An Overview of the Performing Arts Scene in Ireland

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an overview of the performing arts scene in ireland

Author: Lian Bell photo: Pan Pan Theatre, All That Fall, photo by Ros Kavanagh

May 2015

ISBN: 978-2-9601106-6-1

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The European Commission support for the production of this publication does not constitute an endorsement of the contents which reflects the views only of the authors, and the Commission cannot be held responsible for any use which may be made of the information contained therein. ietm mapping

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An Overview of the Performing Arts Scene in Ireland

IETM Mapping by Lian Bell

Published by IETM - International Network for Contemporary Performing Arts, Brussels

May 2015

Editing and general coordination: Elena Di Federico, Nan van Houte (IETM)

Graphic layout: Elena Di Federico (IETM) on a template by JosWorld

This publication is distributed free of charge and follows the Creative Commons agreement Attribution- NonCommercial-NoDerivatives (CC BY-NC-ND). You are free to reuse and share this publication or parts of it as long as you mention the original source.

This publication should be mentioned as follows:

L. Bell, “An Overview of the Performing Arts Scene in Ireland”, IETM, Brussels, May 2015. Link: https://www.ietm.org/en/publications

For further information please contact [email protected]

The publishers have made every effort to secure permission to reproduce pictures protected by copyright. IETM will be pleased to make good any omissions brought to their attention in future editions of this publication.

an overview of the performing arts scene in ireland ietm mapping

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Foreword by IETM 3 1 - the Republic of Ireland: an overview 3 1.1. The Republic of Ireland: basic facts 3 1.2. Brief overview of some recent changes in contemporary Irish society 3 1.3. Outline of IETM’s engagement in Ireland 6 2 - THE contemporary performing arts scene 6 2.1. Overview of State funding and recent changes 6 2.2. Outline of current political engagement with the arts 8 2.3. Changes in the balance between company-based and project-to-project work 9 2.4. Other sources of financial support 9 2.5. Outline of recent Irish engagement with Creative Europe 10 2.6. Artist support schemes and resource sharing 10 2.7. Recent trends and changes in the Irish performance scene 11 2.8. Outline of the performing arts relationship between Dublin and the rest of the country 13 2.9. Outline of the performing arts relationship between the Republic of Ireland and Northern Ireland (UK) 14 2.10. Media, critics and writing on performance 14 2.11. Developments in performing arts education 15 3 - resources 16 3.1. Comprehensive online listings 16 3.2. Recent publications of interest 16 3.3. Key funders, support & development organisations 16

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boom of Ireland’s economy over about 15 foreword by ietm years, closely linked to an unsustainable ‘property bubble’, which saw Ireland grow In spring 2013, IETM Plenary Meeting brought artists and cultural professionals from quickly from one of the poorer countries in all over the world to Dublin, the capital city of Ireland, to discuss intensely under the the EU to one of the richest. Without doubt, big theme of Trust. Two years ago we got to know the country’s lively performing arts the subsequent nosedive has taken its toll scene, its main actors, venues and trends; many things have changed in such a short directly on the finances and wellbeing of time, and today, this new IETM publication comes to complete the picture. the Irish people, but it has also gone hand in hand with a growing discontentment with The following pages provide an overview of the Irish contemporary performing arts (and distrust of) a long standing political scene against the background of today’s society, with its challenges, trends and hopes. party system that goes back to the found- This concise mapping provides a comprehensive review of the most vital issues and lists ing of the Irish State in 1922. enough links and resources to help you to dig more into certain topics. We hope you will find it a good companion for your professional visits to Ireland and your networking Awareness of political cronyism has and collaborations with the Irish performing arts scene! increased. The Moriarty and Mahon Tribunals, two major public inquiries, investigated (and revealed) tax evasion 1.2. Brief overview of some recent by high-ranking politicians and leading changes in contemporary Irish society businessmen, as well as payments by property developers to politicians for 01. Since 2008, Irish society has been shaken planning permissions and land rezoning. the republic of a series of events, not simply related to the Most recently, local and national protests catastrophic end of the ‘Celtic Tiger’ years continue against Irish Water, a company ireland: an overview - the popular name for the transformative established to install and manage a water

1.1. The Republic of Ireland: basic facts

Population: 4.61 million Official languages: Irish and English (English is most commonly spoken) Currency: Euro Capital city: Dublin Size of island: 275 kilometres at its wid- est point and 486 kilometres at its longest point

Average earnings: €704.34 per week (4th quarter of 2014)1 Minimum wage: €8.65 per hour2 Current unemployment rate: 10%3

Northern Ireland (part of the UK): Population: 1.8 million Currency: Sterling (GBP)

1. http://www.cso.ie/en/ 2.http://www.citizensinformation.ie/en/employment/employment_rights_and_conditions/pay_ and_employment/pay_inc_min_wage.html 3.http://www.cso.ie/en/releasesandpublications/ er/lr/liveregisterapril2015/#.VVoQsWZFtRk source: http://img.static.reliefweb.int/sites/reliefweb.int/files/resources/irl_ ocha_500px.png 3

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metering system widely believed to not history, who continue to experience high due to being low-cost activities for those only add a financial burden on a population levels of prejudice and exclusion within the with less disposable income to spend. squeezed over a series of austerity bud- Irish society. Traveller support groups esti- Walking the Camino di Santiago became gets, but also to be the latest example of mate nearly a third of Travellers live with- an increasingly popular ‘time-out’ activity underhand dealings between government out access to basic facilities of water, sani- in the past years. With many people com- and ‘big business’. The continuing blocking tation and electricity, while Irish Traveller ing under financial pressure as a result of of local meter installations across the coun- adults have a life expectancy of up to 12 the crash, and an increased national suicide try is possibly the most tenacious example years less than settled Irish adults. rate, awareness of mental health issues has of active protest from a population often also risen – for example, in Dublin there is seen as acquiescent (if not apathetic). Counter to all this, a number of positive now an annual arts festival dedicated to social shifts have also happened since the encouraging discussion around mental The Commission to Inquire into Child economic crash in 2008. While the Celtic health. Abuse published its report (the Ryan Tiger years created an Irish society increas- Report) in May 2009, outlining the extent ingly obsessed with wealth and property, Despite years of half-jokes about the and effect of widespread institutional the post-boom years have seen a swelling national cuisine consisting of potatoes and abuse of children in the country since of community engagement, and creative Guinness, Ireland has discovered a love of 1936. The endemic nature of the abuse, entrepreneurship. The Grow It Yourself good quality food and drink – and a large the tacit role of the State in creating and movement has taken hold across the coun- number of people are still willing to pay the relying on institutions run mainly by the try, with a resurgence in the popularity of price for regularly eating out. The influence Catholic Church, and the depravity of the growing fruit and vegetables at home. As of the diaspora, as well as ease of inter- abuse itself, created a palpable shock wave well as increased interest in public and national travel, meant that over the past throughout the country – further shaking private allotments, many local community decades the Irish developed a much more the already weakened hold of the Church gardens have sprung up, often in empty refined and adventurous palate than most on a traditionally devout nation. A damning building lots. Sadly, during the same time of us grew up with. Menus featuring locally report into Magdalene Laundries (religious as these grass-roots initiatives were taking sourced fresh ingredients, high quality institutions for ‘fallen women’ and their hold, the series of austerity budgets since home-made produce, micro-brewery ales, children) was subsequently published in 2008 ate into funds for existing community small-batch whiskeys and adventurous 2014. More recently, there have been alle- and social projects, particularly in poorer combinations of flavours borrowed from gations of the State once more turning a urban and regional areas. a range of cuisines can be found in every blind eye to dysfunctional institutions – this major town in the country. time while funding businesses to run poor Recent years have also seen a expanded quality ‘direct provision’ centres for asylum awareness of health and wellbeing, pos- The recent viral hit video of a speech seekers. Another ‘hidden’ social issue is the sibly combined with many people having by Ireland’s most famous drag queen, treatment of the minority of nearly 25,000 more time on their hands. The popularity Panti Bliss, has helped to bring national Irish Travellers – a nomadic Irish ethnic of sports for fitness among adults has risen, and international attention to engrained group with a distinct identity, culture and particularly running and walking, possibly homophobia in Irish society. This speech

Protest against water charges, 2015 (photo: William Murhpy) 4

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was made from the stage of the National Theatre, the Abbey, after a performance in early 2014 – only 21 years after homo- sexuality was legalised in the country. On the 22nd May 2015, the Irish people voted to change the Irish constitution to include same-sex marriage, thanks mainly to the engagement of a large number of young voters who would not normally consider themselves politically active. The lead up to the referendum saw an extraordinary ground swell of door-to-door canvassing for the Yes Equality campaign, as well as a large number of young emigrants returning from abroad to cast their vote. However, the heated debate on Ireland’s restrictive abortion laws still continues, another tra- Mural by Joe Caslin in Dublin city centre in the lead up to the referendum on same- ditionally ‘difficult’ topic. National protests sex marriage, 2015 (photo: William Murhpy) erupted again in October 2012 after Savita Halappanaver was refused an abortion in an Irish hospital and subsequently died of in the country. Seeing as immigration to the years of historical emigration at the end septicemia. No concrete move towards a country had been negligible before the eco- of the 19th century and mid 20th century. referendum is expected to be made until nomic boom, this influx was significant. The Rural communities in particular are suf- at least the next government, while thou- biggest immigrant group during the ‘Celtic fering from an exodus of young workers sands of Irish women continue to travel to Tiger’ years came from Poland, as well as and graduates, often to the countries seen England for abortions each year. from other Central and Eastern European as ‘traditional’ destinations for Irish emi- countries; the biggest non-national group grants: the UK, United States, Canada and Immigration and emigration have both living in the country continues to be UK Australia. recently played significant roles in the citizens. Since 2008, however, emigration changing profile of Irish society. The ‘boom’ has risen significantly, with many of the Housing continues to be a focal point of years saw a huge rise in the immigrant pop- non-nationals who moved here leaving the Irish social consciousness. During the ulation – an estimated half a million people country again. Since 2010, emigration has years of the Celtic Tiger, banks offered moved to Ireland (mainly to the Dublin outstripped immigration as Irish nationals easy access to high amounts of credit and area) in 10 years, with the peak being in struggle to find work. The numbers of Irish many borrowers bought property at what 2007 when over 150,000 people arrived leaving the country now recall the worst is now seen as artificially inflated prices.

LiffeyTown by Fergal McCarthy – floating installation as part of Dublin Fringe Festival 2010 (photo: William Murhpy) 5

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Many of these people are now in negative Willie White, current President of IETM, is the equity and/or are struggling with heavy Artistic Director of Dublin Theatre Festival. mortgages. To date, 14.5% of mortgages 02. covering principle dwellings are currently Despite an increased awareness in the in arrears, and there is much media dis- Republic of Ireland (or at least, in Dublin) of The contemporary cussion about the prospect of upcoming IETM and its work since the Plenary meeting performing arts scene property repossession by the banks - not- in the capital in April 2013, Irish membership withstanding the Irish State (and therefore to IETM is relatively low. Numbers have risen 2.1. Overview of State funding and recent the people) guaranteeing a bank bailout of from 7 Irish members in 2012 to 10 members changes over €64 billion. At the same time there is in 2015, though often a small number of non- a growing housing crisis across the coun- members travel to each plenary. However, in The key state funding agencies for the arts try, due in part to the collapse combining a situation where many companies and artists are the Arts Council of Ireland (the govern- private and social housing shortages of the are on project-to-project funding, and those ment agency for supporting the arts) and building industry after the 2008 crash. This who are regularly funded are often struggling Culture Ireland (which exists to promote is resulting in spiralling rent costs, particu- financially to conduct day to day activities, Irish arts abroad). As has been happening larly in the capital, and in turn has caused membership costs and travel to meetings are across Europe, state funding for the arts has the number of homeless to rise across the seen by many as a luxury. shrunk significantly since 2008. country – both those sleeping rough in urban areas, and ‘hidden homeless’ fami- The Arts Council awards funding by artform lies living in hostels, B&Bs and with friends and under cross-artform platforms. The or family. performing arts are funded variously under streams titled Theatre, Dance, Opera, As an overview of some of the societal reali- Circus, and Street Arts and Spectacle – and ties and shifts taking place in the Republic also through Venues, Touring, Festivals, of Ireland over the past years, this is very Arts Participation, and Young People, inadequate and slight, but will hopefully Children and Education. Arts Council fund- give a sense of a backdrop behind those ing reached its peak in 2008 with a total working today in the Irish performing arts. budget of €84.6 million. By 2014 this had dropped to €56 million – more than a 33% 1.3. Outline of IETM’s engagement in decrease that took place over a series of Ireland ‘austerity’ budgets (the 2015 budget stood still at €56 million). History of IETM meetings in Ireland: • Plenary meeting, Galway 2001 The Arts Council also disseminates funds • Satellite meeting, Dublin 2008 to a network of 34 local arts offices, often • Plenary meeting, Dublin 2013 part of local councils. These arts offices are • On The Road meeting, Dublin 2014 for the most part extremely supportive and active within their local region. There are currently 10 IETM members in Ireland, broken down as: Most companies and artists working in 1 national funding body the performing arts do not receive regu- 1 performing arts support organisation IETM Spring Plenary Meeting 2013 in lar funding. Those who do are on annual 1 theatre festival Dublin - bag (photo: Lian Bell) funding agreements, so have no guaran- 1 multi-disciplinary venue tee of funding stability from year to year 1 regularly funded theatre company – the exception being the Abbey Theatre, 2 theatre companies working Ireland’s national theatre. For more details project-to-project on how changes to Arts Council funding has 3 freelance individuals. affected the ecosystem of the performing arts, see the section below. There are 2 regularly funded theatre company members from Northern Ireland The top 25 organisations on recurring fund- (under United Kingdom). ing currently receive 34% of the total Arts

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Some details of the changes to funding under Theatre (as per research by Theatre Forum) 2008 2014 €20,926,069 €13,651,502 total funding: (25% of total Arts Council funding) (23% of total Arts Council funding) National Theatre funding: €10 million 6.5 million

42 organisations with recurring grants of be- 15 organisations with recurring grants of between recurring grants: tween €16,000 and €1.3 million (total grants: €4,330 and €908,000 (total grants: €4,429,330) €6,077,400)

project funding for new €879,563 €1,000,000 work: (distributed in 16 grants) (distributed in 44 grants)

€283,841 €300,000 (covering international travel support, bursaries & (covering bursaries, artist development, resource artist support: schemes) sharing & residencies. International travel support was suspended in 2014 but reinstated in 2015)

Some details of the changes to funding under Dance (as per figures from the Arts Council) 2008 2014 €3,874,209 €2,751,012 total funding: (4.6% of total Arts Council funding) (4.9% of total Arts Council funding) 17 organisations with recurring grants of between 13 organisations with recurring grants of between recurring grants: €72,000 and €480,810 €24,000 and €400,000 (total grants: €3,365,250) (total grants: €2,057,500) €298,000 project €371,277 (for new work, development initiatives & ‘Step Up’ funding: (for new work, once-off & choreographic research) programme)

Some details of the changes to funding under Circus, Street Arts & Spectacle (as per figures from the Arts Council)

2008 2014 €1,161,000 €800,000 total funding: (1.36% of total Arts Council funding) (1.43% of total Arts Council funding) organisations with recur- 11 7 ring grants project funding for new €180,502 €151,108 work & touring: (distributed in 9 grants) (distributed in 9 grants) €5,000 €12,475 artist support: (travel support, bursaries etc.) (travel support, bursaries etc.)

Some details of the changes to funding under Opera (as per information available on Arts Council website)

2008 2014 €4,112,032 €2,100,000 total funding: (5 organisations with recurring grants of between (2 organisations with recurring grants of between €30,000 and €1,757,800) €680,000 and €1,420,000) project funding for new €72,500 €0 (no project funding in this year work: (distributed in 2 grants) - reinstated in 2015: €900,000 between 3 grants)

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Council budget. Of the €56 million overall Downes, who took up the position of budget in 2015, the National Theatre (the Director of Kilkenny Arts Festival in 2012. Abbey) received the biggest single subsidy of €6.2 million, with the Wexford Opera 2.2. Outline of current political engage- Festival receiving the next biggest subsidy ment in the arts of €1.42 million. As well as a steady decline in funding avail- The figures in the tables at page 7 are able to the arts since the first ‘austerity’ drawn from annual detailed analysis of Arts budget in 2009, the terms of office of both Council funding by the support organisa- the current Minister for Arts, Heritage and tion Theatre Forum, and depend on their the Gaeltacht (Heather Humphries) and research parameters, and from informa- the previous Minister (Jimmy Deenihan) tion provided directly by the Arts Council. have been dogged by negative media Please note that it is meant to serve as coverage arising from a series of events, an indicative general overview – it is an outlined below. Both of the ministers are incomplete picture, and relies on differing conspicuous in having no arts or cultural parameters of research, and of the fund- backgrounds prior to their appointment. ing structures within the Arts Council. For further information the Arts Council has A major Irish ‘City of Culture’ initiative for a searchable online database of all recent Limerick City was announced by Deenihan Dusk Ahead by dance company junk ensem- funding decisions. in July 2012 for the following year. ble, 2013 (photo: Inez Billings) However, hours after the opening of the This only gives a very rough overview of programme on New Year’s Eve, the Artistic a complex and changing system of funding Director and two lead programmers to Seanad Éireann, the Irish senate. He by artform. Please note that these figures resigned. Deenihan was criticised for not had subsequently stepped down from the do not take into account funding for ven- responding well to the crisis, and the posi- board after six days of service; enough ues, festivals and support organisations, tion of the CEO of the City of Culture came time to credit the position in his nomina- which, to some degree, trickles down to under scrutiny as it was found that she had tion papers. artists in the form of additional support. been appointed without due process being followed. She subsequently stepped down. The President of Ireland, Michael D. While funding was withdrawn in 2014 for Higgins, is a vocal and passionate sup- ‘Travel and Training’ under Theatre (which The Bord Gáis Energy Theatre, a 2200- porter of the arts, though has minimal is how many independent artists have man- seat venue in Dublin designed by Daniel direct political power. As well as being a aged to attend IETM meetings in the past), Liebeskind, was built for a reported €80 well-known poet himself, he was the coun- this has since been reinstated. There is million and opened in 2007, just before try’s first Minister for the Arts from 1993- also some travel funding available through its developer ran into significant finan- 7. Another significant figure currently the EU Cultural Contact Point at the Arts cial trouble during the economic crash. bridging the cultural and political worlds Council, for artists and organisations who The venue was sold to private inves- is Fiach MacConghail, Director/CEO of are, or are planning to be, partners in a EU tors by the National Asset Management the Abbey Theatre and current Senator in funded project. Agency (NAMA) for €28 million in 2014. Seanad Éireann. He will be stepping down Humphries, recently appointed as Minister as Director of the Abbey at the end of Culture Ireland has seen even more signifi- for the Arts, was criticised in the media for a 2016, and the search for his replacement cant changes happen in the past few years. lack of response to calls for the government has begun. Since he took the position in In 2008 its budget was €4.75million; by to consider a State purchase of the venue. 2005, he has been credited with stabilis- 2014 that had reduced to €2.5million. As ing a financially rocky organisation. This is well as this significant decrease, Culture As a new Minister, Humphries also bore a notoriously demanding position, juggling Ireland has gone from being a stand-alone the brunt of a storm around political cro- the artistic, managerial and political, and government agency to being subsumed nyism in relation to appointments to State there is already much informal speculation into the Department of Arts, Sports and boards. The decision had been made to give as to who will step into the role in 2017. the Gaeltacht. From Culture Ireland’s a seat on the board of the Irish Museum of inception in 2006 until it was incorporated Modern Art to a businessman lacking the To formalise how the arts sector engages into the Department, it was led by Eugene cultural credentials to stand for election with politicians, volunteer-led grass roots

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organisation National Campaign for the to professionalise their practice by estab- resources. Thanks to dedicated funding, Arts was formed in late 2009, presenting lishing their own company and adminis- there has been an increase in the number a unified government lobbying voice. The trative structure. Many of the companies of artist development programmes and organisation managed to maintain a high who still receive annual funding today supports on offer (see the section below profile initially (though this has somewhat were founded during this period. Pan Pan on artist support schemes). On the other waned), and had some success in encourag- Theatre, Rough Magic Theatre Company, hand, however, it leaves a system riddled ing the safeguarding of funding and infra- Fishamble: The New Play Company, The with holes – a general lack of financial sta- structure for the arts during the worst of Corn Exchange and Corcadorca; CoisCéim bility or ability to plan for artists and arts the austerity budgets through meetings Dance Theatre, Liz Roche Company and workers, gaps of unpaid time between with the Minister, local politicians and the Irish Modern Dance Theatre, for example, project funding, difficulty in maintaining Arts Council. At a local level, the group all grew from the work of individuals, pairs momentum to build tours, and unfeasible encourages lobbying of local councillors, or small groups of artists with a collective strain on freelance producers. Some organ- particularly in the run up to elections, and artistic vision. All of these still have at least isations work hard to help independent art- provides information for individuals to use one of those original artists at the helm of ists bridge these gaps, particularly in terms in their own emails or discussions with their the organisation. of producing support – for example, Project political representatives. Arts Centre through their Project Artists For the most part, these companies are Initiative. These same organisations, how- The major upcoming event that will see the made up of a single administrator/pro- ever, are under great strain themselves due Irish political and cultural worlds working ducer or a small administrative team, plus to their own dwindling financial resources. closely together, is the commemorations one or two artistic directors. Performers, for the centenary of the Easter Rising design team and technicians are all hired 2.4. Other sources of financial support that will take place throughout 2016. The on a freelance basis for specific shows. Rising was an armed uprising that is the Blue Raincoat Theatre Company, based in The search for corporate funding for the event commonly held as the symbol of the Sligo, are the only established professional arts has intensified in recent years as process that led to the break from British theatre company in the country working as organisations struggle to supplement wan- rule and the founding of the Republic of an ensemble. ing state funding, with many larger organ- Ireland – though as a rebellion, the Rising isations taking on dedicated staff to tackle itself failed and its leaders were, for the In more recent years, however, the focus ‘development’ or fundraising. most part, executed. There is a national has moved away from supporting com- programme put in place by a 1916 team pany structures, to funding standalone Dublin Fringe Festival has had two drinks within the Department of Arts, Heritage projects while at the same time encour- companies as title sponsors in the past and the Gaeltacht, which includes a signifi- aging more established companies, ven- few years, with Absolut Vodka for the cant investment in capital projects of €22 ues and festivals to share resources with 2009-2012 festivals and Tiger Beer since million. Other than this, the government independent artists. This has resulted in 2014. The 2,200 seat venue designed by has allocated €1 million to be shared by many long-standing companies either cut- Daniel Libeskind in Dublin’s newly devel- the 34 local arts offices across the country. ting their administrative structure to the oped Docklands area is currently known as The Arts Council has announced another bare minimum, or folding entirely. While the Bord Gáis Theatre, thanks to the title €1 million for direct funding of commemo- many younger artists continue to operate sponsorship of a leading gas and electric- rative art works and events, plus 16 artist as ‘companies’, these are in name only – in ity supplier. For five years AIB Bank sup- bursaries worth €12,500 each, and a boost these situations, there is usually no indi- ported SEEDS, a significant artist devel- to touring funding for the year, details of vidual paid throughout the year to keep opment programme run by Rough Magic which are all still to be announced. the work of the company going between Theatre Company and Ulster Bank recently funded projects. Increasingly, the sector stepped down as Dublin Theatre Festival’s 2.3. Changes in the balance between depends heavily on a very small pool of title sponsor. Rough Magic were also suc- company-based and project-to-project freelance producers and administrators. cessful in a bid for an award of €230,000 work from Sky Arts Ignition for a specific co- On one hand, this has generally created production with Opera Theatre Company As the amount of state funding diminished a very fluid and supportive atmosphere that took place in 2014. in recent years there has been a change between festivals, venues, companies and of direction in the way the Arts Council artists, and there is undoubtedly a shift Membership organisation Business to Arts allocates grants. In the 1980s and 1990s towards more inventive ways of working works to broker relationships between the funding structure encouraged artists flexibly and affordably within dwindling businesses, individuals and the arts. They

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also run the island-wide crowdfunding In 2014 and 15, successful Creative website Fundit.ie which enables (often) Europe applications with Irish partners smaller companies and artists across that have (or have the potential to have) a the country to raise money directly from contemporary performing arts element are friends and followers. A number of pro- outlined here: ductions programmed in the Dublin Fringe Festival each year, for example, rely on such Large Scale Cooperation projects: crowdfunding for support. • COLLAB Arts Partnership Programme Many companies, venues and festivals run (Irish lead partner: CREATE Ireland) versions of a ‘friend’ scheme, for individual • Small size Network for the Diffusion donors to support the organisation’s work of Performing Arts for Early Childhood in return for acknowledgement of their (Irish partner: Baboró International support and varying benefits in return. Arts Festival for Children) Many of these are at a relatively small scale, as the amount of time needed to adminis- This Thunderous Heart. Macnas parade as Smaller Scale Cooperation Projects: ter a large friends network is often seen as part of Galway Arts Festival, 2012 (photo: Colm Hogan) outside of the ability of smaller companies • Networking European Festivals for on tight budgets. Examples include: Dublin Mental Life Enhancement (Irish part- Theatre Festival’s Friends of the Festival, 2.5. Outline of recent Irish engagement ner: First Fortnight festival) and Coiscéim Dance’s Angels and Devils with Creative Europe • Sharing the Wor(l)d (Irish partner: scheme. As well as their own friend scheme, Galway Arts Centre) Project Arts Centre is also currently pro- According to the European Cultural moting an ambitious 50th anniversary Contact Point in Ireland: ‘over the lifetime Support to European Platforms: Commissioning Fund for people to directly of the Culture Programme 2007–2013, support a major arts commission. 32 Irish organisations were involved in • Aerowaves platform (Irish partner: successful proposals, either as a partner Dublin Dance Festival) There are two recent significant pro- or as the lead coordinator. In excess of €17 grammes to build fundraising and spon- million was awarded to the projects involv- 2.6. Artist support schemes and resource sorship capacity within the sector: the ing Irish participants. Over €1.8 million sharing RAISE: Building Fundraising Capacity pilot was awarded directly to Irish organisations initiative by the Arts Council and the DeVos either as sole applicants or as lead partners As the Arts Council’s funding is depleted, Ireland programme facilitated by Business in cooperation projects.’ and the previous system enabling com- to Arts. While the impact of these recent panies to access regular annual funding programmes is not necessarily fully felt Looking at the number of applications from is discontinued, there has been much talk yet, there is a clear intention by the main across the EU since the advent of Creative about ‘resource sharing’ as a way for the funders to increase the focus on private Europe, the Republic of Ireland has a track reduced funding to be more efficiently fundraising, and many arts organisations record of comparatively few applications used. This has manifested in various ways, are being put under pressure to deliver in submitted and a low level of demand for and every company or organisation has a this area. Two significant issues to be faced funds. Within that, the performing arts different way of approaching it. Some of by Irish fundraisers for the arts, however seem underrepresented – Irish partners the remaining regularly-funded companies is a very short history of philanthropy in in successful applications are primarily now see sharing their offices, equipment the country, and a small pool of potential festivals, academic institutions or support and expertise as part of their remit. This donors to be targeted. organisations. Reading between the lines, can manifest as a simple offer to individu- it could be that those working in the per- als or smaller companies of access to desk forming feel they do not have the capacity space, WiFi and a printer, or can manifest in to maintain the level of ongoing administra- a stand-alone support strand built into the tive work needed for successful collabora- company’s work. tive EU projects – perhaps a symptom of the change from company-led funding to In recent years the Arts Council itself project-led funding on the part of the Irish has specifically made funding available Arts Council. to established theatre organisations and

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companies to run more formal resource sharing arrangements, as well as dedicated artist support projects. However, this funding is only available through the Theatre section of Arts Council, not through Dance, Street Arts and Spectacle, or Opera.

Many of the support programmes devised by the various theatre organisations try to respond to the gaps for artists that occur between project-to-project funding, and the difficulties of keeping a creative practice going through these gaps. All of the programmes are different, however, and offer different supports for participants. FARM by WillFredd Theatre (photo: Sarah Jane Shiels) While this funding stream has been warmly welcomed in general by the sector, there is sometimes a question around what hap- Ireland & international partners) – a venues such as the Abbey Theatre, the pens next – there is no guarantee that art- two-year professional development Gate Theatre, Rough Magic, tend to pres- ists who take place in these programmes programme (currently coming to an ent programmes of new and canonical will subsequently gain Arts Council funding end) plays in relatively traditional-style produc- to stage productions. tions. Two companies in particular, Druid • Blank Canvas (Firkin Crane) – two- and Landmark Productions, have recently Further information on signifi- week dance residencies developed a series of comparatively large- cant professional development pro- scale productions to great acclaim, and grammes can be accessed here: • OTC Opera hub (Opera Theatre with significant international tours. In http://irishtheatre.ie/resources/ Company) – a two-year support the recent DruidSynge, DruidMurphy and professional_development_programmes programme for a selected team of DruidShakespeare cycles, the company’s four singers, an opera director and a Artistic Director Garry Hynes has revis- Some other significant programmes not composer ited iconic plays and the resulting distinc- listed at the link above include: tive works have often presented in epic • Tyrone Guthrie Centre, day-long performances, both in Ireland and • Six in the Attic (Irish Theatre Institute) Annaghmakerrig – a dedicated art- internationally. Anne Clarke, the producer – a programme gives participants ist retreat centre supported by both behind Landmark, has created a series of a shared desk and practical office the Arts Council of Ireland and of highly successful large-scale productions resources for at least one year, aug- Northern Ireland, and open to Irish in recent years – from the commercial end mented by mentoring and advice and international artists of the spectrum (e.g. the Irish production services. of the Once musical) to productions of Various local authority supports are avail- new writing with household-name actors • Show in a Bag (Fishamble Theatre able, depending on the local arts office. (such as Enda Walsh’s Ballyturk with Cillian Company, Dublin Fringe Festival and Dublin City Council, for example, offers Murphy, Mikel Murfi and Stephen Rae in Irish Theatre Institute) – a programme bursaries, access to work space and resi- 2014). that facilitates the creation of five dential space. new small scale, tourable shows each Pan Pan Theatre continues to be the Irish year. Made with and for one or two 2.7. Some recent trends in the Irish per- theatre company best known for experi- performers. formance scene mental performance, since its inception in 1993. More experimental performance • Various development opportunities The traditional cornerstone of Irish the- work primarily comes from smaller and/ via Dance Ireland, including residen- atre is in written plays, and while many or younger companies, who tend to look cies and mentoring. younger companies increasingly create towards European experimental theatre devised work, this is still true for the most – companies such as Brokentalkers, Dead • LÉIM dance leadership project (Dance part. The biggest production companies/ Centre, and THEATREclub. Few Irish

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theatre artists travel regularly out of the audiences’ preferences. Julia Carruthers is Ó Conchúir and junk ensemble. Young country to see international work (unless stepping down after the 2015 festival, and independent choreographers such as on tour), which means that the work that will be replaced by Benjamin Perchet, for- Emma Martin, Philip Connaughton, Aoife comes into the country for festivals can merly of Maison de la Dance and Bienniale MacAtamney and Fitzgerald and Stapleton have quite an impact. Specific international de la Dance in Lyon. have all recently created performances, productions have sometimes created a res- often richly designed, that show an ambi- onance that can be seen across a number An even more noticeable recent trend is tion not constrained by their funding of subsequent local productions. There has around one- and two-person productions. realities. Similarly, there is a clear ambition clearly been a generation of young theatre These are also significantly more tour- among many of the more established com- makers influenced and encouraged by able for companies working with limited panies such as CoisCeim, junk ensemble Willie White’s taste in international pro- resources. Some successful Irish one- and and Fabulous Beast to create large-scale gramming, first as director of Project Arts two-person shows have recently trav- dance theatre pieces, despite limited finan- Centre and now at Dublin Theatre Festival. elled internationally include Landmark’s cial resources. Howie the Rookie, Fearghus Ó Conchúir’s Contemporary dance artists in general Cure, TheEmergencyRoom’s Riverrun and There is a clear alliance between con- tend to have more of an international cross- Rough Magic’s production of How To Keep temporary dance and contemporary over. Tellingly, in late 2013, when the Arts an Alien by Sonya Kelly. This last produc- music in recent Irish work. Productions Council quietly discontinued travel support tion also demonstrates another recent by Liv O’Donoghue, Liz Roche Company, for individual artists, the dance community strong trend: theatre shows based on the Fabulous Beast, junk ensemble, Philip worked together to successfully lobby the performer’s own personal history – often Connaughton and more, feature music Dance department of the Council for its obliquely shining a light on a larger social played live - and sometimes, musicians as reinstatement – while there was grumbling issue. In How To Keep An Alien Sonya details dancers or vice versa. This is sometimes amongst the theatre community, there her struggle in getting the Irish State to seen in the form of established musicians wasn’t the same coordinated reaction. legally recognise her relationship with an working on a once off production, such as Australian woman. Another kind of social Fabulous Beast’s Rian made with musician Irish live art and performance art enjoys and personal history is unpicked by ANU Liam Ó Maonlaí. There are also composers an increasing profile, thanks to the grow- Productions, in particular in the four-part such as Tom Lane and Michael Gallen who ing reputations of specific artists such Monto Cycle, an extraordinary series of work consistently as collaborators with as Amanda Coogan, Dominic Thorpe site-specific immersive pieces looking at certain choreographers. and Michelle Browne, as well as The Irish society through the very local lens of Performance Collective, which they a small area in Dublin’s north inner city. Ireland’s iconic street theatre company, founded with other artists in 2008. While, Macnas, has been reinvigorated under the for the most part, performance art is seen Off-site venues are also a common element directorship of Noeline Kavanagh, produc- by Irish audiences (and theatre and dance in much recent contemporary performance ing a series of magical outdoor events since artists) to fall under ‘visual art’, there seems work – possibly seen as a way of creating she took the helm in 2008. While Macnas to be a growing feeling of the potential for visually interesting work on small budgets. have stepped away from their traditional crossover – as can be seen in the program- Other than ANU Productions, companies slot during the Galway Arts Festival in July, ming of Live Collision, a small festival of live who work sometimes or exclusively off-site they continue to take over the city each art that includes work which sits right at the include Company SJ, junk ensemble, and year with a uniquely inventive, ambitious borders of the dance, theatre and visual art The Performance Corporation. and beautifully designed annual parade. worlds. Aerial work has also enjoyed a growing Irish contemporary dance took a particu- profile in Ireland, with Fidget Feet Aerial A noticeable trend across Irish indepen- larly hard hit during the crash, though it Dance Theatre founding an Aerial Creation dent theatre and dance in recent years has always been a relatively small sector, Centre and an Aerial Dance Festival, both has been away from design-heavy produc- and a junior partner to theatre in terms of in Limerick. Young aerial performance col- tions – unsurprising, seeing the decrease funding. A small handful of companies and lective Paper Dolls has developed a strong in available funding. Interestingly, however, choreographers (mostly funded project- audience base in Dublin through perfor- Dublin Dance Festival’s outgoing director to-project) continue to make work that mance work and training programmes since Julia Carruthers made a clear decision successfully tours internationally including 2011. during her tenure to feature international John Scott/Irish Modern Dance Theatre, work with strong design elements – a deci- Liz Roche Company (which opened this The small opera scene in Ireland is bol- sion arising from her reading of Dublin year’s Dublin Dance Festival), Fearghus stered by the internationally acclaimed

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Wexford Opera Festival which takes place each autumn. The festival now takes place in a beautiful purpose-built opera house in Wexford town, which was designated as the National Opera House in 2014. Most of the creative teams working on the large scale festival shows are not Irish or based in Ireland, but are brought in. Younger Irish opera directors are few and far between – Conor Hanratty has made a name for himself in contemporary, experimental work. Opera Theatre Company has begun a dedicated development programme for Irish opera artists, the OTC Opera Hub. The major Irish opera production of 2015 will be The Last Hotel by Donnacha Dennehy and Enda Walsh, which will be produced Main auditorium of the award-winning National Opera House, Wexford, by Landmark Productions and Wide Open opened in 2008 (photo: Ros Kavanagh) Opera for the Edinburgh International Festival.

2.8. Outline of the performing arts relationship between Dublin and the rest of International Arts Festival for Children. to be a relatively small occurrence – par- the country ticularly outside of festivals. Irish Theatre For those interested in knowing more Institute (ITI) were commissioned to In general, most of the performing arts about recent funding decisions in relation research and write a major report on activity in the country is centred in the to location, the Arts Council of Ireland has national touring in 2008 that still informs capital and state funding tends to be very an interactive map on their website. the current touring funding policy – this Dublin-centric as a result. There are sig- can be downloaded here. Many produc- nificant exceptions to this rule. There are During the years of the highest State tions never have a life within Ireland after three regularly funded theatre companies financial support for the arts, much focus their first run, which can often be as short based outside of Dublin: Druid (in Galway), was on investing in the capital infrastruc- as 5 days long. There are a large number Corcadorca (in Cork) and Blue Raincoat (in ture across the country, with the result of of different factors that have combined Sligo). Wexford Opera Festival is always the dozens of new arts centres and theatres to create this situation – from difficulties major opera event of the year. As well as being built regionally. While many of these around connecting with audiences in the the purpose-built DanceHouse in Dublin, are beautifully designed and architecture- regions, to (real or perceived) financial pre- dance artists are able to avail of strong award-winning buildings, there was often a cariousness. Arts Audiences, a partnership bases outside the capital. In Limerick City lack of planning in how they would be used initiative of the Arts Council and Temple this is thanks to the draw of the University and funded in the long term. The general Bar Cultural Trust in Dublin, was founded of Limerick arts programmes, and Dance decline in government support for the arts in 2008 to help venues (as well as other arts Limerick’s studios and venue. In Tipperary has left many of these venues struggling in organisations) optimise their work across town, Jazmin Chiodi & Alexandre Iseli terms of adequate staffing levels, program- audience development and marketing. The have worked since 2008 to create a com- ming budget and audience development. Arts Council has an interesting audience- pany and small festival with international Most funded venues are now operating on mapping tool on their website that gives connections. In Cork city, the focus is on a funding that continues to slip year after demographic breakdowns of the people the Firkin Crane dance centre – where year – reductions of between 35-55% of living within driving distance of each state choreographer Ríonach Ní Néill is about the 2008 peak levels are extremely com- funded venue in the country. to replace Fearghus Ó Conchúir as dance mon. At the moment many arts centres and curator. Major festivals that take place venues are utterly reliant on the enormous An extremely successful recent initiative within the Republic, but outside of the dedication of small numbers of staff. to create easily tourable theatre work with capital, include Galway International Arts regional venues in mind has been the Show Festival, Kilkenny Arts Festival, and Baboró National touring of new work continues in a Bag programme run since 2010 by

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Fishamble: the new play company, Dublin located in the Republic, for example, have much farther reaching affects on the Fringe Festival and Irish Theatre Institute. receive few or no applications from artists Northern Irish cultural landscape over time Show in a Bag was set up to facilitate actors, resident in the North. – and does not bode well for the significant singly or in pairs, to develop, showcase and work needed to strengthen relationships tour their work nationally – many of the In recent years, concerted efforts to across the border. productions have also subsequently toured bridge the gap have tried to foster a stron- internationally. ger sense of relationship; since 2012 the 2.10. Media, critics and writing on annual performing arts conference and performance One of the developments in the past 10 community gathering has been co-organ- years is the appearance of venue networks ised by Theatre Forum (in the Republic) Of the Irish national daily and weekly initiated by local venue programmers – and Northern Ireland Theatre Association. papers, only certain ones include dedicated often grouped either by location and/or Also, individuals making professional moves year-round theatre reviews; fewer again shared artistic interests. These networks across the border have somewhat helped write on dance or opera. Of those, the paper were formed to tackle the costs and issues develop an improved dialogue – such as with the most consistent quality coverage around touring, as well as to help share theatre director and founder of Dublin has for many years been The Irish Times. resources, information and ideas. For Fringe Festival, Jimmy Fay’s appointment They also fund and promote the annual further information on the various venue as Executive Director of the Lyric Theatre Irish Times Theatre Awards, dedicated to networks in Ireland, visit http://www.irish- in Belfast; dance producer and consultant celebrating theatre and opera across the theatre.ie/networks Richard Wakely’s appointment as Artistic island. The Irish Times introduced a paywall Director of the Belfast Festival; and ex- to its online content in early 2015, and it is 2.9. Outline of the performing arts rela- Dublin Fringe Festival director Róise unclear what impact, if any, that will have tionship between the Republic of Ireland Goan’s continuing consultancy with Prime on readership – the paper is currently the and Northern Ireland (UK) Cut Theatre Company, thanks to a signifi- second most read daily in the country after cant award for the company from the Paul the Irish Independent. While the days of ‘the Troubles’ (as the con- Hamlyn Foundation. flicts of the late 20th century in Northern Professionals working in the perform- Ireland are commonly known) are over, the The (already fragile) financial stability of the ing arts would also take note of reviews social ramifications are still being played arts sector in the North has recently been and features in other papers such as the out. More ‘peace walls’ physical divide shaken. Significant cuts by the Arts Council Irish Examiner, Irish Independent/Sunday traditionally Catholic and Protestant com- of Northern Ireland were announced in Independent, Sunday Business Post, munities in Belfast now than at the time of March 2015, where six arts organisations and the occasional feature in the tabloid the Good Friday Agreement in 1998, and had their funding cut entirely, with a fur- papers. The Guardian in the UK also regu- are a focal point of the city’s ‘conflict tour- ther six organisations receiving a cut of larly publishes reviews of more significant ism’ trade. The choice of celebrating Derry- over 40%. In total, over 100 organisations Irish productions, especially those by com- Londonderry as the UK’s City of Culture in had their Arts Council funding reduced, and panies who have a history of touring to the 2012 showed a concerted push to increase nearly £900,000 GBP of cuts were made. A UK. Regional Irish newspapers will often tourism to (and local pride in) a city histori- public response from Belfast-based theatre champion local arts, though the quality of cally identified with civil unrest. company Tinderbox, who sustained a 44% criticism is variable. cut, outlined how this resulted in the imme- The physical divide between the two coun- diate loss of a job for one of the very few Although it is by no means an exhaustive tries is much less apparent than in previous professional dramaturgs on the island. The list, the following are journalists who write years – crossing the border while driving is cuts were announced a day after Queens on the performing arts regularly in Irish hardly noticeable now, when 25 years ago University announced it would withdraw papers: Peter Crawley (chief theatre critic there would have been checkpoints, armed funding from the Belfast Festival. While and columnist for The Irish Times), Helen soldiers and often long queues. The feeling the festival has been supported in recent Meany (theatre critic for the Guardian), of a border has, however, lingered between years by Ulster Bank as title sponsor, the Sara Keating (critic for The Irish Times, the arts communities on either side. While withdrawal of Queens University’s support often focusing on arts for young audiences), there are exceptions to the rule, there is reduces the festival’s funding by 13%. Emer O’Kelly (theatre critic for the Sunday a general sense of neither side being very Independent), Fintan O’Toole (former arts aware of what the other is doing, despite While only the most immediate effects editor and theatre critic, now columnist for being a few hours drive apart. Many open of these cuts for arts organisations are The Irish Times, often with a focus on the calls for all-island artistic opportunities evident now, it is certain that they will arts), Michael Seaver (dance critic for The

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Irish Times), Seona MacReamoinn (dance Patrick Lonergan (Professor of Drama professionals to teach and work with the critic for The Irish Times), Alan O’Riordan and Theatre Studies at NUI Galway) and students throughout the year. (arts writer for the Examiner) and Sophie Chris McCormack (PhD candidate in his- Gorman (Arts Editor of the Independent). tory of stage design, also at NUI Galway). A list of some of the more significant train- Online listings and news providers such ing opportunities are below. Of the critics named above, many play as Entertainment.ie, TheJournal.ie and more extensive roles in the Irish cultural Le Cool Dublin post reviews, usually con- • The Lir Academy (practical courses landscape: Peter Crawley regularly works centrating on the festival season in Dublin in acting, directing, playwriting, stage closely with the theatre community in (Sept-Oct), while cultural websites such as design and technical theatre) Dublin and further afield – most recently as nomoreworkhorse.com help to give cover- the curator of events with Dublin Theatre age to independent and emerging artists. • Dun Laoghaire Institute of Art and Festival, and curator of talks at the Prague Design (practical courses in design Quadrennial 2015. Sara Keating recently Key arts programmes on radio and televi- for both stage and screen) set up Kids Culture Ireland, a website dedi- sion are: Arena (Monday-Friday primetime cated to highlighting work being made for arts programme RTÉ Radio One); Arts • Department of Drama, Trinity College families. Helen Meany is the Chair of the Tonight (weekly radio programme on RTÉ Dublin (academic courses with some Board of Dublin Dance Festival, as well Radio One); The Works (weekly television practical training) as working as Advisor to the Arts Council review programme on RTÉ One). However, of Ireland on Literature and Publishing. this is scheduled to end soon, leaving • Irish World Academy, University of Michael Seaver is a professional clarinettist no weekly arts programmes on national Limerick (MA in Dance Performance with the National Symphony Orchestra and television.) & MA in Festive Arts) was a co-founder of Ireland’s leading contemporary music group Crash Ensemble. In the Resources section at the end of • Irish Aerial Creation Centre (still Alan O’Riordan was an editor of the online this mapping, you can find details on some in development – a new venture by Irish Playography project, and was a recent recent publications of note. Fidget Feet Aerial Dance Theatre) judge for the Irish Times Theatre Awards. 2.11. Developments in performing arts • Belfast Community Circus School For long-form writing and in depth reviews education (training circus performers in Belfast of performance in Ireland, the go-to publi- for 30 years) cation for many years (first in print, and later Training and education in all areas of the online only) was the Irish Theatre Magazine performing arts has improved in recent • NUI Galway (MA in Drama and (ITM). In March 2014 funding for the mag- years, with many existing undergradu- Theatre, affiliated with Druid Theatre azine was withdrawn by the Arts Council ate and postgraduate courses growing in in Galway, and hosts of an extensive, and, while an archive of writing can still be profile, and new opportunities becoming and growing, theatre archive) found online, the website has been dor- available. mant since then. ITM was founded in 1998 • Association of Irish Stage Technicians by Willie White (now Artistic Director of The development had the most impact on (a voluntary organisation who run Dublin Theatre Festival) and Karen Fricker professional training for performance was short safety and training courses) (editor, writer and now Assistant Professor the founding of The Lir National Academy at Brock University, Canada). Both Helen of Dramatic Art in 2011. The Lir was devel- • Gaiety School of Acting (private col- Meany and Peter Crawley headed the mag- oped by Trinity College, Dublin in associa- lege running one-year acting inten- azine over the years, as Editor and Acting tion with the Royal Academy of Dramatic sive, plus many short courses for stage Editor respectively. Art (RADA) in London, with the aim of cre- and screen. The school also renovated ating a centre of training excellence. The Lir and runs Smock Alley Theatre in One of the issues that the closing of ITM now runs undergraduate and postgraduate Dublin.) exacerbated was the decreasing critical courses at a high standard in acting, direct- coverage of new productions taking place ing, playwriting, stage design and technical • Inchicore College of Further outside of the capital and outside the major theatre. Loughlin Deegan, formerly artis- Education (accredited courses in festivals. The rise of blogging has helped, tic director of Dublin Theatre Festival, Theatre Studies, Dance Studies, in some ways, to address this – at least for has been the director since it opened, Technical Theatre and Costume and theatre. Two prolific bloggers who would and has developed a bustling and prolific Make Up) be familiar faces to theatre audiences are school that engages respected industry

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• DIT Conservatory of Music and 3.2. Recent publications of interest Drama (undergrad, postgrad and short courses in Performance and 03. • Performance Art in Ireland: A History Musical Theatre, among others) (2015) – the first book devoted to resources the history and contemporary forms of Irish performance art, bringing This mapping report gives a very sweeping together contributions by prominent and broad overview of the current situa- Irish artists and major academics. tion of the performing arts in Ireland, and undoubtedly misses much or the nuance • That Was Us: Contemporary Irish in the current climate. For further infor- Theatre and Performance (2014) - mation, here are some listings to online critical essays and artist reflections resources and publications. that strive to make sense of some of the most significant shifts and trends 3.1. Comprehensive online listings in contemporary Irish theatre and performance. • Irishtheatre.ie (managed by Irish Theatre Institute) is a fully compre- • The Oberon Anthology of hensive searchable website listing Contemporary Irish Plays (2012) - details of all professional companies, eight new plays by Irish playwrights venues, festivals, support organisa- premièred between the years 2006 tions, and more. The database covers and 2011. all performing arts, not just theatre. • Essay on Text in Irish Contemporary • Playography Ireland (managed by Irish Dance (2011) – commissioned by Theatre Institute): a database of all DanceIreland new Irish plays produced profession- ally since 1904. • Irish Moves: An Illustrated History of Dance and Physical Theatre in Ireland • Highlights of Irish Design for Stage (2006) & Screen (managed by Irish Theatre Institute): to be launched later in 3.3. Key funders, support & development 2015, this will give an overview of the organisations work of Irish designers working for stage and screen. • Arts Council of Ireland – the Irish government agency for developing • Culture Fox (managed by the Arts the arts Council of Ireland): an online guide to upcoming Irish cultural events. • Culture Ireland – promoting Irish arts abroad Useful Twitter lists to follow (though neither are exhaustive): • Arts and Disability Ireland - The organisation exists to promote Individuals working in the arts in Ireland: involvement and engagement in the https://twitter.com/lianbell/lists/ arts by people with disabilities, as irish-arts-people artists, audiences and arts workers. They offer resources, support and Organisations working in the arts in research, and are active in supporting Ireland: https://twitter.com/lianbell/lists/ venues and companies to make their irish-arts-orgs performances more accessible to audience members with disabilities. ADI also manage the Arts Council’s

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Arts and Disability Connect Scheme, formed membership organisation supporting artists with disabilities to that exists to support and advocate make new and ambitious work in any on behalf of the sector, disseminate artform. information and provide networking. It is a member of European • Arts Audiences - A partnership ini- Network for Circus & Street Arts tiative between the Arts Council (Circostrada), and is partnered with of Ireland and Temple Bar Cultural the MA in Festive Arts at the Irish Trust dedicated to develop audience- World Academy of Music and Dance, focused thinking in cultural organisa- University of Limerick. tions, particularly in relation to audience development and marketing. • Irish Theatre Institute - ITI is a prolific Arts Audiences aim to help organisa- support organisation whose work tions to measure and increase their covers many areas: information pro- audiences, through dedicated events vision (such as their website www. and training. Detailed research and irishtheatre.ie), support & mentor- reporting is available on their website. ing services (such their Six in the Attic programme), research, online projects • Association of Irish Stage Technicians & publications (such as Playography - A membership organisation run by Ireland) and networking, promotion a voluntary board that exists to pro- & showcasing (such as their annual mote best practice, safety and tech- Information Toolbox during Dublin nical training for stage technicians. Fringe Festival). Offers short technical courses and safety training, informal peer men- • Theatre Forum - A membership toring and support, and information organisation that covers the areas provision via the website. of information provision (e.g. job listings, model contracts, opening night • Create - The national development clash diary), training and professional agency for collaborative arts in social development (e.g. annual performing and community contexts, working arts conference, short courses, co- with artists of all kinds. A membership producing MAKE and the Next Stage), organisation that provides advice and research (e.g. analysis of Arts Council support services, programmes talks and Local Authority funding, payscales and an annual networking day, and research) and policy and advocacy. provides information via their web- Theatre Forum was the founding site. Create also administers the Arts member of the National Campaign Council’s Artist in the Community for the Arts. Scheme. Further information on Irish companies, • Dance Ireland - A membership organ- venues, festivals and much more can be isation, based in the purpose-built found at www.irishtheatre.ie DanceHouse, with 6 rehearsal studios, a resource room and exhibition spaces. Provides artist training, support and development, residencies and events for the sector, and disseminates information via a regular e-bulletins.

• Irish Street Arts, Circus and Spectacle Network - ISACS is a relatively newly

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