Happening Here



Happening Here!January – May 2015Outcomes AnalysisJennie HayesJuly 2015A partnership between Daisi, Teign Housing and Blind Ditch with the neighbourhoods of Buckland and Broadlands, Newton Abbot, DevonHappening Here! Outcomes AnalysisTable of Contents1. Summary2. Introduction2.1 Key stakeholders2.2 Project Outline3. Evaluation Framework3.1 Purpose of evaluation3.2 Methods4. Evaluation Findings4.1 Participants will want to get involved again4.2 Pride in what they had made and where they lived4.3 Young people expressing thoughts and views4.4 Young people learning new skills4.5 Opportunity to meet new people4.6 Sense of an event/happening4.7 Imaginative use of space5. Partners’ Perspectives5.1 Teign Housing5.2 Daisi5.3 Blind Ditch5.4 Coombeshead Academy and Newton Abbot College6. Some Barriers to Engagement6.1 Lack of confidence6.2 Unwillingness to take part in community activities6.3 Schools engagement6.4 Institutional framework6.5 Practical issues7. Conclusion8. LinksAppendicesA: Evaluation Framework and update on methodsB. Evaluation Postcard and monitoring sheetC: Evaluation dataD: Transcriptions of selected interviews1. SummaryThe project was devised to co-develop a programme of cultural activity with young people living in Teign Housing’s neighbourhoods and communities. The co-development team included Daisi staff, Blind Ditch and Teign Housing. Work took place on-site on two Teign Housing neighbourhoods in Newton Abbot: Broadlands and Buckland. Links were made with local schools: Coombeshead Academy and Newton Abbot College. The overarching aim of the project was to improve social cohesion through the arts.An outcomes analysis was devised in partnership with the co-development team to consider how the project could fulfil community development objectives related to community cohesion, developing local relationships, skills development and creativity. The outcomes analysis suggests: Participants were able to express feelings of worth, awareness of the effects of anti-social behaviour, pride in local community and their thoughts and views as part of the project. However, due to inconsistency of attendance, it is not possible to determine whether these were increased through the life of the project. Members of the neighbourhood team were able to relate to local people around issues other than housing through the life of the project and use the project as inspiration for further community development work. Young people developed increased skills in animation, interviewing, sound recording and team-work. Confidence grew through engaging in activity. Young people felt valued. There was positive development of creative ideas around imaginative use of space both at Buckland and Broadlands. This led to a significant contribution to community development objectives. However, how Teign Housing might build on the project with regard to community development objectives is clearer in Buckland than in Broadlands. Two events were delivered enabling community members to come together in new ways. Neighbours were able to meet each other in new ways. Young people as well as adults enjoyed taking part and saw benefits to it. There were opportunities for intergenerational interaction.Whilst the feedback from both partner schools was positive, there was limited transfer of students from schools workshops into active engagement with activity in the community.Attendance, and continuity of attendance, was lower than hoped with nine young people attending more than one workshop/event and two young people attending more than two workshops. Generally participants were younger than the target age. Final events were well attended by all ages. 2. Introduction2.1 Key stakeholdersTeign Housing manages over 3,600 homes across South Devon, from Dartmoor National Park to the urban centre of Newton Abbot, Teignmouth and Dawlish. They employ over 80 members of staff and are a registered charity governed by a Board of Management. They are dedicated to providing high quality customer services and making the local areas a better place to live by creating sustainable communities and working in partnership. They are active partners in the development of Happening Here!, with a key role in planning the work programme and supporting the work on the ground. Daisi is the arts education organisation for Devon and Torbay, working alongside more than 100 professional artists to create arts experiences with over 10,000 young people each year. Daisi works across all art forms - from dance to literature, media arts to music - and with children and young people from pre-school age to their late teens, both in and out of school. Woven into all their projects are learning and development opportunities for teachers, school communities, artists and other partners, strengthening confidence and ability to work effectively with the arts and young people in their own, unique settings. Daisi advocates widely for the positive impact of arts activities on outcomes for young people across their learning and social needs, documenting and evaluating their work in order to influence good practice in our region and beyond. Blind Ditch is a small group of artists and associates who make collaborative performance, art and cultural events. Blind Ditch works from their base in the South West of England. Their work is not exclusive to any one medium and it often develops through interactions with particular community groups, individuals and partner organisations. Blind Ditch collaborates with associate artists in different constellations according to their individual skills and passion for the work they instigate. With Happening Here!, the project was planned and devised by lead artists Volkhardt Müller and Paula Crutchlow and delivered on the ground with Blind Ditch associate artist, Lizzy Humber.The project was funded by Teign Housing and Arts Council England (SW Bridge Challenge Fund). 2.2 Project OutlineThe Happening Here! Project was devised to co-develop a programme of cultural activity with young people aged 11 - 16 living in Teign Housing’s estates and communities. The co-development team included Daisi staff; commissioned lead artists; Blind Ditch and Teign Housing staff. A series of workshops were run by Blind Ditch in the neighbourhoods of Buckland and Broadlands between January and May 2015, preceded by an introductory workshop in December 2014 at a local event in Buckland. Two animation workshops were held in local community colleges, Coombeshead Academy and Newton Abbot College. The project was designed by the artists to be about the communities and the people that live here. Blind Ditch planned to work with young people to gather ideas, thoughts and opinions about what happens in the local neighbourhood, what could happen, and what residents’ dream of happening. Blind Ditch aimed work with a group of young people to gather stories and facts about the neighbourhoods. Over the course of the project the findings would be turned into an artwork, some short films, animations and sound recordings, and a public event on the estate to launch the artwork. It was intended to be both a celebration of community life in Buckland/Broadlands and also a mechanism to think about what might improve life there for people. In Buckland, Blind Ditch worked with young people to interview adults on the estate about what they thought of their neighbourbood. They worked with young people to create animations based on the interviews and produced a map based on the project and people’s views. The project culminated in an event in the Buckland and Milber Community Centre which offered an opportunity for local people to see the animations made, pick up a copy of the map produced by the project, take part in arts/dance workshops and have refreshments. In Broadlands, the project culminated in the creation of a pizza oven in a small car park in the centre of the neighbourhood and a day spent making pizza with local people. 3. Evaluation Framework3.1 Purpose of evaluationThe purpose of the evaluation was to consider how this partnership project, Happening Here!, could contribute to outcomes related to social cohesion and community development. Partners were interested in considering a number of potential outcomes which were discussed and agreed at a number of partner planning meetings. These outcomes included factors such as increased pride in local community and strengthened relationship with neighbourhood team. A full list of outcomes along with a summary of findings can be found at Appendix A.3.2 MethodsThere were six methods planned through which data was to be gathered for Happening Here!Benchmarking postcard Purpose: To provide information about the project for participants and potential participants; to provide a benchmarking mechanism at beginning and end of project. Because of the informal nature of the engagement with young people, particularly in Broadlands where there was no building-base from which to work, and because of the inconsistency of attendance, it was not possible to gather enough postcards to create any meaningful analysis. 16 postcards were gathered at the beginning of the project, 2 at the end. One young person who was involved most consistently was unable to complete a postcard at the end event. Other involved participants did not attend the end events. Only one young person completed postcards at the beginning and the end of his involvement. (on 2/4 and 16/5) Whilst this cannot be given undue weight, the record made was interesting. To the statement, ‘People treat each other with respect’ he neither agreed or disagreed on the first postcard, and strongly agreed on the second. To the statement ‘I have good relationships with people who are older than me’, he disagreed on the first postcard and agreed on the second. Whilst this is just as likely to have been caused by a range of different factors (including indifference to the questioning!) it is possible that engagement in a positive end event, with a public sense of achievement, helped this young person to feel more positive about relationships with and between those around him. Reflective diary (monitoring sheets)Purpose: to provide a mechanism for artist/other reflection on key points of progress, any changes in group or individual working and observations. 24 monitoring sheets or pieces of written data (email or written report) were considered, including those of the evaluator. Attendance record Purpose: to gather stats on attendanceAttendance was logged on monitoring sheets and gaps completed by the Daisi project manager. Artwork and process Purpose: to ensure artwork is central to evaluation process and to ensure young people’s voices are heard in the evaluation.Sound recordings were submitted by Blind Ditch from workshops on 23rd January (Coombeshead School) and 7th February (Buckland). Observations were made by the outcomes analysis consultant at three workshops and two events. Creative facilitated discussion groups Purpose: to allow young people’s voices to be heard in the evaluation, other than through benchmarking mechanism. Because of the informal nature of the engagement with young people, particularly in Broadlands where there was no building-base from which to work, there were no opportunities to work with a cohesive core group where young people could discuss and be recorded. Instead, seven young people were interviewed by the evaluator; a recording was made of two group conversations between young people on 7/2 (beginning and end of a session); four conversations with adults were recorded (three group discussions, one individual); one unrecorded interview was undertaken with the parent of a participant.Post-project interviews Purpose: to allow partners to reflect directly on the experience and note any unexpected outcomesFace-to-face (recorded) interviews were held with Rae Hoole, Clare Beach, Rachel Llewellyn, Kathy Norrish, Lizzy Humber, Volkhardt Muller. Phone interviews were held with Sue Robinson, Clare Beach, Liz Hill, Lizzy Humber. Email feedback was sought and given by Sam Eyre from Coombeshead Academy and Julia Payne from Newton Abbot College.4. Evaluation FindingsA number of positive outcomes can be drawn from the evaluation material. 4.1 Participants will want to get involved againMost participants expressed an interest in being involved again in any future creative projects. This is reflected in comments on postcards:I would like to come again to these workshops.I would like a longer session, it was sometimes fun and sometime boring.I really liked doing this (workshop) and I want to come again, I enjoyed animating.It was really great and I would like to do it againI would like to come again because I haven’t done it before, not for a long time anyway. I would like it if it went on longer. 4.2 Pride in what they had made and where they livedThose young people involved in creative activity demonstrated that they were proud of what they had made. Whilst I was interviewing two young people about the project they were continually distracted by the animations on display and explaining what was happening in them:L: it’s getting louder! We made that one here!H: I done that one!...the next one I done with the cat...That's my film...Another child’s voice - Is that happening right now??H: No, that's my film...There were also many comments related to feeling proud of where they lived, and this was reflected in their pride in the artwork they produced. Whilst older people tended to reminisce about how ‘neighbourly’ people were in the past, young people demonstrated a current-day affection for their own place.YP: ‘I was surprised because B. said this place is a dump but this is our home’.4.3 Young people expressing thoughts and viewsYoung people had many opportunities to express their thoughts and views during the project, and took the opportunity to do so. This included working in groups together, interviewing each other, interviewing older people and using creative media such as film and animation to express themselves and their thoughts about their neighbourhood. Young people taking part enjoyed having the freedom to make their own decisions, and be creative in their own ways. When talking about the animation, in response to what they liked best, one participant said: L: Because they let me draw it…they didn’t say ‘no that's wrong’, they just let you.The artists enabled the young people to take creative risks within a structured environment. They were able to interpret their own experiences creatively, in their own way. Neighbourhood Worker, Rachel Llewellyn, recognised the way in which the artists enabled young people to take ownership of their area, and take the lead in describing and interpreting it:R: It is important, you don’t want to tell someone you should do this, its just taking from them what they want and listening as well. And being taken on their story. Like, when we did walks around the estate, its letting the children lead, and letting them show us what their thoughts are, what they think of things, how they perceive things, which is how this map has come about. That's good.4.4 Young people learning new skillsThose young people who took part learnt new skills and these new skills were recognised by the participants themselves. One participant shared his new-found skills with others in his class at school:H: Yes, I learnt... I showed it at school and my teacher let us do some animation…I told them how to make a dragon with fireballs and a superhero…we made it in school and it was very funny…It was apparent from observation that young people grew in confidence during the course of workshops. One young person, for example, was extremely withdrawn at the start of a workshop and by the end was interviewing an adult and talking about her experience. One young person recognised his skills by reporting that he thought the opportunity was improving his social skills. Another young person reported that he thought it would help him in the future when he tries to get a job.Another two participants were inspired and enjoying learning new skills and applying them creatively to their own environment: K: Yeah, and we’ve been inspired to make one (pizza oven) in our own garden.. yeah we’re going to…Another young person recognised the skills he needed to make animation:L: I went on the scanner and I done it all, then it was like, that's good…I learnt about how to do it and…the way you had to draw it… and I’m an artist as well because I like to draw with my friend and he’s nine… 4.5 Opportunity to meet new peopleSome young people enjoyed the opportunity to meet new people, and other adults appreciated the change to meet neighbours they hadn’t talked to before: I: Its just hands-on, you get to learn new skills and that and meet new people. Adult: We’ve seen each other in the street before but never knew each other’s name!4.6 Sense of an event/happeningIn Broadlands, several children and young people repeatedly visited the pizza oven to see how it was progressing. They were experiencing a sense of anticipation, curiosity and excitement about the event:B2: They were putting the roof on yesterday because only the sides were built. So I came back this morning and the whole thing was built and the fire was burning…Children and adults came and went for most of the day. Two young people brought pre-prepared pizza dough made by their father that morning. One family who came to take pizza home with them to eat, decided instead to join in and sat with their neighbours chatting. Some children brought their parents down later in the day. Some people passing by stopped to join in, or chatted with the artists and members of the community about what was going on. In Buckland the final event attracted participants all day, and whole families got involved in making and socialising. Some stayed for several hours. Local women came with cakes and provided refreshments all day. 4.7 Imaginative use of spaceParticipants talked freely about the way in which their neighbourhood could be transformed by events, activities and improvements in facilities. In Buckland, the map produced reflects some of those imaginings and can be used in the future by Neighbourhood Workers as a focus for discussion and development. In Broadlands, participants actively engaged with the imaginative and unusual happening around the building and firing of the pizza oven in a car park. Even those who didn’t stay commented as they went by. Several commented that they’d like it to stay, or something similar to happen regularly. 5. Partners’ Perspectives5.1 Teign HousingWhen we start working on some of the things that hopefully have come out of this we can say: ‘Remember when we did that map? Remember when we talked about that and you said how it would be great if we could do that?’ and ‘Look what we've now achieved’. And get people involved in that process and through that next bit of the journey. I almost feel like this is…though it's the end of perhaps Daisi’s involvement in it, I think its almost like the beginning. That's what I see it as. We've got something to go away with, got people that we can talk to, we’ve got ideas. ClareKey points: Young people engaged well with the artists. Lizzy and Volkhardt were impressive in the way they kept young people interested and engaged and were able to persist and remain committed through the life of the project. There had been some cynicism from some Neighbourhood Workers prior to the project starting, about whether the project could be effective. Now there is a shared sense that the project ‘worked’, there would be likely to be a greater level of engagement from Neighbourhood Workers for future projects. Attendance by young people was disappointing, both in terms of numbers attending and consistency of attendance.Teign Housing staff members are not necessarily experts in community development as it has to be fitted in around lots of other priorities. They learnt a lot about community development and how it could be approached. Artists actively gathered up participants instead of waiting for them to come to an event. This will impact on how Neighbourhood Workers operate locally. and also how they are seen by residents. They were impressed with how the project enabled a consultation exercise which was not formally badged as such. It created an environment where people could talk about what they wanted without pressure of consultation. In Buckland in particular, active conversations were encouraged; this is something that doesn't normally happen. Opportunities for Neighbourhood Workers to have new kinds of interactions with young people (other than when there are problems) were useful. This will impact on how Neighbourhood Workers are seen by residents. In Buckland there is the potential for the map to provide a legacy for future work. For example, the Neighbourhood Worker is using the map as part of the planning for the summer fair. In addition the map is being used as a tool to plan a ‘dream scheme’ partnership with the police. The project has enabled these conversations to happen. The Broadlands final event seemed more like an ‘add-on’ to the project, coming from the artists rather than the community. Whilst they appreciated the evident commitment and energy of the artists to make this happen, and the fact that it was a good opportunity for people to get together, Teign Housing felt that it didn’t meet their community development outcomes as well as in Buckland. It was acknowledged that the potential to build on the project seems more challenging in Broadlands than in Buckland. Neighbourhood Workers learnt about the estate from young people’s point of view and gained experience that they can now build on. They were disappointed with the links with the schools and how little Daisi’s relationship with schools seemed to impact on the project in the community. Things that might have been done better: the Neighbourhood Workers could have been involved in an early planning stage; it might have helped if the embedding of the message of the project had started earlier with more work on the ground.5.2 DaisiIt’s gone extremely well, its difficult to know what my expectations were, I was always very realistic about what could be achieved in a fairly short space of time…I think they’ve made an extremely good job of it, a really good start, I see it as a start, the best thing to do now would be to build on it…they (Blind Ditch) have been very responsive…when you come in cold to a community…its all about building relationships with all those different pockets of the community…they’ve made some good progress….things have happened, relationships have been formed.RaeKey points:Teign Housing have been a very positive partner to work with and had a good understanding of what the artists were trying to achieve and willing to take risks along the way. Project met Daisi objectives around celebration and intergenerational work, but it was disappointing that an on-going core group did not form. Artists and Daisi have been ‘moulding to the terrain’ they’ve been working on. This kind of development takes time. Blind Ditch are skilled and confident at working in partnership with participants and developing new ideas. Able to be responsive and flexible and deal with the unpredictable. Able to approach people on the street and let people’s ideas develop. Impressed with ambition, doggedness and energy.Disappointing that the schools involved did not take on a greater role in promoting and supporting the project despite their strong relationship with Daisi. This was felt to be primarily an issue of capacity.Good relationships have been built but this feels like a start rather than an end. Things that might have been done better: pre-meet with artists to ensure they understand context prior to involving in partner planning stage; setting up a contract with the schools which more clearly outlined their ‘stake’ in the project.5.3 Blind DitchWe did one animation day where people just didn't turn up, it was a blowy blustery day, so Volkhardt and I went out and we met about 20 – 30 kids on the street doing nothing, just hanging out looking very bored in their Easter half term and we said, Why don’t you come tomorrow?...they had a chat to us, they were quite confident…we said what we would be doing and they were hooked. They came and spent the whole day with us, and that felt like a real achievement because these kids had no focus at all, literally just hanging out on the street with nothing to do and they turned up…LizzyKey points: End events felt like the start rather than the end of engagement due to the amount of work it took to develop to that point. Door-to-door work was really important to get people involved, although very time consuming. The project at Buckland was stretched out over too long a period: Broadlands was driven by the space, was more responsive and fulfilling for the artists. There are inherent difficulties in attracting young people of the target age to informal activities, particularly as they are at an age where they are asserting their independence and are not ‘brought to’ activities by parents or guardians. In Buckland, the youth club is targeted at a younger age group – this would usually be a good starting point.In Broadlands the project had to develop by ‘trial and error’; people not turning up and community meetings falling through meant that the artists had to find a different approach.Relationship building was key: in some cases people were not helpful in planning for the pizza oven event but in the end saw the effort that the artists were making and became really helpful. This included helping with materials, access to water and toilets, as well as turning up to the event. By the end those participants were talking fondly of the event as a worthwhile experience. 5.4 Coombeshead Academy and Newton Abbot CollegeIn a formal sense the schools were not partners in the project as they were not actively involved in devising the work; however, both schools have been partners on previous Daisi projects and have a good relationship with Daisi. Teachers at both schools gave positive feedback about the workshops in school. As part of the outcomes analysis, they were asked about the lack of transference of participants from the schools workshop to the community project. Key points (workshops in schools):The workshops were fantastic, with a variety of skills learned and media used.It was a good opportunity for young people from the same neighbourhood to share stories about their locality. Students enjoyed the opportunity to do this.The artists were very good at drawing out details from the students and using them in creative and meaningful ways in the sound recordings and animation.Inspiring and engaging.The workshop was rushed (Newton Abbot College) which meant young people didn't’ have a chance to see the finished product.Key points (on links into the community project):It was a great idea but it needed more support and structure between school, artist and going into the community. There was a?big gap (in time) between the workshop at school and the events on the estate – children forget really easily despite reminding them all the time.Young people do not go out on their own much and felt a bit awkward – they suggested that perhaps there should have been a session during the week on the estate with their teachers and the artists so that they felt a bit more confident.There is generally a lack of motivation, interest and in some instances support from home to be able to attend.6. Some Potential Barriers to Engagement6.1 Lack of confidenceOne young person made a particularly perceptive point about why some people might not have become involved: H: Because they didn't want to come if there were loads and loads of people. They said they would come if it was only a small group. They would be embarrassed, say they were in the room right now, and we were watching us, they would be embarrassed and shy and not wanting to do it.Young people for whom this would be a new experience would find it difficult to take the first step without a parent actively encouraging his/her children to participate, or a group of peers to take part with: Mum: She’s very withdrawn. I had to work hard to get them (the children) down here but they have really enjoyed it’.6.2 Unwillingness to take part in community activitiesSeveral participants commented on how unwilling people in the neighbourhood are to take part in community activities generally: B: I wish more people would come down here, I think there is about 700 houses, and some people don’t know how to get to the community hall, its poorly signed. Two or three people have asked me how to get here…6.3 Schools engagementGetting people involved was a challenge for all partners. It had been hoped that strong links with the schools would transition young people into the community element of the project. Only four young people involved in the schools workshops came to one other workshop/event. For future projects it might be explored how this opportunity can be better utilised by schools. The following suggestions drawn from schools and Daisi feedback could be considered: Involving the school in the development of the project from an early stage and having a clear contractual agreement (to increase school’s stake in project)Enabling workshops in the community with teacher support (to increase confidence of young people to transition to community project)Programming school workshops and community workshops concurrently or closer together in time (to enable young people to see and remember the connections between schools and community workshops and gain a sense of momentum) 6.4 Institutional frameworkA final post-project evaluation meeting identified the difficulties in working in areas where there is little institutional support for young people. In particular, the lack of an active youth service for the target age group is perceived as particularly problematic when working with young people in informal settings. In Broadlands there is no community centre that could be used as a base for the project. In Buckland, the Community Centre was used as a workshop venue and meeting place and was therefore able to provide a hub for the project. This also enables the Neighbourhood Team to build on the project from the same base. In Broadlands it is difficult to see how work might be developed without ‘rebuilding’ a creative space for another event (for example, another pizza oven or, as Blind Ditch have suggested, a hay bale cinema). This requires resources and time over and above that which the Neighbourhood Team can deliver as part of their day-to-day work.We’ve found it happens pretty much every time that we run projects in communities, that it massively increases the reach and the quality of what you provide if you are able to link up with existing resources and tap into the knowledge base of people who run regular activities, like a youth club or youth worker, rather than making all these connections from scratch…a project like this requires consistency on the ground combined with good ideas…Volkhardt 6.5 Practical issuesFinally, a number of practical issues arose during the course of the project which may have affected the number of people attending workshops and events. We cannot be sure of the impact these issues had on the project. In the spirit of ‘what we have learned’, they are raised here, not to assign responsibility but to inform future projects. These factors can be summarised as:Communicationpotential participants in Broadlands not receiving notice of meeting on 25/4young people in school waiting to be collected for pizza oven making – artists expecting young people to arriveartists and Neighbourhood Workers not always being in close enough contactLimitations on capacitylimitations of flyer distribution for final event at Broadlandsexpectations that Neighbourhood Workers could respond at short noticeDifferences in culture/expectationsdifficulties in negotiating with community centre coordinatorroles between partners not always clearConclusion: what have we learned? Overall there is a sense that this was a really worthwhile project with good outcomes. In particular, the lessons learned around how a partnership such as this can work in relation to community development are interesting and valuable.The project has identified that skilled, experienced and responsive artists can have a community development impact in neighbourhoods. The project has demonstrated that creative approaches in this context can be extremely valuable for finding new ways to develop positive conversations between (in this case) tenants and Teign Housing staff members, which open up possibilities for improving social cohesion. The project findings suggest that clear roles and lines of communication are key to the success of any project such as this. In addition, involving those workers who are ‘on the ground’ at an early stage (artists, Neighbourhood Workers and teachers) in planning and development helps to build good working relationships early on.The project has demonstrated that development of projects such as this take an immense amount of commitment. The most effective ways to attract involvement proved to be the most time consuming. Deep and long-term ground-work are required to build on success. Engaging young people of this age group is a particular challenge when there is a lack of infrastructure to build a project upon (i.e. youth service support).The project in Buckland is seen by Teign Housing as having good value in community development terms with clear ideas about how the project might be built upon. The project has been challenging, particularly in terms of attracting and sustaining the engagement of participants. However, the project hasn’t just had an impact on those young people involved. It has enabled older people to consider and reflect on their neighbourhood, and express their views and feelings. It has brought young and older people together. Importantly, it has enabled the neighbourhood and Neighbourhood Workers to consider new ideas and ways of working to enhance their local area. If we can come away from today knowing that there’s things that we can do that people want us to do and we can be involved in that, and the community want to be involved in it and I think that its helped people to feel a bit more empowered about their own community and that they have a say in it and have things they can contribute. Hopefully if you can deliver some of the things that people have been talking about it will at least move things forward, that they’ll feel listened to and we’ll build back some of that trust that we want to have with the residents that live here. So I’ve been impressed and I think it’s been a huge success.Clare Beach, Teign Housing8. LinksLinks to sound files and animations made during Happening Here! at work, QR-code2 (link to printed map), QR 4 cat QR1 granny tortoise, QR 5 and chairs, QR7?, QR3? Square, QR6?Partner websites Analysis and Photographs by Jennie HayesJenniehayes4@07855 432354 ................
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