) 0 (0.0%) Posted a blog on the 'ning' 4 (44.4%) 1 (11.1%) 4 (44.4%) 0 (0.0%) How to Guide(s) 7 (77.8%) 0 (0.0%) 2 (22.2%) 0 (0.0%) Case Studies 7 (77.8%) 0 (0.0%) 2 (22.2%) 0 (0.0%) Participated in a web cast 5 (55.6%) 0 (0.0%) 4 (44.4%) 0 (0.0%) Posted a question on the 'ning' 3 (33.3%) 1 (11.1%) 5 (55.6%) 0 (0.0%) Swop Shop 0 (0.0%) 1 (11.1%) 7 (77.8%) 1 (11.1%) Made connections with other

organisations via Connections site 0 (0.0%) 1 (11.1%) 8 (88.9%) 0 (0.0%)

The phone bank 1 (11.1%) 1 (11.1%) 7 (77.8%) 0 (0.0%) The Facebook Page 1 (11.1%) 0 (0.0%) 8 (88.9%) 0 (0.0%) Tweet using the #getambition hashtag 3 (33.3%) 0 (0.0%) 6 (66.7%) 0 (0.0%) Post or use photos from the Flickr

stream 1 (11.1%) 0 (0.0%) 8 (88.9%) 0 (0.0%)

17. Please expand on any of these issues if you have additional comments:

3 (33.3%) 18. Please indicate the extent to which you agree or disagree with the following statements regarding

the AmbITion Scotland programme team:

Agree Strongly



Don't Know

The team could have communicated more effectively

0 (0.0%) 1 (11.1%)

0 (0.0%) 6 (66.7%)

2 (22.2%)

0 (0.0%)

The team were very professional 4 (44.4%)

4 (44.4%)

1 (11.1%)

0 (0.0%) 0 (0.0%) 0 (0.0%)

The team were supportive and encouraging

4 (44.4%)

4 (44.4%)

1 (11.1%)

0 (0.0%) 0 (0.0%) 0 (0.0%)

The team kept the project on track 3 (33.3%)

3 (33.3%)

1 (11.1%)

1 (11.1%)

0 (0.0%) 1 (11.1%)

I'm not sure what the team did 0 (0.0%) 0 (0.0%) 1 (11.1%)

6 (66.7%)

2 (22.2%)

0 (0.0%)

The team were responsive when I raised an issue or voiced a concern

5 (55.6%)

3 (33.3%)

1 (11.1%)

0 (0.0%) 0 (0.0%) 0 (0.0%)

The team were knowledgeable and helped me answer my questions

1 (11.1%)

7 (77.8%)

1 (11.1%)

0 (0.0%) 0 (0.0%) 0 (0.0%)


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19. What do you feel have been the major challenges for your organisation(s) in relation to fulfilling the AmbITion Scotland programme?

6 (66.7%) 20. Is there anything more the AmbITion Scotland team could have done

to assist you in achieving greater success with this programme? 1 (11.1%) Yes 5 (55.6%) No 3 (33.3%) Don't know 21. What more could they have done?

1 (100.0%) 22. Do you have any other comments to make about your experience

e with the AmbITion Scotland programme? 6 (66.7%) 4. Finally, please complete the following details:

23. Your Name (this will be kept confidential):

9 (100.0%) 24. Your Organisation (this will be kept confidential):

9 (100.0%) 25. Are you willing to take part in further research, if this is required?

This may take the form of a Telephone discussion or perhaps an Online focus group. 7 (77.8%) Yes 2 (22.2%) No 26. Do we have your permission to attribute any comments to your organisation?

4 (44.4%) Yes 5 (55.6%) No 27. Do we have your permission to advise the AmbITion Scotland team

of your comments? 7 (77.8%) Yes 2 (22.2%) No


Page | 117

Thank you very much for your participation.

If you have any comments or questions please contact me - [email protected] or 0141 248 6864

James Law

Culture Sparks Suite 1/1, 6 Dixon Street, Glasgow G1 4AX

www.culturesparks.co.uk

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AmbITion Scotland Programme 2009-11 Evaluation Report

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