Annual Report for 2003 – 2004

“I just want to do our school trip over. The teachers were so nice to set up a trip like that- it was the best. My favourite part was Levity Luminarium – it was a blast.” ANNUAL REPORT FOR 2003 – 2004 YOUNG AT ART LTD Room D105, Central Building Stranmillis University College BELFAST BT9 5DY CONTENTS INTRODUCTION PAGE 3 FESTIVAL 2003 PAGE 5 Programme Accessibility Audience & Participants Partnerships DEVELOPMENT & OUTREACH PAGE 9 Festival Outreach Sure Start Inner East Image Theatre Project The Storyshapers School Friends Festival on Tour Toolbox for Teachers Image & Imagination C-TEXT Other Discrete Partnerships MARKETING, PROFILE & PUBLICITY PAGE 16 Promotion of Festival 2003 Promotion of the year-round programme General company profile THE YOUNG AT ART TEAM PAGE 20 Board of Directors Core Staffing Festival Staffing Volunteers Project Staffing CONSOLIDATION PLAN PAGE 24 Summary Background to the Consolidation Plan Consolidation Plan FUNDING & FINANCE PAGE 26 Core & Public Support Trusts & Foundations Sponsorship Earned & Partnership Income Finance APPENDICES PAGE 27 Event-by-event summary of the festival Analysis of Festival Audiences/Participants Analysis of Development & Outreach Audiences/Participants Media Coverage for the year 2 INTRODUCTION So much has happened in a short twelve-month period it is difficult to know where to begin. The best area to start with is the highlights, the purpose of Young at Art. In 2003 – 2004, Young at Art entertained inspired and enabled nearly 16,000 children and young people, their teachers, youth leaders and parents to be creative and play a role in the cultural life of Northern Ireland. Events took place all over Belfast as part of an international festival, bringing Europe to Northern Ireland and hopefully sending a positive image of this place back in the memories and experiences of the visiting artists. Work from the Festival also traveled throughout Northern Ireland, reaching new audiences with new and vibrant creative opportunities. Indigenous artists were supported and encouraged to make work, both for themselves and for young audiences and participants, providing possibility for everyone involved – the possibility that artists can create high quality work for young people as a professional career and the possibility for young people that people just like them can be artists. Young at Art also engaged with large numbers of young people who, for one reason or another, had been pushed to the edges of provision and marginalised. A highlight of these encounters was the exercise in image theatre with young mothers from East Belfast when, in response to an image created by two of the young parents, another participant responded, “I saw children”. Young women moved from hiding their faces to sprawling on a floor, comfortable, relaxed and singing at the top of their voices - as an inspiration for future work, what could be better than that! The year has also had its sadder moments. The departure of Programme Manager Rebecca Hunter and Outreach Officer Suzanne Marner left two gaps that we do not attempt to fill. Their legacy however, has been harnessed, and the organisation continues to grow and develop with the vibrancy and passion they contributed. Ophelia Byrne’s role as Director from August – November 2003 was a catalyst for the consolidation process Young at Art embarked upon in 2003 – 2004. Young at Art should also acknowledge the contribution of Dr Hamish Fyfe who left the Board this year. Few organisations find staff or strategic change easy and to encounter both simultaneously has put a large strain on all the staff this year. A final acknowledgment should be given to Alice Jackson who joined Young at Art shortly before the year started and has worked closely with the rest of team with imagination, dedication and initiative. After the stresses of the year, the year ended with a new beginning, the planning of the next festival (and the next) and a range of other projects, the securing of new funding for the coming year and planning for new staff recruitment. Thanks must be given to those who supported Young at Art to complete its programme this year, reach ever-increasing numbers of young people and look to the future. To the government departments and public agencies who funded the organisation and its projects and gave advice and information; to the trusts and foundations who have been supporting the festival since it was a good idea back in 1998 and also to those who invested in it this year; to the sponsors who worked with us to give something back into the local community; to the small local businesses and individual entrepreneurs who for nothing other than philanthropy, agreed to do more for less; and to the artists whose imagination, professionalism, sensitivity and enthusiasm still leaves us speechless, Young at Art says a wholehearted thank you and see you next year. Ali FitzGibbon Director 3 ‘Superb! One of the best children’s events ever in N Ireland.’ ‘Thought it was wonderful. Plenty to see and do and something for everyone.’ ‘Good stuff, not too expensive.’ 4 THE FESTIVAL IN 2003 A FESTIVAL OF DREAMS PROGRAMME The Young at Art festival ran from 22 – 28 May, straddling the second bank holiday in May and running for a total of 8 days. The theme of dreams was reflected through an imaginative, original and coherent programme, featuring international and local artists and a wide variety of art forms. The festival successfully struck a balance between participatory and performance events and included events bridging these definitions as well as crossing art forms. Many events were open to all ages with babes in arms and octogenarians attending and over 11,000 people took part. Programme Manager Rebecca Hunter acting as Director completed the festival programming with great success. She drew together an exceptional programme, supporting the organisation’s objectives, stimulating its audiences and contributing to the ongoing growth of a local community of professional artists working for and with young people. In addition, the programming of the festival in 2003 reinforced its identity as an annual event with a reputation for high quality and quirky innovation. The festival programme continued Young at Art’s international commitment with artists from Switzerland, Germany, and also a large presence from the rest of the UK and the Republic of Ireland. For a number of these artists (even those from Britain and Ireland) it was their first experience working in or visiting Northern Ireland. The festival also hosted Vicky Ireland, member of the ASSITEJ (Assoc International pour le Theatre et Jeunes) World Executive and former Artistic Director of Polka Theatre, in its annual Open Space forum. Creating a two-way introduction between artists from outside Northern Ireland and the audiences within remains a core element of the festival’s artistic policy. The high attendances at all the festival events, including the international work, demonstrate that the festival’s audience is keen to see new work and willing to take a risk. It also suggests that the Young at Art brand is recognised and trusted as a symbol of quality by local families, schools and youth groups. The return of world famous attraction the Levity Luminarium demonstrates the growing reputation of Young at Art on the international touring circuit. Young at Art also continued its commitment to indigenous artists, programming and commissioning a wide variety of local work. A new production Chilly in the Dark Times was commissioned from local company Monkeyshine (now Theatre Oomf). Paul Marshall, Amanda Montgomery and Angela George were commissioned in a partnership with the Lyric Theatre to complete the final phase of the Sonic Sculpture Garden on the Stranmillis Embankment. Fermanagh- based design team Genevieve and Jon Designs were commissioned to produce a giant Dream Machine installation with accompanying workshops. Including its own new commission, Young at Art presented 3 local productions, something that was impossible to imagine in its early festivals. Other events included workshops and an installation by Sticky Fingers, the launch of Replay Productions’ new writing project, animation workshops by Dream Ireland, giant Kaleidoscopes, teaching resource and DVD launches, and dream catcher workshops. Prevailing weather conditions resulted in the cancellation of only one event during the entire festival – Hot Air Balloon rides over Belfast. The third element of the programme was the showcasing of young talent and creativity. Once again Young at Art worked in partnership with the BIFHE Centre for Performing Arts showcasing its students’ end of year production of Animal Farm and providing theatre performances in the east of the city. The festival collaborated with the National Youth Music Theatre (shortly before its demise) in a musical theatre outreach project working with boys aged 10 – 19 in East Belfast. The work of Share Arts – its Zoetrope and the films it produced with Cardboard Technology Films – appeared at the Waterfront and OMAC, while the Big Bed installation created by Sticky Fingers and pre-school play groups in Belfast and Derry, were also displayed at the Ulster Museum. Details of the Festival programme and some analysis of attendances is included in the Appendix, along with a final account of the festival budget. ACCESSIBILITY The festival’s presence in Belfast as a citywide and accessible event stood out in 2003, with performances and workshops in unusual locations and also many non-arts locations in north, south, east and west of the city. Young at Art experimented with moving events around the city and out of traditional arts venues. Theatre Sgaramusch performed Snow White in the Old Museum Arts Centre, New Hill Youth Club, Black Mountain PS and Malvern PS, while the Whalley Range All Stars took their incredible performance/installation PIG to the Waterfront Hall, the grounds of Stormont, Belfast Castle Parklands and An Culturlann.

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