Making the most of your local broadcasters
A Voluntary Arts Toolkit Making the Most of your local broadcasters A Voluntary Arts Toolkit
Making the most of your local broadcasters
CONTENTS Foreword...... 3 1.Your Local Radio Station...... 4 2. Your Audience...... 7 3. Making A Connection...... 8 4. A Good Story...... 9 5. Writing A News Release...... 10 6. Interviews...... 12 7. Local Television...... 14 8. Think “Partnerships”...... 15 Acknowledgements...... 16
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FOREWORD
People from amateur arts and craft organisations do what Amateur theatre is at the heart of many they do because they love what they do. That’s what the word communities around Britain, providing “amateur” means. And you want to share that love with others. opportunities for people of all ages to get Local broadcast media provide you with a chance to do just that. involved in a creative hobby, as well as They’re a way to showcase your work, raise your profile, grow entertaining local audiences. audiences and attract new members. Whilst there are already many instances of local Yet too many groups and practitioners have little or no idea radio showing interest in amateur productions, how to use local broadcasting effectively. Their efforts to with a rapidly changing broadcasting scene publicise events, performances, courses or workshops are often made up of more community radio stations - as haphazard and unproductive. well as a growth in community television - there is a need for guidance about how best the worlds That’s why Voluntary Arts and NODA - the National Operatic & of broadcasting and theatre can work together. Dramatic Association – have devised this ‘toolkit’ to help you make the most of your local broadcasters. As the main representative body for amateur theatre, NODA is constantly seeking new ways There are huge opportunities out there. For example, seven to support the thousands of committee members million people listen to BBC local radio each week. Many more who run amateur theatre groups on a voluntary tune in to local commercial stations. This guide will help you basis, and therefore welcomes the production of reach those listeners more effectively. this toolkit. There are also some 200 community radio stations, run mainly The hope is that this toolkit will make it easier by volunteers. These offer thousands of hours of airtime just for amateur theatre, local radio and TV to work waiting to be filled with engaging and creative local content - together to provide creative and engaging content you can provide. content for listeners and viewers, to supplement And a new era of truly “local” television has begun with new what can be seen on stage. channels being rolled out across the UK, all of them eager to connect with groups like yours. Tony Gibbs This guide has been compiled by broadcasting professionals Chief Executive, who know the industry inside out. It features case studies National Operatic and Dramatic Association which show what can be achieved with the right preparation www.noda.org.uk and imagination. It builds on the success of the Up for Arts collaboration with BBC local radio stations in England. We believe this toolkit will make it easier for you and your fellow volunteers to “share the love” and to persuade others to explore the creative possibilities on their doorstep.
Robin Simpson, Voluntary Arts Chief Executive
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1.Your Local Radio Station
A BBC local radio station is a uniquely powerful medium for telling your community what your organisation is up to. If you need to recruit volunteers, find a performance space, sell tickets or just get noticed then your local BBC station is the obvious place to start. How you use this resource may range from having a simple “What’s On” announcement read out on-air to collaborating on a full- scale OB (outside broadcast.)
BBC Radio In Scotland The public service radio broadcaster (in English) for Scotland is BBC Radio Scotland. It is a “national” station serving the entire country. As such only the most unusual, ambitious or eye-catching stories from a local arts or crafts group are likely to receive significant coverage. But if you think your event or performance falls into one 91% of people in the UK listen to the radio of these categories you may attract interest from one of each week. And most of them listen to local BBC Radio Scotland’s speech-based news programmes stations, BBC and commercial. A small but (e.g. Good Morning Scotland) or a specialist arts growing number of listeners are tuning in to programme such as The Culture Studio. community stations. Radio, especially local A short-lived experiment in Scottish local radio ended radio, remains a powerful and effective tool for in the 1990s with the closure of half-a-dozen of BBC you to promote the work of your organisation. local stations in centres like Inverness, Aberdeen and Dumfries. Limited local services do survive. Listeners This toolkit will offer tips on how to make the in Orkney and Shetland “opt-out” from BBC Radio most of the medium where you live. But first, Scotland at fixed times each day to hear extended news some context... programmes covering local events and issues. Limited local news opt-out bulletins can be heard in South The BBC West Scotland, the Borders and the Highlands & Islands. Gaelic language broadcasters Radio Nan Gaidheal and BBC Local Radio : England its TV counterpart BBC Alba serve their own distinctive The first BBC local radio station, BBC Radio Leicester, audiences. opened its doors in 1967. Today a network of 39 stations across England and the Channel Islands provides BBC Radio In Wales listeners with local news, information, features, debate As in Scotland, BBC local radio on the English model and music. More than 7m people tune in to their local never really took off in Wales. Radio Gwent closed in BBC station each week. Station schedules are designed 1991. Radio Clwyd followed two years later. around speech-based programmes where local people get the chance – and the time – to talk about local life and BBC Radio Wales is the English language public culture. service radio broadcaster for Wales. BBC Radio Cymru performs the same function for the nation’s Welsh- “This quality local speech content together with a focus speakers. Though another “ national” broadcaster, BBC on listener involvement... and local community events Radio Wales serves a population equivalent to the makes the service highly distinctive within the UK’s radio English West Midlands, making access to the airwaves market.” for community and cultural groups with news to share a [ BBC Trust Review of Local Radio 2012 ] little easier.
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BBC Radio Wales’ emphasis on speech programming gives it a daily appetite for good stories that will engage its audience.
BBC Radio In Northern Ireland Northern Ireland has a fully-fledged BBC local station, BBC Radio Foyle, which serves the area around County Londonderry. BBC Radio Ulster is the national public service radio broadcaster. With a 22% share of listening in the province, the station has a long-established reputation for high-quality programming which reflects For example, Rutland Radio - part of a small community life and culture in all its diversity. Lincoln-based group of stations - has a “Going Out Guide” listings feature, broadcast on every show 7 days a week. The station also engages with local COMMERCIAL RADIO organisations via “Rutland Radio Action” with on-air mentions and links to local groups via the station Older listeners may recall the days of “pirate radio” in website. the 1960s. But local commercial radio in the UK began in earnest in 1973. London’s LBC and Capital Radio “Corby Silver Band are always happy to welcome were followed onto the air by Radio Clyde in Glasgow. any new brass or percussion players, but are Then came a host of big city stations whose names - particularly looking for bass and tuba players. Piccadilly (Manchester), Radio City (Liverpool), BRMB There are no membership fees and they have a (Birmingham) and others - came to define a whole selection of instruments for loan. More details can era of pioneering “independent” radio, funded through be found at www.corbysilverband.com “ advertising. Though the emphasis was on pop music, [Rutland Radio Action, October 2013] substantial air-time was also devoted to local news coverage, phone-ins, the arts, sport and even politics. Forty years on, the commercial radio landscape is a lot Will your local commercial station can give you air-time different. There are now more than 300 commercial to promote a concert or find new members? There’s a stations, almost all of them pursuing the same youthful simple way to find out. The regulator Ofcom requires audience with a strict formula of chart-based pop. every commercial radio broadcaster to display a PUBLIC FILE on the homepage of the station website. It’s usually Much of what was local and distinctive about commercial hidden away at the foot of the page in tiny print so look local radio has been lost. Scores of stations have become carefully. “brands” owned by one of the sector’s “Big Three” networks: Global Radio (Heart, Galaxy, Gold, Xfm), Bauer The Public File will tell you what opportunities the station Media (Kiss, Magic) and Guardian Media Group (Smooth, has for community and voluntary groups to publicise Real, Rock Radio). themselves and it will list the names and contact details for the journalists you’ll be dealing with. Stations now share programmes, even newsrooms. The expansion of DAB radio has barely expanded the range of listening available ( always assuming you can get a DAB signal...) And the result? Less variety, less COMMUNITY RADIO “localness” and fewer chances to connect with your communities in a meaningful way. But don’t despair! There are more than 200 community radio stations located across the UK. You can find out if there’s one Commercial stations serving some radio markets, near you at the website of the Community Media especially in smaller towns and rural areas, are often able Association (CMA) at www.commedia.org.uk to break free of formats and formulas ( a.k.a. “pop and prattle”) to provide space for genuine community-based These stations tend to cover a small geographical area content. and are run on a not-for-profit basis, usually by teams
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of volunteers. They can cater for whole communities or for different areas of interest e.g a particular ethnic group, CASE STUDY age group or interest group. Bedfordshire-based Jamrock Radio (“The Ofcom – which issues community radio licences – insists Voice of Young Luton”) has been an online that stations create direct links with listeners and local radio station for the last 7 years. It secured an organisations, offer training opportunities and make sure RSL to broadcast locally on an FM frequency local people can take part in how the station is run. Full throughout Black History Month in October community radio licences are awarded for periods of 2013. It aims to secure a permanent FM licence. up to 5 years. But groups can also apply to Ofcom to broadcast for a limited period with a Restricted Service “We’ve been able to help local young people Licence (RSL). learn about music technology and production. And we’ve given young musicians from the RSL durations can last up to 28 days. These are local FM area the chance to perform on-air throughout or AM broadcasts, often used to “pilot” a community radio the month. Our teaching staff at Jamrock Media station. But they also allow broadcasts from festivals, are fully qualified teachers who are not only exhibitions, sports events and schools. passionate about creative arts but also have Audiences may be small, but an RSL can be great way genuine passion for working with young people.” for your organisation to make an impact locally either [ Marlonn Morgan, Jamrock Radio ] as a contributor or – if you have the capacity – a licence holder. Groups interested in applying for an RSL can get help from the CMA and from Ofcom at www.ofcom.org.uk If setting up a “real” radio station using a transmitter isn’t for you, online radio is another option. The CMA offers help to voluntary groups to set up their own online stations using a system called Canstream. Promising “easy, reliable and affordable internet radio” it allows you to subscribe for as little as £25+VAT a month. You can then use your social media links to share your radio content online. For more visit www.canstream.co.uk
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2. Your Audience Every broadcaster has its target audience. Most Classic FM listeners will have little in common CASE STUDY with those who prefer Kerrang! Before you deliver “Wordplay Workshops” BBC Radio Lancashire your “message” on the radio you must identify Partners: Up for Arts(Voluntary Arts), Dead Good the correct “address.” Poets (Blackpool), Richard McSween (local author) Voluntary arts and crafts groups are rarely highlighted & Lancashire Writing Hub by national broadcasters. That makes local radio - along BBC Radio Lancashire hosted six creative writing with local press and social media - your most relevant and sessions in Jan/Feb 2013. The project was effective communication tool. championed by the station’s afternoon show with Ask yourself : an hour slot every week. Presenter John Gilmore • what type of audience do we want to engage with? hosted an OB from Accrington Library and another from Colne on World Book Day featuring readings • which local station(s) are they likely to listen to? from the Pendle Poetry group and interviews with • is there a particular programme we should local authors. approach? “ The workshops were a great success, with The average age of a BBC Local Radio listener is 50+. approximately 10 regular attendees enjoying Audiences include many retired people with time on their gaining new skills and making friends. All said hands, keen to try something new. they were now likely to join a local creative writing However each station is also obliged to make a range of group. One has even had his poem set to music by programmes that appeal to the widest possible audience. a local musician, who now performs it regularly!” For example, every BBC Local Radio station across Helen Randle, Up for Arts Co-Ordinator England and the Channel Islands now broadcasts a BBC Listen to feedback from project members : Introducing programme from 8pm on Saturday evenings, www.voluntaryarts.org/wp-content uploads/2013/04/ featuring new music by young local performers. Where CREATIVE-WRITING-VOX.mp3 specialist music, ethnic minority or arts programmes are part of the schedule these can be a reliable route for you to connect directly with your own “target audience.” Check your local station website to find out if such programmes are broadcast where you live. Most local commercial stations target listeners aged 16-34. Be realistic. Appeals for volunteers for handicraft sessions or old-time dancing won’t find their way onto the Fab FM Breakfast Show with Smashy & Nicey. Every commercial station covets its own “station sound” and “station image.” These tend to be youthful, irreverent, urgent and relentless. If your sound and your image don’t fit, forget about getting onto the air. As we’ve seen, some commercial stations do value their role providing a genuine notice-board for community news BBC Radio Lancashire Afternoon Show host John and information. See their Public File to find out what’s Gilmore at a Wordplay Workshop in Blackburn, possible on your local station. February 2013 There may be exceptions, but don’t expect them to devote large amounts of airtime to the details of what your group does. You’re more likely to get that from a community station. But remember, these usually don’t command large audiences.
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3. Making A Connection
staff. But if you or a colleague is a friend or neighbour of a station boss then make the most of that connection. Don’t be bashful about it. Station managers expect to be approached with requests for help and ideas for content. It’s part of their job spec. Many presenters like to share their interests, enthusiasms and passions with their listeners. Make a mental note if they appear in the local media supporting a good cause, a local festival or an arts group. It may give you an “in” when you want to approach them for publicity or support.
Newsrooms Radio newsrooms – especially in the commercial sector – have fewer staff than they used to. In commercial radio BBC Radio Merseyside’s Paul Salt and a single newsroom may have to serve up to three or four members of the Liverpool LGBT Choir different local stations. If that’s true where you live, don’t expect too much. But larger stations with their own news operation may You’ve got a show or a workshop to advertise. have a Planning Desk. This will be staffed by a journalist You’re trying to attract new members. You’ve whose job it is to look ahead and identify possible stories sent out Twitter and Facebook updates. You’ve to cover in the future. If you think you can offer a strong told the local paper. What next? idea for an interview, feature, strand or even an OB then it’s worth approaching the planning desk to discuss it. Local radio stations are busy places. They’re one of the Again just ask reception for details. Give your station hubs of any community. They have to deal with hundreds plenty of notice about upcoming events. Sending material of messages, press releases, circulars, requests and through on the day of the event is almost always a waste complaints every day. So how do you make sure your of time. message gets through? Email or Royal Mail? Find the right contact Easy. Use both for that initial contact. Traditional letters For most stations the CONTACT US link on their and news releases printed on paper still have their place. website is a good starting point. But if you can send your Forget whatever you read about “paperless newsrooms.” message to a named individual then so much the better. Most stations still keep a physical diary or diary file as They could be a presenter, a producer or a member of well as an electronic one. Send a paper version if you can the news team. Call the station reception desk to get the as back-up. number or email address you need. If you get a positive personal response do keep your contact’s details; they’ll come in handy the next time. The people in overall charge of local stations are usually called Managing Editors (BBC) or Programme Controllers or Managing Directors (commercial radio.) These are unlikely to respond directly to your query or news release themselves, preferring to delegate to junior
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4. A Good Story
this on the radio? If I was listening, would I really be interested? If the answer is “No” then have a re-think. Your stories and announcements must be NEW. That’s part of what makes any story “news.” They may have happened before (e.g. an annual show or exhibition) but not the day before yesterday. They must be TOPICAL. The longer ago something happened the less newsworthy it is. Always LOOK AHEAD to alert listeners to upcoming events and performances. Don’t waste time telling local media what’s already happened. You can make an exception if a strong news angle emerges e.g. a broken attendance record or a large sum raised for a local charity. NB: even bad news can be “good” news. If your Art Therapy at Aintree Hospital: organisation is struggling for funds or members, or has PARTIA & BBC Radio Merseyside been a victim of crime, don’t be afraid to tell people. You’re part of a wider community which could rally round Speech radio has an endless appetite. Hours to help you. On-air publicity may help you survive a crisis. of airtime need to filled each day. And every And many groups end up stronger than before, having programme-maker is looking for good stories, gained new supporters and built new networks. stories that grab the attention and linger in the memory. And the best stories are always about CASE STUDY people. Publicising an event or initiative is best done through ViTA the words and experiences of the people involved, you and your members and volunteers. Practical details of ViTA (Volunteering in the Arts) is a new and venues, opening times, ticket prices etc. have their place. exciting volunteer partnership between the But you have to tell a good story. And it’s the human National Operatic and Dramatic Association connection that makes a listener sit up and take notice. (NODA), Voluntary Arts England and Up for Arts. Whatever you’re doing - hosting a workshop, holding an The programme’s focus is to match creative, audition or staging a festival - give it a human face: skilled volunteers to arts volunteer vacancies within local amateur theatres across the North • the drama enthusiast who’s spent 50 years West of England, where help and support is treading the boards needed. • the person overcoming illness to teach a NODA theatres have lots of volunteer skill to others opportunities available and are eager to open • the recipient of a national award their doors to new volunteers or draw in skilled • the teenager who’s joined his grandma’s expertise around marketing/PR, social media, knitting circle costume design/manufacture and sound/lighting. • the kids inspired to take up dancing by watching ViTA campaigns on local radio aim to provide a “Strictly” ...and so on. platform for more effective promotion of groups, to sustain and enhance audiences and to attract Try to develop a “news sense.” Put yourself in the more volunteers. It’s a win-win situation. position of a radio producer. Ask yourself: can I hear
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5. Writing A News Release
voluntary arts and crafts groups are concerned, this often applies where a local council, a benefactor or a Royal Visit is involved. Broadcasters aren’t obliged to stick to your embargo and may try to negotiate with you to have it lifted.
KISS: Keep It Short & Simple Stations deal with piles of correspondence every day. If you’re sending your release by post, try to keep it to one side of A4. If you’re using email, send the release in the body of the message and as an attachment – it makes it easier for whoever reads it to file it away for future use and to share it with colleagues.
Decide Your “News Angle” Spending time thinking about what to write as the first sentence of your release. Journalists are always looking A well-written news release ( the term “press for the “top line” of any story i.e. the most important release” is falling out of favour) is the key to fact. Decide what it is about your story that makes it grabbing local media attention. different, unusual, new or inspiring. Don’t waste time with unnecessary detail. As you compose the release keep It won’t guarantee you coverage. Airtime is a finite your writing “tight” using short, “punchy” sentences. resource and there are lots of groups and individuals competing for it. There has to be a good reason for sending out the release and a broadcaster willing to air it. Write Your Own Headline Journalists are busy people. Providing them with an We all enjoy a good headline. Fleet Street’s finest can informative, well-crafted news release means they won’t dine out for years on the best ones (“Gotcha!” or “Freddie have to spend too much time re-writing it. But a poorly- Starr Ate My Hamster”). A strong, simple headline gets constructed release can be the difference between a reader to stop and pay attention. Even if you’re not a getting noticed and being ignored. journalist you and your group can have some fun devising an eye-catching headline.
SOME BASIC RULES Always Be Selling “OK, From The Top...” Too many news releases are written and distributed on a Make sure your release is clearly labelled from the outset. “take-it-or-leave-it” basis. Your group name and/or logo should be at the top of your Your release is a form of advertising. You’re “selling” what script. Then come the words “NEWS RELEASE” and you do. Just stating that event X will take place at location the date by which you want the information broadcast. Y between 2pm and 5pm isn’t good enough (unless you Usually this will be “For Immediate Use.” simply want a “What’s On” notice read out on-air). You have to make people want to drop their plans for the Embargoes day and come along. How would you persuade a friend or If you have something especially newsworthy to report neighbour? Promise people a bit of fun, companionship you may want to place an “embargo” on any broadcast or the chance to learn something new (or all three!) until a specific time or date. Organisations often request embargoes to give a news release greater impact or to co-ordinate it with other media coverage. Where
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It’s All About People SAMPLE NEWS RELEASE If your release is about a person or people it has a greater chance of being picked up and used for content. Speech-based local radio loves getting real people to talk about real life. Where possible include a quote from a spokesperson or a member of your group.
Send A Picture Even if you’re sending your release to a radio station, a good-quality photo ( or series of photos) can give an added flavour of what your group is offering. Showing the colour, excitement or scale of your event helps you make a getting on-air coverage. And many stations are happy to host your images on their own websites, too.
“Notes For Editors” starlight community So you’ve written your news release. It has the facts dance group and quotes that will inform people and generate media NEWS RELEASE 20/10/2013 interest. But your task isn’t over. For immediate Use At the end of most releases comes a section of practical factual information to help the media outlet you’ve IT TAKES YOU TO TANGO! contacted. This is usually called “Notes For Editors.” The passion and rhythm of Buenos Aires is coming These should include: to Anytown. And you can be a part of it! The Starlight • something about your organisation or group e.g. Community Dance Group is offering free “taster” when it was founded, where it’s based, what it’s classes for people who want to try the Tango. purpose or ‘mission statement’ is The group says TV shows like “Strictly Come • precise details of the time and location of any event Dancing” have generated new interest in the • any additional event details e.g. directions, parking sensual Argentine dance. Starlight founder Lindy arrangements, admission prices, age restrictions Hopp hopes the classes will boost membership of etc. the group. • contact details (‘phone and email) for the person Says Lindy: responsible for dealing with press enquiries “People watch tango on the telly and think, yes, • contact details of any potential interviewees (subject I’d love to give it a go. They may be complete to their consent) beginners, or they may have given up dancing years ago. It doesn’t matter. If they come to Starlight they’ll • a link to your website and/or Facebook/Twitter get a warm welcome and have a great time.” account, if you have one. The classes begin at 6pm on Monday 21st October Rounding up such details and labelling them in a “Notes” and are for over 18s only. section means your media contact can concentrate on the “news” element of your story. Your news release will Notes for Editors then do what it has to do – attract attention and persuade • Starlight Community Dance Group meets at the a broadcaster to share your story with local listeners. Methodist Hall, Market Street, Anytown on Mondays and Thursdays. • Visit our website www.starlightcdc.com • For more details contact Lindy Hopp on 555 5125
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6. Interviews
Do your research. You may think you are the person to speak to about upcoming your activity, event or performance, but it’s worth seeking advice from colleagues. Don’t get caught out by changes to venues, times, guests etc. that no- one’s told you about. Where appropriate go through any relevant local media coverage or press cuttings to give you the “bigger picture.”
Know who and what to expect. Check out which presenter or reporter will be conducting the interview. They may have a certain style you need to prepare for and work around. Sober and serious? Or wacky and edgy? Find out. Do they have an “angle” they wish to pursue and, if so, does it suit your purposes ? Establish the line of questioning beforehand ( i.e. areas to be covered, not specific questions).
Interviews are the bread-and-butter of speech radio. Establish the ground rules. Find out how long the interview will last. Will it go out If you’re invited to be interviewed on-air DON’T PANIC! “live” or be pre-recorded? The chances of being “grilled” Paxman-style are remote ( unless you’ve done something you shouldn’t have). Will it be on location, in a studio or “down the line?” 99% of all broadcast interviews are non-confrontational, Will you be alone or part of a group? Will your item be where both sides have an interest in sharing community edited, and if so, how much ? If you’re on the ‘phone, information. use landlines if possible for a more reliable signal and a stronger sound. Avoid distracting background noises. Appearing on the radio is, for most people, a Big Deal. But it’s also a big opportunity to get your message Practice across to thousands of local listeners. So make the most of it. Listen to the programme you’re going to contribute to and get a feel for it. All BBC and most commercial stations have a “listen again” option on their websites. Listen to BE PREPARED other people’s interviews if you can. Imagine how you Good preparation is the key to a successful interview. might have responded. If you have a specific message to Here are some things to bear in mind once you’ve deliver then practice saying it aloud. But don’t overdo it: said “yes” to going on-air. you still want to sound natural and conversational when your “slot” comes. Know your audience. Stay calm Who is likely to be listening? What time will you heard? Establish just who the broadcaster’s target audience is. Radio and TV studios are busy places, so give yourself Tailor your message – and your language – accordingly. plenty of time to get there. Arrive at least 20 minutes before you go on the air. Make sure you know where to What do you want from the interview? park. Forget about luxurious “green rooms” - they don’t Before taking part, decide what key messages you want exist. Listen to what the producer/reporter or presenter to get across and stick to them. Re-iterate them if you tells you. And make sure they know exactly who you are have to without being repetitive. Encourage follow-up and whom you represent. responses from listeners by sharing your ‘phone details, website, social media and email addresses.
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INTERVIEW TECHNIQUE So, the red light goes on and you’re on the air. Here “Paint a picture” are some tips to help you make the most of your Use plain language and anecdote where possible. An interview. interview is “a conversation with a purpose” so converse with your interviewer and your audience. If it’s relevant Be smart and feel comfortable refer to your own personal experiences. If you’re First impressions matter. A smart, businesslike passionate about what you do let it show. appearance will put your interviewer at ease and get them “onside.” For TV interviews avoid distractions such Whatever you do DON’T... as outlandish “look-at-me” clothes, ties or jewellery and • lose your temper or get into an argument; untidy hair. • rustle notes or papers if you’re on the air In a pre-recorded interview if you’re uncomfortable with • swivel in your seat or move away from the microphone anything – and perhaps losing your train of thought - don’t • read from a prepared script (though it’s OK to have a hesitate to stop the interview and start again. few brief notes to hand) Be concise and clear …and never say “No Comment.” If you do the listener Use simple everyday language. Avoid jargon and will automatically assume you’re trying to hide something. excessive detail. Listeners are busy people and they’re If possible promise to come back to the interviewer with unlikely to be taking notes. But you can always direct additional information or a more considered response. listeners to your websites or social media pages to encourage them to find out more.
CASE STUDY LIVERPOOL SEWING CLUB Up for Crafts is a two-year Heritage Lottery-funded collaboration between Voluntary Arts and BBC Radio Merseyside. It aims to involve listeners in fabric-based heritage crafts through live events, radio features and on-air promotions. March 2013 was designated Sewing Month. A one-day workshop at the Williamson Gallery in Birkenhead drew more than 30 people, while 55 took part in a similar event at Liverpool’s Bluecoat Arts Centre. Among those lending a hand was Beth Edmondson of the Liverpool Sewing Club. Beth was a lively and inspiring interviewee in an item recorded for the radio station’s drivetime programme: LISTEN https://soundcloud.com/voluntary-arts/sewing
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7. Local Television
A new era of local broadcasting has arrived. Truly These channels are all anxious to make links with their “local” television is here. communities. They’re all hungry for material they can put on the air. There have been unsuccessful experiments in local TV The new channels will soon be turning up at your shows, in Britain before, often linked to local newspapers and filming your activities and interviewing your organisers, but aired on cable or satellite services. In North & North East only if they think there’s something worth broadcasting. Lincolnshire subscribers to Virgin Media have enjoyed their Apply the advice found in this toolkit and you stand a better own local channel since 1997. chance of appearing on a TV screen near you. Now, digital technology - and a demand for local ( as opposed to regional) news - has made local TV a more attractive proposition for potential broadcasters. The regulator Ofcom has awarded 19 licences for new CASE STUDY local commercial channels based in cities across the UK, Fallout Gallery Exhibition, Bay TV Liverpool including Belfast, Cardiff, Glasgow, Bristol and Birmingham. Due to go on-air in early 2014, Bay TV Liverpool A further 10 licences will follow in 2014, with as many as 50 already hosts filmed reports about local artists, locations having their own local stations by the end of the exhibitions and performers on the Art & Culture roll-out. pages of its website. Artist Steve Gibson To find out about your own local TV channel visit returned to his home city to exhibit works at the www.ofcom.org independent Fallout Gallery in Liverpool: The new channels will be available on digital terrestrial WATCH http://www.baytvliverpool.com/ television via Freeview. You’ll find them on Channel 8 in vod/?vid=NBV521fd48820aaf England and Northern Ireland and Channel 45 in Wales and Scotland. Grimsby-based Estuary TV is due on-air by November 2013, becoming the first new licence-holder to be seen via the Freeview platform. You can get a flavour of what’s on offer by visiting www.estuary.tv Several of the new channels already have an active presence online. They all feature local news, sport, lifestyle, features, debate, culture and community-based content. And they’ll offer the same mix when they begin broadcasting. Local TV is a huge opportunity for local arts and crafts organisations to reach out to new audiences. Make contact with your new TV stations. Tell them who you are, what you do and why you should be on TV! The new channels will be funded by advertising. Some BBC licence fee revenue is being used to help them get started. The BBC is also committed to screening some of the new stations’ content in areas like news coverage. But local TV won’t have the resources or personnel of the BBC, ITV or Sky. And that’s where you come in.
Page 14 Making the Most of your local broadcasters A Voluntary Arts Toolkit
8. Think “Partnerships”
It’s tempting for a voluntary arts or crafts group • Radio Lancashire breakfast show host Graham Liver to operate in its own little “bubble.” With all that learning to knit “live” on air, promoting a “People’s organising, recruiting, performing, exhibiting Patchwork” telling the history of the county. and fund-raising it’s easy to miss out on great Up for Arts is being extended to include BBC Radio partnership opportunities on your doorstep. By Cumbria. But you don’t need a formal partnership with a teaming up with other local groups – including broadcaster to make the most of your local media. Flair, imagination and a willingness to try something new can pay local media – you can maximise the impact of dividends. what you do. Some suggestions: Since 2009, Voluntary Arts’ Up for Arts project has brought • if you’re a performance group, take your next show “out BBC local radio stations in Merseyside and Lancashire on the road.” Supermarkets, hotels, sports venues and into contact with hundreds of creative groups in their public spaces can all be used as “newsworthy” location communities. New partnerships have been formed, new and you’ll attract interest from passers-by; audiences have been gained and thousands of listeners • try to get “buy-in” from one of your local station’s have “got creative.” And it’s made for some memorable presenters. They’re usually keen to leave their “comfort broadcasting. Some examples: zone,” so persuade them to take up a skill, a craft or • veteran BBC Radio Merseyside presenter Billy Butler even a musical instrument. The results could make for agreeing to pose for listeners’ life-drawing sessions led great radio; by a local artist; • get topical. Events like a Royal Wedding, a major • BBC Radio Lancashire’s Dancing Across the County, sporting event or something in the news can be with local libraries hosting classes run by Lancaster- exploited (in a nice way) to take advantage of popular based LUDUS Dance for 100+ attendees; interest; • Radio Merseyside presenters Sean Styles and Roger • try the “reality show” approach. Suggest to your local Phillips performing Romeo & Juliet before a studio station they might like to follow the “journey” of some audience to mark Shakespeare’s birthday; members or volunteers. Remember the best stories are about people.
CASE STUDY LANCASHIRE IN HARMONY This was part of the Up for Arts collaboration between BBC Radio Lancashire and Lancashire County Council. Thirteen singing sessions were held across the county in September 2013. The free sessions, held in libraries and museums, gave amateur singers the opportunity to work with a professional choir leader. Around 240 people took part in the sessions, several of which were broadcast “live” on the radio station. One workshop was brought into the Helmshore Textile Museum, providing a unique and memorable occasion for the venue and generating its coverage in the local media. Participants described the sessions as “excellent,” “enjoyable” and even “uplifting.” Hear what some of them had to say about Lancashire in Harmony here: https://soundcloud.com/voluntary-arts/lancashire-in-harmony
Page 15 ACKNOWLEDGEMENTS Grateful thanks to: NODA and Tony Gibbs for funding and supporting this publication. Up for Arts projects across the North West of England, for sharing their arts and craft stories. BBC colleagues for providing input, guidance and advice. This toolkit was compiled by Liam Fogarty. Liam is a former BBC reporter, producer and managing editor and has held senior positions in local and national radio and in regional television. A freelance journalist and media consultant, he’s also part of Bay TV Liverpool, winners of the local TV licence for Merseyside.
Voluntary Arts acknowledges funding from the Arts Councils of England, Northern Ireland and Wales and Creative Scotland.
Voluntary Arts is registered in Scotland as Voluntary Arts Network Charity No. SC 020345 and Company No. 139147 Registered address: 54 Manor Place, Edinburgh EH3 7EF
Voluntary Arts 121 Cathedral Road Pontcanna Cardiff CF11 9PH Tel: 029 20 395 395 Email: [email protected] Website: www.voluntaryarts.org