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Drama workshops at women’s centres support rehabilitation

More than 60 service users have taken part in Creating Change - a programme of art-based workshops at six women’s centres.

The centres, which are run by the Hampshire & Isle of Wight Community Rehabilitation Company (HIOW CRC), hosted the programme, which was devised and delivered by BearFace Theatre and Hampshire Cultural Trust.

Creating Change uses drama to encourage service users to explore relationships, thoughts and feelings. The programme supports desistance theory in multiple ways: by developing strong support bonds and networks; by recognising strengths rather than offences and by building self-esteem and self-confidence.

Activities were designed to be fun, reflective and motivational. Almost 80 per cent of attendees completed the course.

Exercises included ‘bombs and shields’ where participants chose another group member for each role and move to keep their ‘shield’ between them and their ‘bomb’. This leds to reflections on real life triggers such as alcohol and corresponding shields such as family support. The exercise helps with developing spatial awareness, understanding choice, empathy, trust as well as discussion around coping strategies.

Laney Dimmock, a service user at Fareham women’s centre, said: “Of all the groups I go to, these drama sessions were my favourite. We created scenes and explored how people see things differently.

“Team games involved listening, touching and trusting. I learned a lot from the communication without speaking. It’s really helped me to be in a place where no one judges or makes assumptions. Being in a women-only group helps, I see many women speaking up where I think they would stay quiet in a mixed group.”

Julie Eden, HIOW CRC senior case manager and women’s centre facilitator, said: “We work really hard at the women’s centres to create a safe environment for service users. This is important because a high proportion of attendees have experienced trauma.

“We encourage women to develop positive support networks in their community and relationships with each other. Our colleagues from BearFace Theatre and Hampshire Cultural Trust shared these values and I have really enjoyed working with them.”

Creating Change uses Cognitive Behavioural Theory (CBT) techniques combined with drama and performing arts skills.

Julie added: “Many service users said they developed a better understanding of CBT because of Creating Change. This is fantastic because it means service users are more likely to apply this knowledge and understanding.

“For several women, Creating Change was their first experience at the women’s centre and by the end they said that they had bonded with the other service users. I am delighted because evidence shows positive relationships are a crucial part of helping women to stop re-offending.

Aimee Wynn, an attendee at the Southampton women’s centre, said: “I enjoyed the workshops a lot. My favourite activity was ‘bombs and shields’, learning who to keep away from and who is helpful to me. Taking part has helped me to think more before I act and speak.”

Charlotte Slinger, Hampshire Cultural Trust cultural engagement manager, said: “We have been delighted to develop innovative and responsive arts-led programmes with HIOW CRC, we believe arts and culture can help to develop confidence, opinion, team work and many more life skills. The Creating Change programme is a key part of our Better Life Chances strategy, using culture to change lives in Hampshire.”

This initiative was funded by an £8,000 grant from the Purple Futures Innovation fund.

Competition to find Hampshire Poet 2018 launches on National Poetry Day

A competition to find Hampshire’s next poet laureate launches on National Poetry Day, 28 September 2017.

The search for the Hampshire Poet 2018 is being led by Hampshire Cultural Trust, who are encouraging wordsmiths from all over the county to apply. The competition, which runs every other year, aims to foster local writing talent and continues the successful laureate scheme that first began in 2008.

The winning poet will receive two paid commissions highlighting projects and activities during the year, including poems linked to Hampshire Cultural Trust’s wide and varied programme of exhibitions and events across its 23 venues in the county.

As well as being a talented poet, the winner of the Hampshire Poet 2018 competition will need to be a confident speaker and a strong advocate for the pleasures of reading and writing.

The competition is open to anyone aged 18 or over who lives, works or studies in Hampshire. To apply, entrants need to submit two poems from their portfolio along with a short statement of what they can bring to the role and gain from the experience. The competition will close on Friday 8 December 2017 and the winner will be announced in the New Year. Applications for the competition can be made online at the Hampshire Cultural Trust website, https://www.hampshireculturaltrust.org.uk/hampshire-poet-2018.

2016 winner, Isabel Rogers, pictured, produced a wealth of new verse during her tenure as Hampshire Poet, some published online and some in print on bookmarks. She worked on arts and heritage projects across the county, and held workshops in a variety of venues including schools, libraries and arts centres, encouraging people of all ages to write their own poetry.

Isabel is on the judging panel for this year’s competition. She is joined by poet and chair of the Winchester Poetry Festival, Stephen Boyce, and Angela Hicken, literature officer at Hampshire Cultural Trust.

Janet Owen, chief executive officer at Hampshire Cultural Trust, commented:

‘Hampshire Poet 2018 is a fantastic opportunity for an exceptional talent to be part of the cultural life of Hampshire. We’re looking for a poet who can not only whisk us away with their words, but also someone who can be a champion for poetry and literacy within the community.’

 

King Charles I Portrait Reveals Centuries Old Mystery

A portrait of King Charles I, normally on display in the Guildhall’s King Charles Hall, has recently been receiving some restoration work as part of a wider art restoration project by Winchester City Council in partnership with Hampshire Cultural Trust.

The portrait was removed and sent to April Johnson at The Brick House for cleaning and restoration and to enable it to be closely inspected in the hope that the artist would be identified.  As it turned out, the inspection would reveal a far bigger secret, hidden for many years.

Portrait artists leave clues to their identity in the form of ‘trade mark’ brush strokes and paint types. These marks are also often used to determine the age of the painting.  Charles’ portrait bore many similarities to the style of famous court painter, Peter Lely and was widely expected to be identified as a Lely piece. During the inspection, it was revealed that the sceptre held in Charles’ right hand was originally painted as a staff and had been overpainted.  It was also noted that Charles’ head was painted by a different hand to the rest of the painting and that the paint around the head was also different. 

Although not unusual for paintings by Lely - he would often paint the face of his subjects then ask one of his students to paint the body and the background from a number of poses - in this case, there was a noticeable difference. The paint used and the quality of the work on the head of this painting was not up to the standard expected of Lely. Did one of his students finish the King’s portrait off?

Further investigation revealed that the ruff round the neck of Charles was thinning and that details of a different ruff were showing through. The real surprise came when the area below the feet was cleaned and the inscription ‘Henry Jermain Earl of St Albans’ was revealed.

Henry Jermain (Jermyn) was a Member of Parliament and staunch Royalist in the English Civil War, Lord Chamberlain and also a knight of the garter.  A portrait of Jermyn in his garter robes is owned by the National Trust and is on display in Kedleston Hall, Derbyshire.  In that portrait, Jermyn is in exactly the same pose as the portrait and his hair conforms to the area of paint around Charles’ head.  Further research will be undertaken to discover who the unsung artist might be.

Ross Turle, Curator of Social and Industrial History for Hampshire Cultural Trust said, “It is not unusual for artists to re-use canvases, the city has another example in Abbey House, but what is enticing in this case is that we know who the former sitter was. We have a starting point for further research and hopefully a bit of dogged detective work will throw some light on the mystery”.

Councillor Rob Humby, Portfolio holder for Economy and Arts said: “The City Council is fortunate to own several unique and much-loved pieces of art and we take our responsibilities to their care very seriously.  The portrait of King Charles has hung proudly in the King Charles Hall for many years and it is fascinating to discover that he has been concealing this secret all this time.  We look forward to learning more about the other pieces in the Guildhall and hope that our visitors enjoy them just as much as we do”.

Creative Practitioner Training: Mental Health and Wellbeing

Creative Practitioner Training: Mental Health and Wellbeing

Hampshire Cultural Trust have received funding from the North East Hampshire and Farnham Clinical Commissioning Group, through their Innovation Conference Fund, to run a 5 week training and mentoring programme for creative practitioners who want to work with people who are experiencing mental health issues.

The aim of this project is to up-skill creative practitioners so they are able to deliver more programmes taking a preventative approach to mental health and wellbeing, reducing the pressure on local health and support services. 

The programme will involve pairing the practitioners with local organisations in the Rushmoor and Hart area who work directly with these specific service users.  Through this partnership both the practitioner and the organisation will be able to mentor each other through the process, share best practice and develop their own learning of how cultural participation can contribute to mental health and wellbeing.

The organisations involved in the project are:

  • Rushmoor and Hart Mental Health and Substance Misuse Team
  • North East Hampshire and Farnham’s Recovery College
  • Creative Response
  • North Lane Lodge
     

Alongside these placements, creative practitioners will work alongside an experienced artist facilitators, Little Art Haven, to ensure they are supported throughout the programme.  This will involve facilitator led learning sessions and peer to peer support among the practitioners themselves.  These sessions will take place at the West End Centre in Aldershot.

The training will take place between October and December 2017.

A Creative Day Out

On 18 August the West End Centre hosted A Creative Day Out. This day of arts and crafts saw young people take part in pottery, collage, t-shirt printing and copper ring making classes. The day was a great success with the young people commenting: “The day was great and I am glad I did it. The people are so kind.” and “It was amazing and enjoyable.” This event was funded through the Hampshire Local Cultural Education Partnership, in order to give young people a positive and creative experience but also to ask their opinions about the emerging themes of Hampshire LCEP which are: Health & Wellbeing, Aspiration, Employability.

  

HarFest At Bursledon Windmill

Bursledon Windmill, Hampshire's only working windmill, is holding a Harvest Festival weekend on Saturday 2 and Sunday 3 September.

The weekend will be a nostalgic look back at harvest time during the windmill’s heyday in the nineteenth century, and will feature vintage agricultural machinery and other farming bygones from the collections cared for by the trust, as well as children’s hands-on activities, dressing-up, a nature trail, harvest displays, crafts to make and take and live folk music from The Oak Set. Entry to the site and activities are free, with the usual admission charge for those wanting a windmill tour. Activities are from 10:00am to 4:00pm on both days, with last entry at 3:00pm.

Visitors can enjoy a pig in a bun for breakfast or lunch from Hog Roast Hampshire as well as a pint of real ale from Fallen Acorn Brewery (vegetarian and non-alcoholic alternatives are available)! There is, of course, a charge for food and drink and there will also be local produce and crafts for sale (cash only).

It promises to be a fun and fascinating day out for the whole family, and with the large threshing barn on site it will go ahead whatever the weather.

Hampshire Cultural Trust received funding from the Tesco Bags of Help scheme for the windmill’s summer programme. Tesco have kindly agreed for Harvest Weekend visitors to use their car park, 5 minutes’ walk from the windmill, as the windmill car park will be housing the farming machinery and will only have disabled parking spaces available.

Army Joins Up with Dance Company to Present Acclaimed 5 SOLDIERS in Aldershot Barracks

Community project to see young people create brand new curtain raiser

The five-star award-winning dance production 5 SOLDIERS – The Body is the Frontline will come to Aldershot this September. Audiences will have the chance to get ‘behind the wire’ and experience this thrilling show up close in a real Army barracks.

Fresh from its sell out run at the Edinburgh Festival Fringe, and performances in London in association with Sadler’s Wells, this powerful portrayal of military life by Rosie Kay Dance Company will be staged at the Canada House Boxing Centre, Rawlinson Road, Aldershot, on Friday 22 and Saturday 23 September. It is being presented in partnership with The West End Centre & Hampshire Cultural Trust.

The project also involves an eight-week tailor-made outreach programme to build new links between the military, the arts and local communities that will result in a brand new dance piece by local young people. There are still a few spaces left for young people who want to take part.

Both performances of 5 SOLDIERS will be followed by a panel discussion where the choreographer, dancers and local military will answer audience questions.

Aldershot Garrison Commander, Lt Col Nigel Macgregor, said: “If you’ve ever wanted to know who the men and women of today’s armed forces are, this show is for you. Rosie Kay, the talented choreographer of 5 SOLDIERS, has done her homework. The performance follows a group of soldiers through their basic training and operational deployment to tell a story that is fair, accurate and brutally honest in its depiction of this group’s rollercoaster journey. A professional dancer, Rosie’s commitment to her craft and her own experience with personal injury and the pain of recovery is clearly evident in this powerful performance. One not to be missed.”

The community outreach project will see locally-based freelance professional dance practitioner Hayley Barker to work with Rosie Kay Dance Company and then link up with young people in Aldershot to create a community performance that responds to the themes of 5 SOLDIERS. Participants will also receive Army drill training from the local regiment as part of their preparation for the performance.

Hayley said: “I love Rosie Kay’s work so really wanted to get involved with this. It’s a brilliant way to get young people interacting with the arts as part of a really unusual dance project.

“We will be making a piece inspired by the themes in 5 SOLDIERS – which is a story all about the people behind the uniforms. It’s really appropriate for Aldershot because this area has such a strong military tradition.”

The young people will put on their performance as a curtain raiser for 5 SOLDIERS on the Saturday evening.

5 SOLDIERS is a gritty, honest and acutely observed dance work that follows four young men and one woman as they are trained and then deployed in a war zone. It is a visceral tour de force with a powerful physicality, moments of humour and is full of honesty – all inspired by input from serving and former soldiers. 

Military audiences have applauded how well it reflects their experiences, their passion for their work and the risks they face. It weaves a story of physical transformation, helping us to appreciate what makes a soldier and how warfare affects those who put their life on the line.

5 SOLDIERS is in Aldershot during a national tour which is part of a broader initiative by the Army to engage with the public through the arts.

Major Jo Young, the Army’s officer for the arts has organised a range of festivals, photographic exhibitions and performance to build networks between the service community and the wider population.

She said: “Many people simply don’t have connections with the Army in the way they used to. The arts are a way we can engage in new and different conversations with those who rarely meet soldiers in their day-to-day life. Through initiatives like the 5 SOLDIERS tour, we can talk to them about issues we are all interested in like diversity and inclusiveness. We firmly believe that as society’s army we should reflect the society we serve.”

5 SOLDIERS was first toured in 2010-11 and was created by choreographer Rosie Kay after intensive research, including spending time with The 4th Battalion The Rifles. All the cast have experienced military training as part of their research and to prepare for this dynamic interpretation of Army life.

Kay said: “We are thrilled to be bringing 5 SOLDIERS to Aldershot with the support of the Army. It has been a labour of love over several years for me and the cast, gaining access, insight and experience; giving us a unique understanding that helps us portray the extraordinary lives of people in the military.

“We really try to humanise their story; we want the audience to empathise and to feel a visceral connection to our characters. We’ve been struck by how this work directly communicates with soldiers, officers and military families, but also with people who have no connection to the military, and even with peace activists. This is truly a humanistic portrayal of war; complex, nuanced, uncomfortable-yes, but overall, impassioned and truthful.

“Just as important is that the Army recognising that the arts are an effective way to build links with sections of the community and open up discussions about its role in today’s world.” 

 

Turner and the Sun

Turner and the Sun

5 August – 15 October 2017, The Gallery, Winchester Discovery Centre

In the weeks prior to his death, J.M.W. Turner is said to have declared (to John Ruskin) ‘The Sun is God’ what he meant by this, no-one really knows, but what is not in any doubt is the central role that the sun played in Turner’s lifelong obsession with light and how to paint it.

Turner and the Sun, an exhibition curated by Hampshire Cultural Trust, will be the first ever to be devoted solely to the artist’s lifelong obsession with the sun. Whether it is the soft light of dawn, the uncompromising brilliance of midday or the technicolour vibrancy of sunset, his light-drenched landscapes bear testimony to the central role that the sun assumed in Turner’s art. Through twelve generous loans from Tate Britain – the majority of which are rarely on public display – this focused exhibition will consider how the artist repeatedly explored the transformative effects of sunlight and sought to capture its vivid hues in paint.

The sun appears in many different guises in Turner’s work. Sometimes it is something very natural and elemental, at others it is more mysterious and mystical. Turner was working in an era when the sun - what it was, what it was made of and the source of its power - was still a source of mystery and wonder. The Royal Society was housed in the same building as the Royal Academy, and it is known that Turner attended lectures and was acquainted with scientists such as Faraday and Somerville. It is therefore possible that he was influenced by new scientific theories about the sun when he tried to depict it. Certainly, Turner’s own Eclipse Sketchbook of 1804 – which will be featured in the exhibition - shows him recording visual data of an atmospheric effect on the spot.   

Turner also mined ancient mythology for inspiration. The tale of Regulus, the Roman general punished by having his eyelids cut off and thus made to stare at the sun, is echoed by the artist replicating the effect of solar glare in paint, while the stories of Apollo and the Python and Chryses both feature the Greek sun god, Apollo.

Given his place in the vanguard of Romanticism, Turner was also interested in poetry and wrote his own pastoral verse. He would often acclaim the life-giving energy of the sun and bemoan its absence during Winter: ‘The long-lost Sun below the horizon drawn, ‘Tis twilight dim no crimson blush of morn’ and ‘as wild Thyme sweet on sunny bank, that morn’s first ray delighted drank.’

Highlights of Turner and the Sun include Sun Setting over a Lake (c 1840, Tate) an unfinished but highly vivid depiction of a sunset. At first, the viewer tries to discern behind what is, possibly, Lake Lucerne in Switzerland, but what soon becomes evident, is that the principal subject of the painting is the light and the way it is reflected in the water and gilds the sky and clouds above.

A charming example of Turner painting rays of sunlight emanating from the centre of the composition can be seen inThe Lake, Petworth, Sunset; Sample Study (c.1827-8, Tate), which is one of a series of six sample studies made for the four finished canvases for Petworth House.

The popularity of the Grand Tour and the enduring appeal of Venice created a lucrative and artistically important opportunity for Turner in his late career. In Going to the Ball (San Martino) (exhibited 1846, Tate), we see boats taking Venetian revellers to a masque ball against the backdrop of a golden cityscape. This was Turner’s last painting of Venice and was in his studio at the time of his death in 1851.

Some of Turner’s most acutely observed images of the sun are his informal, private exercises in watercolour and experiments with wash and colour. Swiftly executed, sometimes in batches, they capture transient effects where the sky is utterly dominated by the effects of the sun. A selection of these will be seen in the exhibition, and they are normally only viewed by appointment.

Exhibition curator Nicola Moorby said: “We all know that Turner is the great painter of the sun, but what is particularly interesting is trying to analyse why.”

She continues: “One of the reasons he is such an exciting and inspirational painter is because he has a very experimental approach to technique.  In order to try and replicate the effects of the sun in paint, he uses a whole range of visual tricks and devices. For example, we often seen him juxtaposing the lightest area of a composition with something very dark to heighten the contrast. He uses arcs, orbs, radiating circles of colour, broken brushstrokes, textured oil paint, seamless watercolour wash – sometimes he depicts sunlight as something very solid and physical, at other times it is a dazzling glare that we can’t properly see.  Turner doesn’t just try to paint the sun. He seems to want to actually try and replicate its energy and light so that it shines out of his pictures.”

Janet Owen, Chief Executive of Hampshire Cultural Trust, says: “By combining naturalistic observation with imaginative flights of fancy, Turner’s light-drenched landscapes encapsulate the elemental force of his art and remain as dazzling today as they were for a contemporary audience. We are thrilled to be able to shine a spotlight on them here in Hampshire.”

Image N00544_10 Going to the Ball (San Martino) , exhibited 1864, Joseph Mallord William Turner (1775 – 1851). Tate: Accepted by the nation as part of the Turner Bequest 1856. Photo © Tate, London 2017.

 

HRH The Earl Of Wessex Officially Opens Landmark Jane Austen Exhibition

The Mysterious Miss Austen, a landmark exhibition exploring the author’s life, work and relationship to Hampshire, was officially opened on Thursday 18 May by HRH The Earl of Wessex at The Gallery in Winchester Discovery Centre.

During his visit to The Gallery, the Earl was given a guided tour of the exhibition by staff from Hampshire Cultural Trust, who are staging the exhibition and coordinating Jane Austen 200, a year-long, county-wide series of events commemorating the 200th anniversary of the author’s death.

At the centre of The Mysterious Miss Austen are six portraits of the author, all together under one roof for the very first time. Included in these is a rarely seen 1869 watercolour portrait of Jane Austen by James Andrews. The work is currently in a private collection, and the likeness that will feature on the new £10 note from July 2017 is based on this portrait. The exhibition also includes around 50 items all generously loaned from private and public collections in the UK and abroad, as well as Austen’s silk pelisse coat, one of a handful of items that survive today which actually belonged to Jane and can be traced directly back to her.

As well as officially opening the exhibition by signing a visitor book, The Earl announced the winners of the Jane Austen 200 Short Story Competition. The competition, launched in October of last year, invited entrants to write a short story of up to 2017 words based on a quote from Jane Austen’s Mansfield Park, ‘Selfishness must always be forgiven, you know, because there is no hope of a cure.’ Over 281 entries were received from all over the world, and the winning story was penned by Sally Tissington, who teaches creative writing modules at the University of Warwick. Both Sally’s story, and that by runner-up, Ingrid Jendrzejewski, can be read in full at www.janeausten200.co.uk.

Janet Owen, Chief Executive of Hampshire Cultural Trust, commented:

‘We are both thrilled and honoured to have had the opportunity to welcome HRH The Earl of Wessex to open our The Mysterious Miss Austen exhibition. We are especially delighted that the visitor book signed by him will be available at The Gallery for visitors to sign and leave their own comments on this landmark exhibition celebrating the creativity and talent of Hampshire’s own Jane Austen.’

The Earl also visited Hampshire Cultural Trust’s Jane’s Winchester: Malady and Medicine exhibition in City Space at Winchester Discovery Centre. This show offers a vivid snapshot of Winchester in 1817, the year that Jane travelled to the city to receive treatment for what would be her final illness. Key objects on display include a rare surviving sedan chair used by patients attending the Winchester hospitals, a set of apothecary’s drawers of the period and other Regency medical equipment from pill pots to surgical instruments. It also looks at her depiction of illness and treatment in her books.

Eloise Appleby, Assistant Director (Economy and Communities) at Winchester City Council, said:

‘Jane Austen has enduring appeal, and is still one of the most important elements in our flourishing visitor economy.  We have thrown ourselves into the bicentenary celebrations, notably with our innovative Rain Jane visitor trail of inspiring quotations. We are delighted at the royal recognition of the exhibitions, which would probably have surprised Jane if she had been here today: congratulations to the Trust for an excellent programme of events in 2017.’

At the end of his visit, The Earl was presented with a copy of Jane Austen, Writer in the World a book by Dr Kathryn Sutherland of Oxford University, who co-curated The Mysterious Miss Austen with Louise West, formerly curator of Jane Austen’s House Museum in Chawton.

The Leader of Hampshire County Council, Councillor Roy Perry, said: ‘We are immensely proud of Jane Austen’s Hampshire heritage. She lived in the county for much of her life and wrote many of her world famous novels here including Pride and Prejudice, Emma and Sense and Sensibility – revealing intriguing insights into what life was like in Hampshire two centuries ago.

‘This is a landmark exhibition at Winchester Discovery Centre, and we’ve been delighted to work closely with Jane Austen 200 partners, including Hampshire Cultural Trust, to host a number of bicentenary celebrations so that visitors from around the world can enjoy exploring Jane Austen’s life and times.’  

The Mysterious Miss Austen runs until 24 July, the 200th anniversary of Jane Austen’s funeral and burial at Winchester Cathedral.

 

Funding Received For Innovative New Project For Young People, Arts and Mental Health

Major funding has been received by Hampshire Cultural Trust (HCT) for a new, innovative project working with health, youth and arts partners across the county. The ICE Project, a £200,000 programme, will run for three years and will work with young people who are served by the Child and Adolescent Mental Health Service (CAMHS), as well as groups who are identified as being at risk of developing mental health issues.

“The aims of the project are to reduce stigma around mental health, help young people to process their emotions and to live creative, engaged and positive lives. We are looking forward to this exciting work developing,” commented Janet Owen, HCT Chief Executive.

Artswork, Sussex Partnership NHS Foundation Trust and the Coles-Medlock Foundation have co-invested a total of £70k in the first year of The ICE Project, which is being developed and led by HCT and CAMHS for young people in Hampshire, who have formed a new partnership to deliver the project.

“This project is an exciting collaboration between the arts sector and the NHS, and I am looking forward to the huge potential that the arts can have on young people’s mental health and wellbeing” said Helen Dove,  Innovation & Participation Lead for Sussex Partnership’s CAMHS in Hampshire.

Jane Bryant, Artswork Chief Executive, said ‘At Artswork we see first-hand how valuable high-quality arts and cultural experiences can be for the mental health and wellbeing of young people. We are very pleased to have been able to co-invest in the  ICE Programme over the next three years, and can’t wait to see how the programme develops.’

ICE - Inspire // Create // Exchange - aims to address and explore important mental health issues in young people using high-quality arts and culture. The project will measure impact and share positive outcomes, and in doing so will seek to influence organisational change. For each phase or project group, there will be three stages:  Inspire - an inspiration point, such as a trip to a cultural venue; Create - a participation phase such as regular workshops with professional artists, musicians or cultural practitioners; and finally, Exchange - showcasing opportunities, such as performance, exhibitions or online sharing of work created.

There will be core target groups of young people directly engaged in project work, specifically the Inspire and Create stages with artists, as well as a wider group of young people across Hampshire who will be reached and affected by the messages and artwork shared through the Exchange phase.

Through engaging in high quality arts and cultural programmes, the partners aim to promote positive mental health, build young people’s emotional resilience and, more specifically, bring to the attention of all the issue and impact of youth suicide and self-harm. This programme will primarily engage young people in Hampshire who have a high level of need but are unlikely to access arts and culture without the partners reaching out to them and creating targeted opportunities. The impact of this programme will be wide ranging, but the specific groups of young people who will benefit include: young carers, young offenders, looked-after children, those who identify with GID or LGBTQ, those who have been bereaved and those with autism or mental health difficulties.

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