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What is advocacy and what does it mean for Musical Inclusion?

Where advocacy is most successful, it does - or makes the case for - one or more of the following: Improves the livelihoods of significant numbers of people Targets policy makers with win-win arguments and evidence Is rooted in field experience and core value

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What is advocacy and what does it mean for Musical Inclusion?

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  1. Where advocacy is most successful, it does - or makes the case for - one or more of the following: • Improves the livelihoods of significant numbers of people • Targets policy makers with win-win arguments and evidence • Is rooted in field experience and core value • Strengthens the capacity of others • Builds the policy learning of those in positions to make better decisions • Galvanises communities of interest around solutions • DHA Communications What is advocacy and what does it mean for Musical Inclusion? Musical Inclusion Evaluation & Networking

  2. What do you need to know and do about it? Musical Inclusion Evaluation & Networking

  3. Understand these complex policy contexts • Speak two languages – musical and social policy • Do more than just translate from one sector to another -> “create a third space in which the practices & discourse of social policy organisations and those of artists can learn from one another and develop.” Toby Lowe, Chief Exec, Helix Arts – NCVO blog • But the starting point is to know who to influence What do you need to know and do about it? Musical Inclusion Evaluation & Networking

  4. Building advocacy into your workWhere do you start? Stakeholder analysis: Four building blocks Musical Inclusion Evaluation & Networking

  5. Two chains of influence in a typical LA • Targeted youth support • Operations Director, Children and Young People’s Services • Commissioning Director, Children and Families • Area Commissioning & Youth Support Managers • Targeted Youth Support workers • Young people, parents Stakeholder analysisNumber 1: who are they? Corporate Management Team Chief Exec Deputy Chief Exec Chief Operating Officer • PRUs • Operations Director, Education & Learning • Head of Access to Education • Heads of Pupil Referral Units • Teachers and classroom assistants • Young people, parents Musical Inclusion Evaluation & Networking

  6. Stakeholder analysisNumber 2: How important? Musical Inclusion Evaluation & Networking

  7. Stakeholder analysisNumber 3: What do they want? Stakeholder analysis: WHAT DO THEY WANT? • Financial / strategic/practical interest in the outcomes What are the policies/plans that inform this? • Emotional interest Emotion often trumps logic Musical Inclusion Evaluation & Networking

  8. Stakeholder analysis:Number 4: What do you want? Commission/contract/funding? To be invited to sit at the table? To be built into their plans/strategies? Advocacy on your behalf? Musical Inclusion Evaluation & Networking

  9. Next steps: Tools Stakeholder engagement pack, Mission Models Moneyhttp://www.missionmodelsmoney.org.uk/resource/stakeholder-engagement-pack-v1-mmm-2006 Musical Inclusion Group on Youth Music Network http://network.youthmusic.org.uk/groups/musical-inclusion

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