Case study:
First World
War Centenary
Partnership
The art of partnering
Case study: First World War Centenary Partnership
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A note on methodology
This particular case study is a little different to all the others included in this report. Whilst other case studies are
based on individual projects that responded to the questionnaire this case study is of a networking partnership that
brings together five different responses to our questionnaire. Data was gathered from these questionnaire responses,
an interview with a key participant in the partnership (carried out in written form via email rather than over the
telephone), the partnership’s own evaluation report, notes taken after attending the Centenary Partnership’s ‘Lessons
Learned’ meeting on 30 January 2015 (at which many members of the partnership were in attendance) and the
partnership’s website. Therefore, data was gathered in a slightly different way for this case study compared with the
others included in this enquiry. In part, this is due to the wide-reaching nature of this partnership (which has over
3,000 members).
What
The First World War Centenary Partnership is a network led by the Imperial War Museums (IWM). It gives
organisations from all over the world the opportunity to join the initiative and thereby to have access to resources
and expertise, opportunity to promote their ideas, find partners and finally have their events listed in the core
programme of the partnership. This programme comprises a global schedule of events and activities aimed at getting
people to consider and remember the impact of the first world war on people and society both one hundred years ago
and today. The externally-facing website, www.1914.org, functions as the central point of information for the
partnership programme, with events by all members being listed here. There is also website for members of the
partnership only that acts as a hub for online resources relating to the first world war, which are aimed at connecting
current and future generations with this momentous historical event.
‘By July 2014, the Centenary Partnership had over 3,000 member-organisations from over 50 countries
and it is still growing now with 4-5 new organisations joining every week. All members can choose to
participate in key events (e.g. plan an activity in 2016 around the Battle of the Somme and FWW film)
and each can utilise partnership resources, but each member (or consortium) develop their events
independently. IWM is neither funding nor dictating individual programmes, we are just providing
resources and support in line with members’ needs and our capacity.’
Gina Koutsika, Head of National & International Learning & Engagement, IWM
As testament to the breadth and multiplicity of events taking place under the First World War Centenary
Partnership umbrella, we received five responses to our questionnaire which pertained to partnerships in which
either the event/project in question or one of the partners involved are listed on the First World War Centenary
Partnership website. The partnerships in question are as follows:
Dazzle Ships
‘Liverpool Biennial, Tate Liverpool and 14-18 NOW have jointly commissioned Carlos Cruz-Diez to
work with the idea of ‘dazzle’ camouflage in partnership with National Museums Liverpool using a
historic pilot ship owned and conserved by Merseyside Maritime Museum. The Edmund Gardner is
situated in a dry dock adjacent to Liverpool’s Albert Dock and this will be a new public monument for
the city. In London the HMS President, which was formerly a dazzle ship during the First World War,
has also been ‘dazzled’ by artist Tobias Rehberger in a co-commission by Chelsea College of Art and
Design.’
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The art of partnering
Case study: First World War Centenary Partnership
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Liverpool Biennial of Contemporary Art, Questionnaire response
14-18 Now (with VCS Management)
‘VCS Management and 14-18 NOW worked closely in delivering a national campaign to
commemorate the anniversary of the day Britain joined World War 1’
VCS Management, Questionnaire Response
14-18 Now (with Artangel)
‘For Artangel to produce and present an artwork by Ryoji Ikeda as the culmination of LIGHTS OUT,
a national commemoration of the 100th anniversary of the outbreak of the First World War.’
Artangel, Questionnaire response
Trent to Trenches
‘Consortium partnership of Nottingham City and County organisations to develop and produce a
programme of events to commemorate the centenary of the First World War.’
Nottingham City Council, Questionnaire response
Essex at War
‘A group which worked together to stage an event, Essex at War, 1914-1918, at Hylands House in
Chelmsford as part of Heritage Open Days. The day included displays and an exhibition launch,
poetry, music, talks, living history groups, and children's activities. In addition to the Essex Records
Office, partners included Hylands House, Last Poppy has Fallen, Chelmsford City Council, and
Chelmsford Civic Society.’
Essex Records Office, Questionnaire response
Why
From the IWM’s perspective, there were a number of reasons why they wanted to establish this partnership.
The centenary provided a unique opportunity
‘National moments, such as the FWW Centenary, provide an opportunity to work together to
remember, commemorate, reappraise [and] debate events, in this case the First World War, in ways
that are meaningful and relevant to all of us.’
Gina Koutsika, Head of National & International Learning & Engagement, IWM
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The art of partnering
Case study: First World War Centenary Partnership
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‘We see the centenary as a unique opportunity for everyone today to encounter the individuals,
societies and experiences of those who were involved in the First World War and to make connections
between what happened then to the world in which we live today. Our aspiration is that the centenary
improves the way we and our members will work together for the future.’
Gina Koutsika, Head of National & International Learning & Engagement, IWM
It is part of the remit of the IWM
Partly due to its remit as a national museum, and partly as the museum itself was established directly in response to
the first world war, the organisation felt it was natural and right for them to lead the nation’s cultural offering around
the centenary:
‘IWM was established in 1917 when the FWW was still in train, and in direct response to its
unprecedented total and global nature. In line with this founding principle and our resulting historical
remit, it was natural, therefore, for us to take the lead in the cultural commemorations for the UK. Our
big idea was the creation of an international network that would bring together all the plans and
activities around this anniversary. We wanted our approach to be inclusive and democratic – the
scheme was open to all, with IWM bringing together people, teams and organisations and facilitating
partnerships.’
Gina Koutsika, Head of National & International Learning & Engagement, IWM
The IWM and its staff are committed to the power and effectiveness of partnership working
‘Together, we are stronger. Together we can reach millions of people around the world and as a result
engage with wide and different audiences. By working together we are inspired to experiment with
different programs, take risks, be innovative and creative, learn from mistakes and still have time to
make it right. In our work, especially through the Centenary Officer post that is funded by Arts
Council England, building regional capacity is a key aim.’
Gina Koutsika, Head of National & International Learning & Engagement, IWM
‘Partnerships are useful to coordinate widespread activity and they are useful at different levels – local,
regional, national, international.’
Gina Koutsika, Head of National & International Learning & Engagement, IWM
‘In 2019, we should not only have a fresh approach on the First World War and its impact, but also new
means of commemorating anniversaries and novel ways of collaborating locally, regionally, nationally
and internationally.’
Gina Koutsika, Head of National & International Learning & Engagement, IWM
Regarding the motivation lying behind some of the specific projects that emerged across the country to
commemorate the centenary, this is what the respondents to our questionnaire said when asked what was the
motivation for initiating their partnership:
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The art of partnering
Case study: First World War Centenary Partnership
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Dazzle Ships
‘To create an exceptional art commission/s in Liverpool and London to mark the centenary of World
War One during Liverpool Biennial 2014.’
Liverpool Biennial of Contemporary Art, Questionnaire response
14-18 Now
‘Desire for major artist's work to mark the start of the centenary commemorations’
Artangel, Questionnaire response
Trent to Trenches
‘Working towards developing a programme/events to commemorate WW1’
Nottingham City Council, Questionnaire response
Essex at War
‘We wanted to do something as big as we could to mark the centenary of the outbreak of the First
World War, but have limited resources. We presumed that other local organisations would have similar
aims, so we began by approaching Hylands House (which is nearby, and an ideal venue since it was
used as a hospital during the war) to see what they were planning. They didn't have any plans at the
time, and liked our suggestion of a joint open day event. With that relationship established, we brought
other partners on board to deliver different aspects of the event. Together we were able to achieve
something much bigger and better than any of us could have done separately.’
Essex Records Office, Questionnaire response
How
The partnership arose in direct response to a major national moment: the centenary of the first world war.
‘National moments create a unique opportunity for partnership working as they provide opportunity to
create moments of shared experience and connect current and future generations globally.’
Gina Koutsika, Head of National & International Learning & Engagement, IWM
In establishing the partnership the IWM responded to the current financial moment and also anticipated future
developments that would see more funding become available for events relating to the first world war:
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The art of partnering
Case study: First World War Centenary Partnership
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‘When, in 2010, we thought of creating the First World War Centenary, we could predict that there
would neither be a great deal of money around nor a big centralised infrastructure that cultural and
educational organisations could rely on. We also suspected that there would be funding available as we
were heading towards the FWW Centenary and especially post the Olympics, and as a result a rush of
activity then. Examples of dedicated funding streams include the Heritage Lottery Fund ‘Then and
now’ strand and the 1418NOW! Commissions. Increasingly Funders stipulate partnership working and
so shape the way organisations work together.’
Gina Koutsika, Head of National & International Learning & Engagement, IWM
According to the partnership’s website, when an oragnisation joins the Centenary Partnership, this enables them to
‘Access the Partnership Extranet; Access the Centenary logo; Use free digital resources from IWM
collections; Find a range of useful guides; Network, share expertise and ideas’
http://www.1914.org/partnership/, accessed 5 Aug 2015
The partnership’s website lists over 3000 partners, which are based all over the world. A full list can be found at
http://www.1914.org/partners-list/
Becoming a member of the partnership is fairly easy and only requires filling out an application form. A selection is
made based on the following criteria:
•
Partners must be a not-for-profit company, such as a museum, archive, library, university, special interest
group, performing arts group, school or community group.
•
The partnership is not open to broadcasters, publishers, tour guide organisations, freelance individuals (eg
artists, historians) or commercial companies. (But freelancers working with not-for-profit organisations
could apply together with their partner organisation).
•
The plans to celebrate the Centenary do not need to have been finalised; intentions are enough.
In organising the Centenary platform, IWM works with Culture24, who facilitates the list of partner organisations
and events. The website also recommends organisations as resources for archive research.
The website also lists all the events organised by the 3,000+ partners. The events can be lectures, exhibitions or
workshops, late-night openings, historical re-enactments and more. A calendar can be found here:
http://www.1914.org/events-calendar/
What worked
Benefits for IWM
‘Benefits for us included learning individually and organisationally, reaching wide and diverse
audiences and using resources efficiently and effectively.’
Gina Koutsika, Head of National & International Learning & Engagement, IWM
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The art of partnering
Case study: First World War Centenary Partnership
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The IWM will have also benefitted from the generally positive attitudes towards the partnership, which were
identified in an evaluation of the partnership so far, carried out by Marketlink Insights in 2014.
‘Attitudes towards the FWW Centenary Partnership were positive, being perceived as playing an
important role, not only coordinating information about the Centenary but also enabling wider
discussion and collaboration within the sector […] Members were satisfied with the support they
received from the Partnership which they described as helpful, responsive, effective and
knowledgeable […] Perception of the Partnership is positive as benefitting members and the sector.’
Executive Summary, FWW Centenary Partnership Evaluation, Marketlink Insights, 2014
As the lead organisation of the Partnership, the IWM will benefit from the positive feedback the partnership has
received from it member organisations.
Benefits for members of the partnership
‘The access the Partnership provides to FWW resources, expertise, information, contacts and
promotion is valued.’
Executive Summary, FWW Centenary Partnership Evaluation, Marketlink Insights, 2014
The IWM has noted a number of benefits for members of the partnership that are associated with the provisions the
partnership has made available:
‘Based on our evaluation, benefits for members included: having a focal point that brings networks
together; enabling them to team up and avoid duplication of effort; unifying the sector; facilitating the
delivery of a coherent Centenary programme and enhancing the visibility of the commemoration
(Market Link Insights, 2014).’
Gina Koutsika, Head of National & International Learning & Engagement, IWM
‘From anecdotal evidence as well as our partnership evaluation we know that we have influenced and
enabled individuals, groups and organisations: To take an active part in the centenary
commemorations; to seek and secure funding; to connect with other members locally, regionally,
nationally and internationally; to create local or regional networks and partnerships; to try something
new and/or target new audiences; and to use the centenary commemorations as a vehicle for
organisational change.’
Gina Koutsika, Head of National & International Learning & Engagement, IWM
‘The use of the Centenary Partnership logo has helped organisations secure visibility and sponsorship,
because they demonstrate that they are part of a coordinated international network. Furthermore, the
possibility to promote their activities and events through the Partnership channels (public-facing
1914.org, newsletter, social media and members’ extranet) has increased their reach.’
Gina Koutsika, Head of National & International Learning & Engagement, IWM
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The art of partnering
Case study: First World War Centenary Partnership
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At the Centenary Partnership’s ‘Lessons Learned’ Meeting on 30 January 2015, numerous representatives from
partner organisations gathered for presentations and workshops. During one workshop discussion the question posed
was ‘what were the most successful outcomes/aspects of the project?’ and some of the participants’ responses
included:
•
Achieved what they set out to do
•
Delivered something for everyone, not restricting themselves to a certain type of event
•
They got money from the regeneration part of the local authority rather than from cultural services.
•
Managed to get manuscripts from the British Library – the big name gave credibility and brought positive
media coverage
•
People have delivered even without help from local authorities
•
Holding local collecting days – enhancing limited collections and also engaging the community. Recording
these collecting days has created a brilliant new database.
•
Smaller organisations have gained access to bigger platforms, for example through involvement with the
poppies at the Tower of London
•
Volunteer-led branches across the UK came to the fore and into their own, allowing many people to feel
part of the project.
•
Working with many people from different organisations and places
Challenges
‘The main challenges for us included encouraging organisations to engage with the Partnership and
managing expectations. Our team on this project is small and agile and as we genuinely listen and
consult with the membership, therefore we are able to overcome these challenges.’
Gina Koutsika, Head of National & International Learning & Engagement, IWM
Other challenges were identified by participants from the partnership who took part in another workshop at the
‘Lessons Learned’ meeting in which they discussed the question: ‘what challenges have you encountered in your
project?’ Answers included the following:
•
Managing differing expectations when working with different partners
•
Managing resources – how to manage resources to get the best from them?
•
Doing so much – the sheer volume. Organising it all, getting the relevant information, getting everyone on
board and then ensuring that they deliver
•
Being sensitive about the subject – making sure the language is correct. Subtle shifts in knowing how to talk
about things.
•
Difficulty in maintaining quality across such a large programme with limited staff
•
Others are also doing so much that it can be hard to build publicity. They can feel invisible while there are
so many things going on
•
People using platforms to promote their own ends
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Case study: First World War Centenary Partnership
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•
Funding – finding financial support
•
Cancelling events as no one had booked (perhaps because there was so much – perhaps too much – on)
•
Easier to get corporate funding rather than local authority funding. Art department of local authority didn’t
look to other departments internally (and this may be where the funds come from).
•
Getting noticed
•
Heritage Lottery Funding is too focused on localism
•
Now they find themselves talking retrospectively about what they did, but would it all have been better if
they’d had these conversations upfront? Feeling that more joining up and talking to other organisations
from the outset would have made all the programmes better.
•
Feeling that it was difficult to get coverage in the media even when people felt it would have been relevant
•
Difficulty in knowing how to undertake effective marketing – where to do it and how much to spend?
The partnership’s own evaluation, carried out by Marketlink Insights in 2014, also identified some challenges and
also possible improvements:
‘To meet demand for continued support, maintaining the pace throughout the four year Centenary
period whist servicing the increasing and diverse needs of the members will be challenging […]
Suggested improvements focused around the website functionality and ease of use for accessing
information and promoting events. More opportunities for online and offline promotion of members’
events and networking would be welcomed.’
Executive Summary, FWW Centenary Partnership Evaluation, Marketlink Insights, 2014
Evaluation
As previously mentioned, the partnership commissioned Marketlink Insights to undertake an evaluation of the
partnership during 2014. The aim of this evaluation was outlined as follows:
‘The aim of the evaluation was to understand the extent to which the resources and advice currently
provided by the IWM to the Partnership meet members’ needs and how the Partnership might
continue to be engaged with the IWM during the FWW Centenary Programme and beyond.’
Executive Summary, FWW Centenary Partnership Evaluation, Marketlink Insights, 2014
The research results were based on telephone interviews, and electronic survey and fieldwork.
As centenary events will run until 2018, fullscale evaluation of the project will not be available until 2019.
Another of the workshops at the ‘Lessons Learned’ Centenary Partnership Workshop in January 2015 asked its
participants: ‘How have you been evaluating / monitoring your projects?’ Answers included the following:
•
Hootsuite to evaluate twitter projects
•
Evaluation will be undertaken at the end of projects rather than as going along
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Case study: First World War Centenary Partnership
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•
Depends on requirements of funders – all felt that requirements of funders was a key factor in determining
how they evaluated projects. However, they felt that day-to-day monitoring did not depend on funders and
would happen anyway as it was key for monitoring the survival of projects
•
Ad hoc / social media based approach to gather feedback along the way
•
Asking partners for existing structures they have in place for evaluation – no point creating work when
partners may already have structures in place.
•
Evaluation methods evolve over the life of the project
•
It’s helpful to plan the evaluation as early as possible
•
Self-funded projects often felt no need to evaluate, those who were funded felt they had to evaluate for
evaluation’s sake. It was felt that qualitative evaluation was more useful than quantitative evaluation
although funders often required quantitative evaluation.
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