Sunday 10th November

Session 5: Planning an effective project budget

diagnosis

The group concentrated on how to construct a budget for a project from scratch, using excel spreadsheets, looking at all the elements.

When evaluating costs, look at risk factors such as possible changes of costs (what if we have to pay for 12 people to do training instead of 6; what if the funder reduces the budget by 10% but they expect the same outcomes?)

‘It’s not accounting – it’s a way of verification.’ You know the number of people participating in your project, what it costs to feed them, how much travel is involved and what it costs, what materials will be used.

The budget really helps you see what is happening, to remind you of your goals.  For example, if your project is about integrating young people through sports and arts on a field trip to ski, and  you look at the budget and see the majority of the budget is actually going on flights it makes you think, is this the best way to achieve our aim.

A discussion followed of the types of roles needed for a project – for example, project manager roles, project co-ordinators, marketing and social media assistance.

Final Session
Weronika and Agnieska shared some thoughts of the progress of the local workshops in Minsk and Lviv, and the intention of these workshops to support the grant commissions. Once you submit the grant proposal for your project and if you are successful you will be able to deliver your project, but we are interested to look to support you in searching for other funds to realise our ambition.

The full details of the grant competition will be the end of January 2014 – we will tell you the deadlines. You will submit the proposal and we will be in contact with you to discuss it before we make a final decision. Don’t be discouraged if you are not the winner of this grant competition, as this is an opportunity to develop and test your ideas.

When you think about your activity, remember it has to be delivered between April and the end of October 2014, in order than final reporting and evaluation can be undertaken. We stress that it can be a small tightly defined project, or it can be the first phase (or pilot) of a larger project, but we want to see concrete and realisable proposals within the timeframe and budget.

We would also like you to note that is a huge willingness from Polish participants who are interested to develop future co-operation with groups here, so we will keep you informed of this.

Evaluation was then presented. Participants were invited to make frank comments and thoughts about the process of the workshops.

Brendan Jackson made a brief presentation about a project relevant to the discussions about working with museums and cultural institutions. He shared the example of a project at Snibston Discovery Museum in Coalville, Leicestershire called ‘Transform’ and his role as one of four artists who began a two year programme to ‘transform people’s perceptions of what the museum offered’. He showed his project ‘Unearthing Stories’ , which engaged with museum staff and told the hidden stories behind objects in the collection, and ‘LifeCycle’ by Geoff Broadway (another artist who Brendan works closely with), a multi-screen audio-visual installation that explores the themes of change and transformation as they are understood and experienced by a range of people who live and work in the Coalville area.

To sum up, Krystof spoke about current discussions for a house for dialogue in Georgia and the potential links for the projects of participants. He also spoke about the future Borderland programme based on an exploration of the story of Medea and welcomed the involvement of participants – their suggestions and ideas were important to consider. There was some discussion about how the story was perceived in contemporary Georgia.

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