International Creative Entrepreneurs

International Creative Entrepreneurs offer six emerging or mid career leaders the opportunity to develop their entrepreneurial and international skills, behaviours and networks through a three month placement with an international creative organisation or business.


ICE is great. Not only has it offered 6 Scottish leaders a fantastic development opportunity in an international context, but I have been able to undertake my own professional development alongside my duties as Coordinator.

For example, I recently visited FORM and Carriageworks in Australia, hosts of Tiernan Kelly, Sarah Tierney and Sally Hobson respectively, to see first-hand how some of our placements had gone. I also spent some time scouting for and meeting with potential future hosts.

But since Australia is SO FAR it seemed a waste not to expand on the value of the trip by meeting with some organisations and people who are working in areas that I find interesting and inspiring professionally as well. I spent three weeks in Australia discovering the lay of the cultural land and meeting some truly wonderful folk, not just from the performing arts sector but working in visual arts, environmental sustainability and placemaking.

The common themes that emerged throughout these conversations were around leadership, entrepreneurship, sustainability (economic AND environmental), inter-cultural dialogue, community working and development, international working and the wonderful and under-celebrated spaces between disciplines. I was able to spend time thinking about the role of art as a catalyst and how our activities in the creative and cultural sector fit with wider activity regionally, nationally, internationally, socially and politically. I would love to share some of these thoughts but we’ll take them one at a time, shall we?

At a rooftop bar off Cape Town’s Long Street, I met some of South Africa’s bright young things, attending the monthly Together market of creative goods. Cape Town does markets really well: from foodie hangouts like City Bowl on Hope St to the vintage pop-ups of the hipsters at You, Me & Everyone We Know and the popular creative goods markets at the Old Biscuit Mill and the Fringe Handmade.

The markets are a good place to find small creative businesses, and they normally have great DJs, mojitos and laid-back vice. They are events in themselves, but they have also been the way I’ve met a lot of interesting people and found out about event in the city – as I wrote about recently, creative Cape Town can be difficult to access.

Digital Opportunity

I’d love to have access to a really good website for the creative scene that brings together events with information, articles and opportunities: elements of sites like the clear and supportive IdeasTap, the Guardian’s endlessly useful Cultural Professionals network and The List’s events guide.


There are a few websites, but they aren’t always regularly updated, and they are tend to focus on just one art form or activity. There seems to be scope for a site that pulls it all together, linked to a series of trails around the neighbourhoods of greater Cape Town, and spun out into a useful mobile site.

At the moment, I rely on Twitter and the news headline-style posters that appear on lamp posts, like this one for Infecting the City art fest. The lamp posters feel like an equivalent for EAE, that ubiquitous distributor of leaflets in Scottish venues.

Social media has been a great way to speedily see what’s happening in Cape Town, and to start to access all the creative events on offer.

While there isn’t a definitive website to accessing Cape Town’s cultural offerings, the Creative Cape Town Twitter account has been exceptionally useful in pinging me in the right direction. I seem to be missing the conversation angle though – if people are chatting and connecting through Twitter, I haven’t found them yet. I did find the National Gallery, though:


Creative Cape Town

I’m going to meet up with the city administration’s Cape Town Partnership and the Creative Cape Town folks: I know they are working on a Design District on the edge of District Six, a Creative Cape Town Week, and that they’re the folks behind the Fringe Handmade creative goods market.

I’d be interested to learn what their plans are to develop new audiences and partnerships, and how they fit in with the work of private commercial ventures like Design Indaba.

I’m halfway through my ICE Fellowship, and I’ve now got a list of some great places and spaces to visit, but I’ve got a feeling there’s still plenty more I haven’t discovered yet.

Written by Anna Burkey


Adventures from Anna in creative Cape Town >

Anna’s ICE Fellowship – my International Creative Entrepreneurs (ICE) Fellowship in South Africa is part of Creative Scotland’s innovative Creative Futures leadership fund.

For six weeks I chose to be placed at the iconic Carriageworks situated in Redfern suburb of Sydney. A building from the past transformed into a future that defines the work presented within it walls. The committed team who run the building and its programme take pride in moving it forward under the new leadership of Lisa Havileh. I have seen a great deal of good work here and across Sydney and met with a very wide variety of producers, creators and emerging artists all of whom willingly and openly shared their practise and local knowledge with me to make me feel welcome.

Sydney is that most beautiful of global cities that shines in the sun. It struggles under grey skies to be quite as seductive and intoxicating since life here is about the outside and the light. Everything is about the outside and the sunny lifestyle lends a relaxed and alfresco feel to most activities. The arts and culture reflects this. A bright, outward and forward looking voice springs from the stages, parks and art galleries. Fresh and colourful the Australian artists refuses to be held back from speaking and will find a way to present work from the stages of the Opera House to tiny fringe venues dotted throughout the city. The jewel in Australian artistic crown is its aboriginal work, calling from the land, this traditional voice speaks of things way beyond most cultured ears. Integrating Aboriginal art into the arts scene might be a force for good, or it may destroy an authentic part of Australia. Sydney is a glorious place to live.

Written by Sally Hobson
Photo: Francois Roche

Cape Town’s Design Indaba is an enormous celebration of creative talent, centred on the annual Conference and Expo at the end of February, but with projects that reach out to international partners across the year.

It’s hard to know where to start, looking at all the components to the Design Indaba (DI) brand: it took me couple of weeks with them to get a solid sense of how the many components work and link to each other. I’ve already written a summary of the DI Conference and Expo, but let’s take a bit of a closer look at the bigger Design Indaba picture.

It’s About Great Ideas…

The common thread is that DI, across all its elements, promotes great ideas and inspirational creative people, from across the globe. What’s more, Design Indaba is intent on changing the world, using its respected position to shift Africa’s creative landscape, bringing together people and ideas that shine a new perspective on the opportunities and challenges facing South Africa, and South African creative enterprise.

… And Making Them Happen.

How did they do that? All well and good having great ideas – Design Indaba is interested in the people who make them work, who share their thinking and also tell us about the ideas that didn’t work. Perhaps those experiments have led to the next idea, which did work. Or provided a link to a person that can help make the idea work, or grow, or evolve it. These are the approaches the Conference speakers take, talking us through their working methods.


How do you do that? It’s also the big question I’m asking though out my ICE Fellowship. How was Design Indaba created, how has it evolved, and where is it heading next? Design Indaba is the brainchild of founder Ravi Naidoo, who has grown not only the DI brand, but the aspirations of the design world, raising the profile of design in South Africa.

Source of Inspiration

Design Indaba began as a conference began in 1995, a space for designers to learn from one another. Over 17 years, DI has evolved into a top-flight international event, bringing in speakers at the top of their game in a huge range of industries and all ready to talk about just how they’ve made their ideas into reality. This conference of creativity is broadcast live to another auditorium in Cape Town, as well as venues in Johannesburg and Durban, so in all over 3,000 delegates are watching each presentation, many of whom fly in from around the world to attend the event.


Showcasing and Opportunity

When you speak to people in Cape Town about Design Indaba, they assume that you mean the Expo, the huge fair that pulls in 40,000 people to shop, eat, watch fashion shows, have a beer and see what’s new in South African design. It’s a buzzy space, with 380 gorgeously decorated stands showcasing and selling everything from ceramics, jewellery and fashion to food, furniture and craft. There were a few architects, but not too much by way of industrial design, and as most stands were manned by the designers themselves, there was plenty of chance to talk through the products and ask questions about their individual businesses.

As well as the general public, around 400 buyers come along to find new products for the stores they represent, and each year DI works with researchers at the business school to assess the economic impact of the event. In 2011, it was recorded that Design Indaba was worth R300 million (£25 million) to the South African economy.


A Festival of the Future?

During Design Indaba, and for the preceding two weeks, the DI FilmFest screens a range of design films at cinemas around Cape Town, celebrating film and film makers, as well as the ideas, communities and subjects of the films selected. While it sounds like a niche event, many of the films would appeal to a more mainstream arts audience.

This year, there was a partnership with SONAR, the vast electronic music festival that happens outside Barcelona. Over 2,500 rammed in to City Hall to listen to the likes of Massive Attack and Modeselektor, as the grand old audience chambers were transformed into dance floors, smoking decks and a cinema, complete with popcorn machine. It was quite an experience to stand on the rooftop, bats flying around search beams that lit up the sky, music coursing through the building.


Questions to Explore

Just as I arrived, Design Indaba made the decision to close its quarterly magazine – unsurprising, given that the publishing industry is facing plenty of challenges, and there’s a trend in other creative communities to move to digital and multi-format storytelling.

It’ll be interesting to see what Design Indaba decides to do next, in the run up to Cape Town as World Design Capital 2014. More simulcasts? DI in other countries? International networks? Expansion beyond the design community? There was a rumour on Twitter, subsequently quashed, that DI was looking to buy a building in the Woodstock area of Cape Town. Would they be interested in the future in taking on a building? There’s plenty more for me to find out.

Written by Anna Burkey


Adventures from Anna in creative Cape Town >

Anna’s ICE Fellowship – my International Creative Entrepreneurs (ICE) Fellowship in South Africa is part of Creative Scotland’s innovative Creative Futures leadership fund.

My name is Sarah Raffel and my normal day job is Creative Director of Glasgow based jewellery company Brazen Studios. However, for the next 3 months I am working within the unfolding and ever fascinating company, G.O.D short for Goods of Desire, in Hong Kong.

Through the ICE creative futures programme I have been granted this amazing opportunity to observe, experience and interact with business from a very different stand point both geographically and culturally.

In short, GOD is a Hong Kong lifestyle brand. Every product made by GOD has a unique story, a journey of its own and a real connection to Hong Kong culture. The name also means “to live better” in local dialect because it phonetically resembles the characters, “G.O.D.” Their designs are inspired by the vibrant culture of this energetic city where east meets west, and age-old traditions meet cutting-edge technology. With humour and creativity, they turn everyday subjects into extraordinary objects which often have a clever, if not, with a cheeky undertone and their tongue firmly in their cheek.

Over the coming weeks I am hoping to bring to you the ongoing developments in the company and my experiences of life here in Hong Kong.


Chungking Mansions. My initial base.

“Ghetto at the centre of the world.” Apparently it’s worth a read.


One of the GOD stores.


GOD T-Shirt collection. An extension of their ‘Delay No More’ brand.

A typical example of how this brand cleverly and gingerly, plays with cultural meanings and phonetics.

The Cantonese translation of this would be unprintable!


Studio GOD (my daily base)


I sit just behind here. My eclecticism looks pitiful in these amazing surroundings!


New website under development (just one of my ongoing projects here) Watch this space.

Written by Sarah Raffel

Arriving from Hong Kong on the red-eye to Melbourne and then on to Adelaide was another gear shift. Hong Kong had been edging towards spring and Adelaide was at the hot end of their summer!

What followed was the intense experience of APAM in the midst of the Aelaide Fringe and the start of their Festival. The city is easy to navigate and the people open and friendly. A variety of great to grimy hot spots for eating and attending shows started to unfold as the story of the 10th Australian Performing Arts Market – APAM – is told over 5 days.

Running for ten years, and the last of many in Adelaide, there are lots of opportunities to meet people in the Australian, New Zealand and Asia circuit plus quite a few from Europe and America. Over 600 delegates in total. Opening keynote by Stephen Page of Bangarra who talked eloquently and unhappily about Aboriginal Arts today – a problem in Australia.

The following days past in a whizzy whirl of events and performances managing to squeeze a delegates barbecue in at the Zoo, where I found some great local inhabitants! Finally I also managed to see Raoul by James Thierre and Gardenia by Ballet C de la B as part of the Adelaide Festival. Raoul will remain a highlight for me. Now onward to Sydney…..

Written by Sally Hobson

There is a huge array of creative activity going on here in the visually arresting city of Cape Town, with a wealth of artists, designers, writers, arts festivals and craft markets. It feels like I’m visiting a city at the early stages of a cultural explosion, linked in part to big ideas like Design Indaba (an international conference and Expo) and the city’s status as 2014 World Design Capital.

Cape Town is a sprawling city, spreading out from the central City Bowl area northwards around the Bay, curling south behind Table Mountain and down toward the Cape of Good Hope, and stretching east across the Cape Flats, where the extensive townships of Khayelisha and Mitchell’s Plain sit.

Couple the stunning geography with the very sketchy public transport, and this makes for metropolitan area that feels like a patchwork of neighbourhoods, each with their own distinctive personalities and vibe and each acting as a focus for activity for their particular community or art form.

As a result, I’ve found the creative scene here a little challenging to access. Flagship events like Design Indaba are utterly fabulous if I’m here at the right time, but I’m also looking for ongoing events and buzzy networks. I don’t have a car – but I will be hiring one at weekends, to make sure I can get out to the gigs, events and festivals I see in the What’s On in Cape Town web guide. (I’m missing that there’s not really an equivalent of Scotland’s List Magazine or The Skinny.)

I’m on the look out for events, and as a newbie working here I’m not finding ways in to the cultural scene as easily as I have in other countries. Were I only making a quick trip chances are that I, along with many of the 8 million tourists that visit South Africa annually, would never find out about some of the excellent contemporary creative and artistic culture out here. Then again – maybe the pull of the beach is just too alluring!
Space for a Creative Hub?

I’ve realised that there is no public square or obvious gathering space in Cape Town, besides the touristy and retail-driven V&A Waterfront, and no natural creative hub.

As I wrote in my post on COMMON Pitch: South Africa, the audiences are refreshingly open here and the media seems very positive: I can imagine that an accessible arts space in the heart of the city, with excellent regular programming that served the general public and the local creatives alike, would be a popular place.

Perhaps moves are already afoot for such a centre, that reaches out to the public and visitors and is integrated with the wider offerings in the city. I shall investigate…


Cape Town National Museum, The Company’s Gardens & Table Mountain

Written by Anna Burkey

More from Anna in creative Cape Town >

This was my first visit to Hong Kong and China and flying in the light in the sky above the clouds quickly disappeared as the plane passed into the clouds and landed in natural fog made foul by unchecked Chinese pollution. The fog hung about for quite a while when I was in Hong Kong – hot wet drippy smelly fog which would unexpectedly clear to reveal the welcome sight of little islands popping out of green water and a pale spring sky heading off into a distant horizon. The city brims with confidence and is full of contrasts – a place of transition due in part to the handover of sovereignty and in part to its economic confidence. A compact and densely populated place with dark caverns between the tall buildings inhabited by the haggling street sellers or crowded mid-levels full of wet markets starkly different from the shinning crystalline forms of skyscrapers soaring along the harbour.

I spent ten days going to meetings, understanding the economics of the city and seeing performances. Hong Kong explores its voice as a new creative city, searching to define itself culturally in a post-colonial landscape. In the Gateway Centre where the West Kowloon Cultural District HQ resides all the signs are written in Mandarin in a city defined by Cantonese. The Centre provides a gateway not just to a new cultural precinct but to thousands of Chinese shoppers in search of Prada, Louis Vitton and Burberry.

On my last afternoon, I went to the Lin Po Monastery to see the Tain Tun Buddha on Lantau Island. The bright green spring day was warm and showed the high ridge of mountains which we travelled across to find the monastery. A different side of Hong Kong, less western and more landscape of an old China.

By Sally Hobson – International Creative Entrepreneur

An innovative new development opportunity for leaders working in arts, screen and creative sectors, International Creative Entrepreneurs (ICE) offers an intensive, fully funded programme that includes a three month placement overseas and one to one mentoring for six of Scotland’s leaders and creative entrepreneurs.

Applications were received from creative leaders across Scotland who are committed to their self-development and demonstrate a real desire to take on the challenge of working globally. From these, six outstanding individuals were selected.

The six participants have been chosen to carry out placements in creative organisations or social enterprises in Australia, Hong Kong, South Africa, and India. Each successful candidate has been matched with an organisation which offers access to the leadership team, business model and hands on project work. The organisations have been selected due to their innovative business model and/or dynamic leader.

Departing January 2012, our International Creative Entrepreneurs will complete their placements at the exciting organisations they have been matched with, culminating in an event in September that will see our cohort share their experiences, challenges and achievements with the wider creative sector in Scotland.

ICE is part of Creative Scotland’s Creative Futures Programme and is led by NT Creative Arts Ltd.


Anna Burkey

Anna Burkey is a freelance creative consultant, working to develop cultural events and festivals. She creates, curates, produces and presents innovative projects with the arts at their heart, and is particularly interested in literature development: she was a founding staff member of Edinburgh UNESCO City of Literature.

Anna programmed and developed the New Writing Expo at the Edinburgh International Book Festival, lectures on literature and culture for visiting Universities and has written for literary news outlets and blogs including Encyclopaedia Britannica and Time Out.

She spent six years hosting and developing the Edinburgh Literary Salon, chaired the Literary Programmers Network and co-produced Poets for Haiti, Scotland’s largest poetry reading, headlined by the UK’s Poet Laureate Carol Ann Duffy. She’s proud to have been informally dubbed a Literary Ninja.

Anna will be working with Interactive Africa in Cape Town, South Africa, on their Design Indaba.

By attracting the world’s brightest talent, Design Indaba has become a respected institution on the creative landscape and one of the few global events that celebrates all the creative sectors – graphic design, advertising, film, music, fashion design, industrial design, architecture, craft, visual art, new media, publishing, broadcasting and performing arts sector.

Ravi Naidoo, the founder and managing director of Interactive Africa, will be working with Anna.


Paul Fitzpatrick

Paul Fitzpatrickis the producer for Catherine Wheels Theatre Company and has been producing theatre in Scotland since 1996. With Catherine Wheels he specialises in producing theatre for children and young people, and is committed to developing the profile and practice of theatre for young audiences at home and internationally.

His professional activity is varied. On a management level he is joint chief executive officer and takes the lead in financial management, development, fundraising, compliance and governance.

On the creative level he works with the artistic director developing the artistic vision for the company and putting together the artistic programme. In the creative process he acts as a dramaturg – an outside eye helping to shape and edit the work as it progresses. When work has been made he finds opportunities to develop an on-going life for the piece.

Paul will work with The Weavers Studio in Kolkata, India.

Having been in the field of textiles for 17 years, Weavers Studio has established its position by setting up hand-block printing, handloom, hand-embroidery units in the vicinity of Kolkata employing 250 plus craftspeople directly and many more indirectly.

The studio runs profit and non-profit making arms through its commercial endeavours and its gallery/resource centre.

Paul will work with Darshan Shah, director of Weavers Studio.


Sally Hobson

Since 1993, Sally Hobson has directed the Programme Development Department of the Edinburgh International Festival. In this post she curates and delivers the public talks during the August Festival and the extensive year round schools and outreach programme. The focus of this role, Head of Programme Development is constant within the yearly re-invention of the Festival. She also manages the Edinburgh International Fringe Prize as part of this post.

Alongside working for the Edinburgh International Festival, she has been a Specialist Drama Adviser to the Scottish Arts Council/ Creative Scotland from 2003 – 2011, following four years as a member of Drama Committee.

Sally has also taught on the Contemporary Theatre Practice Course at The Royal Scottish Academy of Music and Drama/ Royal Conservatoire of Scotland for several years as a guest lecturer and theatre director in the area of theatre, education and community work.

In 2001, Sally was awarded The Arches New Stage Directors Award for her script “Talking to Yourself” and maintains a small production company, StillPoint Productions, which stages performance work. She regularly maintains an interest in creative training and professional development through international residencies with performance companies such as The Wooster Group in New York and Goat Island in Chicago.

Sally is developing a placement that will take her to Hong Kong and Australia.


Sarah Raffel

With an award winning approach to design and the experience to develop creative, commercial collections, Founding Creative Director, Sarah Raffel’ssole mission is to continue to blend design and originality.

In 2003 Sarah graduated from the Glasgow School of Art with 1st degree honours in Jewellery and Silversmithing. During this time she won several awards for design and in her final year she was awarded the Deutsche Bank Pyramid Award for Design and Business. As a result Sarah decided to side step industry or retail experience in favour of establishing and developing her own business, Brazen Studios. In the process of starting-up and undergoing initial business-training Sarah secured one of the first NESTA (National Endowment for Science Technology and the Arts) Pioneer Awards contributing £35,000 towards the start-up of Brazen.

Sarah has continued to develop original and diverse collections which are now largely for the bespoke clientele of Brazen. One of her largest commissions came from the surreal and provocative design company Timorous Beasties. To celebrate Robert Burns’ Centenary, Sarah completed a set of 14 bespoke Knives and Forks based around one of Burns’ most recognisable poems “Tae a Moose”. Brazen was voted 5th Most Outstanding Jewellery UK and Ireland in a 2010 top 30 pole and this year was short listed for Best UK Jewellery Boutique at the UK jewellery awards.

Sarah will be working with Goods of Desire (GOD) in Hong Kong, an Asian lifestyle and culture emporium.

She will work with Managing Director, Benjamin Lau.


Sarah Tierney

Sarah Tierney is an ambitious and dynamic mid-career digital creative. A former Company Director, she has worked as Producer and Executive Producer across a diverse slate of drama, live-broadcast and factual production for the UK and international TV, film and online sectors. Her work has included Oscar®-nominated, BIFA-nominated, Grierson-shortlisted and BAFTA-winning productions, ranging from short-form broadcast series to feature documentary to multiplatform slates. In 2011, she was made a Fellow of the Royal Society of Arts.

From 2004-2010, Sarah founded and ran independent production company Clarity Productions ( producing award-winning, social-purpose broadcast and independent documentary film from around the world. She is currently Head of Content at Twig ( a digital innovator of international education resources. A rapidly expanding market, Twig has the potential to be a paradigm breaker and world leader in this space. Twig produces and distributes a multiplatform slate of films and other digital resources. Sarah leads a large multi-disciplinary creative team producing around 1,000 films per year.

Sarah will be heading to FORM in Western Australia. FORM is a not for profit organisation which advocates for and develops creativity in Western Australia. They work in Regional Development, Aboriginal Creative Development, Creative Capital and Industry Development.

Sarah will work with the Director of FORM, Lynda Dorrington, but also with her ICE colleague, Tiernan Kelly.


Tiernan Kelly

Tiernan Kelly is currently Director of Film City Glasgow, Scotland’s only dedicated production facility for the screen industries, based in the former Govan Town Hall, Glasgow.

Having managed the £4 million redevelopment of the facility and established the core business, he now works with Creative Scotland and other public and private sector partners in developing Scotland’s first independent facilities village and sound stages, with a resolute aim to bring high value, international screen projects to the country. He sits on advisory boards for the Glasgow Film Office and the University of the West of Scotland Skillset Media Academy and is an active member of both the Scottish Facilities Group and Association of Film and Television Practitioners in Scotland.

He was also part of the redevelopment project team in his previous role at The Arches, acting as client liaison on the £3.5 million lottery funded capital project, which transformed the space into one of Europe’s leading arts venues. Latterly, Tiernan founded two of The Arches’ most successful legacy events; experimental music festival ‘Instal’, and the infamous club night ‘Death Disco’.

Tiernan continues to compose and perform music, and has a range of television and theatre credits to date.

Tiernan will also work with FORM, in Perth, Western Australia.

Tiernan will work with the Director of FORM, Lynda Dorrington, but also with his ICE colleague Sarah Tierney.


Well, first of our participants to leave was Anna Burkey who until recently was working with Unesco City of Literature and has been dubbed a literary Ninja! She is now working with Interactive Africa on their Design Indaba in Cape Town. Not one to shy away from the deep end, Anna has been thrown right in at the deep end and if her blog and twitter pages are anything to go by she has been having a great time.

Second out of the starting blocks was Tiernan Kelly, director of Film City Glasgow. His placement is with FORM in Perth, Western Australia, where soon he will be joined by Sarah Tierney. Aside from the sweltering heat, Tiernan and his family have been having a great time and he has been traveling all over Oz with the various projects FORM have underway. Looking forward to hearing more from him soon.

Sally Hobson from Edinburgh International Festival was next to go. She has an exciting placement planned which has taken her through Hong Kong, where she spent some time at West Kowloon Cultural District, before depositing her at APAM – Australian Performing Arts Market. She was able to get the lay of the land down under before heading to Sydney where she will spend some time with Carriageworks.

Last week, Paul Fitzpatrick of Catherine Wheels took off for Kolkata in India where he will spend three months with Weavers Studio. From a performing arts background, Paul relished the challenge of working in a completely different discipline and has thrown himself into textiles and Indian crafts. He has grand plans for working with the studio and we can’t wait to see how he gets on.

Still to go are Sarah Raffel and Sarah Tierney. Sarah R is the director of Brazen Studios in Merchant City and will be working with Goods of Desire in Hong Kong and Sarah T will be leaving her post to search for new opportunities, starting at FORM, in Perth.

Watch this space to hear about how our ICE participants are getting on!

As the deadline for International Creative Entrepreneurs approaches, here are some thoughts from Nicola Turner – who has developed and designed the programme – about why cultural leaders need international experiences:

I think international experiences are a fundamental building block in the development of any cultural leader who aspires to have a voice in globalised creativity. In order to fully understand and engage with different cultures and models of creative delivery there is no better way of learning than spending concentrated time getting to grips with how other people do things.

This is why I have developed International Creative Entrepreneurs. Funded by Creative Scotland and the Cultural Leadership Programme and building on programmes run by Venu Dhupa at the Southbank Centre and the British Council and my experience of leading on international leadership at the Cultural Leadership Programme they offer thee months in creative businesses and organisations in India, China, Hong Kong South Africa , Australia and South Korea.

I’ve had lots of professional formative experiences internationally – from running creativity workshops in India for scientists to presenting to 40 Chinese businessmen when the interpreter doesn’t turn up. I think they have given me new understandings of cultural context and resilience when similarly challenging situations arise.

The deadline for International Creative Entrepreneurs is 9 September and I can guarantee that the successful applicants will have a unique and rich international experience which feeds their creative development for years to come.

You can find out more about how to apply here.