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VALUING NATURE SHARON TELFER
VALUINGNATURE
SHARON TELFER
Bringing�about�long-term�improvementsin�wellbeing,�particularly�for�the�mostvulnerable,�is�at�the�heart�of�our�missionat�the�UK�Branch�of�the�CalousteGulbenkian�Foundation.�We�know�thereis�more�to�‘the�good�life’�than�materialwell-being,�so�our�work�explores�thevalue�of�social,�cultural�and�environmentalinitiatives�through�a�wider�prism�thanthe�economic�narrative�which�is�so�oftendominant.
Valuing Nature builds�on�the�interestsof our�Founder�and�the�work�of�othersapplying�this�approach�in�a�singleprogramme�of�work.�Its�projects�arediverse�but�share�a�central�aim:�usingcreative�engagement�with�the�naturalworld�to�promote�the�value�of�theenvironment�and�to�help�drive�changeto more�sustainable�lifestyles.�
We�want�to�test�and�demonstrate�whatworks�ensuring�that�the�best�can�besustained�and�spread.�Our�ambition�withValuing Nature was�to�provide�models�thatwould�both�inspire�others�and�show�otherfunders�the�value�of�supporting�suchinitiatives.�Some�projects�were�designed
to�engage�disadvantaged�communitiesand�others�to�influence�business�andgovernment.�Some�had�participantsliterally�getting�their�hands�dirty�withconservation�activities.�Others�used�thepower�of�art�to�highlight�environmentalissues.�Innovative�collaborations�lay�atthe�heart�of�all�the�projects.
By�making�connections�acrossboundaries�in�this�way,�we�seek�tocreate new�coalitions�of�interest�thatchallenge�the�norm.�As�a�society,�wehave individual�and�community�assetswe�can�build�on�not�least�the�skills,experience�and�interests�of�peoplewhose needs�and�potential�contributionmay�be�undervalued.�Few�needs�are�morepressing�than�learning�to�value�–�and�socherish�–�the�very�environment�in�whichwe�all�live.
Andrew�BarnettDirector,�Calouste�GulbenkianFoundation�(UK Branch)
INTRODUCTION
Valuing NatureReport�published�in�2016�byCalouste�Gulbenkian�FoundationUK�Branch
www.gulbenkian.pt/uk-branch
Above: A child plays in the earthat the Royal Botanic GardenEdinburgh. Photo: RBGE.
Front cover: A drawing by AlexisDeacon, an artist who took part inthe Gulbenkian Galápagos Artists’Residency Programme in 2009.
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There�is�an�urgent�need�to�reconnect�people�withthe�natural�world.�As�a�society,�we�must�foster�agreater�collective�understanding�of�environmentalissues�if�we�are�to�have�any�hope�of�meeting�theambition�of�the�UN�Sustainable�DevelopmentGoals�and�the�challenging�targets�in�the�2015�ParisAgreement�on�climate�change.�As�individuals,there�is�mounting�evidence�of�the�importance�ofthe�natural�world�to�our�personal�wellbeing.�Butmodern�life�seems�more�distanced�from�it�thanever.
Valuing Nature is�a�diverse�programme�ofinnovative�projects�aiming�to�promote�the�valueof the�environment�and�help�drive�change�tomore sustainable�lifestyles�by:
l engaging�the�public�in�a�better�understandingof�the�natural�world;
l harnessing�the�power�of�art�to�highlightenvironmental�issues;
l demonstrating�the�social�and�economicbenefits�of�investment�in�the�natural�world;
l influencing�government�and�businessdecision-makers.
Projects included:
l Environmental�organisations�offeringcommunities�that�rarely�get�opportunitiespractical�activities�to�get�involved.
l New�artworks�exploring�natural�and�scientificthemes.
l ‘Citizen�science’�collaborations�betweenscientists�and�the�public.
l Tools�to�help�planners�and�businesses�gaugetheir�effect�on�the�environment.
l Groundbreaking�ways�to�measure�the�personaland�social�impact�of�our�connection�to�thenatural�world.
Overall the programme found:
l For�many�people,�professionals�and�public,participation�was�life-changing.�
l Art�told�the�conservation�‘story’�in�fresh�andsurprising�ways�which�engaged�the�public�andchanged�their�preconceptions.�
l Imaginative�use�of�technology�expandedawareness�of,�and�active�involvement�with,natural�concerns.�
l Projects�brought�people�together,�provokeddialogue�and�forged�new�partnerships�withinand�across�sectors.
l Participating�organisations�attracted�newvisitors,�increased�their�profiles,�tackled�newconservation�work�and�accessed�new�funding.
l Environmental�and�heritage�organisationsexpanded�into�exciting�new�areas,�oftenprofoundly�reassessing�their�corporate�cultureand�how�they�work.�
l Projects�provided�evidence�for�decision-makers�and�models,�learning�and�resourcesfor practitioners.�
This�paper�explores�the�lessons�from�the�ValuingNature programme.�It�looks�at�how�this�kind�ofintervention�can�help�shift�cultural�attitudesand asks�how�funders�can�better�support�suchapproaches.
SUMMARY
Visitors from PiltonCommunity Health Projectenjoy Edible Gardening at theRoyal Botanic GardenEdinburgh. Photo: RBGE.
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There�is�an�urgent�need�to�reconnect�people�withthe�natural�world.�
Protection�of�the�natural�world�and�sustainablemanagement�of�its�resources�are�at�the�heart�ofthe recently�agreed�UN�Sustainable�DevelopmentGoals.�The�2015�Paris�Agreement�has�broughtconcerns�over�climate�change�into�sharpest�focus:195�nations�have�committed�to�attempting�to�keepglobal�temperature�rise�“well�below”�the�pointwhen�climate�change�could�threaten�human�life�onEarth�(2˚C�above�pre-industrial�levels).�It’s�a�verytall�order,�one�that�will�require�“a�paradigm�shiftin�the�philosophy�of�political�parties�–�unlikely�tohappen�unless�the�public�start�pushing�for�it”(BBC,�2015).�
This�challenge�comes�at�a�time�when�we�seem�evermore�disengaged�from�the�natural�world�–�despitegrowing�evidence�of�how�it�benefits�our�physicaland�mental�health�(NEF,�2012).�Four�out�of�fivechildren�in�the UK�have�inadequate�connectionwith�nature�(RSPB,�2013).�Environmentalconcerns�are�often�seen�as�the�preserve�of�older,white,�middle-class�people,�excludingcommunities�who�could�both�benefit�from�andbecome�champions�of�better�environmentalconditions.�Environmental�organisations�areworking�hard�on�conservation,�but�their�specialistfocus�can�make�them�appear�insular.�
This�disconnect�between�people�and�the�naturalworld,�between�communities�and�conservationists,means�the�future�for�protecting�the�environmentlooks�bleak�unless�we�take�action�(RSPB,�2013).�
The�Calouste�Gulbenkian�Foundation�(UKBranch)�(CGF)�has�a�long-standing�interestin how�the�environment�contributes�to�humanwellbeing.�Valuing Nature grew�out�of�whatwas then�(2010)�a�core�objective:�to�supportimaginative�interventions�that�help�increase
understanding�of�the�importance�of�habitatconservation�for�the�protection�of�theenvironment.�CGF�also�has�a�history�of�combinedinterests�across�the�arts,�the�environment�andwider�social�issues. The�Valuing Nature programmecould�put�this�unique�vantage�point�to�good�use.�
OUR THEORY OF CHANGE
Both�our�own�experience�and�independentresearch�suggest�particular�tactics�underpinpositive�social�change.�These�include:�
l generating�fresh�insights;�
l working�with�others�to�make�a�case�for�changeand�identifying�how�to�make�it;�
l forging�networks�of�like-minded�organisationsand�empowering�them�to�act;�
l placing�an�emphasis�on�learning�–�not�for�itsown�sake�but�to�elicit�change;�
l working�across�sectors�–�including�the�privatesector�–�to�blend�social�purpose�with�profit.�
We�believe�improving�wellbeing�requires�changeat�different�levels.�Valuing Nature addresses:�
l cultural change: trying�to�change�the�way�peoplethink,�so�as�to�influence�individual�or�collectivebehaviour;
l organisational change: encouraging�change�inthe�way�organisations�act;
l corporate change: helping�stimulate�demand,shape�markets�and�influence�howorganisations�deliver�products�and�services.
These,�in�turn,�can�then�influence�change�at�policyand�‘big�system’�level.�
WHY VALUING NATURE ?
Evergreen GardeningProject at the GeffryeMuseum. Photo:Em Fitzgerald/GeffryeMuseum.
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Between�2009�and�2014,�CGF�supportedseventeen�initiatives�(see�Appendix�1,�p.�27).The programme�was�not�conceived�as�a�discretewhole,�but�evolved�as�CGF,�co-funders�andparticipating�organisations�learnt�from�theprojects�and�as�CGF’s�own�strategic�prioritiesdeveloped.�Over�the�last�18�months,�CGF�hasfocused�on�assessing�the�impact�of�this�workand securing�its�legacy.�
Projects�took�a�variety�of�approaches,�including:
l Practical�projects�with�disadvantagedcommunities,�in�particular,�Communities inNature, a�dedicated�sub-programme�lookingat how�botanic�gardens�can�take�on�a�moresocial�role.�(For�a�detailed�evaluation�of�theCommunities in Nature projects, see�Lynch,2015.)
l New�artworks�exploring�natural�and�scientificthemes�through�various�media,�includingphotography,�film,�exhibitions,�sculpture,illustration,�sound�and�painting.�Artists�usedboth�physical�and�digital�spaces,�and�workedin collaboration�with�scientists�and�the�publicin�the�UK�and�abroad.�
l ‘Citizen�science’�projects,�with�scientists�andmembers�of�the�public�collaborating�onactivities�such�as�data�collection.
l New�ways�for�public�planners�and�businessesto understand�their�relationship�with�theenvironment.
l Gathering�evidence�and�establishing�ways�tomeasure�impact.
Some�projects�were�aimed�at�the�general�public,through�exhibitions,�screening�and�digitalresources�(many�of�which�remain�availableonline).�Other�projects�worked�specifically�withgroups�who�might�feel�excluded�from,�or�find�itharder�to�connect�with,�environmental�debatesand�conservation�spaces,�including:�
l people�from�ethnic�minority�communities�andrelated�faith�groups;�
l disabled�people�and�those�living�with�chronicconditions;�
l people�with�drug�and�alcohol�dependence;�
l older�people�with�high�support�needs,�andtheir�carers;�
l families�living�in�disadvantaged�citycommunities;�and
l young�children�and�teenagers.
Many�projects�also�engaged�environmental�andheritage�organisations,�often�helping�themreassess�their�own�approaches�and�culture�duringthe�course�of�the�work.�Those�taking�part�included:�
l botanic�gardens;
l conservation�organisations,�such�as�the�RSPB;�
l museums�and�galleries;�and
l scientific�research�centres.
ABOUT THE VALUING NATUREPROGRAMME
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Rob Kesseler: Sphagnumpalustre, Sphagnum moss.Kesseler created this piece bystaining micro-fine sections offlower stems to exposefunctional characteristics.
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Projects�were�evaluated�using�a�range�ofmethods,�including�individual�reports�andoverviews�by�independent�researchers,honest�self-evaluation�by�projects,participant�feedback,�regular�progressreports,�and�close�contact�with�CGF�andother�coordinators.�These�show�some�verypositive�effects�on�both�individuals�andorganisations.�
CHANGING LIVES,CHANGING ATTITUDES
For�many�people,�participation�in�theprojects�was�life-changing.�
Since�I’ve�come�to�the�garden�…�I’m�changedfrom�being�a�bad�boy�...�to�[thinking�about]being�a�gardener.�It’s�keeping�me�out�oftrouble�and�that’s�it.Participant, Royal Botanic Garden Edinburgh Edible
Gardening project (quoted in Vergou and Willison, 2013)
Participants�reported�better�physical�and�mentalhealth,�increased�vitality,�improved�self-esteemand�confidence.�They�also�welcomed�opportunitiesto�learn�new�skills�and�knowledge�(for�example,how�to�grow�vegetables)�and�to�meet�a�broader�mixof�people.�Growing�plants�for�Bristol�Zoo�Gardens,for�example,�gave�people�a�common�purpose.
The�project�brought�everyone�together�because�weare�all�about�the�gardens�now�and�the�plants�whichare�growing.�Before�we�would�all�just�be�in�our�flats.Rose, sheltered housing resident,
Bristol Zoo Gardens project (quoted in Lynch, 2015)
Participation�also�prompted�many�conservationstaff�and�volunteers�to�rethink�their�attitudes.Some�initially�had�reservations�about�taking�part:many�lacked�experience�of�public�engagement;some�had�preconceptions�about�certain�groups.But�participation�inspired�them�to�reconsidertheir�roles�and�develop�new�skills.
I�can�see�my�role�here�as�broadening�to�involve�thatsocial�role�a�lot�more�than�I�did�before�because�I’veexperienced�it,�enjoyed�it,�seen�how�it’s�worked,seen�what�we�need�to�work�on�and�how�we�candevelop�it.�Staff member, Westonbirt Arboretum
(Vergou and Willison, 2013)
WHAT DID THE VALUING NATUREPROGRAMME ACHIEVE?
THE POWER OF CITIZEN SCIENCENATURAL HISTORY MUSEUM URBAN TREE SURVEY
The Natural History Museum’s three-yeartree survey invited the public to build adatabase of the UK’s ‘urban forest’.
The Museum developed interactive toolsand resources to help citizen scientistsidentify trees in their neighbourhoods. Thisincluded an app for use in the field. It alsodeveloped resources for schools, linked tothe curriculum and relating to real worldscience.
People across the country contributedinformation about trees in their gardens,streets and parks. This providedscientifically useful data on biodiversity,especially in previously unmappedprivate gardens.
The project significantly raised the profileof the Museum’s citizen science work andprovided learning and resources it canadapt for future projects. It created a
deep engagement with a new audiencethe Museum might not otherwise havebeen able to reach.
http://www.nhm.ac.uk/take-part/identify-nature/leafsnap-uk-app.html
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Imaginative�use�of�technology�expandedengagement�with�–�and�awareness�of�–�naturalconcerns�at�a�national�level.�The�Natural�HistoryMuseum,�for�instance,�developed�an�app�to�helppeople�identify�and�then�report�trees�in�their�localarea,�as�part�of�a�census�of�the�UK’s�trees.
[The�survey�reached]�a�wide�variety�of�audiencesnationwide,�engaging�gardeners�and�casualobservers,�as�well�as�people�who�considerthemselves�amateur�naturalists.�Tree survey, evaluation report
(Natural History Museum, 2014a)
Using�art�to�tell�the�conservation�story�in�freshand�surprising�ways�also�had�a�clear�impact�onbroader�public�preconceptions�about�conservationand�habitat.�A�number�of�artists�undertookresidencies�in�the�Galápagos�Islands,�with�theresulting�work�later�showcased�in�two�exhibitionsin�the�UK�and�one�at�CGF’s�headquarters�inLisbon. Feedback�found�visitors’�most�commonresponse�to�the�exhibition�was�to�feel�moreconnected�to�the�environment.�
It�challenges�stereotypes�of�a�‘green�beautiful’with no�problems.�It�encourages�more�awarenessof sustainability�and�the�environment.Visitor feedback, Galápagos exhibition
(GGARP, 2012)
Underlying�these�approaches�is�a�common�theme:audiences�relished�active�participation�in�socialsettings,�whether�this�was�getting�hands-on�withplants�or�visiting�a�gallery.
I�like�it�when�I’ve�got�mud�on�my�hands,�I�want�itto be�real�...�I�don’t�want�it�to�be�theory.Urban Veg project participant, Winterbourne Gardens
(BGCI/RCMG, 2011)
You�experience�it�more�than�you�would�if�watchingTV.�You�see�more�through�drawings�and�artwork.�Itgives�you�more�time�to�absorb�and�you�can�go�backand�look�at�things.�Visitor feedback, Galápagos exhibition
(GGARP, 2012)
Such�active�participation�–�together�with�thefeeling�they�could�make�a�difference�–�was�at�theheart�of�people�making�changes,�however�small,to their�lives�or�professional�practice.��
Generally�mind�broadening�and�a�good�learningexperience�–�something�different,�exciting�andthought�provoking�which�has�got�me�using�mysketch book�more.�Planning participant, By Leaves We Live (PAS, 2013)
Galápagos exhibitions:At the Bluecoat Gallery,Liverpool (above).Photo: Nuwan Wije. At Centro de ArteModerna (CAM), Lisbon(right). Photo: PauloCatrica.
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NEW WAYS TO TELL THE CONSERVATION STORYGULBENKIAN GALÁPAGOS ARTISTS’ RESIDENCY PROGRAMME
The Gulbenkian Galápagos Artists’Residency Programme was an initiativewhich took place over five years,encompassing artist residencies,exhibitions, talks and events, apublication, websites, placements andprizes. It highlighted the challenges facedby conservation and natural heritagesites and the communities that live inthem through the unique perceptions of12 artists. Their highly individual andunconventional encounters with life onGalápagos – human and natural – gaverise to a rich body of work showing thecomplex truth of these distant andevocative islands.
The culmination was a major exhibitionof the artists’ work shown in Liverpool,Edinburgh and Lisbon. Feedback fromvisitors showed the most commonresponse was to feel a greater connectionto the environment. “We need exhibitionslike this,” said one. “Everyone cares toomuch about their own world. We need tobe more considerate to others and theway we live.”
http://www.artistsvisitgalapagos.com/
VALUING NATURE
Above: Isabela, Galápagos.Semiconductor: Ruth Jarman andJoe Gerhardt.
Left: Taking on the persona ofindigenous bird the blue-footedbooby, Marcus Coates made a localTV news programme in which heinterviewed people about theirhabitat and behaviour – humansseen from the perspective of ananimal – and returned from theGalapagos with ‘enough materialfor a lifetime’s work’. Photo: MarcusCoates.
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It�was�not�only�individual�attitudes�that�changed;organisations�changed�too.�At�the�start�of�theGulbenkian�Galápagos�Artists’�ResidencyProgramme,�for�example,�the�GalápagosConservation�Trust�(GCT),�was�beginning�to�focuson�the�environmental�impact�of�the�islands’�ever-increasing�population�and�tourist�industry.�Theresident�artists�demonstrated�the�potential�roleof arts�in�bringing�people�together�and�developinga�shared�culture�and�sense�of�community�inaddressing�the�issues.�This�led�GCT�to�recognisethe�value�of�culture�as�well�as�science�andeducation�in�its�core�mission.�For�many�organi�-sations,�seeing�their�own�culture�evolve�was�asignificant�aspect�of�their�involvement�in�ValuingNature.�These�environmental�organisationsembraced�the�idea�of�taking�on�a�more�social�roleand�engaging�more�with�local�communities.�
Attitudinal�change�is�the�single�biggest�benefit�andstarting�to�build�bridges�with�these�communities.�…�Isuppose�it’s�giving�up�a�level�of�control�and�I�think�that’svery�positive�…�We�are�100%�committed�ever�since.We now�have�a�community�volunteer�team�that�worksspecifically�on�these�community�programmes.�…�It�hasbecome�a�speciality�of�ours.�The�legacy�is�that�we�arestill�able�to�deliver.�And�it�changed�our�mindset.
Ben Oliver, Learning and Participation Manager, Westonbirt
Arboretum (quoted in Lynch, 2015)
REACHING NEWAUDIENCES, CREATING NEWPARTNERSHIPS
Some�conservation�staff�could�be�initially�fearfulthat�greater�public�engagement�might�hinder�theircore�activities�(Lynch,�2015).�But�many�sawimmediate�and�practical�benefits�from�this�work.Through�its�tree�survey,�the�Natural�HistoryMuseum�attracted�over�half�a�million�new�visitsto its�website.�The�project�not�only�gave�itunprecedented�access�to�data�from�private�spaces,like�back�gardens,�it�also�provided�an�engaginghook�for�the�museum’s�wider�messages�aboutbiodiversity,�climate�change�and�the�importanceof�trees�(Natural�History�Museum,�2014a).
Other�organisations�also�found�that�workingwith ‘citizen�scientists’�helped�them�tackleprojects�they�would�not�otherwise�have�had�thecapacity�to�undertake.�Bristol�Zoo�Gardens,�forexample,�established�the�UK’s�first�nationalcalendula�collection,�with�community�groupsgrowing plants�and�saving�seeds.�
Taking�a�more�socially�focused�approach�couldopen�up�new�funding�streams.�
It�gave�us�the�funding�to�work�with�special�needsgroups�and�…�a�lever�to�get�future�funding�forfurther�work.�Ruth Godfrey, Botanic Garden, University of Leicester (Lynch,
2015)
In�the�Communities in Nature programme,�botanicgardens�opened�up�to�new�audiences�from�localcommunities.
We�now�have�communities�working�with�us�thatdidn’t�before�and�now�do�regularly�via�volunteering.�Ian Edwards, Head of Exhibitions, Royal Botanic Gardens,
Edinburgh (Lynch, 2015)
Watering calendula plantsat Robinson House CareHome, for the BristolCommunity PlantCollection, Bristol ZooGardens. Photo: BZG.
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But�they�also�became�a�hub�where�people�fromdifferent�community�groups�could�mix.
What�heartened�me�was�that�people�from�verydifferent�backgrounds�were�able�to�work�together,from�the�Asian�Women’s�Group�to�the�DrugDependency�Group�to�Stroud�Macular�DiseaseSociety.�Ben Oliver, Westonbirt Arboretum, interviewed for Lynch 2015
Importantly,�the�programme�forged�new�workingpartnerships�across�sectors.�The�GulbenkianGalápagos�Artists’�Residency�Programme,�ByLeaves�We�Live,�ArtsAdmin,�and�individual�workby�Rob�Kesseler and�Chrystel�Lebas,�for�example,all�brought�artists�together�with�specialists�fromother�sectors,�including�planners,�scientists�andbotanists,�expanding�practice�on�both�sides.�
[The�project�was�a]�Fascinating�opportunity�tounderstand�the�processes�of�planning�forbiodiversity�and�to�help�to�find�ways�of�promotingthem.�Participating artist, By Leaves We Live (PAS, 2013)
GATHERING EVIDENCE,INFORMING POLICY
Benchmark�research�for�Communities in Naturefound�a�main�reason�stopping�botanic�gardenstaking�on�a�broader�social�role�was�a�lack�ofevidence�of�impact�(BCGI/RCMG�2011).Evaluation�is�clearly�crucial�for�attracting�funding,promoting�awareness�and,�often,�convincingsenior�management�of�the�worth�of�such�projects.�
Evaluating�social�impact�was�a�new�area�for�manyconservation�staff,�and�there�were�challenges.Language,�translation�and�literacy�issues�couldmake�traditional�methods�like�form-fillingproblematic.�Groups�could�be�so�grateful�forbeing included�they�were�reluctant�to�give�criticalfeedback.�Staff�could�also�be�confused�about�thepurpose�of�evaluation,�seeing�it�as�a�judgementrather�than�reflection�for�improvement.�Othersfelt�it�an�excessive�demand�for�the�size�of�theproject�and�the�time�they�had�available�(Lynch,2015).�
Nevertheless,�projects�did�produce�anecdotalfeedback.�CGF�also�worked�with�academics�toprovide�independent�evaluations�(see,�forexample,�Lynch,�2015�for�the�Communities inNature projects).�
Individual�projects�also�produced�practicaloutputs,�developing�learning�tools�and�resourcesfor�others�to�use.�For�example:�
l The�Geffrye�Museum�has�produceddownloadable�activity�packs�from�its�EvergreenGardeners�project,�so�others�can�reproduce�itscreative sessions�designed�for�isolated,�olderpeople�and�their�carers;�
l The�Natural�History�Museum�devisededucational�resources�from�its�tree�survey:linked�to�Key�Stage�2,�these�also�fed�into�a�newNaturalist�Activity�Badge�for�the�Cub�Scouts;�
l Plan�Vivo�Foundation�has�developed�‘insetting’,a�clear�action�framework�to�encouragebusinesses�to�invest�in�environmentallyfriendly�practices�along�their�supply�chain.
Botanic�Gardens�Conservation�International(BGCI)�coordinated�the�Communities in Natureprogramme�and�is�building�a�robust�evidencebase from�the�work.�During�the�course�of�theprogramme,�BGCI�published�results�of�pilotprojects�in�peer-reviewed�journals;�compiledmanuals,�collecting�evidence�of�diverse�socialinclusion�work�in�botanic�gardens�internationally;and�created�an�online�map�of�relevant�communityprojects�around�the�world.��
Where�evidence�already�exists,�it�may�needbetter dissemination�if�it�is�to�influence�publicspending.�A�review�by�the�New�EconomicsFoundation�(NEF,�2012)�found�abundant�androbust�evidence�linking�contact�with�nature�withwellbeing�and�some�with�pro-environmentalbehaviour�but�recommended�strengthening�theevidence�on�the�socio-economic�benefits�ofthese connections.�
Two�of�the�Valuing Nature projects�have�taken�thisforward.�The�Conservation�Volunteers�(TCV)�hasbeen�mining�the�resources�of�its�managementinformation�system�to�analyse�quantitative�data�onvolunteering.�The�data�the�system�collects�makesit�possible�to�explore�how�volunteering�benefitsthe�volunteers�and�connects�with�environmentallyconscious�behaviour�(TCV,�2014).�
One�of�the�most�interesting�findings�is�that�peoplefrom�highly�deprived�areas�gain�significant�personalbenefit�from�volunteering,�much�more�so�thanelsewhere.Phil Rothwell, TCV Policy and Futures Director
(TCV, 2014)
11
REACHING ‘GOLD STANDARD’EVERGREEN GARDENERS, THE GEFFRYE MUSEUM OF THE HOME
The Geffrye Museum had long workedwith older people but they tended to be“quite active retired”. EvergreenGardeners provided something forisolated and vulnerable older adults andtheir carers.
Using the museum gardens asinspiration, the project aimed toencourage lifelong learning, reconnectpeople with the natural world andcontribute to each individual’s sense ofwellbeing. Weekly gardening and artssessions were carefully designed to beaccessible for people with physical and
sensory disabilities. Activities rangedfrom planting, growing and baking, toceramics, printing and garden-relatedarts and crafts.
This was a ‘gold standard’ project,according to the independentevaluation. Success came from a mix offactors: an underlying culture of respectand affirmation; careful implementation,attention to detail and adaptability;strong support from the Museum; andsignificant resourcing, especiallystaffing.
Evergreen Gardeners continues as amonthly club. The Museum is expandingthe approach to other communitygroups.
http://www.geffrye-museum.org.uk/learning/community-outreach/older-people/evergreen-gardeners/
VALUING NATURE
The evaluation of theEvergreen Gardeners projectfound that some participants’physical dexterity hadimproved as well as theiremotional wellbeing. Photo:Em Fitzgerald/GeffryeMuseum.
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12
SETTING A BASELINECONNECTION TO NATURE, RSPB
Generations of children have little or nocontact with the natural world. They missout on proven education and wellbeingbenefits and their resulting lack ofunderstanding poses a serious threat tothe long-term protection of theenvironment.
A groundbreaking study by the RSPB(with the University of Essex) hasestablished the first national baseline ofconnection to nature for children. It findsonly 21 per cent of 8- to 12-year-oldshave a ‘realistic and achievable’ level ofconnection. This robust measure providesa tool for both assessing connection tonature and tracking the impact of policyand practice. It’s one that any
organisation can use to assess its ownnature programmes.
Analysis of the data confirms thatchildren with a greater connection tonature achieve better test scores, havehigher wellbeing and pro-naturebehaviours. The RSPB is now workingwith the University of Derby to extend themeasure to teenagers and is establishinga national baseline for adults. It hascalled on the government to adopt themeasure in the nation’s wellbeingaccounts.
http://www.rspb.org.uk/forprofessionals/policy/education/research/connection-to-nature.aspx
Above: RSPB have shownthat four out of five childrenlack a meaningfulconnection with theirnatural environment.Photo: David McHugh (rspb-images.com).
Below: Children taking thesurvey about their amountof contact with the naturalworld. Photos: RSPB.
VALUING NATURE
13
In�groundbreaking�work,�the RSPB�(with�theUniversities�of�Essex�and�Derby)�has�developed�asophisticated�metric�to�track�the�extent�of�‘NatureDeficit�Disorder’�in�the�UK. Previous�researchwith�adults�suggested�that�connection�with�naturecan�provide�a�new�paradigm�for�health�andwellbeing.�This�project�confirms�the�sameassociations�between�wellbeing�and�a�connectionto�nature�in�children�(tracked�by�activities�likefeeding�birds�and�providing�garden�habitats).�
It�also�highlights�specific�educational�benefits�forchildren,�suggesting�that�nature�should�be�part�ofevery�child’s�life.�The�findings�reveal�not�onlymeaningful�benefits�to�both�human�wellbeing�and
natural�preservation�but�demonstrate�that�we�canset�targets�for�our�connection�to�nature�(RSPB,2013).�The�RSPB�is�now�exploring�a�similarmethodology�for�teenagers.
For�the�first�time,�we�have�created�a�baseline�that�weand�others�can�use�to�measure�just�how�connected�tonature�the�UK’s�children�really�are.�Mike Clarke, Chief Executive, RSPB
The�work�by�RSPB�and�TCV�provide�robust�toolsthat�can�increase�understanding�of�the�social valueof�contact�with�the�natural�world�and�informpolicy�on�reversing�the�trend�in�low�engagementwith�nature�and�the�benefits�of�investing�in�this.�
Students from the CabotPrimary School growingcalendula for the BristolCommunity Plant Collection,Bristol Zoo Gardens. Photo:Jessica Johns.
VALUING NATURE
14
The�projects�gathered�under�the�Valuing Natureprogramme�showcase�effective�ways�of�engaging�abroad�range�of�people�with�environmental�issues.But�they�also�provide�pointers�on�how�imaginativeapproaches�to�social�engagement�can�shift�culture,from�the�individual�to�the�organisational�level.Such�culture�change�is�essential�if�we�are�tocommunicate�the�importance�of�the�natural�worldto�our�wellbeing�–�and�take�the�steps�needed�toprotect�it.�
Threading�through�the�programme�is�the�value�oftaking�risks,�breaking�boundaries,�being�flexibleand�working�with�others.
TAKE RISKS
All�the�projects�in�the�programme�were�pilots,testing�new�approaches�–�reaching�out�to�differentaudiences,�collaborating�across�sectors,�exploringscientific�concerns�through�art,�questioning�long-established�ways�of�working.�An�element�of�riskwas�inherent�to�them�all.�
While�clearly�challenging,�this�led�to�some�realshifts�in�culture.�This�was�especially�true�for�theconservation�organisations�taking�part.�Take�oneexample:�traditionally,�botanic�gardens�keepchildren�away�from�their�plant�collections.�As�partof�its�involvement�in�Communities in Nature,�RoyalBotanic�Garden�Edinburgh�(RGBE) decided�toexperiment�by�opening�up�part�of�its�garden�tovery�young�children. This�created�an�overwhelm�-ingly�positive�experience�for�the�children�but�also,in�practice,�posed�no�serious�risk�to�the�plants.Lessons�from�such�projects�are�influencingchange�at�the�heart�of�the�organisation.
[Communities�in�Nature]�certainly�helped�to�embed‘community’�in�the�agenda�for�governance�appearingin�the�corporate/strategic�plan.�It�hasn’t�appearedformally�before.Ian Edwards, Head of Exhibitions, Royal Botanic Gardens,
Edinburgh (Lynch, 2015)
The�Gulbenkian�Galápagos�Artists’�ResidencyProgramme�consciously�placed�risk�at�the�centreof�its�process,�for�example:
l For�project�co-ordinators,�the�GalápagosConservation�Trust�(GCT),�this�was�its�firstdetailed�exploration�of�how�art�and�culturemight�inform�the�practice�and�ambition�ofan environmental�campaigning�organisation.�
l The�local�scientific�institution,�the�CharlesDarwin�Foundation�(CDF),�was�bothinexperienced�and�cautious�about�what�roleartists�might�play.�
l Artists�were�free�to�undertake�the�residencyaccording�to�their�own�curiosity�and�inresponse�to�their�day-to-day�experience.There was�no�agenda.�
The�final�report�concludes�that�the�project’ssuccess�demonstrates�“the�art�of�enlightened�risktaking”�(GGARP,�2012).�The�crucial,�stabilisingfactor�was�the�appointment�of�expert�curator,Greg Hilty,�and�the�scientific�and�campaigningexpertise�of�the�GCT.�At�its�creative�helm,�theproject�had�key�individuals�and�organisations�withthe�passion,�contacts,�status�and�commitment�toexplore�and�deliver�an�exemplary�meeting�of�artand�science.�This�meant�it�could�aim�high�andwide,�leading�to�work�of�prize-winning�quality.The�report�concludes:�“if�you�want�to�take�risksensure�you�have�unquestionable�expertise�at�theheart�of�the�project”�(GGARP,�2012).
BE FLEXIBLE
Flexibility�was�another�defining�characteristic�ofthe�programme.�This�allowed�projects�in�turn�tobe�fluid�and�adaptable,�and�this�proved�importantto�their�success.�Projects�learnt�by�doing,changing�course�when�necessary.
WHAT ARE THE BROADER LESSONSFROM VALUING NATURE?
VALUING NATURE
15
The�most�successful�Communities in Natureprojects,�for�example,�were�those�that�adapted�towhat�communities�needed.�It�became�clear�thatinvolving�potential�community�participants�inplanning�from�an�early�stage�was�crucial�inensuring�issues�were�relevant�to�them�and�thusengaging�them�fully.�
We�went�out�into�the�community�to�find�out�whatthey�were�interested�in.�We�trialled�sessions,�gavethem�taster�sessions�and�they�chose�what�they�likedor�not.�We�now�build�a�programme�with�them.Ben Oliver, Learning and Participation Manager,
Westonbirt Arboretum (Lynch, 2105)
THE PLAYFUL SIDE OF NATURENATURE PLAY, ROYAL BOTANIC GARDEN EDINBURGH
Horticultural staff can be nervous ofyoung children playing in botanicgardens. RBGE hoped to develop a betterpractical understanding of what visitorswith young children do –what appeals tothem and what impact these activitieshave on the plants.
Its Nature Play research found thatunstructured play is difficult to plan for. Itwill rain, high winds will affect safety,
children will get stung. Gardens must beprepared to be flexible – but minoradjustments are often all that’s needed.Regular visitors with young children valuedthe freedom to explore wilder parts of thegarden and be creative, though attractinglocal families not in the habit of nature playproved more difficult. The researchconfirmed that nature play is popular andeasily accommodated – and the children’sactivities did not harm the plants.
The findings provide a basis forguidelines for nature play. RBGE issharing these lessons with other botanicgardens and urban nature reserves inand beyond the UK.
http://stories.rbge.org.uk/archives/15097
Above: Children enjoyingunstructured play at the RoyalBotanic Garden Edinburgh.Photo: RBGE.
VALUING NATURE
16
It�was�important�to�learn�from�experience�andfrom�mistakes.�
We�tried�a�lot�to�work�with�young�mothers�onnearby�housing�estates�–�tried�everything�but�itobviously�didn’t�work.�What�we�learned�from�thatis�that�we�expanded�the�programme�and�offered�itto�a�much�wider�audience.�Once�up�and�runningwe�could�go�back�and�offer�it�as�an�establishedprogramme�–�then�we�were�getting�50-60�youngmums�–�a�real�buzz.�[Before]�They’d�felt�a�littlesingled�out�for�charity.�Ian Edwards, Head of Exhibitions, Royal Botanic Garden
Edinburgh, interviewed for Lynch, 2015
Flexibility�was�as�important�for�the�arts-ledprojects.�The�Gulbenkian�Galápagos�Artists’Residency�Programme�shifted�course�afterunderestimating�the�pressures�on�scientistsbased�at�the�Charles�Darwin�Foundation�(CDF).It�wasn’t�possible�–�or�indeed�desirable�–�for�allthe�visiting�artists�to�collaborate�with�CDFscientists.�This�led�some�artists�to�forgeconnections�more�firmly�rooted�in�the�localcommunity�instead.�But�these�unanticipatedconnections�and�outcomes�“tell�a�story�of�asignificant�shift�in�the�cultural�reality�andfuture�of�Galápagos”�(GGARP,�2012).�In�turn,this�created�artwork�that�then�raised�awarenessof�environmental�issues�through�beingexhibited�in�the�UK.�
BREAK BOUNDARIES
Being�flexible�includes�embracing�working�withthose�we�might�not�automatically�think�of�aspartners�–�with�‘unusual�suspects’.
All�the�Communities in Nature gardens�wanted�toreach�out�to�local�disadvantaged�groups�who�werenot�regular�visitors.�All�felt�they�achieved�this;�butthis�was�not�just�a�box�ticked,�many�found�it�arevelation�(Lynch,�2015).�Working�with�newaudiences�could�initially�feel�challenging�but�wasultimately�rewarding.
When�I�was�working�with�the�drug-users�I�wasapprehensive�but�these�were�misconceptions.They’re�people,�just�like�me.Volunteer, Westonbirt Arboretum (Lynch, 2015)
Some�gardens�were�now�recruiting�volunteersfrom�more�diverse�groups.�Some�had�establishednew�partnerships�with�other�organisations,�suchas�local�disability�groups,�festivals�or�heritageorganisations.�These�gardens�show�how�–�withwill,�respect�and�imagination�–�no�group�was�toohard�to�reach.�
Other�projects�highlight�how�partnershipsbetween�scientists�and�artists�can�surprise�andenrich�the�practice�of�both.�Photographer�ChrystelLebas,�for�example,�uncovered�a�unique�collectionof�historic�landscape�photography�in�the�NaturalHistory�Museum archive.�The�Museum�theninvited�her�to�collaborate�with�the�botanydepartment�in�developing�the�photographic�plates,identifying�the�locations�featured,�and�taking�newphotographs�to�explore�environmental�changesover�the�last�80�years..�The�project�resulted�inpioneering�an�innovative�research�approach�todocumenting�changes�in�the�landscape,�as�well�asa new�body�of�work�for�the�artist,�which�will�beexhibited�in�the�Netherlands�in�2017.
INVESTMENT IN THE ECOSYSTEM‘INSETTING’, PLAN VIVO FOUNDATION
‘Offsetting’ carbon emissions has become afamiliar concept. Plan Vivo has nowdeveloped ‘insetting’ to help businessesreduce the carbon footprint andunsustainable land management practiceswithin their own supply chain. This excitingnew approach links farmers directly to endbuyers through ‘Payments for EcosystemServices’ for farming and forestry activities.
Plan Vivo provides a business frameworkand other resources to help businessesidentify opportunities to do this.
Engaging some sectors, such as largesupermarkets, has proved difficult. Butinsetting is becoming increasinglyrecognised as a way for companies tomitigate risks and strengthen relationships
with suppliers. “Instead of being a simplecost on their balance sheet, they cantransform that into an investment, plus it’sa fantastic communication and marketingtool,” says Christopher Stephenson, Director at Plan Vivo Foundation.
http://www.planvivo.org/docs/InteractiveManual.pdf
VALUING NATURE
17
In�the�Galápagos,�artists�Ruth�Jarman�and�JoeGerhardt,�known�as�Semiconductor,�worked�witha�volcanologist�undertaking�research�on�howmagma�shifts�underground.�
When�Kaffe�Matthews’�sound�recordings�of�sharkswere�broadcast�on�island�radio:�“local�people�saidthey�have�never�heard�anything�like�it�–�it�madethem�turn�up�their�ears�and�wonder�why�they�onlyever�hear�‘background�pop�music’�from�the�radio”(GGARP,�2012).�
Alison�Turnbull�connected�with�an�entomologist(co-incidentally�capturing�a�new�species�of�mothin�her�room).�Her�residency�strengthened�herown�environmental�commitment.�
I�don’t�think�I�was�a�really�committedenvironmentalist�until�I�went�to�the�Galápagos.I have�become�much�more�interested�inenvironmental�matters�back�home�as�a�result�ofgoing�there.�Alison Turnbull, resident artist (GGARP, 2012)
By�Leaves�We�Live�more�consciously�appliedartistic�approaches�to�professional�practice.It teamed�artists�with�planners�to�reflect�onnew ways�to�enable�a�wider�discussion�on�howScotland’s�natural�resources�matter�to�people�ineveryday�life.�The�creative�approach�revealed�thedeep�feelings�and�long-buried�memorieslandscape�can�evoke.�But�it�also�shiftedprofessional�thinking.��
[It]�encourages�creative�thinking�in�utilizing�thebenefit�of�nature�rather�than�dismissing�itspotential.�Nature�is�a�benefit�not�a�hindrance.Participant, By Leaves We Live report (PAS, 2013)
The�multi-disciplinary�nature�of�the�GeffryeMuseum�project�was�felt�to�be�the�very�foundationof�its�success.
The�plural�nature�of�the�project,�particularly�thediversity�of�staff�working�with�participants�(artists,gardeners,�educators,�curators,�filmmakers�andphotographers)�lays�the�ground�for�increased�socialconnectedness�[and]�emphasises�the�importanceplaced�on�the�project.�My�feeling�is�that�this�helpsfoster�a�sense�of�individual�and�group�importance�…This�model�of�working�is�empowering�project�staffas�well�as�participants.Project officer, quoted in Evergreen Gardening Project Evaluation
Report (Neal and Coe, 2013)
The�ecology�of�change�is�complex.�We�cannot�meetthe�many�problems�facing�society�by�acting�alone.We�must�work�with�others�–�including�the�public,business�and�social�sectors�–�if�we�are�to�havewider�and�longer-lasting�impact.
Photos from Kaffe Matthews’work from her time on theGulbenkian GalápagosArtists’ ResidencyProgramme. She usedunderwater recordings ofhammerhead sharks in amusic-making workshop onIsabela Island.
VALUING NATURE
18
MAKE USE OF MANYCHANNELS
The�projects�also�experimented�with�the�methodsthey�used,�taking�a�wide�range�of�approaches,from�practical�outdoor�activities�to�developingapps.�Overall,�this�gave�the�programme�a�muchwider�social�and�geographical�reach�and�appeal.
Liverpool�University’s�Ness�Botanic�Gardens�ranscience-focused�workshops�for�Year�7�and�10students�from�a�local�school�in�a�disadvantagedarea.�Growing�vegetables�helped�students�learnabout�scientific�concepts�like�photosynthesis�andclimate�change.�At�the�other�end�of�the�lifespan,the�Geffrye Museum�developed�an�adult�learningprogramme�for�older,�vulnerable�people�from�thelocal�area.�This�encouraged�creative�engagementin�the�natural�world,�inspired�by�the�museum’sgardens,�with�activities�such�as�growing�plants�andmaking�herbal�soap.�
The�Natural�History�Museum�Tree�Surveydeveloped�interactive�tools�and�resources,including�a�tree�identification�app,�to�help�citizenscientists�contribute�information�about�trees�intheir�own�neighbourhoods.�The�project�alsoproduced�resources�for�schools,�including�lessonplans�and�a�simple�leaf�ID�chart.
During�his�residency�with�the�Plant�DevelopmentGroup�cell�imaging�unit�at�the�GulbenkianInstitute�of�Science�in�Portugal,�Rob�Kesselercreated�mesmerising�images�of�native�species,using�the�same�material�and�technologies�as�thescientists�to�celebrate�the�hidden�beauty�of�plantsand�reveal�new�ways�of�‘seeing’.�During�herresidency�at�Oxford�Botanic�Garden,�GabrielaAlbergaria�created�an�art�book,�hither and thither,part�scholarly�guide,�part�artist’s�exploration,inviting�visitors�to�look�more�closely�at�thegarden’s�trees.�
Other�projects�explore�conservation�issues�inboth unusual�formats�and�unexpected�spaces.Artsadmin deliberately�sought�the�widestaudience�for�What on Earth?, a�series�of�six�shortfilms�challenging�views�on�environmental�mattersin�surprising�ways.�The�series�has�been�shown�toart�and�film�audiences,�visitors�to�scientific�andnatural�history�organisations,�climate�change�andgreen�groups,�schoolchildren,�political�audiences–�an�estimated�220,000�people.�Screeningsincluded�prime-time�slots�on�the�BBC�Big�Screensin�the�run-up�to�the�London�Olympics.�The�filmsalso�remain�available�on�dedicated�YouTube�andVimeo�channels�(ArtsAdmin,�2011).
Fevered�Sleep�created�an�online�text-basedartwork�with�people�across�the�UK�–�from�ateenage�girl�on�Lindisfarne�to�a�grandfather�inLondon.�‘An�Open�Field’�celebrates�the�uniqueand�diverse�habitats�that�make�up�the�UK,�andthe people�and�others�that�live�in�them(www.anopenfield.co.uk).�
Engaging�with�environmental�issues�in�this�waydid�not�compromise�artistic�quality.�Several�ofthe Galápagos artists�won�prizes�for�their�work;indeed,�these�were�important�in�helping�to�secureexhibition�spaces�in�the�UK�and�giving�the�workwider�reach.
I�always�feel�a�bit�queasy�about�issue-based�art�–artists�are�not�here�to�make�propaganda�–�but�at�itsbest�the�exhibition,�and�the�whole�project,�engagedwith�this�dilemma�and�raised�more�questions�thanit answered.�Alison Turnbull, resident artist (GGARP, 2012)
The�programme�also�supported�the�developmentof�practical�tools�for�businesses�to�use.�Plan�VivoFoundation�created�a�framework�for�‘insetting’.Inspired�by�the�more�familiar�offsetting,�insettingenables�businesses�to�identify�and�invest�inopportunities�within their�supply�chains�thatreduce�risks�to�local�ecosystems.
Across�a�whole�programme,�such�a�multi-channelapproach�doesn’t�just�spread�the�messagesfurther.�Reframing�concepts�like�thiscommunicates�messages�to�audiences�indifferent,�unexpected�–�and�so�more�compelling�–ways�that�can�prompt�them�to�change�their�ownthinking.�
Sketches in ink andaniline dye on paperby artist Rob Kesseler.
19
COLLABORATE AND SHARE LEARNING
All�the�projects�relied�on�some�form�of�joint�working–�between�participating�organisations,�betweenprojects�and�audiences,�and�across�disciplines.Better�cooperation�can�clearly�make�organisationsmore�effective,�especially�at�a�time�when�resourcesare�limited.�The�NEF�research�suggests�there�isscope�for�a�wide�range�of�organisations�to�cometogether�to�provide�a�louder,�more�effective�voicefor a�healthier�natural�environment�(NEF,�2012).The study�found�several�examples�of�innovativepartnerships�among�and�between�private,�public�andthird�sector�organisations.�NEF�recommends�settingup�a�network�or�common�platform�to�encourageinformation�sharing�and�strategic�co-ordination
between�organisations,�and�CGF’s�MarineCoLABoration�group�established�in�2015�buildson this�recommendation.�
These�‘communities�of�practice’�share�both�ideasand�inspiration.�Vitally,�they�also�help�build�upevidence�that�can�attract�further�support.
I�think�a�community�of�practice�is�very�important�asit�gives�us�access�to�evidence�and�examples�for�whenwe�are�talking�to�organisations�we�may�wish�to�workwith.�When�we�did�the�[Heritage�Lottery�Fund]Activity�Plan,�for�example,�we�were�able�to�say�wehave�seen�this�work�in�other�places.Ben Oliver, Learning and Participation Manager, Westonbirt
Arboretum (Lynch, 2015)
ALLOWING PROJECTS TO EVOLVEAN OPEN FIELD, FEVERED SLEEP
An Open Field was conceived as apodcast to accompany, and widen thereach of, Above Me The Wide Blue Sky,a performance installation exploringpeople’s connection to the naturalworld. But, in development, its potentialinspired Fevered Sleep to create awhole new artwork.
Associate artist Luke Pell invited peopleto take him to places that mattered to
them. As they walked, they talked.Things were shared and revealed,ordinary and remarkable things fromthose places and from people’s lives.Each encounter unearthed particularknowledge of particular places.
The result is a digital text-basedartwork, anopenfield.co.uk, celebratinghow deeply we know ourselves inrelation to the natural places where we
live and walk. The project has helpedFevered Sleep build strong relationshipswith environmental and conservationorganisations. The RSPB, the British Trustfor Ornithology and the BumblebeeConservation Trust are all discussingpossible collaborations.
http://www.feveredsleep.co.uk/current/an-open-field/
VALUING NATURE
The staging of Above MeThe Wide Blue Sky, aperformance installationexploring people’s connectionto the natural world. Photo:Fevered Sleep.
VALUING NATURE
20
Developing�a�community�of�practice�was�a�keyobjective�for�the�Communities in Natureprogramme.�It�had�mixed�success�but�BGCI�iscontinuing�to�look�at�ways�to�move�this�forward(Lynch,�2015).�It�is�exploring�the�idea�of�‘hubgardens’,�leaders�in�the�field�that�can�share�bestpractice�and�mentor�others.�It�is�consideringhow to�help�botanic�gardens�focus�on�businessplanning�and�develop�funding�approaches�tosupport�a�social�role.�It�is�also�looking�at�trainingfor�garden�staff�in�audience�development�anddata collection.�
BGCI�is�engaging�with�existing�research�consortiawith�overlapping�interests,�such�as�health�andwellbeing�and�climate�change.�It�has�also�initiateda�sector-wide�discussion�on�the�principles�behinda�social�role�for�gardens.�These�could�becomerecognised�good�practice�standards�that�in�turncan�be�used�to�raise�profile,�train�staff�and�reachout�to�funders�and�donors.�Establishing�commonstandards�and�branding�for�botanic�gardens’social�role�would�allow�this�work�to�be�regularlymonitored�and�evaluated�with�communitypartners.
Bringing�groups�of�people�together�can�have�asignificant�impact�on�finding�and�implementingsolutions.�Collaboration�increases�the�potentialto generate�new�ideas,�adds�collective�value�andincreases�the�capacity�to�spread�learning.�Forfunders,�this�can�only�maximise�their�investment.
FIND NEW WAYS TOMEASURE IMPACT
Sharing�knowledge�has�the�potential�to�generatesignificant�social�impact�by�persuading�others�toinvest�in�nature.�But�trialling�new�ways�of�workingmay�also�mean�finding�different�–�more�flexible�–ways�of�measuring�outcomes�and�impact.�
The�Geffrye�Museum�was�working�withvulnerable�older�people�and�their�carers.Independent�evaluators�worked�collaborativelywith�the�project,�taking�joint�responsibility�for
Isolated and vulnerableadults and their carersexploring the gardensof The Geffrye, Museumof the Home.
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‘How Can Botanic Gardens Grow Their SocialRole?’ details the learnings from CGF’sCommunities in Nature programme.
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21
capturing�information�and�assessing�imple�-mentation,�progress�and�achievements.�Theevaluation�dovetailed�with�internal�reportingsystems�and�the�project’s�natural�timetables.�Theevaluators�used�various�non-intrusive�methodsto collect�evidence�sensitively.�These�includedobservation�and�participation,�pre-arrangedinterviews,�brief�and�simple�questionnaires,�andself-evaluation�by�museum�and�project�staff.�Theproject�also�set�up�an�advisory�group�representingall�those�involved.�This�approach�was�notintended�to�be�a�rigorous�study�to�academicstandards.�But�the�evaluators�are�confident�itprovides�a�robust�perspective�on�the�study’simpressive�outcomes�(Neal�and�Coe,�2013).
The�pioneering�projects�by�the�RSPB and�TCVdemonstrate�that�it�is�possible�to�take�‘hard’approaches�to�measuring�‘soft’�benefits.�Butimpact�also�needs�to�look�beyond�strictsocioeconomic�measures�(Lynch,�2015).�Otherprojects�demonstrate�ways�of�capturing�softerinformation.�By�Leaves�We�Live,�for�example,illustrates�the�potential�of�creative�approaches�tohelp�communities�voice�their�views�and�decision-makers�take�account�of�these�emotional�responses.
The�arts-led�projects�show�the�benefit�of�bringingin�proven�expertise�from�the�start.�Rob�Kesseler,for�example,�has�been�collaborating�withbotanical�scientists�at�Kew�since�2000. The�long-term�commitment�of�the�respected�curators,Greg Hilty�and�Bergit�Arends,�was�central�to�thecreative�vision�of�the�Gulbenkian�GalápagosArtists’�Residency�Programme.�His�involvementwas�also�important�in�helping�secure�galleryspace�at�an�early�stage�for�the�artworks�arisingfrom�the�project.�Such�experts�not�only�generatenew�ideas,�they�add�value�and�help�spreadlearning�from�the�start.
GIVE PROJECTS TIME
Finally,�for�risk-taking�and�flexibility�to�flourish,projects�must�have�time�to�develop�and�refinetheir�approach.�Westonbirt’s�collaborativeapproach�illustrates�the�social�impact�a�flexibleproject�can�achieve.�
Initially�we�planned�a�big�programme�but�…�wecame�to�understand�the�importance�of�giving�timefor�social�sharing�–�indeed�often�the�bestdiscussions�happened�during�this�informal�time.�Chris Meakin, Westonbirt Arboretum (Vergou and Willison,
2013)
Designing�projects�with�participants�not�onlyensured�that�projects�were�relevant�to�them;�ithelped�release�their�creativity�and�energy.Working�over�the�longer�term�also�made�it�easierfor�environmental�issues�to�emerge�organically.�
Reconnecting�people�with�nature�is�the�first�step.It’s hard�to�engage�people�on�environmental�issuesif you�only�have�a�one-off�event,�but�more�feasibleover�longer-term�engagement.��Botanic garden staff member (Lynch, 2015)
Creative�people�with�the�ideas�and�energy�to�makechange�happen�need�the�time�and�space�to�learn.The�organisations�they�work�with�and�throughneed�the�capacity�and�capability�to�deliver.�Butlong-term�projects�seed�and�grow�profoundchange.
FRESH THINKING FOR LOCAL GOVERNMENT‘BY LEAVES WE LIVE’, PLANNING AID FOR SCOTLAND (PAS)
‘By Leaves We Live’ was an initiativewhich brought together six artists and sixgroups of planners in six locations. Eachproject took the form of an artist’sresidency, working with photography,sculpture, poetry and sketching. Theartists facilitated each project, guided bya lead planner who brought in expertisewhen needed.
The projects demonstrated considerablepotential for communities seeking toengage with proposed developments intheir areas. Professionals also welcomedthe chance to re-energise their approach.“It encourages creative thinking inutilizing the benefit of nature rather thandismissing its potential,” said one.“Nature is a benefit not a hindrance.”
PAS is looking to provide more regularopportunities for professionals to refreshtheir thinking in this way. Too often, itconcludes, there is pressure on plannersto deliver rather than reflect.
http://pas.org.uk/by-leaves-we-live/
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CGF�is�working�with�projects,�and�in�particularBGCI,�to�ensure�the�legacy�of�these�pioneeringinitiatives.�Many�are�taking�the�work�forward�(see�box�below).�
CGF�has�also�recently�refreshed�its�own�five-yearstrategy.�The�lessons�from�Valuing Naturehave
directly�informed�one�of�its�three�new�programmes,Valuing the Ocean,�both�in�its�objectives�and�waysof working.�Valuing the Ocean is�experimental�inapproach�and�aims�to�help�increase�the�capacity�ofthe�environmental�sector�to�communicate�the�roleof�the�ocean�in�human�wellbeing,�particularlythrough�collaboration�with�others.�
NEXT STEPS
l GCT has�developed�an�onlineeducational�resource,�DiscoveringGalápagos.�Combining�rigorousscience�with�strong�imagery,interactive�content,�lesson�plansand�art�activities,�it�aims�to�capturethe�imagination�of�the�youngpeople who�will�be�leading�theconservation�effort�in�the�future.�
l The RSPB has�extended�its�workmeasuring�the�effect�of�the�naturalworld�on�young�children�and�adults,developing�a�similar�metric�forteenagers.
l The Natural History Museumcensus�of�the�UK’s�tree�populationcontinues�with�automated�datacollection�through�the�Leafsnap�UKapp.�A�community�of�amateurnaturalists�now�supports�Museumscientists�answering�queries�postedin�the�tree�ID�forum.�
l Westonbirt Arboretum hasreceived�Heritage�Lottery�Fundingto�expand�its�work�with�people�withsubstance�misuse�problems�and�isextending�the�approach�to�otherisolated�groups.�
l RBGE has�secured�follow-upfunding�from�the�Heritage�LotteryFund�to�further�embed�its�work.It runs�an�outreach�programme�andseveral�community�groups�now�haveplots�at�the�garden.�
l Bristol Zoo Gardens continues�tosupport�the�Bristol�CommunityPlant�Project,�growing�calendula�asa�national�collection�in�thecommunity.�
l The Geffrye Museum has�extendedthe�scope�of�Evergreen�Gardenersthrough�another�three�years’funding�from�the�City�Bridge�Trust.
l Plan Vivo is�developing�acertification�framework�forbusinesses�undertaking�insetting,the�process�which�helps�businessesreduce�the�carbon�footprint�andunsustainable�land�managementpractices�within�their�own�supplychains.
l Fevered Sleep is�following�themodel�developed�by�An�Open�Fieldfor�new�work.�In�particular,�havinga ‘pop�up’�project�from�biggerperformance�pieces�has�proved�avery�effective�way�of�deepeningrelationships�with�audiences.�
EXAMPLES OF PROJECT LEGACY
Hillcrest PrimarySchool pupilsparticipated in theBristol CommunityPlant Project, BristolZoo Gardens.Photo: BZG.
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Attempting�to�bring�about�social�and�culturalchange�is�ambitious.�Valuing Nature has�built�abank�of�evidence,�models�and�resources�to�inspireand�guide�other�organisations.�But�it�also�shinesa light�on�barriers�to�achieving�change,�whichenvironmental�organisations�and�those�thinkingof�supporting�them�need�to�address.
CHALLENGES FOR ENVIRON-MENTAL ORGANISATIONS
Working�in�this�way�does�demand�a�willingness�tore-examine�organisational�culture.�A�particularchallenge�for�specialist�bodies�like�conservationorganisations�is�working�out�how�best�to�take�ona social�or�public�engagement�role�without�losingsight�of�their�original�mission.�Science�andconservation�staff�may�lack�the�time�or�skills�forsuch�public�engagement�work.�Some�may�feel�itis the�responsibility�of�dedicated�education�oroutreach�staff.�Senior�managers�may�see�socialengagement�as�marginal�–�at�worst,�as�a�‘box-ticking’�exercise.�
The�fact�is�they�thought�they�were�doing�some�nicecommunity�engagement�work�and�they�found�therewere�organisational�implications.�Anonymous staff member, botanic garden
(Lynch, 2015)
For�engagement�to�succeed,�organisations�mustembrace�it�as�a�central�role�for�all�staff,�not�justa ‘nice-to-have’.�This�means�supporting�staffto learn�new�skills.�Organisations�should�alsoconsider�running�activities�away�from�their�mainsite,�programming�over�longer�timescales,�andusing�new�channels�to�get�their�message�out.�Forall�this,�top-down�commitment�and�understandingare�essential.���
Director-level�support�is�essential�for�systemicchange.�The�shift�and�conversation�needs�to�happenat�multiple�levels�but�the�director�is�responsible�formaking�sure�all�departments�are�involved�and�is�keyto�ensuring�support�and�communication.Anonymous staff member, botanic garden
(Lynch, 2015)
CONCLUSION
Urban Veg atWinterbourne Houseand Garden, Universityof Birmingham. Photo:Winterbourne Houseand Garden.
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CHALLENGES FOR FUNDERS
But�developing�new�models�needs�the�support�offunders�prepared�to�back�new�thinking�(GGARP,2012). Replicability�and�sustainability�also�remainmajor�challenges�(Lynch,�2015).�Currently,funding�rarely�supports�long-term�change.Indeed,�it�can�inadvertently�contribute�to�themarginalisation�of�work.�When�projects�dependon�short-term,�external�funding,�work�isguaranteed�to�remain�peripheral,�ending�oncefunding�stops.�
The�majority�of�funding�is�for�short-term�projectsand�so�a�whole�organisation�may�be�committed�tothe�cause�but�they�are�then�trapped�in�short-termgoals�if�this�is�the�only�funding�they�can�secure.�Communities�in�Nature, discussion event
(Lynch, 2015)
Some�organisations�new�to�community�work�weresurprised�that�funders�often�do�not�pay�for�staffcosts.�
As�someone�new�to�the�funding�application�process�Iam�disappointed�that�hardly�any�funders�give�fundsfor�staff�wages.�This�is�a�real�problem�with�acommunity�project.�Anonymous staff member, botanic garden
(Lynch, 2015)
A�relatively�high�staff–participant�ratio�wascritical�in�allowing�the�Geffrye�Museum�EvergreenGardeners project�to�flourish.�
I�haven’t�worked�on�another�project�that�has�been�sowell�staffed,�and�that�brings�so�many�benefits,�aswell�as�the�talents�of�people�involved�–�it�creates�adifferent�opportunity�to�develop�relationships,�itfeels�like�you�can�follow�through�with�things.�Withthe�best�will�in�the�world,�it’s�normally�nearimpossible.Session leader, Geffrye Museum (Neal and Coe, 2013)
As�funders�ourselves,�we�at�CGF�seek�continuallyto�understand�what�drives�positive�social�change�–the�‘ecology’�in�which�we�work.�We�want�to�sparkdiscussion�with�other�funders�about�how�we�canall�better�support�pioneering�projects�like�thosein Valuing Nature. The�box on�the�page�oppositethrows�out�some�questions�for�funders�raised�byour�experience�from�this�programme.�
Valuing Nature suggests�that�for�organisationswanting�to�shift�culture,�the�willingness�to�trysomething�new�and�untested,�to�first�examineyour�own�culture,�and�to�work�in�imaginativepartnerships�beyond�fixed�disciplines�is�essential.For�many,�this�is�a�big�ask.�It�is�imperative�thatfunders�not�only�support�projects�which�innovatein�this�field,�but�also�those�needing�acceleratorfunding.�The�challenge�for�funders�is�to�findcreative�and�robust�ways�of�supporting�those�withthe�ambition�and�courage�to�do�this.��
‘Evergreen Gardeners’growing herbs andvegetables at The Geffrye,Museum of the Home.Photo: Em Fitzgerald/Geffrye Museum.
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25
TEN QUESTIONS FOR FUNDERSSEEKING CULTURAL AND SOCIALCHANGE
As funders, what can we do to:
1. Work in partnership with others, including thosewith overlapping missions and those from relatedsectors who may be further along this road?
2. Engage expert ‘change-makers’, who bringauthority and inspire others?
3. Broaden our range of collaborators to include‘unusual suspects’ who bring stimulating newways of thinking?
4. Use our own authority to bring people together?
5. Allow projects the time and flexibility to developnew ways of working?
6. Evaluate projects in ways that give them thespace they need to thrive?
7. Learn by doing ourselves, letting go of fixing firmstrategies and outcomes from the outset?
8. Embrace the possibility of mistakes and learnfrom these?
9. Foster imaginative ways of measuring impact thatcan supplement socioeconomic measures andcarry weight with decision-makers?
10. Factor continuing learning, sustainability andlegacy into our support?
ABOUT THIS PAPER
This�paper�draws�on�project�publications,�websites�andevaluations�from�the�programme.�It�has�been�written�byfreelance�writer,�Sharon�Telfer.�CGF�has�also�publisheda�separate�paper�looking�in�detail�at�the�Communities inNature projects�(Lynch,�2015).
For�more�information�about�the�programme,�contactProgramme�Manager,�Louisa�Hooper�[email protected].
VALUING NATURE
26
Albergaria,�Gabriela,�2010�Hither andthither,
ArtsAdmin,�2011,�What on Earth,�sixfilms,http://www.artsadmin.co.uk/projects/what-on-earth�(last�accessed�25November�2015)�
BBC,�2015,�‘COP21:�What�does�the�Parisclimate�agreement�mean�for�me?’,�MarkKinver,�BBC News website,�14�December2015,http://www.bbc.co.uk/news/science-environment-35092127�(last�accessed4 February�2016)
BGCI/RCMG,�2011,�Growing the SocialRole: Partnerships in the Community, BGCI
Derewnicka,�L.,�Vergou,�A.,�Moussouri,�Tand�Ferna�ndez�Rodri�guez,�A.,�2015,Caring for your community: A manual forbotanic gardens. BGCI�
Dodd,�J.�and�Jones,�C.,�2010,�Towards aNew Social Purpose: Redefining the Role ofBotanic Gardens,�University�of�LeicesterResearch�Centre�for�Museums�andGalleries�
Fevered�Sleep,�2015,�online�artworkcurated�by�Luke�Pell,http://www.feveredsleep.co.uk/current/an-open-field/�(last�accessed�25November�2015)
Geffrye�Museum�‘Evergreen�Gardens’microsite:�http://www.geffrye-museum.org.uk/learning/community-outreach/older-people/evergreen-gardeners/(last�accessed�1�February�2016)
GGARP,�2012,�Gulbenkian GalápagosArtists’ Residency Programme: What did welearn? evaluation�report�for�the�CalousteGulbenkian�Programme.�Available�onrequest�from�the�Calouste�GulbenkianFoundation�(UK�Branch)�
Kesseler,�Robert,�2011,�JardimPorcelanico,http://www.robkesseler.co.uk/index.php/plateworks/jardim_porcelanico_201112/jardim_porcelanico
Lynch,�B.,�2015,�How can botanic gardensgrow their social role? Lessons from theCommunities in Nature Programme,Calouste�Gulbenkian�Foundation
Natural�History�Museum,�2014a,�Treeproject – final report for CalousteGulbenkian Foundation. Available�onrequest�from�the�Calouste�GulbenkianFoundation�(UK�Branch)
Natural�History�Museum,�2014b,�EdwardJames Salisbury: Prophet and propagandistof botany,�Natural�History�Museum‘Nature�Plus’�blog,�18�February�2014�(lastaccessed�27�November�2015)
Neal,�T.�and�Coe,�J.�(2013),�EvergreenGardening Project Evaluation Report,�reportfor�Calouste�Gulbenkian�Foundation�andThe�Geffrye�Museum.�Available�onrequest�from�the�Calouste�GulbenkianFoundation�(UK�Branch)
NEF,�2012,�Natural Solutions: Nature’s rolein delivering well-being and key policy goals– opportunities for the third sector,�NewEconomics�Foundation
PAS,�2013,�By Leaves We Live,�evaluationreport,�Planning�Aid�for�Scotland.�
Royal�Botanic�Gardens,�Edinburgh,�2015,Nature�Play�final�report:http://stories.rbge.org.uk/wp-content/uploads/2015/05/NaturePlayFinal.pdf(last�accessed�25�November�2015)
Richardson,�M.,�Sheffield,�D.,�Harvey,�C.and�Petronzi,�D.,�2015,�The Impact ofChildren’s Connection to Nature: A report forthe Royal Society for the Protection of Birds(RSPB),�University�of�Derby
RSPB,�Connection�measure�resourcemicrosite:http://www.rspb.org.uk/forprofessionals/policy/education/research/connection-to-nature.aspx�(last�accessed27 November�2015)
TCV�(2014),�Volunteering Impacts, reportby�Mike�King�and�TCV�microsite:http://www.tcv.org.uk/volunteering/volunteering-impacts�(last�accessed27 November�2015)
Vergou,�A.�and�Willison,�J.,�2013,Communities in Nature: Evaluation ReportExecutive Summary, BGCI
Vergou,�A.�and�Willison,�J.,�2015,Communities in Nature: Growing the SocialRole of Botanic Gardens A Manual forGardens,�BGCI
REFERENCES AND PROJECT OUTPUTS
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27
ArtsAdminProduction�of�What on Earth?, six�short�filmsexploring�the�future of�species;�support�for�thewidest�distribution�of�the films�through�differentmedia�in�the�UK�and�abroad.�
Max £25,000*, 2010–2011
Botanic Gardens ConservationInternationalPhased�programme�which�became�Communities inNature (see�also�Box�3):�(1) research�into�socialexclusion�and�inclusion�within�botanic�gardens�inthe�UK�and�Ireland;�(2)�promoting�the�social�role�ofUK�botanic�gardens,�through�research�disseminationand�pilot�projects�in�which�botanic�gardens�examineand�reshape�their�philosophy,�values,�goals�andpractices�so�as�to�realise�their�potential�to�contributetowards�positive�social�change�and�environmentalawareness;�(3)�supporting�projects�identifiedthrough�a�nationwide�call�for�proposals,�andproducing�an�online�‘How�to’�manual�for�all�gardens;(4) embedding�the�success�of�Communities in Naturethrough:�promoting�evidence�of�impact;�building�aninternational�alliance�of�‘social�role’�gardens;�andsupporting�gardens�to�scale�projects�and�securefunding;�(5)�strategic�development�of�new�five-yearplan,�embedding�BGCI’s�commitment�to�developingthe�social�and�environmental�roles�of�botanicgardens;�(6)�disseminating�evaluation�report�ofCommunities in Nature.
Max £415,850*, 2009–2014
Fevered Sleep Dissemination�of�events,�publications�and�digitaltools�for�an�exploratory�research�and�theatreproduction�investigating�humans’�relationship�tonature�and�how�people�are�affected�by�change�andloss�in�the�natural�world.
£15,000, 2012
Natural History Museum National�tree�survey�to�inspire�people�to�becomeactive�guardians�of�the�natural�world�whilecontributing�to�scientific�knowledge�that�will�givethem�a�route�to�inform�policy�decisions.�
£90,000, 2009
Natural History MuseumObserving�Environmental�Change:�an�art-scienceresearch�project�in�collaboration�with�photographerChrystel�Lebas,�exploring�the�Sir�Edward�JamesSalisbury�Collection�to�identify�and�documentchanges�in�the�Scottish�landscape.�[A�reallocation�ofthe�underspend�of�a�2008�grant�to�support�a�strategicapproach�for�the�integration�of�contemporary�artsactivities�into�the�Museum’s�programme.]
£57,000, 2013
New Economics Foundation Evidence�review�of�the�health,�education�and�otherbenefits�of�contact�with�nature.
£32,000, 2011
Planning Aid for ScotlandCommission�artists�to�work�with�town�planners�insix�locations�across�Scotland�to�reflect�on�planningand�sustainability�and�develop�new�approaches�forfacilitated�public�discussions�on�the�future�ofScotland’s�natural�environment.����
£10,000, 2012
Plan Vivo Foundation Create�new�tools�and�systems�for�Payment�forEcosystem�Services�‘insetting’,�enabling�UKbusinesses�to�identify�and�invest�in�opportunitieswithin�their�supply�chains�that�would�reduceecosystem�risks,�and�preserve�and�enhance�theflow of�ecosystem�services.
£54,000, 2013–14*
PROJECTS FUNDED INTHE PROGRAMME
* funding consisted of more than one grant
APPENDIX 1
VALUING NATURE
28
Royal Botanic Garden Edinburgh Promote�children’s�access�to�natural�green�space�bytesting�the�theory�that�nature�play�can�encouragenatural�regeneration�and�biodiversity,�disseminatingthe�evidence�and�developing�practical�guidelines�forthe�sector.�
£25,000, 2013
RSPB Development�of�robust�metric�to:�assess�the�extentand�changes�in�‘Nature�Deficit�Disorder’�in�the�UKand�review�options�for�reversing�the�trend�inengagement;�determine�critical�threshold�levelsfor children’s�connection�to�nature�and�a�nationalbaseline�for�teenagers.�
Max. £77,000*, 2010–13
University of Oxford Botanic GardenThe�UK�base�for�a�cross-cultural�inter-disciplinaryartists’�residency�project�undertaken�withPortuguese�colleagues�inspired�by�International�Yearof�Biodiversity�2010.
£50,000, 2009
The Conservation Volunteers (TCV,formerly BCTV)Study�the�impact�of�environmental�volunteering�insix�locations�in�the�UK,�testing�the�theory�that�itpromotes�social�mixing,�attracts�social�value,redresses�environmental�injustice�and�influencesbehaviour,�in�order�to�establish�stronger�evidencefor�decision-makers�and�a�method�that�can�be�usedby�the�wider�voluntary�sector.
£30,000, 2012
The Geffrye Museum of the HomeDevelop�and�run�a�new�adult�learning�programme�forolder,�vulnerable�people,�inspired�by�the�museum’sgardens,�encouraging�creative�engagement�in�thenatural�world,�and�linking�biodiversity�morecentrally�to�the�museum’s�core�work.�Then�to�buildon�the�programme’s�success,�continuing�a�core�groupcourse�in-house�and�developing�an�‘outreach�model’to�extend�the�benefits�more�widely,�scaling�theprogramme�and�securing�viability�long-term.
£98,000*, 2011–201
Winterbourne House and Gardensran�Urban�Veg,�a�community-basedvegetable�garden�designed�as�a�two-way�exchange�between�the�garden�andBirmingham’s�Islamic�communities.Workshops�addressed�waterconservation,�sustainable�growingmedia,�chemical�pollution,�wildlifeawareness,�reducing�food�miles�andcarbon�footprints.
Ness Botanic Gardens at�theUniversity�of�Liverpool�was�keen�toengage�with�students�fromdisadvantaged�backgrounds.�Inscience-focused�workshops,�Years�7and�10�students�grew�vegetables�andlearnt�about�concepts�such�asphotosynthesis�and�climate�change.
National Arboretum, Westonbirt,worked�with�three�groupsunderrepresented�among�existingvisitors:�adults�facing�substancedependence,�South�Asian�women�whohave�faced�domestic�abuse,�and�olderpeople�with�Macular�Disease.�Groupscarried�out�practical�conservation,contributed�to�an�audio�trail�forvisually�impaired�visitors,�andproduced�a�recipe�book�andphotography�exhibition.
University of Leicester BotanicGardenswanted�to�increase�itscapacity�for�working�with�disabledpeople�and�partnered�with�Mosaic(which�coordinates�services�fordisabled�adults)�to�run�a�series�ofworkshops.�The�garden�has�alsoincreased�accessibility�by�improvingpaths,�toilets�and�informationdisplays.�
Royal Botanic Garden Edinburgh(RBGE)�was�keen�to�reach�youngpeople�and�neighbouring�deprivedcommunities.�Its�Edible�Gardeningproject�focused�on�growing,�preparingand�sharing�healthy,�sustainable�food.Each�group�designed�its�ownprogramme�from�a�series�of�options.
Bristol Zoo Gardens (BZG) wanted�toinvolve�new�audiences�in�plantconservation�and�bring�peopletogether.�Recruits�from�primaryschools,�a�community�gardeninggroup,�sheltered�housing�and�a�carehome�for�people�with�dementia�grewcalendula�plants�at�their�sites.�Plantsand�seeds�were�moved�to�BZG,establishing�a�national�collection.
THE COMMUNITIES IN NATURE PROJECTS
* funding consisted of more than one grant
Feel Green projecthorticulture workshops forpeople with disabilities at theUniversity of Leicester BotanicGarden. Photo: JanetClitheroe.
Calouste�Gulbenkian�FoundationUK�Branch50�Hoxton�SquareLondon�N1�6PB+44 (0)20 7012 [email protected]/uk-branch
ABOUT THE CALOUSTE GULBENKIAN FOUNDATION
The Calouste Gulbenkian Foundation isan international charitable foundationwith cultural, educational, social andscientific interests. Based in Lisbonwith branches in London and Paris,the Foundation is in a privilegedposition to support national andtransnational work tacklingcontemporary issues. The purpose ofthe UK Branch, based in London, is tobring about long-term improvementsin wellbeing particularly for the mostvulnerable, by creating connectionsacross boundaries (national borders,communities, disciplines and sectors)which deliver social, cultural andenvironmental value.
