The Role of Community Creative Hubs in Preserving Welsh Heritage and Promoting Wellbeing

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Abstract

This project proposes the establishment of a community hub dedicated to reconnecting adults with creativity through the celebration of Welsh heritage. Aimed at addressing the lack of spaces in Wales specifically designed to promote adult creativity, this initiative seeks to preserve traditional Welsh crafts such as weaving and quilting while fostering a sense of community and wellbeing. By providing workshops led by local experts, access to creative tools and materials, and opportunities for social interaction, the hub will serve as a vibrant space for cultural and creative engagement.

The project will begin by assessing local demand and resources to tailor the hub to the needs of the community. Workshops and spaces will be developed to honour and preserve traditional crafts while incorporating contemporary approaches. Ultimately, this project aims to create a sustainable platform for cultural preservation and personal growth within the community.

 

Introduction

In my local community, there is a noticeable lack of spaces dedicated to promoting adult creativity. While many initiatives focus on children, few cater to adults seeking creative expression. I aim to bridge this gap by creating a vibrant, safe, and welcoming creative hub specifically for adults. This space will revive traditional crafts and promote creativity, offering workshops and opportunities to reconnect with the cultural heritage of Wales.

My project will focus on exploring and celebrating the local crafts and traditions of Wales. By delving into their cultural significance and historical context, I plan to reintroduce these traditions to the community through hands-on creative workshops. This aligns with my studio practice, where I seek to uncover the layers of Welsh history, culture, and language. I aim to highlight how the Welsh culture has endured challenges, such as colonisation, and remain deeply relevant today. By merging this historical knowledge with contemporary craft-making, the hub will foster a sense of continuity, identity, and community.

My vision is rooted in my deep connection to my Welsh heritage and a desire to explore its history. Wales has faced numerous challenges to its identity, from the Welsh diaspora to Patagonia to the use of the Welsh Not and the treachery of the Blue Books. Significant historical figures such as William the Conqueror and Henry VIII have also left lasting impacts on Welsh culture. These events are pivotal in understanding how Welsh identity has been shaped and preserved.

This connection to heritage became especially meaningful during my time living abroad. After working and living for over five years in Stockholm, I noticed how each visit home restored a part of me, while every departure left me feeling diminished. The Welsh word hiraeth (a term that defies direct English translation but encapsulates a homesickness tinged with grief and longing) perfectly describes this sentiment. My experiences with hiraeth have deepened my commitment to celebrating Welsh culture and preserving it for future generations.

To ensure the feasibility and relevance of my proposal, I plan to research existing community hubs across Wales and the UK. Examples such as The Elysium in South Wales, DoES Liverpool in Liverpool, and Tŷ Pawb in Wrexham offer valuable insights into how successful creative hubs operate. Understanding their models will help me refine my approach.

Initially, my proposal involves partnering with an existing hub, such as Tŷ Pawb, to locate a suitable space for my initiative. This space would be equipped with creative tools and materials that adults could access on a rental basis. Additionally, I plan to collaborate with local experts in traditional crafts to host workshops that preserve and celebrate Welsh cultural practices.

 

Critical Context for your Research and Practice Proposal

Mihaly Csikszentmihaly argues that “creativity is a central source of meaning in our lives” (Csikszentmihalyi, 1996) and I agree. However, as we transition from childhood to adulthood, creativity often takes a backseat in our personal lives. This raises an important question: why does society place less emphasis on creativity for adults? Robinson argues that “Children and adults need the means and the skills to be creative” (Robinson, 2017) and although I agree, I would argue that the majority of initiatives that exist within the community are already focused on the creative expression of children. In this review I will explore the role of creativity in adult lives and argue for the creation of community spaces that promote creativity outside of the workplace and formal education, directly challenging existing structures that disproportionately prioritise children and young people, as seen in government reports and existing local programs.

In The Creative Community Builder's Handbook, Tom Borrup discusses how arts and culture organisations can “bolster community identity, transmit values, bridge cultural boundaries, and trigger innovation that helps communities celebrate their sense of place” (Borrup, 2006). A notable example is the Elysium Gallery in Swansea, South Wales, founded in 2007. As the largest artist-led studio provider in Wales, Elysium is dedicated to fostering a vibrant, inclusive, and innovative creative community through contemporary art, which they believe has a profound impact on people’s lives (Gallery, 2024). Elysium’s multi-functional space includes a gallery exhibiting work by local artists, rentable studio spaces, a bar that hosts events, and a wide array of community-centered workshops and classes. These workshops encourage diverse social interactions, allowing participants to meet people from different backgrounds, fostering new friendships and connections that might not otherwise occur. This community-oriented approach to creativity demonstrates the positive impact of such spaces on building community connection and individual wellbeing, as community hubs like Elysium allow participants to both express themselves creatively and engage with others in meaningful ways.

Elysium has been operating successfully for over 15 years, a testament to its ability to navigate the challenges most businesses encounter. Over this time, it is likely that the organisation has refined its approach, identifying what works effectively, what does not, and how best to meet the needs of its community. The success of Elysium provides me with an opportunity for learning; conducting deeper research into Elysium’s model and directly engaging with its founders to understand their successes and setbacks could significantly inform the development of my own proposal for a creative community space.

Given Elysium’s full range of offerings (art galleries, workshops, and events) it appears to cater to a wide array of creative interests. While replicating this broad approach may not be realistic in the initial stages of my project, it offers a valuable aspirational model. To begin I would have a more focused approach, allowing for the development of a solid foundation that could later expand to incorporate additional elements inspired by Elysium's multi-functional model. This naturally leads to consideration of other, more specialised creative spaces, which may better align with my starting point.

The Fabric Floor in Brixton, London, developed by Assemble as part of their workspace network, offers a more specialised example of a creative hub. Its facilities include shared access to a classroom, kitchenette, and a dedicated fashion and textiles workshop equipped with communal machinery and worktables. Assemble’s vision extends beyond merely providing space, aiming instead to create a local resource that fosters creativity and collaboration among its users (Studio, 2019). Unlike the broader model of Elysium, The Fabric Floor focuses specifically on fashion and textiles, illustrating how creative hubs can cater to niche interests. This specialisation could serve as inspiration for developing hubs tailored to specific creative practices, either as a starting point or as an expansion of a broader community hub.

This model could provide a particularly useful starting point for my proposal, as it emphasizes a focused, single-area approach. Its specialisation in fashion and textiles aligns closely with my personal interests, and I would find immense value in creating a similar resource within my local community. However, further research would be essential to determine whether such a space aligns with local needs and interests. For instance, Coleg Cambria offers a Fashion and Textiles course, suggesting that there is interest amongst young adults in this field. Yet, the absence of the pattern-making night class I attended 15 years ago raises questions about the current demand for such opportunities among adults outside of formal education. It remains unclear whether this reflects a lack of interest or logistical issues, such as the retirement of the tutor, and this would require deeper investigation.

I envision the space catering to a diverse demographic. College students studying fashion could use the facilities during weekends when they lack access to their educational resources, particularly if they do not own sewing machines or lack adequate workspace at home. Millennials might see it as an opportunity to explore a new hobby or reconnect with an old one - this is something that resonates with me personally. Additionally, older adults or retirees could benefit from the studio's dual function as a creative and social hub, offering opportunities for crafting and attending workshops that encourage new connections. This inclusive approach could help bridge generational gaps and create a vibrant, community-oriented creative environment. Similarly, DoES Liverpool, located in the city's Fabric District, offers a membership-based model providing access to shared workspaces, equipment, and workshops, alongside social spaces like a café. This setup exemplifies what my project could achieve if successful. Both Does Liverpool and The Fabric Floor emphasize the importance of accessibility, collaboration, and creative exchange in fostering vibrant creative communities. (Liverpool, 2024)

Each of these businesses has a clear model of operation and has achieved success. By analysing these examples, I could adapt and combine their best practices to inform my project. The Fabric Floor could serve as a foundational model, focusing on a single creative area to establish a strong base. Once this is developed, I could look to expand, emulating elements of DoES Liverpool’s collaborative and accessible approach. Finally, should I secure a location such as Tŷ Pawb, which is in my local area, Elysium could inspire strategies for broader integration, offering multiple avenues for creative engagement and community-building.

During my research, I discovered the significance of arts in health and wellbeing, a concept championed by the Wales Arts Health and Wellbeing Network. They define this as “any art project, intervention, or commission where the intention is to improve health and well-being.” This aligns with the Well-being of Future Generations Act (2015), which promotes a thriving Welsh culture, healthier living, and sustainability. While this area is very interesting, it is not something I will be able to delve deeper into during my current project. However, I intend to explore it further, hoping my creative hub proposal will eventually intersect with initiatives like the Wales Arts Health and Wellbeing Network and the Well-being of Future Generations Act to ensure commitment to fostering mental health alongside creativity.

During the COVID-19 pandemic, “craft was having its moment” due to its dependability, educational value, and comforting nature (Kurutz, 2021). The Crafts Council highlights that “the growth in the public’s desire for authenticity, for experiences, and for ethical and sustainable consumption have helped fuel an interest in making and in handmade objects. Further impetus comes from a concern for wellness and mindfulness, as well as the growing need to switch off from electronic devices” (Council, 2020). I agree with this perspective, but I would argue that as post-pandemic life resumed, many people struggled to find the time or space to continue the creative journeys they began during lockdowns. The New York Times similarly observed that the pandemic inspired “ambitious amateurs turning their basements and sheds into art studios and trying their hand at pottery and ceramics” (Kurutz, 2021). However, as normal routines returned, the challenge of balancing daily responsibilities may have hindered the continuation of these creative pursuits. This highlights the importance of creating accessible community spaces that support creative expression in everyday life, ensuring that the surge in creative interest during the pandemic is not lost.

Traditional Welsh crafts have a deep-rooted history, reflecting the region’s natural resources and cultural practices (Wales, 2024) For example weaving, quilting, ceramics and pottery are a vital part of cultural identity, offering a tangible link to the past and a sense of community. Providing opportunities for people to learn and practice these crafts through workshops is crucial for their preservation. As Carol Sauvion notes, engaging in crafts like quilting offers a sense of independence, security, and accomplishment, as individuals can "get lost" in the creative process. (Kurutz, 2021)  These workshops would not only teach valuable skills but also foster a sense of connection to Welsh heritage, ensuring these traditions are passed down to future generations. The resurgence of interest in crafts during the pandemic, fueled by social media platforms like TikTok, demonstrates a desire for authenticity, experiences, and a connection to something beyond the digital world. By creating spaces where people can learn and practice traditional crafts, communities can capitalize on this interest and ensure these important aspects of Welsh culture thrive.

My research for this project has deepened my passion for building a creative hub for adults of all ages within the community. Beyond this main goal, I have uncovered unexpected areas of interest that I want to explore further. One critical gap lies in the intersection of arts and wellbeing, as highlighted by a 2020 government report that primarily focuses on children and young people, with minimal attention to adults. (Dr Daisy Fancourt, 2020). This, yet again, raises important questions about why adult wellbeing through the arts is not equally prioritised. Additionally, I have developed a newfound appreciation for traditional Welsh crafts, recognising their cultural significance and the urgency of their preservation. I feel a strong moral responsibility to incorporate this heritage into my project, using workshops and educational initiatives led by local experts to inspire others to value and maintain these traditions. Lastly, I have noted that Tŷ Pawb ‘'Useful Art Spaces' appear to lack substantial engagement from local adults, with their most recent community-focused practices dating back to 2021 (Pawb, 2024). This represents a missed opportunity to reconnect adults with creative practices in a post-pandemic context. These three areas (arts and wellbeing for adults, the preservation of Welsh crafts, and the revitalisation of local creative spaces) will remain focal points as I continue to develop my project proposal. They reflect not only my personal goals but also broader societal and cultural needs that my creative hub could address.

 

The next steps for my project are to:

• Investigate local demand and resources for creative hubs tailored to adults.

• Develop workshops and spaces that preserve and celebrate traditional Welsh crafts, integrating local expertise.

• Engage with initiatives like the Wales Arts Health and Wellbeing Network to explore intersections between the arts and wellbeing.

 

In conclusion, my unique contribution lies in creating a space that not only encourages creativity among adults but also preserves cultural identity, promotes wellbeing, and reconnects communities through thoughtful, research-backed initiatives.

 

Plan of Work

Overview
This project highlights my passion for nurturing creativity and fostering community engagement through the integration of traditional Welsh crafts and contemporary techniques. While the vision is ambitious, I have identified key challenges and actionable steps to address them effectively.

 

Challenges and Focus Areas

Gauging Interest and Demand

Conduct community polls and gather feedback to assess the level of interest in creative workshops for adults.

Use primary research methods to identify specific interests, such as traditional crafts or modern approaches, resonating with the local community.

Securing Funding and Resources

Develop a detailed budget outlining costs for space, materials, and workshop facilitation.

Identify potential funding sources, such as grants or sponsorships, to support the initiative.

Balancing Specialization with Broad Appeal

Research local needs to ensure workshops attract a diverse audience while remaining focused on integrating Welsh culture.

Develop a long-term strategy to ensure sustainability and relevance.

Addressing the Gap in Arts and Wellbeing for Adults

Continue research into Arts and Wellbeing to inform Research & Practice 2.

Integrating Traditional Welsh Crafts

Collaborate with local experts to design workshops that celebrate Welsh traditions, such as weaving, while incorporating contemporary methods.

Revitalizing Existing Creative Spaces

Partner with hubs like Tŷ Pawb to introduce innovative programming and outreach strategies that re-establish these spaces as vibrant community centers for adults.

Navigating Post-Pandemic Challenges

Provide accessible, flexible options for adults with busy lives, such as evening & weekend workshops and open access studio space for personal creativity.

 

Primary Research

Community Engagement

Conduct polls and surveys to gauge community interest in adult creative workshops.

Identify key areas of interest (e.g. weaving, contemporary crafts & traditional Welsh techniques).

Test preliminary ideas through pilot workshops, incorporating feedback to refine the approach.

Partnership and Space

Reach out to local creative hubs (e.g. Tŷ Pawb) to explore collaboration and space-sharing opportunities.

Secure venues for pop-up workshops and develop partnerships with local craft experts.

 

Research Directions

To Support Research & Practice 2

Investigate the intersection of arts, health, and wellbeing to support the broader objectives of the hub

DCMS_report_April_2020_finalx__1_.pdf

"What is Arts Health and Well-being?" – Wales Arts Health & Well-being Network

Well-being of Future Generations (Wales) Act 2015 (GOV.WALES)

To Support the Major Project

Inspired by the collaboration with Sarah Burton (Artistic Director for Alexander McQueen) and Ffasiwn Stiwdio, use insights from workshops and community engagement to inform the design and development of the final project.

Explore articles like "Sarah Burton On Her Magical Welsh Adventure For Alexander McQueen" (McDermott, 2021)

Study the work of creative businesses like Bleak Fabulous Studio.

 

Studio Practice

This stage has served as the foundation for my creative exploration into Welsh history, culture, and tradition:

Weaving: Experimented with paper and locally sourced fabrics; plan to expand by connecting with local wool mills.

Laser Cutting: Designed and produced Welsh Love Spoons.

Screen Printing: Created prints using traditional Welsh songs in a personalised style.

3D Printing: Crafted jewellery and modern versions of Welsh symbols, such as the Welsh Not.

While I won’t personally explore ceramics or wood carving, these crafts will be incorporated into the hub through workshops led by local experts.

 

Transdisciplinary Practice

Resource Planning

Refurbish the chosen space with creative tools and materials.

Source workshop materials and build a network of local experts.

Workshop Development

Design accessible workshops blending traditional Welsh crafts with contemporary methods.

Establish a pricing structure to cover costs and ensure sustainability.

 

Bibliography                                                                                            

Borrup, T. (2006)
The Creative Community Builder’s Handbook. Fieldstone Alliance.

Csikszentmihalyi, M. (1996)
Creativity: Flow and the psychology of discovery and invention. New York, NY: Harper Collins.

Fancourt, D. and Warran, K. (2020)
Evidence Summary for Policy: The role of arts in improving health & wellbeing. Department of Behavioural Science & Health. Available at: DCMS_report_April_2020_finalx__1_.pdf (Accessed: 3 December 2024).

Elysium Gallery (2024)
‘About Us’. Available at: https://www.elysiumgallery.com (Accessed: 3 December 2024).

Kurutz, S. (2021)
‘What We Learned From a Year of Crafting’, The New York Times, 26 December. Available at: https://www.nytimes.com/2021/12/26/style/crafts-pandemic.html (Accessed: 3 December 2024).

DoES Liverpool (2024)
Does Liverpool. Available at: https://doesliverpool.com (Accessed: 3 December 2024).

McDermott, K. (2021)
‘Sarah Burton On Her Magical Welsh Adventure For Alexander McQueen’, British Vogue, 17 October. Available at: https://www.vogue.co.uk/fashion/article/sarah-burton-alexander-mcqueen-welsh-adventure (Accessed: 3 December 2024).

Tŷ Pawb (2024)
Welcome to Lle Celf Ddefnyddiol/ the Useful Art Space. Available at: https://www.typawb.wales (Accessed: 3 December 2024).

Robinson, K. (2017)
Out of our minds: The power of being creative. 3rd edn. Chichester, England: Capstone.

Arts Wales (2024)
‘The Revival of Traditional Welsh Crafts’. Available at: https://www.artswales.org.uk (Accessed: 3 December 2024).