Arts Council of Northern Ireland
Review of the Musical Instruments for Bands Scheme
Final Report
February 2006 The Arts Council of Northern Ireland Review of the Musical Instruments for Bands Scheme
Contents
I Introduction and terms of reference ...... 1 History of band music in Northern Ireland ...... 1 Introduction to the Musical Instruments for Bands Scheme ...... 2 Terms of reference...... 3 Methodology...... 4 Report structure ...... 7 II Profile of bands...... 8 Geographical location of applicants...... 8 Socio-economic changes...... 9 Type of band, size and age profile of membership...... 10 Size of bands ...... 11 Age profile of membership ...... 12 Perceived religious affiliation ...... 13 III Analysis of funding...... 14 Awards by type of band ...... 14 Size of grant...... 15 Analysis of repeated applications ...... 15 Matched funding...... 16 IV Impact of new instruments...... 18 Impact of new instruments on the band...... 18 Perceived benefits to a wider community ...... 18 Case studies ...... 22 Impact of application being rejected ...... 29 V The Arts Council Assessment Criteria...... 31 Views of applicants ...... 31 Views of general public ...... 33 VI Public perceptions regarding the Scheme...... 36 Awareness ...... 36 Attitudes towards amateur bands ...... 37 Perceptions of the Musical Instruments for Bands Scheme ...... 40 VII Programme effectiveness in addressing government policies ...... 42 Programme for Government 2002 ...... 42 Unlocking Creativity – September 2002 ...... 42 Department of Culture, Arts & Leisure (DCAL)...... 43 Effectiveness of the Scheme in addressing government policies...... 43 VIII Future needs of bands in Northern Ireland...... 44 Key findings form the survey of applicants ...... 44 Key findings form the workshop with umbrella organisations...... 47 IX Conclusions and recommendations ...... 49 Key findings of the Review...... 49 Profile of bands in the first five rounds of funding...... 49 Amount of grant aid awarded to each band sector...... 49 Impact of new instruments ...... 49 ACNI assessment criteria and scoring scheme ...... 50 Perceptions of the general public regarding the scheme ...... 50 Future needs of the band sector in Northern Ireland...... 50 Recommendations ...... 51
Final Report The Arts Council of Northern Ireland Review of the Musical Instruments for Bands Scheme
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Final Report The Arts Council of Northern Ireland Review of the Musical Instruments for Bands Scheme Section I: Introduction and terms of reference
I Introduction and terms of reference
History of band music in Northern Ireland
1.1 Northern Ireland has a long tradition for amateur music-making, most notably in terms of bands and choirs. The tradition of bands, an Anglo-Irish phenomenon which reflects shades of the culture of the North of England and the British military establishment, goes back for over three centuries. Although the majority of players involved in banding today may be perceived to come from planters’ roots, there is a significant interest in brass, flute, accordion and pipe bands across both main cultural traditions.
1.2 Ulster amateur bands have always lacked the patronage and sponsorship that English bands enjoyed, especially in the 19th and early 20th centuries. English bands often had the benefit of being sponsored by large industrial companies who provided instruments, band rooms and the funds to employ expert conductors. The celebrated Black Dyke Mills Band is a classic example of this type of patronage. In Northern Ireland, due to scale and the lack of a strong industrial base, this environment was missing. Bands tended to use flutes as these were relatively inexpensive and readily available. Patronage came sometimes from the hand of a local squire, but more often arose from local links with the Orange Order which provided accommodation and offered marching opportunities in the summer months and occasional church services at other times of the year. Membership of local bands, as in England, was traditionally viewed as a working class (mostly male) recreation in the same way that pigeons and greyhounds are still perceived. This is now an unfair generalisation. Local bands recruit male and female members from all walks of life and from all religious backgrounds.
1.3 After World War I large numbers of Ulstermen came home having experienced military service in the armed forces. This led to a raised awareness of the attractions of brass bands. A few flute bands replaced their instruments to become brass and silver bands between the wars and this process was accelerated in the growing economic recovery after 1945. Accordion bands were an alternative to flutes, although they trace their roots more through Irish and English folk traditions. The Scottish piping fraternity is a direct and obvious result of Northern Ireland’s affection for its Ulster Scots legacy. In recent years, due to the unprecedented success of Ulster pipers and their subsequent invitations to play all over the world, the local piping scene has become much more cosmopolitan in terms of piping styles. This is clearly demonstrated by the strength of the annual William Kennedy Piping Festival in Armagh which has impressive credentials in Irish, Scottish, Northumbrian and Breton piping.
1.4 The local band scene operates at three levels. At the highest, band members show a huge commitment to weekly rehearsals and a virile culture of regular competitions. Ulster brass players still regularly compete in British and European contests. These bands are highly integrated and have no contact with party politics, the Orange Order, or street parades. The local brass and silver bands are less successful in these national competitions than they were 30 years ago, partly explained by the growing professionalism of the top English bands. Northern Ireland’s Scottish pipe bands, however, are amongst the best in the world, regularly defeating the most professional outfits from Scotland, Canada and Australia.
1.5 The next level consists of more modest community bands who have less interest in competition work, but who have a strong sense of local identity. Since the early 1970s there has been a strong rise in melody flute bands, on both sides of the main political divide. Here the musical content is perhaps less important than the outer trappings of cultural identity. Nonetheless, large numbers of young men, in particular, are involved in massive band parades in various provincial towns during the spring and summer.
Page 1 Final Report The Arts Council of Northern Ireland Review of the Musical Instruments for Bands Scheme Section I: Introduction and terms of reference
Most bands, at all levels, have a commitment to developing the musical skills of young members and many support beginners’ classes.
Introduction to the Musical Instruments for Bands Scheme
1.6 The Arts Council for Northern Ireland is the prime distributor of public funding for the arts. The Council became a statutory body on 1st September 1995 and its function includes developing appreciation of and access to the arts, encouraging the provision of arts facilities, advising government departments on matters relating to the arts and advocating the cause of the arts to government and other significant stakeholders. In addition one of the statutory functions of the Council under the Lottery Act 1993 is distributing Lottery proceeds to the arts in Northern Ireland. The principal objective is to fund applications for a broad range of capital and revenue projects in the arts which will make an important and lasting difference in the quality of the life of people in Northern Ireland.
1.7 It is highlighted in the Arts Council Music and Opera Funding Policy that the range of musical styles and forms the Council supports has broadened considerably in recent years through the advent of Lottery funding, benefiting the substantial voluntary sector, including amateur and community music groups and festivals of all kinds. Where formerly such work was supported through relevant ‘umbrella bodies’ or groups such as Northern Ireland Bands Association and Association of Irish Musical Societies, or through project grants directed towards the costs of working with professional musicians, the Council now assists individual groups directly with Lottery funds.
1.8 The Musical Instrument for Bands scheme has been designed to increase the quality of music making in the community by helping bands to replace worn out instruments and purchase new instruments. For the purpose of the scheme a ‘band’ may be:
Accordion/ Orchestra/ Band (part or melody marching) Brass band Concert band Flute band (part melody or marching) Pipe band Wind band
1.9 In November 1996 the Lottery Department of the Arts Council instituted a moratorium on capital equipment awards to individual bands. Before the moratorium, during the previous two years, the Council had made 106 awards to bands (out of 112 applications) totalling over £1.4 million. This constituted almost 10% of all Lottery Department Funding since its inception and almost 40% of the number of awards. This obvious imbalance in funding for bands and other arts underpinned the Council’s decision to pause the scheme and reconsider its strategy and procedures with regard to supporting the equipment needs of bands.
1.10 In 2000 the scheme was reviewed for the purpose of establishing a policy for future ACNI National Lottery funding to the band sector based on the identified needs of the sector. The key findings of this review are summarised in Table 1.1 overleaf.
Page 2 Final Report The Arts Council of Northern Ireland Review of the Musical Instruments for Bands Scheme Section I: Introduction and terms of reference
Table 1.1 Key findings from the review of ACNI Lottery Department Equipment Grant-aid to Bands Four types of bands dominate amateur bands in Northern Ireland: accordion bands, brass and concert bands, flute bands and pipe bands. Together they amount to 282, or nearly a third of all the amateur organisations.
Amateur bands can involve up to 10,000 individuals and the sector is spread quite widely across the province, with a significant portion of the accordion, brass and pipe bands located west of Bann. Awards made before the moratorium was introduced were quite reasonably spread across the province, however there was some evidence of clustering of awards for bands of certain types in certain areas. This reflects the high level of networking in the band sector and the competitive nature of band culture.
All types of bands included in the Amateur Arts database indicated participation in competitions organised by their umbrella organisations as the most important activity. Accordion bands and brass bands indicated giving performances in the community setting and participation in local festivals. In addition to these key activities, pipe and flute bands indicated parades.
The review provided a very rough approximation of the replacement costs for the stock of instruments in the procession of bands in NI but it was recognised the definitive data on the exact number of active bands or performance quality in NI is unavailable and a more comprehensive survey would be necessary to produce estimates of the size, age and value of the stock of instruments.
Only 55 bands out of 106 in receipt of grant-aid before the moratorium have returned ACNI self- assessment forms. Increased number of performances, increased number of recruits and more training opportunities and better performance for the community have been indicated as key benefits of awards for the wider community.
Two key problems have been identified by some of the bands: remaining inferior or worn-out instruments in need of replacement and inadequate premises for rehearsal and meetings, in particular for bands using Orange Halls but having no affinity to the lodge.
The review revealed a number of procedural difficulties, including difficulties that the applicants face in securing competitive and comparable quotes, and selecting and purchasing instruments within the timeframe of the grant. Main difficulties confronted by Lottery Officers and members of the Council were difficulty in assessing the quality of applications and the further difficulty of assessing the impact of funding on the bands themselves and the wider community.
The review provided a number of conclusions and recommendations regarding the administration of the scheme. These included the following:
(i) Changes in financial arrangements. (ii) Consideration of the long term needs of organisations applying for funding. (iii) Using existing competition adjudication systems and events in the assessment of applications and recording and independent assessment of performance when appropriate. (iv) Using fixed criteria for successful applicants in terms of provision of youth and access programmes, commitment to repertoire and delivery of at least 12 community performances a year (50% non parade). (v) Changes in grant administration including a system of vouchers redeemable by local suppliers and annual returns by the bands on their activity.
1.11 Following on from the review, The Arts Council launched a new scheme in 2002 and allocated a further £500,000 per year for four years. Since the inception of the new scheme 123 bands have been awarded a total of £1,999,646 through five separate rounds of funding.
Terms of reference
1.12 In November 2005 PricewaterhouseCoopers was commissioned by the Arts Council to undertake a Review of the first five rounds of the Musical Instruments for Bands
Page 3 Final Report The Arts Council of Northern Ireland Review of the Musical Instruments for Bands Scheme Section I: Introduction and terms of reference
Scheme. The Review was undertaken after the Scheme had been suspended in Spring 2005.
1.13 The review included the following tasks:
To examine the profile of bands in the first five rounds of funding (both successful and unsuccessful) across a range of characteristics:
(i) Type of band, size and age profile of membership. (ii) Geographical location. (iii) Perceived religious affiliation.
To quantify the amount of grant aid awarded to each band sector as well as indicating the number of repeat applications from each sector;
To examine the impact of new instruments in terms of the bands artistic quality and standard of performance, repertoire, technique development and education;
To consider the Council’s assessment criteria and scoring scheme and assess their ‘fitness for purpose’;
To consider the wider policy environment within which the scheme operated and its effectiveness in addressing government policy and priorities regarding the Arts;
To undertake consultation with the general public to obtain perceptions regarding the funding of The Musical Instrument for Bands Scheme; and
To identify and explore the future needs of the band sector in Northern Ireland.
Methodology
1.14 An overview of each stage of the methodology used to undertake this Review is set out in Figure 1.1.
Page 4 Final Report The Arts Council of Northern Ireland Review of the Musical Instruments for Bands Scheme Section I: Introduction and terms of reference
Figure 1.1: Overview of our approach
STAGES RESEARCH METHODS
1. Project Inception
Document review 2. Examine the profile of bands Analysis of database Survey of applicants
3. Quantify the amount of grant aid Document review awarded to each band sector Analysis of database
4. Examine the impact of new Case studies instruments Survey of applicants
5. Evaluate the Council assessment Document review criteria Interviews with key informants
6. Assess programme effectiveness in Document review addressing the government policies Interviews with key informants
7. Analyse public perceptions regarding Focus groups the Scheme
8. Identify and explore the future needs of the band sector in NI Workshop with umbrella organisations Survey of applicants
9. Analysis and Reporting
Desk research
1.15 The desk research involved a review of:
The Review of the Musical Instruments for Bands Scheme carried out by the Arts Council in 2000;
Application Guidance for the Musical Instruments for Bands Scheme;
In addition we reviewed the background documents for 2002-05 Scheme provided by the Arts Council; and
Government policy documents which refer to the development of arts in Northern Ireland.
Page 5 Final Report The Arts Council of Northern Ireland Review of the Musical Instruments for Bands Scheme Section I: Introduction and terms of reference
Database analysis
1.16 This involved obtaining the data on applications in the last five rounds of funding since 2002. The following sources of information were derived from the database:
Information on the amount of grant awarded;
Information on geographic location of bands (places of meetings and rehearsals); and
Contact information for the bands, including full postal address and phone numbers.
Key informant interviews
1.17 This involved 3 interviews with ACNI officers who are responsible for the implementation of the Scheme.
Survey of applicants
1.18 A survey of successful and unsuccessful applicants was undertaken. The population for the survey included 136 successful applicants and 131 unsuccessful applicants. We adopted a mixed mode approach to conducting the survey, including the telephone and postal elements.
1.19 A total of 50 successful and 51 unsuccessful applicants were interviewed or filled in the postal questionnaire. Overall this represents a 37% response rate for successful applicants and 39% response rate for unsuccessful applicants. The questionnaire which was designed in consultation with the Arts Council included questions associated with the application process, impact of new instruments, views on the Scheme and future needs of amateur bands in NI. The survey results have been included throughout the report.
Focus groups
1.20 We undertook 4 focus groups throughout the province including 2 groups of people interested in band music and 2 groups of those with no interest or connection with Bands. The following table illustrates the structure of the focus groups.
Table 1.2: Focus Group Profile
Group Gender Age SEC Interested in Area band music 1 Mixed 18-25 ABC1 No Belfast 2 Mixed 25+ C2DE No Dungannon 3 Mixed 18-25 C2DE Yes Coleraine/ Ballymoney 4 Mixed 25+ ABC1 Yes Derry/ Londonderry
Case studies
1.21 Six awarded bands were selected for in depth case studies. The case study quality criteria were developed around the terms of reference and this was agreed in advance with the Steering Group. The quality criteria included basic tuning, sense of ensemble, attention to detail, professionalism of the band members, repertoire, musical balance, basic aspiration to optimise potential and overall general impression.
Page 6 Final Report The Arts Council of Northern Ireland Review of the Musical Instruments for Bands Scheme Section I: Introduction and terms of reference
1.22 Each case study involved a meeting with the band conductor and band members during one of the rehearsal nights. The case studies were selected as per Table 1.3.
Table 1.3: Selection of case studies
Case study Lead Geography Value Community partner(s) affiliation Shankill Road Defenders Flute band Belfast £4.3K Protestant Flute Band Lurgan Concert Band Concert Lurgan £10K Mixed Mostly band Protestant St Malachy's Pipe Band Pipe band Dungannon £12K Catholic Edendork St Patrick’s Accordion Accordion Newtonhamilton £13.5 Catholic Band band 3rd Carrickfergus BB Silver/ Carrickfergus £15K Mixed Mostly Silver Band brass band Protestant Hamilton Flute Band Flute band Derry/ £32.4K Protestant Londonderry
Workshop
1.23 A workshop with umbrella organisations was undertaken. Nine representatives of various umbrella organisations attended the workshop to discuss the future needs of the bands sector in Northern Ireland. These organisations included:
NI School of Piping and Drumming Ulster Bands Association National Accordion Organisation of the UK NI Bands Association Flute Band league NI Bands Association – Accordion Band League
Report structure
1.24 The remainder of this report is structured around the terms of reference and is set out as follows:
Section II – Profile of bands. Section III – Analysis of funding. Section IV – Impact of new instruments. Section V - Arts Council Assessment criteria. Section VI – Programme effectiveness in addressing government policies. Section VII – Public perceptions regarding the Scheme. Section VIII – Future needs of the bands sector in NI. Section IX - Conclusions and recommendations.
Page 7 Final Report The Arts Council of Northern Ireland Review of the Musical Instruments for Bands Scheme Section II: Profile of bands
II Profile of bands
2.1 The Scheme under review was launched in 2002. The Arts Council allocated £500,000 per year for four years. Since the inception of the scheme 136 bands have been awarded a total of £1,999,646 through five separate rounds of funding.
Geographical location of applicants
2.2 The map of the places of rehearsal and meetings of applicants shows a widespread dispersal of the Scheme in terms of types of bands and the success of their applications. The maps showing the spread of successful applicants and unsuccessful applicants are provided in Figures 2.1 and 2.2.
Figure 2.1: Geographical spread of successful applicants
Page 8 Final Report The Arts Council of Northern Ireland Review of the Musical Instruments for Bands Scheme Section II: Profile of bands
Figure 2.2: Geographical spread of unsuccessful applicants
Socio-economic changes
2.3 It should be noted that there is a bigger concentration of applicants in the South and South West of Northern Ireland. With regard to the type of bands, pipe bands which applied to the Scheme are mostly located in the South West of NI with flute and accordion bands dominating the North, East and South East.
2.4 The bands were asked in the survey questionnaire to indicate where their membership was drawn from in terms of distance from the main place of meetings and rehearsal. Almost half of the bands stated that they drew their members from within 5 miles of the practice venue whilst almost the same number of bands indicated their members came from within 20 miles of the practice venue. Only twelve percent of the bands which responded to the survey stated that their members came from within 60 miles of the practice venue. The spread in the geography of membership is illustrated in Figure 2.3.
Page 9 Final Report The Arts Council of Northern Ireland Review of the Musical Instruments for Bands Scheme Section II: Profile of bands
Figure 2.3: Geography of band membership
Within 5 miles of the 12% 1% practice venue 42% Within 20 miles of the practice venue Within 60 miles of the practice venue 45% Missing response
Base 101
Type of band, size and age profile of membership
2.5 The analysis of the Arts Council database shows that pipe bands followed by flute bands constituted the majority of applicants for the Scheme. The profile of applicants by type is illustrated in Figure 2.4.
Figure 2.4: Type of bands
21% 32% Accordion Brass Concert 10% Flute 2% Pipe 35%
Base 267
2.6 As regards the successful applicants, pipe bands received the biggest number of awards followed by flute and accordion bands as shown in Figure 2.5.
Page 10 Final Report The Arts Council of Northern Ireland Review of the Musical Instruments for Bands Scheme Section II: Profile of bands
Figure 2.5: Type of successful bands
23% 35% Acco rdion Brass Concert Flute 14% Pipe 2% 26%
Base: 136
2.7 Among the main activities undertaken by the majority of the bands in the survey were participation in local festivals and events, parades, development of youth training programmes, participation in competitions and cross community work. This is illustrated in Figure 2.6.
Figure 2.6: Main activities of bands
Concerts
Charity Work
Parades
Cross-community w ork
Youth training programme/youth participation
CD production, radio recordings/other broadcasts
Participation in local festivals/events
Participation in competitions
0% 20% 40% 60% 80% 100% 120%
Base 101
Size of bands
2.8 The results of the survey of applicants show that the majority of bands which responded to the questionnaire have 20 – 40 members as shown in Figure 2.7. Overall, the membership in 101 bands totals 3,242 and there are on average 32 members in a band.
Page 11 Final Report The Arts Council of Northern Ireland Review of the Musical Instruments for Bands Scheme Section II: Profile of bands
Figure 2.7: Size of bands
6% 15% 25% up to 20 members 20 - 40 members 41 - 60 members 61 - 100 members 54%
Base 101
2.9 Based on responses to the survey questionnaire a typical band comprises up to 10 members playing percussion/ drums and more than 10 members playing musical instruments as shown in Figures 2.8 and 2.9.
Figure 2.8: Members playing Figure 2.9: Members playing percussion/ drums main instruments
none 2% none none 3%2% 11% 1-10 members 2% 27% 11% 42% 1-10 members 1-10 members 42% 11-20 members 45% 11-20 members 11-20 members more than 20 45% 68% moremembers than 20 more than 20 members member s
Base 101 Age profile of membership
2.10 The bands which responded to the survey question about the age profile of membership indicated that the young people under 18 constituted the majority of band members followed by people in the age group 19 – 30 and 31 – 39. The age profile of membership is shown in Figure 2.10.
Page 12 Final Report The Arts Council of Northern Ireland Review of the Musical Instruments for Bands Scheme Section II: Profile of bands
Figure 2.10: Age profile of membership
8% 0.3% under 18 25% 38% 19 - 30 31- 39 50 - 74 75+ 29%
Base 99
Perceived religious affiliation
2.11 In the survey the applicants were asked to indicate the community from which the membership of the band was drawn from. The majority of the respondents indicated the Protestant community as the main source of membership. More than a third of the bands indicated they had a cross-community membership. Only nine percent of the bands confirmed they mostly drew their members from the Catholic community. The community sources of membership among the surveyed bands are shown in Figure 2.11.
Figure 2.11: Members’ community affiliation
1% 33% Cross community Catholic community Protestant community 57% Not answ ered 9%
Base 101
Page 13 Final Report The Arts Council of Northern Ireland Review of the Musical Instruments for Bands Scheme Section III: Analysis of funding
III Analysis of funding
3.1 136 bands have been awarded a total of £1,999,646 through five rounds of funding. Fifty percent of applicants regardless of the number of times they applied to the Scheme, received a grant.
Awards by type of band
3.2 The number of applicants by type of band is reflected in Figure 3.1 below with pipe bands receiving the biggest number of awards followed by flute bands and accordion bands.
Figure 3.1: Number of awards by type of band
23% 35% Accordion Brass Concert Flute 14% Pipe 2% 26%
Base 136
3.3 It should be noted however that in terms of the total value of grants awarded, the accordion bands received most of the grant aid, followed by pipe and brass bands. The average size of grant has been £25,000 for brass bands and only £9,000 for flute bands as summarised in Table 3.1. This variation can be explained by the cost of musical instruments for different types of bands.
Table 3.1 Grant aid awarded to each band sector and average grant per band
Type of band Total number Total amount of Average grant Range of grant of bands grant aid per band aid awarded awarded Accordion 31 £613,109 £20K £5K – 40K
Pipe 47 £561,579 £12K £5K – 20K
Brass 19 £476,217 £25K £12K – 37K
Flute 36 £309,589 £9K £2K – 33K
Concert 3 £39,152 £13K £10K – 15K
TOTAL 136 £1,999,646
Page 14 Final Report The Arts Council of Northern Ireland Review of the Musical Instruments for Bands Scheme Section III: Analysis of funding
Size of grant
3.4 The analysis of the Arts Council database shows that more than half of the awarded bands received a grant in the amount of £10,000 – 20,000. Thirty percent of successful applicants received a smaller grant of up to £10,000 and only eighteen percent of bands received a grant of more than £20,000 as demonstrated in Figure 3.2.
Figure 3.2: Range of grants received by successful applicants
18% 30% up to £10K £10 - 20K £20 - 50K
52%
Base 136
3.5 The majority of successful applicants received the amount initially requested as shown in Figure 3.3. Only ten percent of the bands received grants of £100-1,000 less than requested and fifteen percent were given £1,000 – 5,000 less than they applied for. A small minority (4%) received significantly less than they expected.
Figure 3.3: Variation between grant awarded and requested 1% 3% as requested
15% £100 - £1,000 less than requested 10% £1,000 - 5,000 less than requested Base 136 £5,000 - £20,000 less than 71% requested £21,000 less than requested
Base 136
Analysis of repeated applications
3.6 Overall, 404 applications have been submitted to the Arts Council since the launch of the Scheme in 2002. 91 bands submitted repeated applications in different rounds of funding. The majority of repeated applications came from pipe bands and flute bands, followed by accordion and brass bands. The distribution of repeated applications by type of band is illustrated in Figure 3.4. It is interesting to note that 16 bands applied for funding more than twice.
Page 15 Final Report The Arts Council of Northern Ireland Review of the Musical Instruments for Bands Scheme Section III: Analysis of funding
Figure 3.4: Repeated applications by type of band
13% 20%
Accordion Pipe Flute 33% Brass 34%
Base 91
Matched funding
3.7 In the survey of applicants the successful bands were asked to indicate sources of partnership funding they were able to secure in order to match the lottery grant from the Arts Council. The majority of successful bands which responded to the survey indicated they obtained partnership funding from fundraising activities and personal donations of band members. Only 17 bands indicated sponsorship and in-kind donations as sources of matched funding.1
Figure 3.5: Sources of partnership funding
No ne 1 Public donations 1 Donation from LOL 1 Received a lottery grant 3 Funds from local community 1 Appearance mo ney 1 Co llection of co unty final 1 US Agency grants 1 Council grants 1 Fundraising activities 45 Inkind do nation 7 Spo nso rship 10 Perso nal donations of band members 39
0 10 20 30 40 50
Base 50
3.8 The unsuccessful applicants were also asked to confirm if they were able to find alternative sources of funding after their application had been rejected. The majority of the bands indicated they were unable to secure other sources of funding to meet their
1 It should be noted that some of the bands indicated a lottery grant as a source of matched funding and this should be qualified as a misunderstanding of the question as the bands could not have received two lottery grants.
Page 16 Final Report The Arts Council of Northern Ireland Review of the Musical Instruments for Bands Scheme Section III: Analysis of funding
needs while only seven bands agreed they found this funding elsewhere as shown in Figure 3.6.
Figure 3.6: Ability of unsuccessful applicants to obtain other funding
14%
Yes No
86%
Base 51
Page 17 Final Report The Arts Council of Northern Ireland Review of the Musical Instruments for Bands Scheme Section IV: Impact of new instruments
IV Impact of new instruments
4.1 This analysis is informed by views and opinions of the applicants and findings from six case studies carried out across various types of bands.
Impact of new instruments on the band
4.2 More than half of the bands which received an award from the Arts Council strongly agreed that the new instruments helped them to enhance artistic experience and improve standard of performance. There has been less confidence shared by the respondents in relation to the contribution of the new musical instruments to greater success in competitions and extension of repertoire. The majority of the bands agreed that new instruments contributed to individual techniques development while more than half of the respondents confirmed new instruments allowed them to enhance recruitment of new band members. The views of the respondents on various impacts of new instruments are summarised in Table 4.1.
Table 4.1: Impact of new instruments on the band
Strongly Agree Neither Disagree Strongly Not agree agree nor disagree answered disagree The new instruments 66% 26% 4% 2% 2% enhanced artistic experience The new instruments 66% 28% 4% 2% helped to improve standard of performance The new instruments 32% 30% 20% 2% 2% 14% contributed to greater success in competitions The new instruments 34% 34% 20% 4% 4% 4% allowed us to extend our repertoire The new instruments 34% 54% 6% 2% 4% contributed to individual technique development The new instruments 46% 40% 12% 2% allowed us to enhance our recruitment of new band members Base 50
4.3 In addition, 19 respondents provided their views on other impacts the new instruments had on their bands. For example:
5 bands have been able to teach children and young people as the equipment became available; 4 bands noted they looked more professional with new instruments; and 4 bands agreed new instruments broadened their appeal.
Perceived benefits to a wider community
4.4 The survey also asked the bands about the benefits the acquisition of new instruments produced for a wider community. The majority of the bands either strongly agreed or agreed that as a result of funding they increased the number of performances and involvement of children and young people. However, the bands demonstrated less confidence in what concerned the increase in the number of higher quality recruits,
Page 18 Final Report The Arts Council of Northern Ireland Review of the Musical Instruments for Bands Scheme Section IV: Impact of new instruments
more cross-community and cross-border involvement and involvement of disabled or older persons. These perceptions are illustrated in Table 4.2.
Table 4.2 Benefits of funding to a wider community
Strongly Agree Neither Disagree Strongly Not agree agree nor disagree answered disagree As a result of funding we 42% 40% 12% 4% 2% increased the number of performances As a result of funding we 46% 44% 8% 2% increased the involvement of children and young people through a youth or access programme The grant allowed to 22% 38% 30% 6% 2% 2% increase the number of higher quality recruits The grant created 18% 30% 34% 12% 4% 2% opportunities for greater cross-community involvement The grant created 18% 12% 40% 22% 4% 4% opportunities for greater cross-border involvement As a result of funding the 8% 10% 50% 22% 4% 6% band involved more disabled and older persons Base 50
4.5 27 of 50 successful applicants provided their views on other benefits of funding to their communities. For example:
12 bands agreed new instruments enhanced the band’s profile generally; 6 bands noted both the band and the community have more pride; 6 bands have been seen more in public; and 3 bands agreed new instruments gave more confidence to their members.
4.6 Some individual views of the respondents are presented in Table 4.3.
Table 4.3 Views of the bands on other benefits of funding
‘We are able to participate in festivals and concerts for cancer research and other charities’.
‘Generally we have become more visible to the public and there is now a greater local sense of pride for the band within the community. The community now take pride in the band'.
‘We now have a wider following of fans and have had more people requesting shows’.
‘We do a lot more outdoor work as well as performing in old peoples’ homes’.
‘The funding has raised the standard of pipe bands throughout NI. Our band now travels further to concerts and functions etc.’
‘It has given us a vehicle for young people to be part of something and this improves discipline. More entertainment for the community’
Source: Survey of applicants
Page 19 Final Report The Arts Council of Northern Ireland Review of the Musical Instruments for Bands Scheme Section IV: Impact of new instruments
4.7 The survey also asked the successful applicants what would have happened to the bands if the funding had not been in place. More than two thirds of the respondents stated they would not have been able to purchase new instruments without the funding from the Scheme as shown in Figure 4.1.
Figure 4.1 Outcomes for the bands in the absence of funding
2% 32%
66%
We w ould not have been able to purchase new instruments We w ould have purchased some of the new instruments by raising funds ourselves Not answ ered
Base 50
4.8 Increased participation of bands in competitions and concerts and improved overall success are important anticipated impacts of funding. More than two thirds (34 of 50) of the bands participated in competitions before receiving the funding. More than half of these bands indicated their participation in competitions increased as result of funding for new musical instruments as shown in Figure 4.2.
Figure 4.2 Participation in competitions as result of funding
3% Particpation in competitions increased Did not increase 44% 53% Not answ ered
Base 34
4.9 As regards the success of the bands which received funding from the Scheme in various competitions, half of the bands recognised their success increased significantly as result of purchasing new instruments as shown in Figure 4.3.
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Figure 4.3 Success of bands in competitions as result of funding
14% The success of the band has not changed The success of the band 51% increased slightly 35% The success of the band increased significantly
Base 37
4.10 It has also emerged from the survey of successful applicants that the majority (82%) of the respondents participated in concerts before they received the Lottery funding. The majority of these respondents agreed their participation in concerts increased as result of funding as shown in Figure 4.4.
Figure 4.4 Participation in concerts as result of funding
5% Participation in concerts 29% increased Participation in concerts did not increase 66% Not answ ered
Base 41
4.11 Nine bands which stated in the survey that they did not participate in any concerts prior to funding were also asked if they took part in any concerts afterwards. Four of these bands indicated they participated in concerts as result of funding, while two bands did not take part in any concerts and three bands did not answer this question.
4.12 Overall the majority of the bands agreed the Scheme made a positive contribution to developing an aspect of NI musical culture as shown in Figure 4.5.
Page 21 Final Report The Arts Council of Northern Ireland Review of the Musical Instruments for Bands Scheme Section IV: Impact of new instruments
Figure 4.5 Positive contribution of the Scheme to developing an aspect of NI musical culture
Strongly agree
Agree 5% 6% 1% 6% Neither agree nor disagree Disagree 24% 58% Strongly disagree
Missing
Base 101
Case studies 4.13 It emerged from the visits to the bands that all of the bands felt the Scheme was worthwhile and made a significant contribution to the good working of their ensembles. In every case it was felt that ACNI were right to focus on the purchase of instruments and not to get into other areas such as uniforms, hall rentals, conductors' fees etc. All of the bands were able to develop their training programmes for young players as a result of having additional instruments. This was seen as a major asset. All of the bands felt that having to match the funding on a 66/33 share was fair. Some commented that the extra enterprise added greatly to the life of the group. All of the bands felt that they had been treated well by ACNI staff and that the application process was relatively straightforward. The over-riding benefits were perceived in terms of musical values, i.e. enhanced tone, better tuning and intonation, more satisfying instruments to play et cetera. It was felt that the amateur music sector had had little enough support in the past and that this scheme put much-needed resources at an appropriate place in terms of community music. All of the bands considered that similar schemes should be run again, if resources could be found at government level.
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4.14 The following tables provide a summary of the key findings from the case studies.
Band: SHANKILL ROAD DEFENDERS FLUTE BAND
Rehearsal Venue: Linfield Supporters Club, Jumna Street, Belfast
Award £4,342
Instruments Purchased 30 new wooden flutes and a completely new drum corps.
Community Engagement This melody flute band has a very strong profile in the summer months in particular. There are annual marching events on 11th and 12th July on the Shankill Road and this band would have a strong presence at the Belfast demonstration of the Orange Order.
The band recently participated in a local project based on the impact of World War II and the Blitz on the Shankill district. The members have played at community events in the Spectrum Centre in Tennent Street and the band plays at various Christmas events in the neighbourhood.
The members of the band are increasingly involved in competitions during the Spring and Summer, both regionally and in Scotland. The band members enjoy taking part in the numerous band parades which occur in the summer months across Northern Ireland. The band enjoyed a recent tour to Canada where they played to Orange Clubs and British Legion Associations in the Toronto area.
Education Programme The band organises a beginners’ class led by adult members on Monday evenings from 6.30 – 7.30pm. This attracts a small number of boys in their early teens. Drop-out rates are sometimes disappointing.
Profile This is an all-male band; the average age is mid-30s. The perceived religious affiliation would be exclusively Protestant.
Perceived Benefits Development of a greatly enhanced drum corps which this band sees as essential due to their large commitment to street marches. On the first outing with the new instruments the band won the best melody flute band title at a competition in Dromore, Co Down. The drum corps has won several local competitions. Enhancement of basic flute tone entirely due to new instruments. Additional flutes facilitated new players to be enrolled.
Observations Would have liked a little more money; had asked for £5K. Did not like the tender system required by ACNI. Encountered a delay in procuring the Premier drums from Scotland. On balance, very positive about the Scheme.
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Band: HAMILTON FLUTE BAND
Rehearsal Venue: GLENDERMOTT PARISH CHURCH HALL, LONDONDERRY
Award £32,417
Instruments Purchased 3 alto flutes; 4 G treble flutes; 2 contrabass flutes
Community Engagement This concert flute band is one of the most respected Grade One flute bands in Northern Ireland, competing annually in the World Championship Contest organised by the North of Ireland Bands’ Association. The members give a strong weekly commitment throughout the year. Community involvement would include the following: church services, British Legion events, visits to the Foyle Hospice, Scouts services, community concerts, Soroptomist events, carol services and Remembrance Day services.
Education Programme There is a weekly junior section (ages 9-15yrs) with 8 learners coached by 4 senior players from the band. There is also a drummers’ class. Junior members are entered for the relevant practical examinations of the Associated Board of the Royal Schools of Music. The band encourages its younger members to be actively involved in their individual school music groups. The band actively recruits young players through its high profile in the community, through its programme of concerts and with letters to schools.
Profile The band has strong family connections with several generations tracing association with the band over many years. The age range is from 8-70 years; the average age is around 40. The perceived religious affiliation would be largely Protestant.
Perceived Benefits Now able to compete more equitably with the other flute bands in the championship grade. New flutes very satisfying to play. Enhanced technical aspects of playing. New flutes easier to play, with improved tone, intonation, tuning etc. Able to give existing flutes to younger players. Better musical balance within band.
Observations Band had to find £8K through various fund-raising strategies. Found it difficult to be continually asking the same core supporters for financial help. Experienced late delivery of some instruments from an English supplier. The band simply could not have funded new instruments on top of their other recurrent expenses, e.g. conductor’s fees, hall rental, new uniforms, instrument repairs, purchase of music, travel costs etc. Very affirmative of the scheme.
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Band: St MALACHY’S PIPE BAND, EDENDORK, DUNGANNON
Rehearsal Venue: St MALACHY’S PAROCHIAL HALL, EDENDORK, Co TYRONE
Award: £11,811
Instruments Purchased Completely new sets of pipes and drums; 15 pipes, 5 snare drums, 1 tenor drum.
Community Engagement This band has a strong profile in this rural community between Dungannon and Coalisland. Of interest, they have free access to a very large Parochial Hall which had been built by an enterprising Parish Priest in the late 1950s. The hall, a huge building given its rural setting, became a magnet for huge crowds and hosted such stars as Tom Jones and Engelbert Humperdinck. The pipe band are virtually the only group to use this unique building.
In the past year alone the band took part in a cross-community charity concert for the Tsunami Appeal (February), they played at a church service for the blessing of new band uniforms (March), they participated in the St Patrick’s Day Parade in Dungannon (March), they played at a football match in Edendork (May), they played at a men’s cancer awareness session in Dungannon District Council Buildings (June), were involved in a Fun Day at the local primary school (June), attended a further sports day in Brockagh (June), provided music at the Canal Walk in Coalisland (June), played at a Convention of the Irish National Foresters in Newry (July) and took part in a Vintage Club Working Rally in Dungannon (September).
Education Programme A juveniles’ class meets regularly and these young players are trained in the use of chanters before graduating to full sets of pipes. The small number of juveniles involved are well integrated with the rest of the adult members of the band.
Profile There are 25 adult members of the band, of whom 11 are women. The age range is from 15- 50. The perceived religious affiliation would appear to be largely Roman Catholic.
This band, which has a long history in the local parish, had collapsed around the year 2000. A small number of local enthusiasts rekindled interest and submitted an application to ACNI for new instruments. The subsequent award of nearly £12K ensured that the band was successfully revived and is now thriving.
Perceived Benefits This community based band was rescued from total collapse. The basic tone quality has been transformed. The new instruments restored band morale. Young people found the new instruments a positive incentive to join. Individual members are enjoying the pleasure of playing good quality pipes and drums.
Observations The application process took a long time to complete. ACNI staff were professional and helpful at all stages in the process. Band members were happy with having to raise their share of the funding. The parish supported the fund-raising through church gate collections and a weekly lottery organised by band members. The fund-raising developed strong commitment and fellowship amongst the players. One of the fund-raising events was a very popular golf outing.
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Band: LURGAN CONCERT BAND
Rehearsal Venue: KINGSPARK PRIMARY SCHOOL, LURGAN
Award: £10,000
Instruments Purchased 2 cornets, 2 trumpets, 4 clarinets, 1 E flat saxophone, 1 B flat saxophone, 2 flutes, 1 euphonium, 2 trombones, 2 E flat basses, drum kit. This represents virtually a complete new stock of instruments for a concert band (sometimes referred to as a Brass and Reed Band or – less frequently now – a Military Band).
Community Engagement This well-established band has a policy of trying to respond to as many local requests as they can manage. Regular activities include visits to senior citizens’ parties, church services, Christmas events, St Patrick’s Day parades, et cetera. The band can produce a smaller Swing Band from within its ranks and this is both popular and versatile. The Swing Band has separate rehearsals on Tuesday evenings. One band member described Lurgan as a cultural desert, with no civic choir or brass band. The chief outlet for musical activities is through a number of good local schools which support orchestras and choirs.
Education Programme A learners’ class is held each Friday evening from 7.30 – 8.30pm, immediately prior to the full and rehearsal. At present there are 2 flutes, 1 saxophone, 1 clarinet and 2 beginner adults in the learners’ group. The officers of the band are disappointed by the lack of young players, especially since so many new instruments are available. I shared my view that Friday evening rehearsals must surely not be attractive to teenagers. Fridays have traditionally been the preferred evenings for the older members of the band.
Profile Age profile ranged from 12 – 77 years and there is a reasonable mix of men and women, although the men are in the majority. The perceived religious affiliation would seem to favour protestants. I was struck by the broad social mix within this group.
Perceived Benefits Provided spare instruments for the learners. Improved the basic sound of the band. The new instruments were easier and more rewarding to play.
Observations There were no reservations about the form filling required by the scheme. A civil servant within the band dealt with the relevant application forms. ACNI staff were invariably helpful. Disappointed that the new instruments had not attracted additional players. The band used to have around 25 members; this has now dropped to 15 and there are sometimes difficulties in filling all the parts. The small numbers of young players is a concern to the band committee. The band needs to consider moving from a Friday night rehearsal to much earlier in the week, which is the pattern elsewhere in Northern Ireland.
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Band: 3rd CARRICKFERGUS BOYS’ BRIGADE & OLD BOYS’ SILVER BAND
Rehearsal Venue: CHRIST CHURCH HALL, NORTH ROAD, CARRICKFERGUS
Award: £14,792
Instruments Purchased 3 trombones, 1 euphonium, 1 baritone, 4 tenor horns, 2 cornets, 1 drum kit, 1 xylophone, 1 tam-tam (gong).
Community Engagement This is a highly respected band in this Country Antrim town, having grown from an early project driven by an exceptional and charismatic primary school principal in the 1950s. The band today has a strong link with the congregation of Christ Church on the outskirts of the town, from whom the band rents an exceptional hall for its rehearsals. The 3rd Carrick Band is regarded by many of the citizens of this ancient town as the Town Band and they get regular invitations to take part in civic events for the District Council, as well as playing for the Royal British Legion and at various church services et cetera. It is a tradition that the band members visit various old peoples’ homes on Christmas morning.
Education Programme Uniquely of the bands visited as part of this scheme, the 3rd Carrick Band has a complete junior band of 23 players who rehearse on Saturday mornings. The new instruments enabled this band to release the existing stock of instruments to the younger players. Prior to this the novices had had to play on several very ancient instruments, a situation that was less than ideal. In recent years, and owing much to the band’s excellent conductor, the juniors have brought credit to themselves at the Brass Band League solo, duet and quartet contests, as well as competing with credit at the BBL Junior Band class. Music graduates from within the band tutor the younger players as they prepare for ABRSM practical grade examinations. One current member has played with the City of Belfast Youth Orchestra, the National Youth Brass Band and the European Youth Brass Band.
Profile The age profile extends from 7 – late 50 year olds; the average age is somewhere in the 30s. There is a very good mix of men and women and the perceived religious affiliation is predominately Protestant. The rehearsal I visited was impressive for the quality of leadership shown by the conductor, his innate musical attributes and for the professionalism of the players in striving to achieve the high standard required by their director.
Perceived Benefits The scheme enabled the band to purchase high quality instruments; in the past they had managed with high grade second hand instruments sourced in England. Having instruments of a uniform quality (e.g. a completely new trombone section) made tuning and intonation much easier to achieve. The beginners now benefit from starting on much better instruments than had previously been the case. The new instruments are now contributing positively to improved results in competition work. (The band members joked that despite their name, they had been nick-named “4th Carrick” by other bands because of their poor showing in competitions.).
Observations The band encountered a few administrative problems at the earliest stages of the process, but these were ironed out after a useful meeting at ACNI. Over the period of the scheme the band correspondent found that he was encountering constantly changing staff at ACNI. This was a minor irritant, but was not seen as significant. The band members are whole-heartedly supportive of the scheme and considered it hugely worthwhile. The members thought that awarding only part of the funding was a good idea and this obliged band members to work hard to raise their share of the funding.
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Band: ST PATRICK’S ACCORDION BAND
Rehearsal Venue: CORRAN BAND HALL, near KEADY / NEWTOWNHAMILTON, Co. ARMAGH
Award: £13,500
Instruments Purchased This band purchased a full set of new instruments, 20 Dino Buffetti Italian accordions. This band began life as a flute band, changing to accordions in 1950. Many of the previous instruments had been in a very poor state of repair, so the new instruments have transformed this group.
Community Engagement This band has a strong sense of community in this part of the country close to the south Armagh border. The band plays at regular parades organised by the Ancient Order of Hibernians, as well as providing music at church events, football matches and other local occasions in the parish.
Education Programme I was immediately struck by the number of children and young people being expertly coached by a visiting tutor from Armagh. The little hall was bustling with activity when I arrived. I was also aware of a strong sense of family within the group. I was entertained to a lavish supper and it was obvious that the young players and their older counterparts have a real affection for the band and enjoy coming out to the weekly rehearsal. There is a beginners’ class each Monday evening from 8.00 – 9.00pm, the adults following immediately from 9.15 – 10.30pm. Each child has music set to practice each week and there is one-to-one tuition from a skilled local player who travels up from Armagh to provide instruction.
Profile Ages range from 7 – 76 years. Of interest, the majority of the junior players are girls but the majority of the adult players are male. Given the strong links with the parish and the AOH, the perceived religious affiliation would appear to be exclusively Roman Catholic.
Perceived Benefits The band members are now enjoying a stock of good instruments in a perfect state of repair. The arrival of the new instruments created a new lease of life for the band, stimulating an excellent sense of morale and improved self-esteem. The new instruments have further inspired the members to carry out repairs to the hall which is owned by the band. They now have a superb venue, with a useful little kitchen, for their use. The young players were given the previous accordions to take home to practice. The new instruments are in tune with one another so the tone of the band is greatly improved.
Observations Initially the band correspondent did not relish filling in the application form, but this proved not to be an obstacle. ACNI were helpful when guidance was sought. The instruments were sourced in Scotland as the band was unable to get a comparable quotation in Northern Ireland. The band found raising their share of the funds to be a worthwhile exercise. There was excellent local support in terms of sponsorship. The band members were enthusiastic about the scheme and very grateful to have been successful in their application.
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Impact of application being rejected
4.15 The purpose of this section is to explore what effect the rejection of the application had on the bands which did not succeed in applying for funding. The majority of the bands whose application was unsuccessful strongly agreed that their bands had limited opportunities to improve their standard of performance and found it difficult to recruit more band members. More than half of the respondents also agreed they were unable to increase the number of performances that they normally gave as result of their application being rejected. However, half of the bands stated they continued as before using their old instruments and their standard of performance remained the same. It should be noted that 51% of the bands recognised they continued using their old instruments but their standard of performance began to decline. These views of unsuccessful applicants are summarised in Table 4.4.
Table 4.4 Impact of application being rejected
Strongly Agree Neither Disagree Strongly Missing agree agree nor disagree answer disagree Our opportunities to improve 73% 14% 8% 4% 2% our standard of performance were limited We found it difficult to recruit 61% 18% 10% 6% 4% 2% more band members We were unable to increase 43% 22% 22% 6% 6% 2% the number of performances that we normally give We continued on as before 43% 20% 6% 14% 16% 2% using our old instruments and our standard of performance remained the same We continued on as before 27% 24% 24% 12% 10% 4% using our old instruments and our standard of performance began to decline Base 51
4.16 36 unsuccessful applicants provided their views on other impacts of their application being rejected on their bands. For example:
7 bands indicated they lost some members; 5 bands emphasised they lost enthusiasm; and 4 bands had to turn people away due to lack of instruments.
4.17 Some individual views of unsuccessful applicants are presented in Table 4.5.
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Table 4.5 Views of bands on other impacts if their application being rejected
‘Young members began to get impatient waiting on suitable instruments and some are talking about leaving….Older members are disillusioned as the band needs new instruments and the band is small, rural, not well off financially’
‘We were obliged to drop new trained prospective members as a consequence of an unsuccessful application’.
‘It’s the unsatisfactory appearance of the old instruments at events’
‘We lost a bit of drive and enthusiasm; the band had to work harder to compensate for the poor quality of the instruments’.
‘There was the financial burden of maintaining the high standard for successful competing bands. I have had to invest our own finances to raise the musical standard and performance’.
Source: Survey of applicants
Page 30 Final Report The Arts Council of Northern Ireland Review of the Musical Instruments for Bands Scheme
Section V: The Arts Council Assessment Criteria
V The Arts Council Assessment Criteria
5.1 Following on from the review of the Scheme in 2001, several proposals were made for changes in the approach to the assessment of applications. These proposals included the following:
ACNI, in conjunction with applicable umbrella groups, should use as much as possible existing competition adjudication systems and events in the assessment of applications;
For bands for which assessment through existing competition structures is not appropriate, ACNI shall arrange for the recording and independent assessment of performance by the band;
In addition to a demonstrated level of attainment in competition or independent assessment, successful applicants should demonstrate;
(i) a youth or access programme;
(ii) a commitment to repertoire and technique development; and
(iii) a record of at least 12 performances per year in the local community, at least 50% of which should be non-parade events.
5.2 Based on the series of consultation with umbrella organisations, bands and the results of the 2001 Review the Arts Council developed a set of criteria for the assessment of applications which are summarised in Table 5.1. These assessment criteria are also reflected in the structure of the application form.
Table 5.1 Arts Council Assessment Criteria
Name Type Public benefit and Maximum access to people form all sections of the society demand Involvement of children and young people Addressing needs of communities in areas of deprivation Commitment to equal opportunities
Quality & Quality of music performed and standard of performance achieved Development of Demonstration of need for instruments Arts Activity Anticipated impact of new instruments Commitment to repertoire and technique development
Financial Viability Sound financial and managerial footing and Quality of Comprehensive plan for managing the purchase Management
Partnership Minimum partnership funding 25% funding Demonstrated efforts in raising as much partnership funding as possible
Views of applicants
5.3 Both successful and unsuccessful applicants were asked in the survey if they think the selection criteria and the assessment process were fair. The majority of the respondents agreed the selection criteria and the assessment process were fair as
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Section V: The Arts Council Assessment Criteria
shown in Figure 5.1. It should be noted that in answering this question half of the unsuccessful applicants provided a negative response while only several successful applicants disagreed with the fairness of the assessment and selection process.
Figure 5.1: Are the selection criteria and the assessment criteria fair?
4%
29% Yes No Missing 67%
Base 101
5.4 Those applicants who disagreed with the fairness of the selection and assessment process were asked if these processes could be improved. Less than half of the respondents recognised these processes and criteria could be improved as illustrated in Figure 5.2. However it should be taken into account that the majority of these respondents were unsuccessful with their application and their response could have been significantly biased.
Figure 5.2: Can the selection process and the assessment criteria be improved?
3%
45% Yes No Missing 52%
Base 29
5.5 Some of the common suggestions on how the selection process and the assessment criteria could be improved are presented in Table 5.2.
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Section V: The Arts Council Assessment Criteria
Table 5.2: Views of bands on possible improvements in the selection and assessment process
‘More transparency in the decision making process, otherwise the applicants don’t know what happens during the assessment process’
‘The band should be met. People dealing with the selection should see what the band is doing. Every application should be treated as a genuine case’
Source: Survey of applicants
5.6 When asked about the quality of the application process the majority of the bands agreed this process could be improved as illustrated in Figure 5.3.
Figure 5.3: Could the application process be improved?
3%
39% Yes No
58% Mis s ing
Base 101
5.7 In particular 19 bands suggested a more straightforward documentation should be used and 7 bands would like to receive more information and advice on filling in the forms. It should be noted again that more than eighty percent of those respondents who expressed some criticism of the application process have been unsuccessful with their application.
Views of general public
5.8 During the focus groups the participants were asked about their views on the assessment criteria the Arts Council should apply for the selection of bands for Lottery funding. Some of the suggested criteria are presented in Table 5.3 in no particular order. It is important to note that the current assessment criteria used by the Arts Council had not been discussed with the focus groups at this point.
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Section V: The Arts Council Assessment Criteria
Table 5.3: Selection criteria suggested by focus groups
• Level of community involvement
• Level of band activity throughout the year and not just around events such as the Twelfth of July
• Level of involvement in charity work
• Number of band members
• Current number of instruments
• Length of time in existence
• Previous grants received
• Educational programmes – teaching young people to play different instruments
• Recruitment of young members
• Demonstrate long-term commitment
• Improving quality of music produced (not a major factor)
• Amount of money fundraised
5.9 The participants of the focus groups were also asked to rank a number of suggested criteria in order of importance. The results varied across the four groups, however it would appear that proof of need is viewed as most important with two of the groups agreeing that this should be ranked first. Involvement in the community and self- reliance were chosen by the other two groups as the key assessment criteria. Table 5.4 summarises the ranking.
Table 5.4 Ranking three most important criteria by focus groups
Criteria Coleraine / Dungannon Belfast Derry/ Ballymoney Londonderry Proof of need – number 1st 1st in band and current status of instruments Involvement within the 2nd 1st community (making music more accessible) Types of different 3rd 2nd activities conducted throughout the year Cross-community 2nd involvement Youth involvement – 3rd 3rd 2nd schools, educational awareness Self-reliance – ability to 1st 3rd raise funds and the overall management of the band
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Section V: The Arts Council Assessment Criteria
5.10 Some individual views of the participants of the focus groups are presented in Table 5.5.
Table 5.5: Views of focus groups participants on the selection criteria for bands “If there are instances where children have talent and have an outlet through bands this should be encouraged” Derry/ Londonderry respondent, interested in band music
“I don’t’ know how you would manage it but you don’t want to be giving out grants to a new band that then quickly breaks up and the money disappears” (Dungannon respondent, not interested in band music)
“The bands have to play and bring their music to peoples attention, especially young people, how else are they going to recruit the next generation of musicians” Derry/ Londonderry respondent, interested in band music
“Depending on how much the band contributes to the local community throughout the year and not just the Twelfth of July parades, like at the Lord Major’s Parade and Remembrance Sunday or cross-community parades ” Coleraine / Ballymoney respondent, interested in band music
Source: Focus groups
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Section VI: Public Perceptions regarding the Scheme
VI Public perceptions regarding the Scheme
6.1 Obtaining public opinion on the distribution of funding is essential to the strategic planning and budgeting. The Arts Council Lottery Funding Strategy 2002-2006 was underpinned to a great extent by a public consultation process.
6.2 In order to assess public perception of the distribution of Lottery Funding we undertook a series of 4 focus groups throughout the province between 10th – 17th November. The following table illustrates the profile of the group respondents. We considered it essential to consult with people who both had and hadn’t an interest in bands and that genre of music.
Table 6.1: Focus Group Profile
Group Gender Age SEC Interested in Area band music 1 Mixed 18-25 ABC1 No Belfast 2 Mixed 25+ C2DE No Dungannon 3 Mixed 18-25 C2DE Yes Coleraine/ Ballymoney 4 Mixed 25+ ABC1 Yes Derry/ Londonderry
6.3 Respondents were taken through a topic guide which asked respondents about their knowledge, experience and opinions of band music. After outlining what the musical instruments for bands scheme entailed, the discussion then progressed to discussing the scheme itself and the allocation of funding through the scheme.
Awareness 6.4 All respondents from each of the groups were aware of different types of amateur bands. Awareness of flute, accordion and pipe bands was greater than brass and silver bands. This possibly reflects the fact that flute, accordion and pipe bands are more prolific than brass and silver bands across the province.
“The only time I would see a brass band now is on TV Londonderry respondent, interested in band music
6.5 Some respondents considered flutes to be the most accessible instrument for people to learn to play when compared to other instruments. A number of respondents, particularly those in the groups with an interest in band music, played an instrument themselves and the flute was one of the more commonly played instruments.
6.6 Awareness of bands was largely generated through family and friend’s involvement in bands, or the individual respondents themselves being involved in a band.
“Almost a tradition, if members of your family are involved then this usually encourages the younger people within the family to join as well”
Dungannon respondent, not interested in band music
6.7 The respondents who played an instrument themselves had greater experience of band music, some having played in a band themselves. In addition both groups, those who played an instrument and those who did not, had experienced band music through parades and other performances, such as special services, competitions and other recitals.
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Section VI: Public Perceptions regarding the Scheme
Attitudes towards amateur bands 6.8 Broadly speaking respondents were positive about amateur bands and the different types of music played. There was an appreciation of the musicianship and the dedication required to be able to learn how to play an instrument and perform with other musicians.
“I love the timing, the skills and brining all the instruments together.” Londonderry respondent, interested in band music
6.9 When considering the good aspects of the music played by amateur bands, many respondents simply stated that it was enjoyable to listen to. Accordion and pipe music was perceived to be more traditional than flute music.
“Up holds tradition for some people in Northern Ireland”
Coleraine / Ballymoney respondent, interested in band music
6.10 Respondents regarded the quality of music played by the various types of bands to be of variable quality, this was seen to be influenced in part by the quality of instruments that bands had at their disposal.
6.11 One respondent pointed out that in some cases the role of a band is not only musical, they can bring people together and help to give young people something positive to do. “If young people are engaged in a creative activity at the very least it gives them something to do, at best it keeps them off the street drinking, smoking or worse”
Londonderry respondent, interested in band music
6.12 Many respondents indicated that bands helped to get young people involved in music and encouraged them to learn to play an instrument. It was also indicated that if children learned to play an instrument at school, involvement in a band helped to create continuity and encourage them to continue playing after leaving school, where in the absence of the band they may not continue to play.
6.13 Some respondents indicated that there was a strong cultural heritage element linked with bands music and that it was a means of bringing the arts to the public.
“There is a strong cultural heritage within the community and this music is a good vehicle for this”
Derry/ Londonderry respondent, interested in band music 6.14 A number of respondents indicated that amateur bands played a role in maintaining the cultural heritage of the province, in addition to this some respondents indicated that cultural tourism has developed around amateur bands.
6.15 This largely involved people travelling to the province to watch or participate in the various band competitions that take place. The most commonly referred to competition was the annual pipe band competition held in Portrush.
“A lot of people do go around the UK to all the different pipe band competitions. It does attract a lot of people to an area”
Dungannon respondent, not interested in band music
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Section VI: Public Perceptions regarding the Scheme
6.16 In addition to adding to the cultural heritage of the province, to a limited extent in some groups there was the notion that under certain circumstances bands could have a cross-community dimension. In the future in the absence of sectarianism band music could potentially become a cross-community interest.
“Needs to become less political and more about playing of the music” Dungannon respondent, not interested in band music
“I’ve seen bands playing at the Lord Mayor’s Show, this was a good way to get more exposure to cross-community audiences” Londonderry respondent, interested in band music
6.17 Regardless of whether bands help to create bridges between communities, many respondents indicated that bands performed a social role within a community. They help create a degree of social cohesion where people come together to either play in the band or support it.
“I’ve been in a band for 11 years, it is part of my life and they feel like an extended family.”
Derry/Londonderry respondent, interested in bands
6.18 In the view of a number of respondent’s bands need to promote their music more, the main way they envisaged bands doing this was performing more and bringing music to a wider audience.
“Bringing music into schools, letting people hear it live you have a greater appreciation for it.”
Derry/Londonderry respondent, interested in bands
6.19 There was also the view expressed by respondents in all groups that band music, parades in particular, has negative connotations amongst some elements of the public. It was indicated that for some there are associations with the parade season and the unrest that can occur at this time of year.
“In Northern Ireland, many people still associated bands with the parades”
Belfast respondent, not interested in band music
6.20 Respondents indicated that there is an element within bands who parade during the marching season who espouse negative values. For this group of bands it is less about the music and more about sectarianism. In this respect there is the perception that bands, or at least certain bands that can cause a cultural divide between communities.
“There is still an image of men wearing dark glasses and blowing whistles. It gives a bad impression of all bands.”
Derry/Londonderry respondent, interested in bands
6.21 A projective technique used during the focus groups, was to use images to see if there were any visual association with band music. Respondents were shown a number of images, they were then asked to think about each different type of band music in turn and indicate if they associated anything about the image with that type of music. Some of the association where due to the colours and shapes in the images and somewhere because of the theme or subject of the image.
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Section VI: Public Perceptions regarding the Scheme
6.22 The following image generated associations with pipe band music and the tradition scene looking out of part of what was assumed to be a castle.
“I associated pipe music with a castle – I suppose the Scottish connection”
Belfast respondent, not interested in band music
“I can visualise a lone piper playing here”
Londonderry respondent, interested in band music
6.23 The following image was commonly associated with silver bands and concert bands, this was due to the shape (which was seen to be similar to bell of a trumpet or trombone) and the sense of movement in the image.
“The excitement of a big selection of instruments coming together and the overall performance” Belfast respondent, not interested in band music
“The whirlpool resembles the shape of the end of a trumpet or trombone.” Londonderry/Derry respondent, interested in band music
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Section VI: Public Perceptions regarding the Scheme
Perceptions of the Musical Instruments for Bands Scheme 6.24 Almost all respondents agreed that amateur bands should receive grants for the purchase of new instruments. In receiving this money it helps to attract new members to bands and sustain them.
“Yes, bands with basic instruments will not attract people to join without funding for new instruments” Dungannon respondent, not interested in band music
6.25 In the groups respondents were asked about what criteria should be in place to decide which bands should receive funding. Respondents were invited to offer suggestions as to what the elements should be taken into consideration. Details on how respondents prioritised the various criteria are included at the end of the previous chapter.
6.26 Various issues came to the fore, it was seen as essential that bands should show a commitment to performing both within their community and beyond. Linked to this was a commitment to both improve and bring their music to a broader audience.
“This is important as it is a way to attract new members to bands. Commitment to play and bring their music to new audiences, particularly young people”
Londonderry/Derry respondent, interested in band music
6.27 Some respondents also pointed out that bands should also be able to raise funding for themselves and be self reliant to a certain degree. Other saw a bands ability to raise funds as a restriction to the amount of funding they should receive.
6.28 There was a degree of divergence in opinion between groups and within groups regarding whether restrictions should be placed on which bands receive funding. Within one group respondents did not consider it appropriate that any restrictions should be placed on which types of bands should receive funding. However, others stated that bands with paramilitary links should not receive funding. It was recognised that making a link between a band and a paramilitary organisation would be difficult and it was not considered appropriate that the Arts Council would have to police this.
“Bands that are known to be linked to paramilitaries on either side should not receive funding”
Dungannon respondent, not interested in band music
6.29 There was also a feeling amongst some respondents that some bands convene to practice and play only around the marching season. Some suggested that these bands should not receive funding, others suggested that more of an effort should be made to perform outside the marching season, therefore bringing band music potentially to a wider audience.
“Bands that only go out to be seen at the Twelve of July parade should not receive funding”
Coleraine / Ballymoney respondent, interested in band music
6.30 There was a strong feeling throughout the groups that if bands receive grant funding it is essential that they are accountable for how they spend it. Respondents suggested that they should be transparency in how the bands spend the grant funding they receive.
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Section VI: Public Perceptions regarding the Scheme
“As long as the money is being used for the right things”
Coleraine / Ballymoney respondent, interested in band music
“You can’t just hand this type of funding out blindly there needs to be some type of strict criteria that should be met”
Dungannon respondent, not interested in band music
6.31 Respondents also suggested various alternatives to simply providing bands with grant funding in order to buy new instruments. Suggestions were made to provide loan instruments rather than funding, there was also a suggestion that the ACNI could enter into an agreement with suppliers in order to buy the instruments more cheaply.
6.32 In addition to providing evidence to indicate that the money has been spent on the appropriate musical instrument, respondents also indicated that bands had a responsibility to take care of the instruments that they were given.
“Will people respect the instruments and not think we are getting these for free and shove them in a corner and not take proper care of the instruments”
Coleraine / Ballymoney respondent, interested in band music
6.33 Group respondents were asked to comment on what might happen to amateur bands in the absence of grant funding. There was a mixed response to this question, some respondents suggested that some smaller bands would cease to exist. Other suggested that bands existed prior to receiving this funding and would continue to do so in the absence of funding.
“You would lose a lot of the smaller bands that can’t keep afloat but the more established bands should survive through fundraising etc.”
Dungannon respondent, not interested in band music
“Bands existed before this funding and they’ll continue to exist when the funding is no longer available”
Derry/ Londonderry respondent, interested in band music
6.34 There was a suggestion by some respondents that the quality of the music may suffer if bands did not have the extra funding to replace old instruments.
“Eventually, if you can’t afford to repair or replace instruments then at some stage this is going to affect the overall quality of the music”
Coleraine / Ballymoney respondent, interested in band music
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Section VII: Programme effectiveness in addressing government policies
VII Programme effectiveness in addressing government policies
7.1 The purpose of this section is to set out our assessment of the effectiveness of the Scheme in the context of the wider government policies. The following sections summarise key government policies in the arts provision and provide an assessment of the Scheme’s effectiveness in addressing these policies.
Programme for Government 2002
7.2 The Programme for Government published in September 2002 has set out the Executive’s priorities in support of its vision of a “peaceful, cohesive, inclusive, prosperous, stable and fair society, firmly founded on the achievement of reconciliation, tolerance, and mutual trust, and the protection and vindication of the human rights of all”, based on “partnership, equality and mutual respect as the basis of relationships within Northern Ireland, between North and South and between these islands”.
7.3 These priorities are as follows:
Growing as a Community; Working for a Healthier People; Investing in Education and Skills; Securing a Competitive Economy; and Developing North/South, East/West and International Relations.
7.4 Within the priority of Growing as a Community, the sub Priority Cultural Diversity is ‘respecting, supporting and celebrating cultural and linguistic diversity and maximising the benefits of culture, arts and leisure activities’. This sub priority would also contribute to tourism, urban regeneration and economic revitalisation priorities.
Unlocking Creativity – September 2002
7.5 The Unlocking Creativity Initiative was approved by the NI Executive and is endorsed by the current Programme for Government (PfG). This outlines a range of proposed strategic aims and priorities as well as early actions designed “to secure a competitive economy”. The PfG signals a positive commitment to the role of the arts in achieving its purpose through “promoting creativity, entrepreneurship, innovation and competitiveness”. Within this the PfG intends, through its Unlocking Creativity initiative, to take steps to facilitate the development of the creative industries sector, enabling it to grow and contribute to promoting innovation and sustaining the knowledge economy.
7.6 The mission of the strategy is “to develop the capacities of all our people for creativity and innovation”. The implementation is underpinned by the following strategic aims:
to ensure full and coordinated provision for creative and cultural development in the curricula of formal and informal and lifelong learning;
to facilitate access to training and employment opportunities, and promote business development through creative and cultural development;
to validate the concept that creativity is central to all aspects of work, learning and leisure in Northern Ireland.
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Section VII: Programme effectiveness in addressing government policies
Department of Culture, Arts & Leisure (DCAL)
7.7 In the Corporate Strategy 2004-2007 the Department set out its vision as follows:
“A confident, creative, informed and prosperous community”
7.8 DCAL Corporate Strategy highlights that some aspects of Belfast as a Cultural Capital already exist and are accessible for people to enjoy, some aspects are not yet fully developed or are in need of attention, and some are currently latent, such as people’s talents that are not yet fully realised. Investment in the Cultural Capital should ensure that there is the right infrastructure in place to support the people who develop local cultural products and services, ensuring that local culture is accessible to people today, and sustained for people in the future.
7.9 In developing Northern Ireland’s Cultural Capital, DCAL made a commitment to promote the connections between people and places, between participation and enjoyment, and, in doing so underpin social inclusion, social capital and positive economic development of the region.
7.10 In developing key measures for success DCAL set, among other things, a target of maintaining or exceeding the level of participation across culture, arts and leisure activities against the 2002 baseline of 90%.
Effectiveness of the Scheme in addressing government policies
7.11 Based on the discussions with the Arts Council and conclusions on the impact of the Scheme this assessment can be summarised as presented in Table 7.1.
Table 7.1: Effectiveness of the Scheme in addressing government policies
Government policies and arts provision Programme for The Scheme contributed to the development of the cultural Government diversity in NI through funding of traditional amateur bands on both sides of the community and also those with cross- community membership. By providing amateur bands with funding for new instruments the Scheme maximised the benefits of arts and leisure activities by facilitating the attraction of new members and making it possible for the bands to enhance their artistic experience and activities within their communities. Unlocking creativity The Scheme has contributed to the development of capacities of people in NI for creativity and innovation through the creation of opportunities for amateur bands to enhance artistic experience, develop their artistic qualities and attract young people to participation in arts/ traditional music. Department of Culture, Arts The Scheme provided support to people who develop local & Leisure (DCAL) cultural products and services Corporate Strategy 2004- By funding the musical instruments for amateur bands the 07 Scheme opened up opportunities for the bands to attract new members and young people thus ensuring that local culture is more accessible to people today, and sustained for people in the future.
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Section VIII: Future needs of bands in Northern Ireland
VIII Future needs of bands in Northern Ireland
8.1 The future needs of bands in Northern Ireland were discussed with the bands sector during the 2001 Review of the Scheme carried out by the Arts Council. Two key problems were identified by the bands: inferior or worn-out instruments in need of replacement and inadequate premises for rehearsal and meetings, in particular for bands using Orange Halls but having no affinity to the lodge.
8.2 During the present review bands have been asked to identify the main areas of concern for the future of bands in NI and suggest recommendations for any future funding schemes for bands if any are envisaged by the Arts Council.
8.3 Key umbrella organisations, including the Flute Bands League, Ulster Bands Association, National Accordion Organisation of the UK and Accordion Band League have been invited to discuss the needs of the bands sector and identify main concerns for the future of amateur band music in NI. The following sections present some of the key findings from the survey of applicants and discussion with umbrella organisations.
Key findings form the survey of applicants
8.4 74 respondents to the survey provided their views on main areas of concern that might affect the future viability of their bands. Some general views included the following:
36 bands highlighted that funding would remain the biggest challenge in the future due to the costs of running a band including uniforms, transport etc;
13 bands indicated the attraction and retention of young people was key to the viability of bands in NI;
9 bands emphasised the need for new musical instruments as one of the key areas of concern.
8.5 Some individual views of the respondents are presented in Table 8.1.
Table 8.1 Main areas of concern for the future of bands in NI “At times it is extremely difficult to get young people interested…. The commitment of the younger members in the years ahead…. It is difficult to attract and retain younger people…. We struggle to bring young people into the band”
“Finding competent trainers…money is needed for qualified tuition”
“Condition of equipment and instruments…The band might have to stop if instruments are not replaced”
“A drop in membership, failure to replace losses from a youth section, or if any reason our practice hall was taken away”
“We need to keep new members coming in and attract experienced musicians to maintain standards in members”
“Recruitment of new experienced players, training of new less experienced players, future funding of new equipment and maintaining a rehearsal venue”
Source: Survey of applicants
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Section VIII: Future needs of bands in Northern Ireland
8.6 The respondents were also asked in the survey to identify the most important factors to the success of their bands. The majority of the bands agreed that having good quality instruments was the most important factor followed by having an inspiring conductor/ leader and an effective committee as shown in Figure 8.1.
Figure 8.1: Most important factors for the continued success of the bands
11% 2% 31%
1% 55%
Having an inspiring conductor/ leader Having an appropriate rehearsal venue Having good quality instruments Having an effective committee None
Base 101
8.7 In terms of motivation of bands to apply for any future funding scheme if it becomes available, almost all the bands which responded to the survey confirmed they would apply for funding again as demonstrated in Figure 8.2.
Figure 8.2: Would you apply for similar funding for the purchase of musical instruments if it became available?
8%
Yes No
92%
Base 101
8.8 Only eight respondents indicated they would not apply for similar funding and gave various reasons including the complex application process, discouragement as result of their application being turned down and good condition and quality of instruments so far.
8.9 In terms of the development of any future schemes the bands have also provided their recommendations and views on what aspects of such schemes can be improved. For example, the majority of the respondents strongly agreed or agreed that there was a need for the revision of the existing scheme. In particular, the respondents emphasised the need for independent assessment of the benefits of funding to the band and wider community. It should be noted that equal numbers of respondents (35%) agreed or
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Section VIII: Future needs of bands in Northern Ireland
disagreed with the statement that the requirement for 25% of partnership funding was unrealistic. This is presented in Figure 8.3.
Figure 8.3: The revision of the Scheme
The existing selection criteria are reliable and fair Strongly agree Agree There is a need for independent assessment of the benefits to the band and wider community Neither agree nor disagree Disagree The requirement for 25% of partnership funding was unrealistic Strongly disagree Missing There is a need for the revision of the Scheme
0% 20% 40% 60% 80% 100%
Base 101
8.10 40 bands provided their views on how any future scheme for the support of bands in NI could be improved if it became available. For example:
12 bands held the view that more eligible costs should be included in the grant, such as uniforms, transport etc;
4 bands agreed that any future scheme should offer funding for tuition;
3 bands highlighted the need for more information about funding opportunities; and
3 bands suggested lowering the requirement for partnership funding.
8.11 Some individual views of the respondents are presented in Table 8.2.
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Section VIII: Future needs of bands in Northern Ireland
Table 8.2 Views of bands on future funding schemes
“It is essential that the scheme continues if possible with less than 25% to be contributed by the band”
“Funding of musical instruments for bands should also apply to funding for the purchase of new uniforms”
“There is a need for greater awareness of the schemes coming up getting word out”
“The Scheme should be carried forward and bands from every different postal area should be included. More information needs to be given to rural areas”
“The Scheme should be extended to the teaching of music”
“Split the money up more”
Source: Survey of applicants
Key findings form the workshop with umbrella organisations
8.12 It should be noted that the majority of the representatives of umbrella organisations who attended the workshop are members of the amateur bands and have experience with the Scheme; some applied to the Scheme and received funding, others had their application turned down.
8.13 Overall the participants of the workshop agreed that the biggest issue for the amateur bands in NI was the recruitment and retention of young people. For example, this problem has been mentioned as one of the reasons for the demise of flute bands over the past 20 years. It has been recognised by the participants of the workshop that low interest in band music among young people may be partly result of the stigma attached to band music.
8.14 In this context the umbrella organisations highlighted the need for better promotion of band music in NI. In addition it has been emphasised that the bands’ existing youth policies should be sustainable and this was often directly linked to the quality of the available musical instruments. Another way to ensure greater attractiveness of band music to young people is through good quality conductors and tutors. Maintaining the existing band halls has been also mentioned as one of the main concerns for the future of bands.
8.15 In terms of the funding scheme for musical instruments, the participants of the workshop mostly agreed that although fund raising was a very challenging task for the amateur bands the requirement for partnership funding should remain in tact to ensure stronger motivation for the applicants to undertake various activities in the community. It should be noted that some umbrella organisations agreed that marching bands should be given a good chance to apply for funding as they are often the first step in progression towards wider repertoire. The NI Piping and Drumming School expressed their support to similar schemes in the future as they observe strong involvement and interest of their students who are often willing to join the bands after studies.
8.16 It has been suggested by some umbrella organisations that any future scheme, if it became available, should involve better assessment of different types of bands. For example, bands with good community purpose but average quality of performance and bands with good quality performance but limited community work should be assessed
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Section VIII: Future needs of bands in Northern Ireland
using a different set of criteria. Some workshop participants suggested developing benchmarks for assessment.
8.17 Some umbrella organisations highlighted that the application process should be simplified however bands should be required to make a very good cause for funding. This view has emerged from the difficulties some of the bands confronted when filling in the forms.
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Section IX: Conclusions and recommendations
IX Conclusions and recommendations
Key findings of the Review
9.1 Based on the quantitative and qualitative evidence examined by the research team the Musical Instruments for Bands Scheme has been effective in the support of band music in Northern Ireland. A number of factors underpin the overall success of the scheme.
Profile of bands in the first five rounds of funding
9.2 The scheme has been widely dispersed across Northern Ireland. This dispersal reflects good access of the various types of bands to funding and awareness of the scheme in different parts of Northern Ireland.
9.3 A significant proportion of bands which applied to the scheme had a cross- community membership. The survey of applicants revealed that more than a third of the respondents had a cross-community membership. However, the majority of respondents indicated the Protestant community as the main source of membership, although this may reflect the overall nature of the sector.
Amount of grant aid awarded to each band sector
9.4 136 bands have been awarded a total of £1,999,646 through five rounds of funding. 50% percent of applicants regardless of the number of times they applied to the scheme received a grant. Table 9.1 provides a summary of funding by type of band and the range of grant aid.
Table 9.1. Summary of funding Type of band Total number Total amount of Average grant Range of of bands grant aid awarded per band grant aid awarded Accordion 31 £613,109 £20K £5K – 40K
Pipe 47 £561,579 £12K £5K – 20K
Brass 19 £476,217 £25K £12K – 37K
Flute 36 £309,589 £9K £2K – 33K
Concert 3 £39,152 £13K £10K – 15K
TOTAL 136 £1,999,646
Impact of new instruments
9.5 New instruments had positive impacts on the bands and wider community. The survey of successful applicants demonstrated that new musical instruments helped the bands to:
enhance their artistic experience;
improve standard of performance; and
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Section IX: Conclusions and recommendations
recruit new band members.
9.6 These findings have been largely supported by the evidence from the case studies. The majority of the bands agreed they would not have been able to purchase new instruments without the funding from the scheme.
9.7 As regards the benefits of new instruments to a wider community, it emerged from the survey that the main impacts were:
ability of the bands to increase the number of performances;
ability of the bands to involve more children and young people.
ACNI assessment criteria and scoring scheme
9.8 The requirement for matched funding encouraged the bands to undertake more fundraising activities. It emerged from the survey of applicants and our discussions with umbrella organisations that, although being a challenging target, the 25% matched funding requirement motivated the bands to develop their community work and fundraising activities. The majority of the bands which responded to the survey indicated fundraising activities as the main source of partnership funding.
9.9 The selection process and the assessment criteria of the Arts Council were fair. It emerged from the survey of applicants that the selection process and assessment criteria were viewed by the bands as broadly fair. However, some improvements to the process were suggested by both successful and unsuccessful applicants, umbrella organisations and the general public.
Perceptions of the general public regarding the scheme
9.10 Overall the public is positive about the scheme and support provided by the Arts Council to traditional music bands in Northern Ireland. Based on our findings from the focus groups it is obvious that the general public agree that amateur bands should receive grants for the purchase of new instruments. However, it was agreed by the participants of the focus groups that the community work of the bands and accountability for public funding should be key in the design of any future scheme.
Future needs of the band sector in Northern Ireland.
9.11 It emerged from our discussions with umbrella organisations and the survey of bands that there are several key areas of concern for the future of amateur bands in Northern Ireland, including:
recruitment and retention of young people;
good quality conductors and tutors; and
better promotion of band music in Northern Ireland
9.12 There was general agreement amongst those in the sector that the funding scheme for the purchase of new musical instruments should be continued in the future. In particular, bands highlighted the importance of new musical instruments for retention and involvement of young people and overall viability of the bands.
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Section IX: Conclusions and recommendations
Conclusions
9.13 Overall this has been a very successful scheme providing a wide range of benefits to the bands sector. The current scheme has benefited 136 bands, with an estimated membership totalling around 4,000 individuals, with grants valuing £2million spread across Northern Ireland and encompassing all the main types of band. It is greatly appreciated by the sector and it is generally supported by the wider public as being a good and acceptable use of public funds.
9.14 The scheme fits well with the objectives of the Arts Council as well as broader government policy, in that it is engaging with community arts and voluntary arts, two target sectors of the Arts Council, to increase opportunities for creative participation and to expand the creative contexts within which artists work. It also fits with Lottery funding objectives to increase access of all sectors to funding and to support community participation in the arts. It has demonstrated the interest of government and the Arts Council in a sector which is an important aspect of Northern Ireland’s musical culture and which is an essential element of many local communities in Northern Ireland.
9.15 The main benefits of the scheme have been as follows:
It has led to improvements in artistic standards through enhanced tone, better tuning, improved musical balance and intonation;
It has improved the standards of performance in competition which is an important feature of some of the band sectors;
For many bands It has helped to attract new members, including younger members, by making more instruments available, with the older instruments being used for training young and new members; and
It has provided an impetus for the general development and a new lease of life and improved morale for a number of bands, through the general impact of the new instruments and the need to raise matching funding through fundraising.
9.16 There were few complaints about the administration of the scheme, apart from some inevitable frustration with application processes. The issue of supply of specialist instruments and the need for quotations was raised by a number of bands. The selection criteria were also broadly acceptable, although some would like to see a means of ensuring that grants are awarded to bands both at the lower and higher end of performance standards.
9.17 The sector faces a wide range of needs for future development – the continuing need to attract and retain younger members, the need for better tuition and good leaders and conductors, the ongoing pressure on facilities improvement and financing operational costs and improving the public perception of the sector as a key element of Northern Ireland’s artistic culture.
Recommendations
9.18 We understand that in the future there are constraints on the availability of Lottery funding. There is strong support in the bands sector for continuation of the New Instruments Scheme in some form if this is possible. If a new scheme is introduced we would make the following recommendations in respect of the implementation:
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Section IX: Conclusions and recommendations
More differentiation could be introduced into the assessment process. It emerged from our discussions with umbrella organisations and the general public that the selection process could be improved if different applicants were organised in categories for assessment. For example, bands with a good quality of performance but limited community activities could be assessed differently from the bands with average quality of performance but an outstanding record of community work. The advantages of this approach are also recognised by the Arts Council.
Funding arrangements and monitoring procedures require continuing attention to ensure accountability. We did not undertake any work in the form of an audit of the scheme but we understand that tight controls are in place to ensure proper accountability and we were not made aware of any problems with the scheme. However the sector is aware of the potential for abuse of the scheme and would be supportive of continuing monitoring.
9.19 If the scheme is not continued we would suggest that consideration might be given to the following recommendations:
Consider funding for tuition and training. The majority of the bands surveyed for the review and the umbrella organisations indicated that other needs of the bands, such as availability of quality tuition and leadership need to be addressed in the future. Therefore it was proposed that any future funding scheme could provide some form of assistance with the costs of professional tuition. This might be sector-led and organised by the associations rather than by application and could support master classes and workshops, particularly for younger players.
Improve awareness of other funding available. It emerged form our discussions with the bands and umbrella organisations that many bands were not aware of other arts funding schemes for which bands or individual members might be eligible. Consideration might be given to working with the representative associations to increase awareness of other funding support that is available.
Page 52 Final Report
Arts Council of Northern Ireland Music Review and Strategy
Judith Ackrill and Nod Knowles
Judith Ackrill Associates
September 2011
Researched March – June 2011 CONTENTS
Page
A note from the authors 3
PART 1: SETTING THE SCENE
1.1 Introduction 4 1.2 A changing context 4 1.3 Background to a Music Strategy 6
PART 2: MUSIC GENRES - ACTIVITY, GAPS, NEEDS, OPPORTUNITIES
2.1 About this section 8 2.2 Traditional music 8 2.3 Americana/world/roots music 13 2.4 Jazz 14 2.5 Contemporary popular music 16 2.6 Classical music 19
PART 3: COMMON INTERESTS
3.1 About this section 29 3.2 Audiences 29 3.3 The infrastructure for promoting and touring live music 33 3.4 Youth music, education and training 41 3.5 Participation and community activity 46 3.6 Working in the music infrastructure 50 3.7 Funding and development: the role of ACNI and other agencies 55
PART 4: DEVELOPMENT OF A MUSIC STRATEGY
4.1 Vision 64 4.2 Findings of the Music Review 64 4.3 Strategic priorities 66 4.4 Music Strategy action plan 68
APPENDICES:
List of consultees 69 List of survey respondents 73 Documents consulted 75
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A NOTE FROM THE AUTHORS
During our research we encountered a great array of relevant ideas, information and issues. Piece by piece a picture of the music scene in Northern Ireland emerged - and with it a view of what might be needed for future development and growth.
Parts 2 and 3 of the report demonstrate in some detail our findings and thinking; in most cases a description of an area of activity is followed by discussion of the issues surrounding it.
In Part 4 we suggest a vision for music arising from these findings. A summary of our review then leads to eleven strategic priorities.
An earlier draft of our report concluded with an indicative strategic action plan, with recommendations and actions drawn from the findings and grouped under the strategic priorities. The Arts Council of Northern Ireland has since developed an updated plan against these priorities which is now available separately.
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PART 1: SETTING THE SCENE
1.1 INTRODUCTION
The Arts Council of Northern Ireland (ACNI) has commissioned a music review and strategy to complement its five-year strategy Creative Connections 2007-2012 and to guide its support of music of all genres (other than opera) over the period of the next five-year plan 2012 – 2017.
ACNI has published a series of strategic reviews in recent years, setting the agenda for its work both with individual artforms and in cross-artform areas. In 2010 its single page music and opera policy was partly superseded by a review of opera provision and the subsequent birth of NI Opera. At the same time it was facing possible cuts to its budgets and, in music certainly, competing demands from established and emerging music organisations and genres.
In essence the brief for this report was to scope current music provision and support for music in Northern Ireland; to assess gaps, needs and opportunities; and to provide a vision, strategic priorities, and an action plan. The report is based on research undertaken between mid-March and late June 2011, comprising1:
collation of contact details for sector and strategic consultees; on-line survey to 128 contacts (48 responses); 3 open music sector meetings in Belfast and Derry~Londonderry (66 attenders); 96 in-person or telephone interviews; and benchmarking research.
Our work has been supported by a steering group of Arts Council officers, and we are especially grateful for the help we have received from Rosa Solinas, Maria McAlister, Karen Barklie and Sonya Whitefield in navigating much ground in a short space of time. We have also taken account of valuable feedback from a Council meeting and from staff who commented on our first draft.
1.2 A CHANGING CONTEXT
Our research period (March – June 2011) has coincided with a period of rapid change in political, cultural and economic context, much of it unresolved and likely to impact on music development in the next five years.
1 See the appendices for a full list of contributors and documentation
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The peace process in Northern Ireland has continued, and an Assembly election in April 2011 led to a change of Minister of Culture, Arts and Leisure. The ongoing regeneration of Northern Ireland has released a new energy into its promotion as a tourist destination. The identity projected by the Northern Ireland Tourist Board (NITB) is that of a vibrant and friendly centre with many music festivals to attract younger visitors, as well as natural beauty, historic buildings, shopping, and confidence emerging from a troubled past.
Host to much of the professional arts community in Northern Ireland, Belfast has also been marketing itself successfully through music initiatives including Belfast Music Week, and has recently confirmed that the MTV awards will be held in the city this autumn.
In July 2010 Derry~Londonderry was announced as UK City of Culture 2013, a decision based on an ambitious vision for the regeneration and development of the city and its local, regional, national and international roles. The chief executive and other key staff of the Culture Company 2013 have taken up their posts during our research, and the cultural programme is being developed alongside a challenging fundraising plan.
These kinds of promotion would have been unthinkable a few short years ago, when people in Northern Ireland were less willing to visit city centres at night; and travel between centres for leisure purposes was (and remains) less common than elsewhere in the UK. However people have been returning to the public realm in the growing spirit of new confidence. Alongside this, the ‘digital revolution’ is affecting expectations of a night out and creating competition for leisure time - as well as providing new channels for making and promoting music.
The global economy has been emerging from a deep recession, and the outlook for Northern Ireland is dominated by the scale of public spending cuts to UK government departments for the next four years. South of the border, the economy in the Republic of Ireland (RoI) continues to experience severe economic problems - with an indirect negative impact on the North.
Government spending cuts were initially expected to hit ACNI very badly; after a hard-fought campaign a proposed cut of £4.2m (real cut of 26%) over four years was reduced to £1.4m. As a result, in March 2011 most ACNI regularly funded organisations were offered standstill grants for 2011/12 with future funding to be negotiated.
Governmental aims, however, still remain broadly the same. The Department of Culture, Arts and Leisure (DCAL), ACNI’s sponsoring lead department, maintains its governmental priorities of economic benefit, education, social inclusion and health.
In a related field, restructuring of the Education and Library Boards (ELBs) is under way, but music services within them have had their budgets protected and their future put on hold. A single music service may replace the current five area services, with unpredictable consequences for music education.
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Finally, alongside this music review, InvestNI with ACNI have commissioned a review of the music industry in Northern Ireland from a consultancy partnership of EKOS and Grant Thornton (EKOS/GT). It will be important that the action plans from these two reports are complementary. A Youth Arts Strategy in the pipeline at ACNI will also have implications for music.
Overall, then, a music strategy for the future needs to be high level, robust and flexible enough to adapt to and/or build on changing circumstances.
1.3 BACKGROUND TO A MUSIC STRATEGY
In Northern Ireland, a small domestic ‘market’ of 1.8m people is spread over an area of 5,300 sq miles, sharing a border with RoI. Physically isolated from the rest of the UK, and politically separated from the neighbouring RoI, cultural development and international exchange in Northern Ireland have also been hampered by the violence of the recent past.
Local music making within different communities continued to flourish through the Troubles and remains a powerful expression of identity and imagination, although often reinforcing sectarian divisions. The network of local arts centres developed by local authorities and ACNI over the last decade provides meeting points, teaching centres and showcases for artistic activity.
However, outside Belfast and Derry~Londonderry few arts centres have the capacity to support a professional music programme of a satisfactory scale. For musicians and music organisations with a professional performance remit or aspiration, a market place beyond Northern Ireland is essential both to gain adequate box office income and for musical refreshment and profile. This has led to an exodus of individual talent in many genres of music, and instability among the organisations trying to sustain themselves while based in Northern Ireland, especially at a time of dwindling public funding.
With completely separate music development policies in Northern Ireland and the RoI, opportunities for subsidised cross-border exchange have generally been episodic, even for the largest institutions (orchestra and opera) which if based elsewhere in the UK would regularly service a catchment of the size of the whole island population (6.4m).
There has been useful support for showcasing some Northern Irish music in the rest of the UK and beyond, through the South by South West showcases in the USA, the Beyond Borders fund, the Smithsonian Folklife Festival and some British Council engagements. This has rarely led to continuing viable touring out of the country. Even the Ulster Orchestra, partly funded by BBC Radio 3, does not always manage an annual appearance at the BBC Proms in London.
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The situation is different for amateur and young people’s musical activity, where international performances and exchanges have been much more frequent. Most usually, however, these have been self-funded or supported through localised charitable fundraising activity.
Touring of professional music from elsewhere into Northern Ireland is episodic, and mainly as part of large-scale international commercial tours, one-off festival appearances, or through the ACNI-supported organisation Moving On Music (MOM).
Northern Irish music is increasingly receiving international attention within Northern Ireland itself. According to a recent UK Music report Destination: Music (May 2011) Northern Ireland attracts a greater proportion of overseas music tourists than England or Wales. Festivals play an important part in promoting local and international talent both to Northern Irish audiences and to those from elsewhere in the UK, Ireland, and overseas. The music industry strategy prepared by EKOS/GT suggests that there is no shortage of potentially commercial music talent in Northern Ireland, ready to find its feet in a global market; its recommendations will strengthen the support received on the way.
Our report focuses on the role of ACNI in supporting year-round development and provision of a wide range of music for the benefit of audiences, artists, and cultural life in Northern Ireland. With a fragile base of provision, limited public funds, and a small market place within which to support a full range of activity and national ambition, there are many challenges.
Elsewhere in the UK in recent years, arts councils have been able to bring new funds and infrastructure into different areas of music and music education, based on extensive dialogue with the sector, research, and external lobbying and collaboration. For ACNI the dialogue with and among the sector is at an early stage, research data is sparse, and lobbying to make any significant changes to the music infrastructure has not been a priority.
The music strategy will need to encourage discussion and debate, and to support and advocate for emerging initiatives which respond imaginatively to the particular circumstances of Northern Ireland. This is how ACNI can, through music, pursue its over- riding aim, expressed in its Creative Connections strategy, to ‘place the arts at the heart of our social, economic and creative life’.
The four key themes of Creative Connections underpin this report: promoting the value of the arts; strengthening the arts; growing audiences and increasing participation; and ‘improving our performance’ as the national body for the arts.
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PART 2: MUSIC GENRES - ACTIVITY, GAPS, NEEDS AND OPPORTUNITIES
2.1 ABOUT THIS SECTION
In this section we describe current musical activity in Northern Ireland. Our information has come mainly from survey responses, interviews with individuals, group discussions, website and desk research. In the time available and within the reach of our brief it was not possible to undertake any more detailed mapping.
To survey music organisations we spent some time amassing a full range of contact information from a variety of sources. ACNI provided much of the information but since its reach was not historically as far-ranging as the brief it now wished to follow there was further research to be done to establish contacts in all areas of music.
Once contact had been made, the response from our consultees was universally constructive and open; there is good will towards the review process and a clear desire to see some positive outcomes from a resulting strategy.
The only pre-existing reviews of areas of music activity were of opera (not part of this report) and some specific DCAL reports on marching bands and the Instruments for Bands scheme. This contrasts with the development of music strategies in other arts councils – where reviews of various issues and areas of the sector preceded and paved the way for a comprehensive strategy.2
Attempts to categorise the various styles and genres of music are always unsatisfactory. We recognise that some of the most exciting music crosses genre boundaries and that creative artists freely explore and invent new kinds of music. However, by breaking down the information by general, approximate genres in the section that follows, and then looking at common issues across genres in the next, we hope we have captured the picture from all angles.
2.2 TRADITIONAL MUSIC
2.2.1 Overview
Alongside language, traditional music is one of the strongest expressions of cultural identity in any country and especially in one where the pressures to preserve or express identity are intensified by internal or external political issues.
2 Scotland’s music strategy in 2002 was preceded by separate full reviews of youth music, traditional music and contemporary popular music.
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Northern Ireland’s traditional indigenous music and song heritage stems predominantly from Irish Traditional, Ulster Scots and the Bands sector.
The distinction made in Northern Ireland between the cultural identities of the two communities - Protestant/Unionist/Loyalist and Catholic/Nationalist/ Republican - does apply to varying extents in traditional music. It is realistic, therefore, to be mindful of this distinction and be aware that some areas of music are identified as ‘culturally specific’. This is particularly true in relation to the large-scale marching and concert bands (dealt with further in the Participation and Community Activity section).
In this section however we are generally referring to the broad range of music – of tunes and songs – generally played in small groups with the familiar range of folk instrumentation.
Northern Ireland has produced many celebrated musicians and music leaders from the traditional music scene – men and women like those in the Vallely family and their many protégés. Commitment to indigenous forms of music and their musical ‘cousins’ throughout the Celtic music world is fundamental to a movement in Northern Ireland that is firmly anchored at grassroots level but, from the reports of all those we consulted, is still growing in terms of active participants and popularity throughout the country.
Musicians from the traditional scene in Northern Ireland have found success and influence in the wider Irish scene and further afield (including in many strong relationships with Scottish music). And the sound of the traditions can often be heard echoed in Irish rock and other contemporary popular music.
The two most visible strands of traditional music in Northern Ireland – Irish and Ulster Scots - have been inevitably politicised, despite much evidence of musicological and pragmatic interaction between the two3.
Among the organisations which run traditional music projects and receive funds for the purpose, there is a distinct intention to emphasise that their programmes are open to all communities and do not draw exclusively on one tradition but represent a wider, inclusive view of traditional music that also extends outside Ireland. Nevertheless, the perception of division can still be an area of sensitivity in terms of public expectation and participation.
ACNI’s support for indigenous traditional music in the main covers two areas: assistance to festivals and assistance to education and outreach programmes. (Funding for instruments for bands is a separate scheme, also included in the Participation section).
The other public body with funding programmes for traditional music is the Ulster Scots Agency, which also concentrates on education and festivals. In education it has provided a rolling programme in the past three years of grants to community and voluntary groups
3 Evidenced in Teresa Hanley’s academic thesis Counterpoint: conflict peace and music – the case of Northern Ireland (2010)
| P a g e 9 across the country, so that they can host a 20 week programme of tuition (with whistle, fiddle and drumming) in Ulster Scots music in local schools.
The Ulster Scots Agency and ACNI have both supported the Royal Scottish Pipe Band Association (RSPBA) and the Northern Ireland Piping and Drumming School in tuition work. They have also both supported the Mid Armagh Community Network’s programme of instrumental tuition in rural communities.
By far the most extensive support from ACNI is for a range of organisations undertaking education work in various contexts. Organisations such as All Set Cross Cultural Project address young people and schools from both Catholic and Protestant communities via music. The Andersonstown Traditional and Contemporary Music School (ATCMS) concentrates particularly on work with young people in communities of social deprivation. Performances to local audiences are an important part of educational programmes.
Other organisations such as the long-established Armagh Pipers Club and the Belfast and District Set Dancing and Traditional Music Society also work in schools but their core work is the extensive range of classes in traditional instruments that they devise and organise themselves.
Each organisation has its own structure (some may also have a venue or building base) but all have been driven by the grassroots upsurge in interest in Irish music and led by individuals from the traditional music community. In common they rely on volunteer assistance and very limited paid administration.
The driving force in some cases can also be language. Cultúrlann Uí Chanáin or An Droichead in Belfast, for example - both centres for Irish language education – are key centres for traditional music instruction. Like the Armagh Pipers Club, Dún Uladh in Omagh, and others, these organisations also promote traditional music events – concert series, sessions or festivals.
In education work, some like ATCMS , All Set, and the Armagh Pipers Club are already working with London College of Music and able to take their musicians through grade exams. There is no specific structure or accreditation for training teachers and tutors in traditional music at present, though Comhaltas (the international RoI-based network for Irish music) is exploring this in Tyrone.
The initial emphasis for such organisations is the passing on of folk traditions – with more formal tuition methods replacing the time-honoured but often disappearing family and local oral networks of the past.
Informal links between the various traditional music organisations do of course exist – but there is no formalised network through which they can share information and ideas or form a more unified voice for their own cause.
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Some traditional music organisations are branch members of Comhaltas but this is not necessarily appropriate for all. Some have links with other organisations internationally, including with Scotland’s Feisean nan Gaidheal. The Ulster Scots Community Network also provides an umbrella organisation.
Concerts and festivals of traditional music are widespread. Many of the education and tuition organisations also regularly promote gigs. The network of local arts centres all present traditional music events with groups from across Northern Ireland and RoI.
The majority of the numerous traditional music festivals are small scale and localised in terms of audiences and performers. ACNI has funded some of the better-known events – e.g. the Tommy Makem Festival of Traditional and Folk Song and the Geordie Hanna Traditional Singing Festival - through the small grants scheme. The Ulster Scots Agency runs a programme supporting festivals – of Ulster Scots music and culture; it has supported as many as 38 in a year with small grants but is now looking to support a small number to grow to a bigger scale.
The annual William Kennedy Piping Festival (presented in Armagh by the Armagh Pipers Club) is one of Northern Ireland’s largest traditional music events (and by no means restricted purely to piping) and is international in its coverage of traditions from all of the Celtic nations and beyond.
In Belfast, the Open House Festival is supported by ACNI. Around the year in a gig series and in a large concentration at festival time, it features a wide range of traditional Irish groups in various venues. The programme extends into major attractions from English, Scottish and American traditional and ‘new-folk’ scenes.
2.2.2 A detour to Scotland
Direct organisational comparisons with other countries are not possible because they do not have the same historic social and political background – but they do show some useful success stories.
In Scotland the growth of the Gaelic cultural and language movement in the Western Isles and Highlands was led in music by the feisean movement. Local hubs of music tuition for young people, predominantly run by volunteers with paid musician/tutors, grew into the Feisean nan Gaidheal network, which now has a robust professional central umbrella organisation representing 44 autonomous local feisean serving over 6,000 young people.
Feisean nan Gaidheal has been given devolved authority from Creative Scotland to disperse the pool of funds for music tuition to the individual feisean and other pooled funding to support the rapidly expanding young people’s performance programmes (Ceilidh Trails). It co-ordinates a number of common interests on behalf of the membership (child protection clearances, for instance, for all adults working with the young people) and supports and
| P a g e 11 advises the individual feisean on their development. It organises training for musician/tutors and also runs teachers CPD and other in-school work in formal education for local authorities.
Feisean nan Gaidheal concentrates on Gaelic music but is also senior member of Scotland’s Traditional Music Forum, which brings together all parts of the country’s traditional music scene – festivals, agents, labels, education & community music, academic institutions etc etc - as a central voice for advocacy and forum for collective action.
2.2.3 Issues for consideration
Traditional music, although diverse, is perhaps the strongest mark of identity for the country. For this reason there is a strong argument for giving traditional music high priority in terms of advocacy at national and government level for increased support and profile.
In order to ensure that traditional music is understood in a satisfactorily comprehensive manner it would be useful to commission a fuller audit to assist the sector itself and the relevant public agencies.
Costs of tuition and on-costs are steadily rising but the traditional music organisations are often working with communities without sufficient resources to afford increases. More than from any other musical area, our consultation with traditional music groups produced strong requests for increased financial support.
This is an expanding sector in terms of demand and participation but fragile in terms of the number of people doing the work and their resources. Most of the ACNI-funded traditional music organisations have only one, possibly two, paid members of staff and rely a great deal on volunteer support.
To strengthen the sector to any great extent it would be necessary to see a longer-term, focussed programme of consolidation, support and development for those organisations that are working in traditional music.
A forum of traditional music organisations, which could be drawn together over a period of time, could assist development and explore what they can do collaboratively and which areas of the country can be better served.
This is a disparate but self-motivated sector and ACNI should not seek to impose a strategic development plan or organisation upon it – but give time and encouragement for the sector to explore its own proposals for shared resources, advocacy, and mutual development.
A forum of traditional music organisations could form the base of an advocacy group to bring more attention to the value and use of traditional music in formal music education; it might wish to address the issue of tutor and teacher training and accreditation.
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Some organisations have already looked to other like-minded people and organisations in other countries - particularly Scotland and RoI - for fraternal assistance and advice, and have also assisted them with the benefit of Northern Irish experience. Much can be shared and learnt through further interaction.
Aside from the identifiably culturally specific music represented in the main by the marching bands, the reality is that the majority of Irish traditional music of the kind dealt with in this section belongs to the Island of Ireland, not to the two separate states. ACNI already contributes funds to the Irish Traditional Music Archive based in Dublin but covering all Ireland in material. ACNI and the traditional music community may find value in further exploration of how they can link with the RoI in joint initiatives, sharing experience and resources for the benefit of musicians, participants and audiences.
2.3 Americana/roots/world music
2.3.1 Overview
To the outside observer, the music scene in Northern Ireland presents two immediate impressions in relation to music from other parts of the world.
Firstly there is a very strong presence of American music – ‘Americana’ - from Nashville to bluegrass and the blues to Appalachia, which also lends a US flavour to so much of the work of singer-songwriters.
Secondly, there is a noticeable lack of the wide spectrum of music from Africa, Asia, South America and all parts of Europe – ‘roots’ or ‘world’ music for shorthand - that has been very present in the rest of the UK and in most of western Europe since the 1980s.
Both phenomena can be accounted for by Northern Irish history: on the one hand the influence of deep and long-lasting ties with the United States; and on the other the relative isolation of the country whilst the world music boom was happening and cultural diversity was becoming the social norm in the rest of the UK.
Interest in Americana from audiences and performers is thriving, reflected in the programming of festivals, arts centres and other promoters. The Belfast Nashville Festival of Songwriting has secured its own place in the pattern of provision, establishing strong links with its namesake city and its artists and running (via its sister company Panarts) schools programmes on songwriting that draw on children’s everyday experience for creative expression. The Appalachian and Bluegrass Festival at the Ulster American Folk Park is reported to draw 10,000 people over its annual three day event. And the blues makes a strong showing in Blues on the Bay and the City of Derry Jazz and Big Band Festival among several other annual events.
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Folk/roots/world music traditions from elsewhere may appear on occasional festival programmes and in occasional tours by MOM. Derry~Londonderry City of Culture 2013 promises to bring the WOMAD festival to the city for its high profile world music extravaganza. But there is no large-scale festival or organisation in Northern Ireland (like, for example, WOMAD in England) either regularly promoting visiting world music artists or introducing their musics into education or participation programmes.
ACNI has however assisted a small number of organisations across other portfolios which are responding to other musical cultures as one aspect of their brief and have included ‘world’ music in their programmes - in small grant funding these include Beyond Skin, Love Music Hate Racism, ArtsEkta and the Indian Community Centre. Open Arts are interested in developing the unique musical opportunities of the gamelan and in the longer term would like to establish a world music community centre. And the ATCMS are working with recent overseas migrants to Northern Ireland and their own musical heritage.
2.3.2 Issues for consideration
In aiming to provide a broad menu of music for audiences and for those who want to learn and play music, there is a need to offer opportunities to experience the pleasures, richness and diversity of other musical cultures and to understand and absorb the possibilities of other traditions and styles.
Northern Irish society is changing with an increased migration of people from other countries, especially from eastern Europe. Recognising, exploring and embracing the musical cultures of these communities will benefit the music scene as well as fostering understanding and social diversity.
It would be beneficial if existing music promoters and those involved in touring and audience development were encouraged to explore opportunities to present a wider range of non- Irish music traditions, including other European traditions alongside those from other continents. Similarly, community music or educational organisations could be encouraged to further explore and develop opportunities for working with minority ethnic communities and their musical cultures.
2.4 JAZZ
2.4.1 Overview
By far the most important work in this area continues to be done by MOM, which is Annual Support for Organisations Programme (ASOP) funded by ACNI. The contribution MOM makes to the opportunities for both audiences and musicians is unique and has been maintained against the long-term background of relative isolation for the jazz scene in Northern Ireland.
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The series of promotions and special projects in Belfast that MOM has produced, which include creative cross-genre projects mixing jazz and other musical forms - together with their consistently strong specialist contribution to the Belfast Festival at Queen’s – have singlehandedly flown the flag for creative, contemporary jazz and improvised music on an international level. In this important but admittedly minority area of music, their achievement is equal to any that has been made in many other bigger and better connected cities in the rest of the UK or the RoI.
Although the audience for jazz is best served in Belfast, jazz touring by MOM has also provided a range of high quality tours for the smaller promoters around the country. These touring opportunities have been well-appreciated by the programmers, who depend upon the specialist knowledge of MOM for guidance and choice of artists.
But the diminishing resources available to arts centres have made it increasingly difficult for them to be able to sustain a regular jazz programme (and thus build their audience) outwith such visits and the occasional promotion of locally based jazz groups.
Jazz touring has been more viable when shared with the RoI in past years. Now, however, it is inevitably limited by the financial constraints on partner arts organisation RoI and by the lack of funds for cross-border work.
Although it has been possible for MOM to feature some of the European artists that now characterise a large part of the contemporary jazz scene, it has been far more difficult for a tour promoter in Northern Ireland (compared with English and RoI counterparts) to access support funds for visiting jazz artists from overseas cultural agencies in embassies and institutes based in London or Dublin.
The City of Derry Jazz and Big Band Festival has sustained support from within the local authority and generated large audiences, predominantly for local and mainstream musicians with the additional of one big name attraction and the occasional contemporary jazz group from outwith Northern Ireland. In order to move forward and attract a wider audience and higher profile in the jazz world, in accord with the aspirations of a City of Culture, the festival would need to develop the range and distinctiveness of its artistic offer.
Jazz education is thin on the ground but the Ulster Youth Jazz Orchestra (UYJO) has been formed in Belfast and its summer course is an important starting place. Unlike most neighbouring countries, however, Northern Ireland does not appear to have a tradition of jazz workshops or projects in schools.
There is a small cadre of jazz musicians in Belfast and in other towns. Despite the limitations on learning and playing the music there are examples of highly skilled and talented jazz musicians emerging in Northern Ireland. In recent years the group of musicians gathered around composer/conductor Brian Irvine in the Brian Irvine Ensemble had a unique opportunity to develop their skills of improvisation and creative music making though his
| P a g e 15 celebrated performances – but this kind of concentration of opportunity is still rare. At the professional level it is necessary for jazz musicians to study and, in the main, work outside Northern Ireland in order to develop their art to the full.
2.4.2 Issues for consideration
Jazz and improvisation are essential ingredients in a contemporary music scene and punch above their weight in their contribution to the richness and creativity of musical life.
Musicians and audiences in Northern Ireland have suffered from relative isolation in the UK and European jazz scene but the opportunity should now be given to redress this. MOM is a key player in terms of experience and expertise; the challenges for ACNI and all those who wish to nurture the country’s contemporary jazz scene are:
to explore and access funding from UK-based overseas cultural agencies for touring in overseas groups;
to develop and strengthen links and shared opportunities with UK and RoI jazz organisations and cultural agencies for cross-border touring and other collaborative activities;
to see jazz touring as an integral part of the development of music touring and audience development.
In the specific area of jazz education UYJO could be encouraged to examine links with the UYO and UYC and other informal sector educational organisations. It is essential that jazz educators can be part of any collective actions for youth music development.
Is there potential for a youth jazz development project which could reach across the country? The National Youth Jazz Collective in England, amongst others, might be consulted on the viability and operation of such a model.
2.5 CONTEMPORARY POPULAR MUSIC
2.5.1 Overview
Northern Ireland has produced its share of significant artists in the sphere of contemporary popular music – witnessed, for example, by the high level of success currently enjoyed by the best-selling Snow Patrol. The category is wide and ever shifting in its profusion of genres and sub-genres but for practical purposes it is assumed to encompass areas such as rock, pop, dance and indie music and the wide spectrum inhabited by singer-songwriters.
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In the past, the potential for bands and organisers in this area of music to move into commercial success – and therefore a perception that they did not need or require public financial help - distanced them from opportunities for support and development.
A number of factors, including the advent of lottery funding and access criteria; changing perceptions of art and music; the growth of emphasis on community arts; concern for young people and their relevant cultures; and the recognised importance of the creative industries - have latterly allowed and encouraged ACNI to support work in this area of music.
The Nerve Centre, Derry~Londonderry and the Oh Yeah Centre in Belfast – and companies like MADD Enterprises, Antrim – have all developed programmes of training and gig promotion to support young artists and serve young audiences. Although these embrace music from other genres, particularly traditional, the focus is predominantly on indie and rock music styles, dance music and singer-songwriters.
The Nerve Centre has been a pioneer not just in the music field but in the full and often inter-related range of contemporary media – creating similar opportunities for young people to work with film, video and digital media. Its work has also moved outside the Centre itself to underpin two Creative Learning Centres (in Derry~Londonderry and in Belfast) which provide training and experience in the use of digital technologies – including music-making - for teachers and young people.
The Oh Yeah Centre has added music tourism – in the form of music tours of Belfast and an exhibition of Northern Ireland’s popular music legacy – to its roles of providing experience and support for musicians and an incubator for music businesses.
The emergence of public support for the creative industries – in which the music industry is a leading player – has tended to give an industry/business focus to the attention from public agencies on contemporary popular music. Perhaps because of this spirit, organisations such as those above have shown themselves to be effective in attracting private and public investment and generating earned income.
But these and similar organisations have also been active in pursuing social objectives by developing outreach and workshop programmes, bringing participation in music-making to young people in rural areas (such as those covered by the Glasgowbury Music Group) as well as deprived urban communities.
The music, in all its myriad sub-categories, is promoted across Northern Ireland in a variety of settings, from small clubs and pubs – usually featuring local or newly-emerging bands – to the Nerve Centre, Oh Yeah Centre and venues like Belfast’s Black Box to the major halls in Belfast and Derry~Londonderry, where big name touring artists can be heard.
The network of arts centres provides considerable support for contemporary popular music groups and audiences. Local rock and indie bands often participate in gig nights, local events
| P a g e 17 and festivals. The arts centres also provide a valuable circuit for bands building a wider reputation and for a range of singer-songwriters and groups that are from or relate to Americana traditions.
Several festivals give opportunities for emerging bands to perform for a local audience – none more so than the rural extravaganza of Glasgowbury which is dedicated to up-and- coming Irish bands. Other festivals - for example Belfast’s Cathedral Quarter Arts Festival or the Belfast Nashville Songwriters Festival - promote Northern Irish and visiting artists, often in partnership with dedicated organisations such as the Oh Yeah Centre.
The Nerve Centre hosts the annual Celtronic festival of dance music which also has a mix of local and visiting artists. On an international scale, the Belsonic Festival in central Belfast concentrates on big-name popular artists. Local authorities - particularly Belfast City Council (BCC) - and NITB have increasingly recognised the value of music festivals in attracting cultural tourism.
Contemporary popular music has led the way in showcasing bands overseas. Support from BCC and national creative industries funds from DCAL and Invest NI and from ACNI have enabled Northern Ireland bands to be featured and focussed upon at Austin, Texas’ South by Southwest industry festival. A full evaluation of the impact of the past four years’ showcase programmes - operated first by the Northern Irish Music Industry Commission (NIMIC) and then Fast Forward - is still awaited but the underlying boost to confidence and experience in the sector is already clearly recognised by participants and funders alike.
The Fast Forward programme, like its predecessor the NIMIC organisation, was specifically designed to provide support to the music industry. In its operation up to the point of this review it has concentrated on support at two levels – general assistance for aspiring musicians (such as songwriting workshops and music business seminars), producers, promoting entrepreneurs etc – and then more intensive assistance to bands, labels and entrepreneurial businesses that are deemed to be market-ready for commercial exploitation.
2.5.2 Issues for consideration
The future of Fast Forward and the Invest NI/ACNI/DCAL investment in the music industry is the subject of the strategy planning process led by EKOS/GT parallel to this review and the resultant ACNI strategy.
The Creative Industries Innovation Fund for creative industry projects has recently been administered by ACNI and has assisted some music industry projects. The fund has been extended for a further period (due to run until 2015). At the time of this review ACNI had called for applications to the fund from digital content development projects. Further information on the criteria and remit of this fund is yet to be announced.
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In order to disburse inevitably limited funds most effectively, it is essential that ACNI clarify its role in support for contemporary popular music.
The keynote here must be that the music scene in general and the commercially viable music industry are inextricably interlinked and interdependent. They share a number of objectives, needs and aspirations – and public agency support will be effective if it is co- ordinated, with the purposes of each agency clearly understood and dovetailed with each other.
ACNI can, we suggest, work with the associated agencies – NITB, DCAL, Invest NI, local authorities and regeneration agencies, training, skills and educational agencies – to define the contributions they will each make to music initiatives. A collective template of these contributions would provide guidance for music organisations and the support agencies in building and supporting projects and core funding.
We would suggest that ACNI’s focus should be on the creation and performance of music and on the promotion of that music to an audience. This remit embraces support for the development of interest and experience in music across the widest possible population.
Areas of support work outlined in the music industry strategy that are not exclusively commerce related – for example business skills, songwriting, marketing skills, education work etc – can be shared with non-industry music organisers and organisations.
ACNI support in the area of contemporary popular music is currently focussed on a small number of organisations. To develop their work, these current organisations seek advice and experience from like-minded organisations in other parts of the UK. There is a need and desire to do more of this, to learn as much as possible from elsewhere and develop useful links.
2.6 CLASSICAL MUSIC
2.6.1 Orchestras
The Ulster Orchestra is the largest professional music organisation in Northern Ireland, and the only one employing performing musicians full-time. With offices and rehearsals in the refurbished Ulster Hall, the orchestra divides its Belfast concert series between the Ulster and Waterfront Halls and sustains a base of 600 subscribers. In 2009/10 in Belfast it promoted 30 evening concerts and 8 lunchtime concerts, and took part in 8 commercial engagements and 5 special events. It also gave 15 BBC invitation concerts embracing more contemporary repertoire including new commissions; 35 concerts and studio recordings were broadcast by the BBC.
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In the same year the orchestra performed only ten concerts in other Northern Irish centres, one in Dublin, and none outside Ireland. However, a programme of community and education work across Northern Ireland has flourished, taking advantage of the availability of musicians and reaching 30,000 people in a year.
The orchestra ensures the presence of 63 highly trained musicians in Northern Ireland, where there is a relatively small freelance pool. Outside their contractual commitments they provide a backbone of instrumental teaching and coaching across Northern Ireland, working with schools, schools of music, universities, the ELBs and privately. Some have formed their own chamber groups for engagements at functions.
ACNI is the principal core funder of the Ulster Orchestra, which is also part-funded by the BBC (Northern Ireland and Radio 3) in return for guaranteed programme output, and receives a smaller grant from BCC.
Camerata Ireland is a freelance chamber orchestra founded in 1999 by Northern Ireland- born international pianist and conductor Barry Douglas. Most of the musicians are from Ireland, including some members of the RTÉ orchestras and others with the Ulster Orchestra or based elsewhere in the UK. This makes administration expensive and complicated; but Barry Douglas’s charismatic presence and the orchestra’s growing reputation have attracted full houses, sponsors and unique opportunities to tour overseas, supported by Culture Ireland. Repertoire and activity are planned and conducted by Barry Douglas, with the focus on the classical period (Mozart, Beethoven) and early romantic repertoire.
The orchestra has regularly received (limited) core funding and project funding from the arts councils in both countries. In Northern Ireland its activity has included concerts at the Ulster Hall and in other regional centres, education work in the Derry~Londonderry area and an annual week-long Festival at Clandeboye, North Down. Here public concerts feature chamber music played by visiting artists, solo recitals, and Camerata Ireland; while a Young Musicians Programme provides over ninety young musicians aged 14-25 with tuition and mentoring by Camerata musicians and others.
Other professional orchestral provision in Northern Ireland has been limited to infrequent self-promoted visits from orchestras based in the RoI (the RTÉ Concert Orchestra, Irish Chamber Orchestra, Irish Baroque Orchestra), there being no regular commitment from any promoter in the north. Lyric companies visiting the Grand Opera House may bring an orchestra, and the Belfast Festival at Queen’s has sometimes promoted an orchestra from overseas. NI Opera is working in its various projects with freelance musicians or with the Ulster Orchestra.
In Autumn 2011/Spring 2012 the first International Orchestral Series is to be held at the Waterfront - three concerts touring commercially through IMG Artists UK. This is new
| P a g e 20 territory for the BCC-run venue, and it remains to be seen whether it can attract substantial audiences and whether it impacts on the Ulster Orchestra’s audiences.
Amateur orchestral activity was not specifically covered by our consultations, but website searches show that it includes the Ballymena Chamber Orchestra, Girona Orchestra in Ballymoney, and Studio Symphony Orchestra in Belfast. The latter, conducted and led by Ulster Orchestra musicians, has performed very large-scale symphonic works as well as exploring some less well known repertoire. Queen’s University supports a 60-strong student symphony orchestra and a chamber orchestra. There are occasional visits by the CrossBorder Orchestra of Ireland, a larger youth orchestra which is a peace initiative suppoprted by the RoI government, Peace funds, and Tourism Ireland/Culture Ireland.
Youth orchestras are run in individual schools, in each of the five ELB areas, and at a national level – the Ulster Youth Orchestra (UYO). The latter, a cross-community organisation originally set up by ACNI and now funded by it, works closely with the ELBs to audition and bring together talented instrumentalists aged 14 – 23 from across Northern Ireland for residential courses and concerts, CD recordings, composer workshops, projects and events. Training is provided by leading musicians and conductors from outside Northern Ireland, and the orchestra has played at the BBC Proms as well as in RoI, Scotland and Germany. This year it has won funds from the Performing Rights Society Foundation (PRSF) to jointly commission a new work by Judith Bingham with the National Youth Orchestras of Scotland, Wales and Ireland. Thhe Ul
2.6.2 Smaller ensembles and soloists
ACNI does not regularly support any professional chamber music ensembles or contemporary classical music groups, and the only such groups established and resident in Northern Ireland are formed of Ulster Orchestra musicians (there are eight such groups). Most primarily perform at social functions, while the brass quintet has commissioned new work and toured with Music Network in RoI.
Queen’s University Belfast (QUB) School of Music (and its Sonic Arts group) runs an experimental music ensemble, and has recently been recruiting a string quartet in residence for a one to three year period. This will be a new opportunity for an international quartet with wide repertoire, encompassing teaching, outreach work, and public concerts and events. Such residencies have been very effective elsewhere in the UK, bringing new audiences to chamber music and raising the standard of local performance and learning.
Since there is no specialist music conservatoire in Northern Ireland, many musicians complete their training in Scotland or England and remain there or travel on to Europe. In Northern Ireland the network of venues is not well funded enough to buy in very much in the way of chamber music or recitals, often not equipped with good pianos or suitable acoustics, and lacks programming and audience development skills in this area of music.
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Specialist promoters offer occasional opportunities for UK and international groups and individuals to visit Northern Ireland, as well as featuring performances by local ensembles and occasional commissions.
The majority of chamber music promotion is funded in some way by ACNI. The Belfast Music Society (BMS) promotes its International Festival of Chamber Music in February; the newer Walled City Music Festival in Derry~Londonderry is in late July/early August and linked to the University of Ulster; Camerata’s Clandeboye Festival near Bangor runs in August and the City of Derry~Londonderry Guitar Festival (late August) is also linked with the University of Ulster. The Belfast Festival at Queen’s includes classical and/or crossover ensembles in its eclectic programme.
Newry Music promotes some chamber music concerts, and Music 55/7 in Derry~Londonderry has done so in the past. The extensive free lunchtime concert series at QUB mixes a programme of education or research-led projects with visiting artists and collaborations with the Belfast-based festivals, some with European funding.
MOM includes chamber music in its annual touring offer to regional promoters. While it cannot afford to tour the most famous names brought in by individual festivals (e.g. Kronos Quartet, James Galway, etc) its own selection of touring ensemble(s) may appear in a festival. It also collaborates on one-off chamber-music promotions and commissions with individual festivals and promoters.
Chamber music provision is underpinned by the involvement of BBC Northern Ireland, which aims to record 24 chamber concerts of outstanding quality for broadcast on BBC Radio 3 each year. The programmes and artists for these have to be approved by Radio 3 in London, and the promoter is paid an agreed fee per concert. The most regular collaborators have been the Belfast Music Society, Music 55/7 and MOM, and although it means a loss of editorial control the financial arrangement enables promoters to showcase outstanding artists.
ACNI and BBC Northern Ireland together run a biannual Young Musicians’ Platform Scheme to launch the professional careers of up to three exceptionally talented musicians each year. Awards offer recipients funding to spend time studying abroad, and two radio broadcast engagements, one of which is with the Ulster Orchestra.
2.6.3 Choirs
Northern Ireland is home to many amateur choirs, and although it does not have its own professional choir it is visited regularly by the National Chamber Choir of Ireland, with ACNI support.
Choral activity in NI has not been researched specifically, but the 50 choirs identified on a website search as members of the UK organisation Making Music or on www.choirs.org.uk
| P a g e 22 range from youth to adult choirs, from sacred to classical, from workplace to inclusive community choirs. Some have received commissioning funds from ACNI.
The Ulster Youth Choir (UYC) receives ASOP and Project funding. It aims to bring the best young singers aged 16-24 together, trained by leading choral and vocal coaches from the UK and Ireland. Between them the choir and training choir have 150 members, and there is also a smaller chamber choir.
As well as its summer residential courses and annual concerts the UYC runs two months of workshops in secondary schools to help music teachers and to recruit members. It has performed throughout Northern Ireland and in Dublin, Glasgow, Edinburgh and Paris. Repertoire has focussed heavily on contemporary choral music from around the world.
The Belfast Philharmonic Choir (BPC) has a membership of over 120 adults from across Northern Ireland and performs regularly with the Ulster Orchestra in Belfast. It is run by volunteers, with ACNI project support for some of its activity.
BPC also runs Phil Kids, a singing programme recruiting from Primary Year 4 and retaining members up to the age of 15, with over 300 members this year, all rehearsing in Belfast on Wednesday evenings in training, children’s and youth choirs. Phil Kids are taught through the Kodaly method, based on a model piloted by the National Youth Choirs of Scotland.
2.6.4 New music, composers and commissions
The BBC regularly commissions new works for the Ulster Orchestra to perform at BBC invitation concerts or studio sessions; these works rarely receive second performances. The orchestra has its own associate composer, currently Ian Wilson who will have a new orchestral work premiered in spring 2012.
The previous associate, Brian Irvine, focussed on large-scale participative works. One of the few internationally-known composers living in Northern Ireland, Irvine has formed a production company Dumbworld which has been awarded the London 2012 commission for Northern Ireland, a huge sonic installation project in Belfast.
Also on a large scale, projects for Derry~Londonderry 2013 include a cantata by poet Paul Muldoon and composer Mark Anthony Turnage, to be played simultaneously by the London Symphony Orchestra in London and Camerata Ireland in Derry~Londonderry.
QUB’s School of Music and Sonic Arts run a two-day Sonorities Festival of Contemporary Music in Belfast, ‘exploring musical practice at the intersection of contemporary and electronic fields’. For 2012 it has been awarded Beyond Borders commissioning funds with the Dialogues Festival (Glasgow), for improviser Evan Parker working with traditional and contemporary musicians.
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Commissions are funded by ACNI through applications by the commissioning organisation, and these often include non-professional music bodies. Individual composers in Northern Ireland can apply (in competition with other artforms) for a range of small grants from ACNI including self-arranged residencies, travel grants, and career enhancement grants. These were informed by an ACNI joint review with the RoI’s Arts Council/An Chomhairle Ealaíon (AnCE) of support for individual artists; they have not been reviewed as part of this report (in this or any genre).
The Contemporary Music Centre in Dublin represents new music and composers from all over Ireland. Although 17% of its composers are from Northern Ireland, its funding from ACNI is now on a project basis only. The centre is keen to complete the digitalisation of its archive, to increase its profile in Northern Ireland, and to encourage second performances of the many works commissioned over the years.
2.6.5 Opera
Although opera is not part of the brief for this strategy, newly-formed NI Opera has contributed to the consultation and is interacting with several ACNI music clients. Like them it is under-resourced, but with contacts across Europe its collaborative approach to local, national and international partnership is particularly dynamic and creative. It is working to generate audiences in parts of Northern Ireland which have lacked opera provision in the past, and wrestling with the problem of providing regular projects and presence. Interaction with the rest of the music sector in Northern Ireland will add to the partnerships and offer interesting models to others.
2.6.6 Issues for consideration: Ulster Orchestra
The ACNI annual grant to the Ulster Orchestra is the largest made to any arts organisation, being £2.2m of a music ASOP spend of approximately £3m4. Not surprisingly the repercussions include envy from the wider music community and a reluctance on the part of ACNI to increase support. Yet the orchestra pays its musicians less than any other UK professional orchestra (with a pay freeze over the past three years) and has a reduced programme of activity outside Belfast because of the costs involved.
Comparisons with other UK orchestras show that, with support from the BBC and BCC taken into account, the Ulster Orchestra receives less public subsidy than for example the Bournemouth Symphony Orchestra or Royal Scottish National Orchestra (which are larger orchestras) and more than the smaller Scottish Chamber Orchestra.
The biggest problem for the Ulster Orchestra, unlike the others mentioned above, has been finding engagements and performances outside its home base capable of earning income to
4 By comparison in England 24 arts organisations each receive more than £2m in subsidy annually, of which 8 are orchestras and 4 are opera companies. In Scotland 5 ‘national performing companies’ each receive over £2m, including two orchestras and an opera company.
| P a g e 24 supplement the public subsidy. In fact with a small catchment in Northern Ireland, cuts in local authority promoter budgets, and two RTÉ orchestras servicing the RoI, the orchestra has sometimes been relatively under-employed. This has to an extent limited the orchestra’s profile and musical life.
On the positive side, the orchestra has successfully maintained the subscription base for its core concert series in Belfast. It has also attracted award-winning and ongoing (newly renewed and increased) sponsorship from JTI. The sponsorship has supported lunchtime concerts, a community Christmas concert, a composition project and Move to the Music – bringing elderly people in to Belfast concerts. From this year, it will also fund 4 concerts per year outside Belfast. In general the availability of key musicians has enabled a programme of workshops and education events which now reaches 30,000 children a year.
The board and current CEO are well aware of the need to grow engagements, partnerships, and financial support within and without the region to complement the public funding it receives. There are already early signs of success in these areas, which will help to counteract an equivocal attitude about the orchestra from some politicians, stakeholders and observers.
At present the orchestra is not represented in some important tourism brochures about Belfast and about Ireland, and seems not to draw national governmental pride as the Scottish orchestras do, or to appear as an ambassador for a good lifestyle in Belfast. To survive in the present climate, the Ulster Orchestra needs to become the orchestra Northern Ireland cannot do without.
The best orchestras in the UK are led by a vision (often shared by a CEO and an conductor/artistic director) which encompasses all of their work and presentation – repertoire, partnerships, education and outreach work, audience engagement, and so on. Pierre Boulez’s vision of an orchestra as an ‘ensemble of possibilities’ has been explored adventurously and in many ways. Such transformation may require the Ulster Orchestra’s musicians to offer greater flexibility through their contracts, and the whole organisation to engage positively with new approaches.
Changes already made this year include the appointment of a principal conductor, an increase in regional touring engagements through the use of a chamber-size orchestra directed by the leader, and a renewed creative dialogue with the business community, creative industries, Derry~Londonderry City of Culture 2013, and BCC.
The orchestra is developing a three-year plan to broaden its income base while enhancing its contribution to, and profile in, Northern Ireland and beyond.
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This will address many of the issues raised in our commentary, which may be summarised as:
the relationship between the orchestra and the people of Northern Ireland, between concerts and all other activity; a collective vision for the orchestra’s work overall; the flexibility of musicians pay and contracts; concert-giving outside Belfast, including a stronger presence in Derry~Londonderry; developing joint projects, collaborations and residencies with others; offering services as cheaply as possible to others; making new connections with tourism and commercial interests; attracting commercial income, trust support, individual donations, and sponsorship; an advocacy programme; and reviewing internal operations.
ACNI will be concerned to support and monitor the orchestra through this period of change. It will want to engage with BBC Northern Ireland and with BCC to ensure agreement about new developments, encourage continued support, and draw in new funders. The issue of working with AnCE on cross-border collaborations may also open discussions on an island- wide approach to orchestral provision.
2.6.7 Issues for consideration: Classical music
There are several gaps in the provision of professional classical music:
regular orchestra or ensemble provision in centres other than Belfast;
new and twentieth century music of international status presented in a sustained programme to engage new audiences;
opportunities for local musicians resident in Northern Ireland or elsewhere to tour in Northern Ireland; and
opportunities for composers to work with a professional ensemble.
Other issues identified during consultation were:
size and regularity of orchestra grants compared with project grants to all others in classical music;
overstretched personnel (paid and voluntary) and resources across the board;
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current turnover of long-term personnel: at BMS (voluntary, full-time chair), UYC (founder/manager) and BPC (chorus directors);
youth music organisations receive much less subsidy than their UK counterparts;
not much contact/collaboration between classical music and other genres; and
lack of advocacy for classical music by national agencies and the media.
If the Ulster Orchestra can increase its presence outside Belfast, including in chamber orchestra form, there remains a question about the role of Camerata Ireland. Its work with young musicians at Clandeboye is a unique offer; other activity proposed in its own review will need to complement and/or contrast with developments at the Ulster Orchestra. Meanwhile the Irish Chamber Orchestra is growing in scale and stature, and may be able to offer tours into Northern Ireland in future.
The other classical key music organisations are struggling with frequent applications for small amounts of project funding, and resulting strain on personnel and resources, which are just as limited here as they are for other areas of music. ACNI has succeeded in maintaining funding for classical and chamber music every year, but not in keeping ASOP status for them. Longer-term grant agreements for these infrastructure organisations, with less paperwork, would make a big difference to all.
In terms of saving costs, it is possible that in future the Ulster Orchestra could offer administrative backup to the UYO and/or UYC, but at present it has too much on its plate.
An alternative idea of combining the administration of these two youth organisations is unlikely to save significant resources, since they are both busy at the same times of year and have very small part-time staffing resources. The staffing and level of public funding is low in comparison with, say, the National Youth Orchestras of Scotland. What would be valuable would be assistance to help UYO and UYC to access additional support from other - possibly education? - sources.
Networking between classical and other music and arts organisations is at an early stage. In terms of collaborations or sharing resources, we noted some overlaps in ambition and activity elsewhere, between Phil Kids and the UYC, and between BMS and MOM.
BMS and MOM have a common interest in classical chamber music but different sets of skills and partnerships. BMS is interested in developing its work with young professional artists from Northern Ireland and MOM has the capacity to tour them to regional venues.
Could an ensemble residency proposal emerge from a collaboration in Derry~Londonderry or elsewhere, to complement plans for a quartet at QUB? Is an ensemble residency reaching into communities and addressing wide repertoire feasible? It would need strong artistic
| P a g e 27 direction and clever marketing/audience development work, and should include outreach initiatives to reach more rural areas. Examples of successful audience development work through residencies include the London Mozart Players in East Lincoln, England, and the Association of British Orchestra (ABO) offers other interesting models and case studies on- line.
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PART 3: COMMON INTERESTS
3.1 ABOUT THIS SECTION
In this part of the report we examine concerns and issues affecting the majority of music organisations.
These address infrastructure, audiences, personnel and modus operandi. They cover common aims and interests - youth music and education, professional development, touring, work in the community - and the role of musicians and organisations in the voluntary and amateur sectors.
The section concludes with an examination of the role of ACNI in relation to music, and the directions and partnerships ACNI could develop in supporting the sector’s health, growth and development.
3.2 AUDIENCES
3.2.1 Audience development and data
The pattern of audience attendance in Northern Ireland has been conditioned by recent history. During the Troubles people travelled less across the country or into cities and towns for their entertainment than was the case in the rest of the UK. Staying close to their own communities meant that there was greater emphasis on enjoying local music making as audiences and participants.
In addition the relatively late development of the infrastructure of arts buildings, which is still continuing with the forthcoming opening of the Metropolitan Arts Centre (MAC), is now coinciding with a general fall in market demand as well as in revenue funding.
Nationally and internationally, leisure patterns and information flow are being transformed by the ‘digital revolution’. With so much available on-line, expectations of an evening out are higher and different; audiences may no longer want to sit quietly, but to be engaged as active participants in a sociable cultural occasion.
Some music organisations, including festivals and other special events, are of a nature to sustain and even grow audiences in this environment. For others the challenges are great, yet the capacity to change, innovate, and adapt to new circumstances is often limited by the struggle to survive with minimal resources.
The balance between supply and demand in music is still emerging in Northern Ireland, and for all organisations depending on box office income, as well as those that fund them,
| P a g e 29 relevance to audiences and the wider community has to be a central concern.
The Audience Review 2011 recently published by Audiences NI shows collated ticket sale and revenue information for a range of music genres in 2010, drawn from box office data from 25 participating organisations. Four of these specialise in music promotion (Ulster Orchestra, Ulster Hall, Open House Festival, the Nerve Centre); almost all of the 25 present some music, and music overall accounted for 30% of the tickets sold, with only theatre coming higher (45%).
2010 music sales by genre (The Audience Review 2011, Audiences NI) Tickets Revenue Visits Average NI Ticket Yield Households5 Popular Music 173,138 £3,389,745 64,172 £19.58 36,885 Classical Music 60,583 £741,485 22,138 £12.24 8,427 Musicals 43,629 £820,748 14,504 £18.81 9,008 Culturally Specific 28,123 £404,453 9,082 £14.38 6,141 Music Youth Music 27,973 £189,905 5,512 £6.79 3,595 Opera/Music 18,647 £388,177 6,941 £20.82 4,004 Theatre Workshops/ 10,124 £155,498 6,080 £15.36 2,747 Classes Jazz 4,760 £52,202 2,047 £10.97 1,122 Community/ 3,586 £25,572 724 £7.13 529 Amateur Music TOTAL 370,563 £6,167,785 131,200 £14.00 (av) n/a
These figures give an indication of the range and hierarchy of box office results, though they do not include the biggest commercial rock festivals, for example.
The importance of box office sales was confirmed in the responses we received from a more disparate group of 32 music organisations to a survey question in our online consultative survey about income sources. Box office sales are the biggest income source for 6, second biggest for 11, and third for 9:
Importance of box office as an income source (Music Review Survey) Most Second Third Fourth Fifth Total important most most most most respondents Number of respondents 6 11 9 4 2 32 % of respondents 19% 34% 28% 13% 6% 100%
5 Household figures apply to only those households that are verifiable and identifiable in Northern Ireland, but sales figures (tickets/revenue/visits) refer to all sales, irrespective of where they originated.
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Our consultation showed that while members of Audiences NI have benefited greatly from the installation of new box office systems and are using Audiences NI’s expertise and programmes to their advantage, many other organisations (including some voluntary) are keen to learn more about audiences and marketing but have not yet found a way of doing so.
28 respondents to our survey listed marketing skills as an area in which training and professional development would be useful, making it the second highest area after networking and contacts. (See the section: Working in the Music Infrastructure).
From 2009 to 2010, the majority of the organisations in the Audience Review 2011 experienced a ‘decline in sales, which amounted to a 7% drop in ticket sales and an 8% drop in revenue overall. However, while ticket sales and revenue were down, the number of bookers declined at a much lower rate of 2%, so while sales may have been lost, customers have not’.
At this time it is particularly helpful that Audiences NI has introduced a new group of membership packages, ranging from a free Entry Level for ACNI clients based on information sharing and on-line resources, to Insight Level (£3,500) offering a full package of consultancy and training. It will be important that organisations are signposted to this opportunity, including the detailed mapping information freely available about the population of NI and its cultural behaviour/interests.
Audiences NI projects such as Test Drive the Arts, Classical Arts alert, and forthcoming work on digital capacity and engagement are relevant and useful for music.
However, Audiences NI observes a great shortage of marketing capacity in individual music (and other) organisations, and of time to make use of what is already on offer.
A consultation with the music sector and ACNI about centralising some of the services widely needed, especially digital marketing, might be able to examine the time, cost, and expertise benefits of central support for the sector and the extra resources it would require.
There may also be a case for increasing marketing support offered to voluntary organisations through Voluntary Arts Ireland (VAI) (see the Participation and Community Activity section). VAI has recently applied for funding for a big e-learning project, and its website signposts visitors to many training events.
Returning to the consultation for this review, our survey respondents draw their audiences from local, regional, UK and international sources, varying according to their remit/ambition6.
6 Some of the international sales are overseas sales by the music industry and others one-off box office purchases.
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We asked for their comments on developing their audiences: several organisations are addressing this by programming for particular groups, reflected in their responses as:
reaching younger audiences through schools concerts and education projects;
reaching younger audiences through 'cross over' events;
diverse age range / depending on genre of music and activity being promoted;
servicing a niche/specialised market; and
encouraging younger people developing an interest in Americana music.
Others reported they are benefiting from promotion and networking through:
partnership broadcasting with broadcast media, YouTube, etc. ;
press and media coverage;
tourism award nominations;
reaching the business community through fundraising initiatives;
regional and UK touring; and
networks with other organisations.
Some specific concerns about developing audiences were raised in conversation with members of the music sector. A recurring theme was the danger of overprovision of festivals, especially in Belfast, leading to what some believed to be damaging competition for audiences with year-round enterprises (as well as between festivals). While BCC and the NITB have been working to develop the cultural tourist market, with a special focus on festivals, this is not yet seen to benefit ongoing concerns. (This issue is also addressed in the section on Festivals).
Another issue also concerns ongoing provision: how can an audience be developed if the supply of a particular kind of work is intermittent? Observations about increasing programming and provision in some specific areas of music are made in the Genre and Touring sections; all would need to be underpinned by audience intelligence and specialist marketing support.
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3.2.2 Issues for consideration
Many organisations would benefit from being encouraged and enabled to make use of Audiences NI and, possibly, of some centralised marketing services.
Similarly, relevant organisations would benefit from being signposted to VAI.
To compete with festivals and one-off events, year round organisations should benefit from a raised profile in tourism and city event marketing.
3.3 THE INFRASTRUCTURE FOR PROMOTING AND TOURING LIVE MUSIC – PROMOTERS, TOURING AND FESTIVALS
3.3.1 The role of the promoter
Active promoters of live music are the essential link between performers and audiences. To operate effectively they require understanding of their communities, knowledge and skill in programming and marketing, good quality production, an infrastructure of appropriate venues and financial viability through market demand or support funding.
For a country the size of Northern Ireland (geographically and in terms of population) there appear at first sight to be a larger number of promoting organisations than might be expected. In part this can be accounted for by the incidence of local rural or smaller-town arts centres as well as the concentration of organisations and festivals in Belfast and increasingly in Derry~Londonderry.
Almost all of the promoters mentioned below operate an admixture of education, training, participation and outreach programmes. This work is covered in the Education and Participation sections of the document; what follows here is about the professional promotion of live music to audiences.
3.3.2 Arts centres in the cities
In Belfast, the Crescent Arts Centre’s music programme is high quality and much of it is presented in partnership with MOM or other festival promoters. The soon-to-open MAC, also part-funded by ACNI and with a larger performance capacity, is planning to make similar partnerships to develop a programme of forward-looking contemporary music, linked with residencies and new commissions. The MAC will also look to make partnerships with specialist music organisations – including An Droichead and MOM – acknowledging that specialism of that order may not be possible within the core staff of the centre.
Derry~Londonderry’s Nerve Centre and Belfast’s Oh Yeah Centre have a built-in specialism in promoting the various areas of contemporary popular music – indie, rock, dance etc .
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Each has a programme of promotions for and, equally importantly, by young people. These give access to young audiences who are otherwise not able to attend regular gigs in licenced premises – a problem with so much music promotion in bars and clubs. They also have an essential function in encouraging a next generation of promoters to learn entrepreneurial and organisational skills.
Language centres (e.g. An Culturlann Doire) serve a useful function in regularly promoting traditional music events and taking part in local festivals. Belfast’s An Droichead, however, has the potential and aspiration to take music promotions out of its limited capacity centre and promote in larger venues as well as fix tours or extended events in a wider range of traditional music from the Celtic countries.
3.3.3 Large scale promoting venues
There are four large-scale music promoting venues in Northern Ireland that have the capacity to present symphony orchestras, large scale ballet, opera and music-theatre shows and well-known touring rock and pop acts (amongst a mixed programme that also features stand-up comedy and large scale community events).
Derry~Londonderry’s Millennium Forum mirrors Belfast’s Waterfront Hall in that it also serves as a conference centre. Funded by ACNI and Derry~Londonderry City Council it mixes its own programme with music theatre, musicals and concerts of all genres, some promoted as hires by commercial companies and others in collaboration with Derry~Londonderry’s larger festivals such as the Walled City Festival of classical music or the Jazz and Big Band Festival. There are occasional visit by the Ulster Orchestra. The Forum also hosts the Interact Festival of Youth Arts.
The Grand Opera House (GOH) Belfast is primarily a lyric house. Its strongest programme element is a range of musicals and music theatre, some locally produced and others on UK tour. Supported by ACNI it now serves as the home of NI Opera and will host some of their productions. It also hosts occasional visits from commercial low-cost touring opera companies and rare visits by UK-based opera companies – primarily Scottish Opera – which can be supported by the Cross Border Touring Scheme to which all four UK arts councils subscribe.
The difficulty with this arrangement is that Northern Ireland does not have a major lyric company to export on the Cross Border Touring Scheme and, if the choice of touring productions to be supported is not appropriate or available to the GOH, it does not have the resources to present any other main-scale opera in that season.
The Waterfront Hall and Ulster Hall, Belfast, both under the same local authority funding and management, are the only regular presenters of orchestral music in the city. Most of the concerts are promoted by the Ulster Orchestra itself or by the BBC with the Ulster Orchestra, including invitation concerts. In 2011/12 the Waterfront Hall is promoting its
| P a g e 34 own short series of international orchestral concerts. The rest of the halls’ programming is a mix of self-promotions, hires and box-office splits with commercial promoters. This provides a good range of music for the city.
Although they occasionally host events promoted by the city’s other festivals, neither of the Belfast concert halls have the resources to promote their own special signature series or festival-style events – in comparison with, say, Glasgow Royal Concert Hall’s Celtic Connections festival, the Sage Gateshead and its jazz or folk festivals, or London’s South Bank Centre’s Meltdown festival.
3.3.4 Regional arts centres
The recent ACNI strategy of ensuring that everyone in the country has access to an arts centre within twenty mile radius has produced a unique network of professionally managed and, in general, well-appointed performing spaces. Across the country newly built or refurbished venues, added to the longer-established arts centres, now provide capacities in every area of between 100 and 400. Almost all of these arts centres are maintained and run by local authorities. They are mixed use in terms of artforms and often share premises with a local tourism bureau.
Professional music programming is increasingly difficult to maintain. The backbone of much programming will be Irish (and associated) traditional music, Americana and singer- songwriters, all of which can often produce respectable audience numbers at a manageable cost. Indie and rock music will usually feature local and young, emerging, bands.
Chamber music (including contemporary classical), jazz and other folk/roots musics are poorly represented – with sometimes only one or two gigs of each style in every year. These styles of music are harder to sell to audiences and also come generally at a cost higher than the arts centres can meet on a limited budget.
Having provided funds for much of the building and refurbishment programme, ACNI’s policy in recent years has excluded centres from project/programme funding or ASOP status, regarding revenue funding as the responsibility of the local authority.
Local authority finances, however, are now more limited than ever and as fixed running costs for arts centres have risen, their budgets for programme have diminished. Several centres note their annual programme subsidy budget for all artforms is £10,000 or even under. Many will also be set testing targets for ticket income and attendance numbers. These factors all discourage programmers from taking risks or investing in long-term audience building for areas of music that have higher costs and (currently at least) lower audience potential.
Regional arts centres can play a key role in the development of Northern Irish artists and also of audiences for a range of music, both from home and away. They provide work and a
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‘seedbed’ circuit on which bands can build an audience for their music and also build their artistic skills. The arts centre circuit in England, for instance, has long provided exposure for jazz, folk and indie artists and the stepping stone to a higher level of success for many.
Our consultation found a genuine desire in the arts centres to broaden music programming but their financial constraints, coupled with many programmers’ admission that, as generalists, they may not have sufficient knowledge of particular areas of music to be able to programme and market them effectively, result in a severe limitation on what they are able to offer to local audience.
To circumvent some of these constraints, most of the arts centres mix own promotions with hires or door splits with independent promoters - or make arrangements with specialist local groups to either share or advise on specific areas of programming.
A potential disadvantage is that the arts centre may have less control of the overall direction and content of the programme, and thus of a coherent approach to audience development.
Some arts centres have helped to form an independent local volunteer group for specific musical styles which can then promote in the arts centre but raise funds separately.
Most at some time take subsidised touring artists – generally from MOM - to inject high quality specialist music into the programme at a lower-than-cost price.
There is a clear consensus that there is a shortfall in the ingredients of professional high quality music programming - to which arts centres aspire in order to give a full and rounded ‘menu’ to local audiences – this shortfall being predominantly in the areas of jazz, chamber music and folk/world/roots styles (outwith Irish traditional music).
3.3.5 Other promoters
As we have seen in previous sections, a number of other organisations, whether or not they are venue-based or ACNI funded, promote music around the year. Dun Uladh, the traditional music organisation in Omagh, for example, will promote various concerts as will the Newry Chamber Music Society. Festivals may run out-of-festival series like Glasgowbury’s monthly G Sessions in Draperstown or the Open House Festival in Belfast’s regular gigs in city venues.
Commercial promoters and tour organisers from within Northern Ireland are relatively few and small scale. Since there are no funding or boundary restrictions they may promote or tour across the various borders –and other promoters from the UK and RoI will come into the country as opportunities allow. Arrangements with venues and host promoters are a mixture of those described above.
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Some commercial promoters have raised the issue of publicly funded organisations displacing commercial opportunities by promoting profitable gigs that have no need of subsidy. This issue is discussed in the section on Festivals.
3.3.6 Touring
MOM is ACNI’s only regularly funded music tour producer. Outwith MOM’s ASOP grant there are no specific project funds for music touring although general project funding might be accessed for the purpose if an applicant met other necessary criteria.
Festivals (as outlined below) may enrich the mix of music available to audiences – but the consistent promotion of high quality music around the year is the only way to provide for and build an audience, especially for the less well-represented forms like jazz, chamber music and world/roots music.
These are the areas of music offered on tour by MOM. The drawback for both the tour operator and the receiving venues at present is that MOM’s resources, however carefully managed, do not allow for a sufficient intensity of tour scheduling to build an audience by regular promotion of these kinds of artists. Fees, although low in reality against the true cost of the touring package, are still high in terms of severely limited arts centre budgets.
In our consultation promoters expressed a keen appetite for more consistent touring, planned and run by specialist professionals and integrated with plans for audience development and marketing. Whilst local promoters knew their own audiences they wanted to acquire more knowledge around specialist music programming.
3.3.7 Touring issues for consideration
Several arts centres suggested that focussed and targeted touring might be best achieved if they interacted as a consortium with specialists who had the relevant skills in touring and audience development. In partnership, an arts centres/promoters-plus-specialists consortium could build a nationwide audience for under-represented areas of music – and an audience that could be encouraged to travel further to hear music that has attracted their attention.
The regional theatres consortium was cited as a model where this kind of collaboration had produced positive results. A consortium would be able to raise separate funds for its activity (from ACNI and elsewhere and from modest but collectively useful contributions from the members own resources).
A long-term programme would allow touring specialists to work alongside the arts centres/promoters as development agency for jazz, world/roots and chamber music. Specialists could perhaps combine or collaborate to increase the breadth of work on offer to the consortium. The possibilities should be explored for organisations such as An Droichead to develop their reach and skills in touring to augment areas such as traditional and indie music in which there is currently some viable touring.
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The growth of the touring offer would strengthen the possibility of accessing funds again (as was possible in previous years) through collaboration with AnCE and promoters in the RoI.
Similarly other ideas elsewhere in this review for the extension of touring funding opportunities – with Beyond Borders, other UK arts councils and in partnership with overseas cultural agencies – would be the more feasible if the touring circuit was stronger and had more to offer.
3.3.8 Festivals
The British Isles have seen a proliferation of festivals and especially music festivals in recent years – and this is perhaps even more the case in Northern Ireland.
An NITB report in 2010 suggests that there are more than 300 music festivals (or festival- style events) in the country annually. Festivals certainly feature very widely in general marketing for tourism and culture.
The growth of festivals in the decade since the peace agreement has been stimulated by a variety of positive motivations. They can be celebratory ways to express local identity and creativity; they are a clear outward sign of life and regeneration; they reclaim public space, offer positive images of communities to others and have a proven benefit in economic impact.
The plethora of new festivals has added to a small number of events with strong and long- established reputations for distinctive programming and profile. Prime amongst these is the Belfast Festival at Queen’s, Northern Ireland’s equivalent of the international multi-artform festivals of Edinburgh or Brighton. And in traditional music the William Kennedy Piping Festival in Armagh has an Ireland-wide reputation.
The range of festivals is incredibly wide – geographically and in style and size. Even if they are not specifically music festivals but for broader arts and leisure activities, most are likely to feature music in some form or other.
The great majority will be small scale community based events, created by motivated local enthusiasts or arts organisations and supported by the locality – including with local authority funds granted to match the strand of DCAL funding offered for this purpose. These festivals are an important platform for participation by local performers, whose sense of local identity can be proven and re-affirmed.
A few community festivals have grown far larger, combining participation with high quality professional performances, and aiming to attract audiences by presenting a positive image of the locality. A prime example is Feile an Phobail, in West Belfast which now also runs a spring festival of Irish traditional music and a children’s festival, as well as the summer multi- artform spectacular (thought to be one of the largest community festivals in Europe).
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ACNI supports Feile an Phobail and other multi-artform festivals that feature music programmes – Belfast Festival at Queen’s and the Cathedral Quarter Arts Festival - through the combined arts portfolio.
There is only one specifically music festival supported as an ASOP client – the Open House Festival which features traditional music, folk, Americana etc. However, the range of music festivals supported in other ways in the music portfolio covers various sizes of event and musical genres.
The Belfast Nashville Songwriters Festival, Ards Guitar Festival, Derry~Londonderry’s Walled City Music Festival (classical) – all received larger project funding in 2010/11.
Small music grants went, for example, to festivals in Fermanagh, Holywood (classical, competitive), Limavady (O’Cathain Festival) and Armagh (Tommy Makem Festival of Traditional and Folk Song).
Other festivals with ACNI input may be part of the annual programme of a funded organisation that works around the year – e.g. MOM (ASOP) produce a short festival in Belfast in the spring; An Droichead (Project funded) has a new traditional music festival; Belfast Music Society’s (ASOP and Project funded) chamber music programme now focuses on a festival; Derry~Londonderry’s Nerve Centre (ASOP) hosts the annual Celtronic dance music event.
The list continues with events like Belsonic – big pop names in Belfast – that are commercially viable and have commercial sponsorship; rock and indie music from Ireland at Glasgowbury (Draperstown) with various support including NITB and occasionally ACNI; Sonorities (experimental electronic music ) in-house at QUB; the Ulster American Folk Park’s Appalachian and Bluegrass Festival; and the City of Derry~Londonderry’s Jazz and Big Band Festival, with support from the city, Guinness and, as with so many other festivals, a whole range of other public agencies.
3.3.9 Festival issues for consideration
With such a welter of festivals and their multiplicity of objectives and sources of support, demand for support from ACNI will inevitably increase, including from other bodies – such as NITB or the city councils - with their own plans for festival development.
Festivals are an integral part of the mix of music provision; they can provide an expanded menu of music for audiences that otherwise would not be available; and they offer good exposure for artists.
ACNI’s support for music through festivals is important - but in future it may need to re- confirm its criteria for festival funding to prioritise demand and help a balanced range of events to best serve local and visiting audiences.
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We would suggest that ACNI reassures itself that supported festivals have:
a distinct artistic vision, programme and identity;
the aims of developing opportunities for audiences and artists in the chosen artistic area, and the ambition and ability to do so;
a role within year-round provision, within their artistic area;
a place in the overall audience development for their artistic area;
a distinct place in the annual calendar; and
a size and scale appropriate to their location, artistic area and audience potential.
The last point is important. Smaller festivals, especially if they have the other distinct qualities, are just as much part of a balanced mix of music around the country and around the year.
Conversely, festivals should not:
clash with one another, especially in the calendar and/or in specific geographical areas;
be seen as an alternative or substitute for building year-round audiences and provision; or
damage or distort the year-round music economy and infrastructure.
The last issue here is one that was raised on several occasions during our consultation. Some funded festivals were believed to be displacing legitimate opportunities for non- funded independent promoters by promoting artists whose work would be commercially viable and not warrant financial support. In addition it was believed that there were occasions when normal fee levels were distorted by funded festivals paying ‘over the odds’ for artists, thus excluding reasonable negotiations by independent promoters and making unwarranted use of public funds. The additional consideration, then, must be that the need for public support must be re-examined as festivals develop and potentially become more self-sustaining.
Festivals are prime target for tourism and regeneration investment and various agencies have taken the initiative to invest. NITB has recognised their value for tourist attraction and spend (a point underlined in its study of five festivals in 2010) and has invested in several across the country as well as a festivals forum – in some cases these are also ACNI funded events.
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BCC has backed a raft of festivals on grounds of cultural, regeneration and tourism benefit. These also include some funded by ACNI. But in our consultation there has been some discussion of whether the concentration on festivals in Belfast may become too much and weaken other year-round music providers.
ACNI has already invested in the golden opportunity afforded by Derry~Londonderry City of Culture 2013 – in itself, a 12-month festival. The essential corollary must be that Derry~Londonderry and ACNI should take care to nurture the legacy of 2013 with the long- term growth of permanent festivals (amongst other arts organisations).
The 2013 programme will be greatly enhanced by visiting events such as the All- Ireland Fleadh and WOMAD. But the priority for the long-term must be the growth of events with a unique artistic identity and a distinctive Derry~Londonderry brand.
In order to ensure balanced provision and the most effective use of its support for artistic development, ACNI must seek to establish a long-term strategy (and an agreed pattern of funding according to its key criteria) for music festivals with BCC, Derry~Londonderry City Council and NITB.
3.4 YOUTH MUSIC, EDUCATION AND TRAINING
3.4.1 A priority among consultees
In our consultation with music organisations, education and working with young people emerged as the top priority for future aspiration. Almost all of ACNI’s funded music organisations are involved in some way or other with education work and young people. Music organisations see education and engagement for young people as the essential ingredient in sustaining and developing a vibrant musical culture. The EKOS/GT report on the music industry makes the same assertion as a prerequisite for a thriving commercial industry. There is also much evidence internationally and in local projects of the value to young people of engaging with music in terms of personal and social development.
There are other reasons for this enthusiasm as well. Access to many young participants, to physical resources, and to a community of parents and teachers can result in inspiring work which also meets ACNI funding criteria.
3.4.2 Music in schools and the informal education sector
The five Education and Library Boards (ELBs) of Northern Ireland support the music curriculum in schools and run peripatetic music services with associated orchestras and extra-curricular activities.
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Classical music has been the focus of classroom and instrumental teaching (as in teacher training colleges too), though new curricula with increased recognition of other kinds of music have broadened the approach in some classrooms, especially for under 6s and at GCSE level.
Music lessons in classrooms may vary in quality and status, but unlike its UK counterparts Northern Ireland has sustained a country-wide music service, with good physical resources (instruments, music etc) and training programmes for instrumental teachers.
However, it has become necessary to charge for instrumental lessons, which is a matter of concern. Recent research by the BBC in Wales, where instrumental lessons are still free in some counties while others charge or are considering doing so, said that the number of children reaching youth orchestra standard is declining at an alarming rate. This has also been borne out in Scotland where the National Youth Orchestras of Scotland had monitored a decline in the percentage of their membership coming from state schools.
Certainly since the fragmentation of music services in England, Arts Council England (ACE) has been deeply involved in lobbying for new funding and initiatives to bring back access to instrumental teaching and singing for all children. These have included the establishment of Youth Music with new £10m annual lottery funding managed by ACE; the Creative Partnerships programme; Music Instrument Fund (Department of Education); a national singing programme Sing Up; three In Harmony projects (£1 million); and seed funding to establish Music Partnership Projects (£0.5 million). Alongside all of this the Paul Hamlyn Foundation has funded programmes in English schools transforming music teaching and learning - Musical Futures and Musical Bridges. ELB music staff are discussing accessing the Hamlyn initiatives with the Foundation.
In Scotland the Scottish Arts Council (the predecessor to Creative Scotland) took the lead (in partnership with Youth Music and the Musicians’ Union) in researching the true state of music education throughout the country. The publication of its comprehensive report ‘What’s Going On’ in 2003 led to the Scottish Executive investing an additional £10m annually in youth music funding, distributed and monitored (to local authorities and the informal arts sector) through the Youth Music Initiative unit set up within the Scottish Arts Council and now transferred into Creative Scotland.
A government review of school music services in Northern Ireland is under way, alongside reorganisation and cuts to the ELBs. The music budget has been put on hold (not cut) and the likely decision will be to create a single music service for Northern Ireland. Although this situation makes development difficult, the current music services have already jointly outlined possible ambitions for such a unified service, including working in partnerships with other agencies and expanding the diversity of musics offered.
Working in partnership is a theme in Darren Henley’s Review of Music Education in England 2011, commissioned by the UK Department for Culture, Media and Sport with the
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Westminster Department for Education, which suggests that ‘Where Music Education is delivered at its best, money from central government and Local Authorities is harnessed together alongside imaginative use of school budgets and exciting collaborations with arts organisations. The best Music Education comes about through partnership; no one teacher, performer, school, organisation, group or body has all of the requisite skills to deliver every part of a rounded Music Education to every child.’
The Music Promise, being generated as key part of the programme for Derry~Londonderry City of Culture 2013, is still to be formulated in detail but its bold concept is to confer on every child an entitlement to access to participation and tuition in music. There are plans to extend the programme beyond Derry~Londonderry itself and work in partnership with other providers. As it emerges it will be a unique practical opportunity to test and monitor the operation of a comprehensive youth music entitlement programme.
ACNI-funded music organisations are already working in schools or as independent providers, providing traditional instrument or music teaching, supporting young contemporary musicians and songwriters, choristers and orchestral players, running instrumental workshops, organising large-scale participative projects or giving concerts.
In various ways this informal sector is interacting with individual schools, colleges and ELBs and having some specialist input into music education. Activity has grown organically via motivated individuals and to meet increasing demand, providing a parallel stream of tuition and experience in areas that are far less well-represented in current ELB provision.
But there is neither a mechanism for consistent liaison between informal sector organisations themselves, nor for liaison between the formal (especially the ELBs) and informal sectors. There is no overview of the sum total of youth music activity in the country, the quality of what is on offer, nor of the gaps and opportunities that it might reveal.
Within our consultation, particular issues raised by music organisations echoed these perceptions and included:
the importance of good all-round music education for children;
keenness to see non-classical music embraced in schools, through teacher training and by music services, especially the traditional and participative musics with which many children are involved out of school;
the value of the instrumental Grade system offered for traditional instruments by the London College of Music;
the need to ensure high standards by any music organisation working with schools;
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the difficulty for a single arts organisation of finding a way in to the ELBs; and
interest in out-of-school-hours partnerships between formal and informal sectors.
The ELB Heads of Music that we spoke to were extremely pleased to be included in this review. Although there is no established meeting point between the music services and ACNI there are many issues of common interest. Regular creative contact about music issues between the ELBs and ACNI could unlock new ideas and funds – and provide the basis for a common strategic approach.
A partnership between ACNI and the ELBs could facilitate and be complemented by organised networking between the boards and those informal sector music organisations running education and outreach projects with schools and/or young people.
Topics of mutual interest for discussion should include training for music leaders, in-service learning for teachers exploring other areas of music, fundraising for projects (music organisations can access certain funds as individual charities which the ELBS cannot and vice- versa), and evaluation.
There is a mutual need for quality assurance and assessment in tuition work between the ELBs and the informal sector, so that each will know the range of what is on offer and be able to judge its appropriateness, quality and value. Together they could explore ways of sharing Continuing Professional Development and training techniques.
3.4.3 Further education
There are several post-GCSE music and music technology Diploma and Certificate courses available to students in Northern Ireland, though these have not been audited as part of this review. The most significant point raised during consultation was about the potential for resources at colleges to be used by others out-of-hours; and, once again, the need for networking between education providers and the music sector to discover what this might become.
There was also concern that courses should be linked to a realistic expectation of what to expect in the ‘real world’. Colleges are aware that careers advice and training in basic elements of the music business are all important – and this is where the music industry strategy can also link formal and informal sector providers.
3.4.4 Tertiary level music education
The University of Ulster and Queen’s University Belfast offer Music Degree courses. At the University of Ulster these can be combined with other subjects, while Queen’s offers either Music or Music Technology. Both also offer postgraduate studies in music, and the University of Ulster offers a postgraduate course in Cultural Management.
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Although there is long-standing provision for music training at the Royal Irish Academy of Music (and to an extent at Dublin Institute of Technology) there is no fully-fledged music conservatoire as such in Northern Ireland or RoI. Initiatives to form an all-Ireland music college have fallen away and in the present economic climate are unlikely to be resurrected.
It is possible to study an instrument as part of a degree course in Northern Ireland or in RoI, but the best young musicians from Northern Ireland tend to travel to the music colleges in Manchester, Glasgow or London.
QUB has recently opened a ‘junior academy’ – a fee-paying Saturday school for children based on the Kodaly method and will soon include a music and technology course for teenagers with a research programme attached.
Both the universities are keen to work with others to ensure their students are educated for the real world and to offer facilities and reciprocal projects to their communities. QUB is introducing a new MA in Arts Management which will take advantage of the strong links between existing QUB courses and Belfast's wider cultural environment. In-house practical placements will be offered at the Festival at Queen´s, the Queen´s Film Theatre and the Naughton Gallery.
The University of Ulster has for several years had a placement programme whose reach is province-wide, embracing venues, producing companies and media organisations, and the charity, local government and community arts sectors. In addition there are Music Business modules at undergraduate and Master’s level, and 2011 saw the introduction of a Music in the Community pathway to the University of Ulster MMus course.
3.4.5 Youth Music Flagship Organisations
The Ulster Youth Orchestra (UYO) and Ulster Youth Choir (UYC) have been discussed in the classical music section and the Ulster Youth Jazz Orchestra (UYJO) in the jazz section. For young people they offer very high quality advanced music and performance opportunities, contact with experienced musicians from beyond Northern Ireland, and potentially a step towards a professional career in music. All over the UK, orchestras are full of musicians who have grown up through regional and national youth orchestras. The national experience is even more important in Northern Ireland because there is not a music conservatoire to offer this kind of link with the profession.
Whereas in England their equivalents are funded through the Youth Music agency, and in Wales through the Welsh Music Foundation, in Northern Ireland they are part of two ACNI portfolios – music, and Youth Arts. As already commented, they receive far less public subsidy than their counterparts.
ACNI is reviewing Youth Arts and developing a Youth Arts strategy. It will be essential that the special place of youth music organisations in the music ecology is recognised and supported, and that evaluation of their work is undertaken by music specialists.
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Youth Music Theatre UK operates in Northern Ireland including auditions and events in Belfast and Lisburn, and an outreach programme in Strabane. The all-Ireland MT4Uth (Music Theatre For Youth) is based in Belfast and has already achieved success artistically and in terms of arts awards. Both organisations can also be included within any strategy for sustained youth music activity.
3.4.6 Issues for consideration
Music education and youth music provision are critical to the success and vitality of the country’s music scene. ACNI has already contributed to such provision through funded organisations. At this time of change and planning for the future in the education sector as well as in the arts, there is an opportunity for ACNI to define the strategic role it will play in music education and youth music.
The pattern of ACNI’s involvement will depend on a number of factors but in partnership with the ELBs, Invest NI, and other relevant bodies, ACNI will want to participate as advocates and contribute to initiatives such as:
a comprehensive audit of youth music in Northern Ireland, leading to collaborative strategic planning;
the development of pathways of provision for youth music and music education;
continued support for musical education and training work within music industry initiatives;
ensuring the Music Promise for young people from Derry~Londonderry City of Culture 2013 is supported, monitored and explored;
a forum or meeting-point for music educators from all sectors – from the ELBs or their successor, the schools, colleges and universities and the informal sector (youth ensembles, workshop/classes providers) - to open discussion and examination of mutual issues and interests; and
encouraging exchanges and liaison with youth music organisations and initiatives elsewhere in the UK and the RoI.
3.5 PARTICIPATION AND COMMUNITY ACTIVITY
3.5.1 Amateur performing groups
Northern Ireland’s amateur and localised music scene is dominated by the profusion of large-scale bands: pipe bands, flute bands, accordion bands, concert bands and brass and
| P a g e 46 silver bands. In such a broad range the kind of music played varies greatly but traditional forms predominate.
The Confederation of Ulster Bands, which concentrates on marching bands estimates the number of their bands to be 620.
The Northern Ireland branch of the RSPBA lists 70 piping bands on its membership website. The Brass Band League of Northern Ireland lists 25 brass and silver bands on its website. The Northern Ireland Band Association, which has members from all the musical sectors (i.e. brass, pipe, flute, concert etc) has a current membership of 70 bands.
An estimate, from the 2010 DCAL study, suggests that the sum total of all bands (of all affiliations and none) is 700, with 90% being ‘Protestant/Unionist/ Loyalist’, 8% ‘Catholic/Nationalist/ Republican’ and 2% unaligned. Once again, politicisation and cultural specificity – in repertoire, instrumentation and patterns of performance, despite much evidence of musicological and pragmatic interaction - must be acknowledged as a part of Northern Ireland’s musical make-up.
Quantification for the whole bands sector is elusive but if as the report above suggests there are 700 bands and the average size of a band is 47 members, then this would mean that there were 32,900 active band musicians – one person in 54 of the population – a remarkable number of musicians for any community.
Bands and their membership are invariably from a closely defined local community, even when they have a far wider reputation as performers; indeed some perform in competitions and events in Europe and further afield. Bands play in a variety of situations – a majority as parade and marching bands, many in competitions (especially the brass, flute and pipe bands) and most for local events and festivities. Each has its own organisational and committee structure, all voluntary, and a lot of the musical tuition for new recruits comes through the band’s more experienced players and family members – although in piping the Northern Ireland Piping and Drumming School (supported by the Ulster Scots Agency and ACNI) runs a structured programme of tuition for the sector.
Since the 1990s ACNI have disbursed grants from the Musical Instruments For Bands Scheme. These funds, originally from lottery receipts, are now additional to the ACNI’s core Exchequer grant and made available direct from DCAL for this specific purpose. The grants allocated have been considerable over the years and the scheme has benefited a large number of bands in the sector.
A small number of bands have received support from Small Grants for a very specific project or commission to develop in a musical and social dimension. However bands are not funded in any other way by ACNI. They rely on membership fees and sometimes local community or private funds to meet running costs such as rehearsal and travel.
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Amateur music making extends through the choirs and amateur orchestras outlined in the section on classical music – although choral repertoire often goes far beyond just one style of music. The extent of these organisations is not known but the listings we have been able to find suggest at least 50 choirs and 4 orchestras – which might add perhaps another 2,500 people to the estimate of those in structured anmateur musical organisations. Again, some have received small grants for specific projects.
As well as the umbrella groups representing and supporting NI bands, there are support structures for choirs and orchestras. Making Music, which supports over 3,000 voluntary performing groups in the UK, no longer receives ACNI funding and does not run any training projects in NI, but has 43 NI members, mainly choirs. Choirs.org is an internet resource for choirs providing listings of choirs, resources, training and events.
VAI offers membership to any voluntary organisation meeting simple criteria including having a constitution or set of rules; and a selection of varied music organisations appear on its membership list.
3.5.2 Music in the community
As well as contributing to formal and informal music education, some music organisations and individual musicians are involved in supporting communities through the arts, and/or in creative and participative music projects in communities.
Among those that specialise in this work Live Music Now Ireland, project funded by ACNI, trains and promotes young professional musicians from Ireland to perform to people with limited access in venues such as hospitals, hospices, prisons, special schools, care homes and day centres. Housed at Stranmillis College, as well as concerts and workshops it develops larger scale special projects, including commissioning new works.
Open Arts works with disabled people or integrated groups, and its music activity includes running an integrated choir. It owns a Javanese gamelan which is used for music workshops with all ages from 9 months to 90+ years and has recently been housed at Stranmillis College
Drake Music Project Northern Ireland exists to enable people with complex disabilities to compose and perform music using music technology. With offices in Belfast and Newry but working right across the country, Drake Music delivers weekly workshops to as many as 350 disabled young people and adults. The key to their work is empowering those with disabilities to be able to create and perform independently – and developments in specialist technology and software have made this increasingly possible. Drake Music work in partnership with specialist schools and clubs and a number of agencies concerned with support for specific disability issues.
SoundSense, the UK membership organisation for community musicians, has only four members from Northern Ireland. As well as offering skills development, networking and
| P a g e 48 insurance it is the music partner in a new Navigator programme funded by the Paul Hamlyn Foundation to research and support professional development for community artists.
The recently merged New Belfast Community Arts Initiative is funded by ACNI to represent community arts including music, and is consulting about future priorities.
During our open meetings we found several music organisations (including promoters) interested in extending into this area but not necessarily having the skills, language or contacts to explore the possibilities. As with work in education, this activity is generally encouraged by ACNI, but requires experienced leadership and excellent partnership working. Well-planned projects and programmes may have the capacity to attract local authority, social development, and/or European funds, and ACNI can offer its experience in these areas.
3.5.3 Issues for consideration
In the surveys we received from the amateur sector, key points included:
the costs of running voluntary music organisations and bands are rising and discouraging some from continuing (it can cost £9-11k p.a. to cover travel, uniform maintenance and instruments);
a suggestion that the formal education sector does not sufficiently recognise the part played in music tuition by amateur bands - there should be productive links between the two including the formation of more youth brass bands within schools;
umbrella bodies for brass bands would like funding to run workshops and masterclasses to raise playing skills, led by experts in the field;
some amateur groups, of whatever musical style or cultural specificity, would benefit from opportunities to develop musically and artistically or collaborate in other musical areas;
help and guidance is needed in ways of fundraising from private and public sources; and
volunteer organisations would also benefit from more support and guidance with organisational issues like administration, regulation and governance.
Given the extent of the amateur sector, ACNI’s role must be strategic and can offer broad support to amateur organisations by signposting the benefits of connecting with umbrella organisations, both music- and community-based.
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ACNI can also support and encourage VAI to extend advisory and support services (especially on organisational issues such as fundraising, administration, regulation and governance) as far as possible into the amateur music sector.
Similarly, youth organisations within the amateur sector can be encouraged to engage with new initiatives and networks in youth music and music education.
In terms of work in the community, and community arts, ACNI’s concern will be to encourage those who have the skills and understanding to extend their reach.
ACNI will want to continue to work with the New Belfast Community Arts Initiative to enable networking by non-specialist music organisations with the specialist organisations mentioned above and with community-based organisations, to explore shared resources and projects, and skills development.
3.6 WORKING IN THE MUSIC INFRASTRUCTURE – ASPIRATIONS, NEEDS AND OPPORTUNITIES
3.6.1 Introduction
Our consultations in person and online were across all kinds of music organisations and with people in many different jobs that support the infrastructure for music in Northern Ireland.
In this section we look across this group of people and organisations at their aspirations, the barriers to achieving them, the kinds of help they requested, and how some of this help could be – or already is being – provided.
As mentioned in the classical music section our review has not considered the needs of individual artists in detail, although their interests coincide in many ways with those of organisations. A strong music infrastructure will provide increased creative and performance opportunities for those in Northern Ireland and for those who leave but would like to return and contribute.
The EKOS/GT report has considered how those working in the music business can access the commercial market, and recommended ways of supporting this journey. Our (wider) focus is on how those involved in supporting music can develop overall. As noted in the section on Funding and Development, music industry strategy actions for beneficial training and skill development should not be duplicated but offered across both the commercial and the not- for-profit sectors.
The responses to our online survey provide a useful starting point, as the clusters of responses within the collated data echo much of what was said to us in interviews and group meetings.
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3.6.2 Aspirations and barriers
We asked respondents to suggest the aspirations for the future of their musical work by naming up to four priorities. 39 replied.
With such a varied group of respondents the mix of priorities they cited was inevitably wide- ranging and diverse. However, when aggregated, the responses built a picture of a music sector that had strong collective aspirations in a number of areas.
The four issues that found the greatest overall priority were aspirations that dealt with:
education and young people;
broadening activity and reach;
organisational development and growth; and
musical excellence and innovation.
After these top priority issues came a cluster of aspirations, given equal weighting when aggregated across the responses, which clearly reflected other concerns brought up under ensuing sections of the survey. They included the desire for progress in:
international links;
sustainable funding;
audiences and marketing; and
outreach and community work.
A number of these priorities are discussed at greater length elsewhere in this report and/or the EKOS/GT report.
When asked to outline any significant issues or barriers faced in meeting their priorities, 25 respondents cited a lack of finance, and of resources (especially staff time). As a result they are struggling to access additional funding or to develop their activity. The situation is compounded by difficulties with ACNI processes: having to make repeated applications in the absence of three-year funding; problems with the conditions for ACNI project grants (the restriction on repeat funding for lottery-funded projects); time-consuming application and monitoring processes; and the lack of touring funds or strategy (for touring within or beyond Northern Ireland).
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Local authority cuts, lack of commercial/private investment, and the economic situation are also affecting income, while costs are going up. Five respondents cited lack of interest from government/education bodies/funders.
The responses reinforce the impression, from looking across the various musical genres, that music organisations are in survival rather than growth mode. They perceive themselves to be (and indeed are) in competition for funding and under-resourced in terms of trying to increase their income and grant-aid.
It is probably unrealistic at this time to expect these people and their organisations to raise more of their own income while continuing to operate as they do. Meanwhile many do not have time to invest in innovation or their own development, to take advantage of opportunities that are already available, or to explore potentially beneficial collaborations.
Therefore any support offered (including funding) needs to be cheap and easy to access, and potentially time saving and/or income generating.
3.6.3 Support requested (other than funding)
Our survey asked what, apart from funding, might be useful in terms of support. 43 surveyed organisations highlighted areas of support they feel ACNI or others could to offer music organisations to help achieve aspirations.
The chart below shows the percentage of respondents interested in the various areas of support.
Interest in areas of support (Music Review Survey)
The highest levels of interest were in networking, touring support, and international connections. Advocacy and professional development were also priorities.
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We asked in more detail about professional development and training that would be most useful, and again there was notable interest in networking. Marketing skills were also a high priority. Business and management skills are of interest7, as are education and outreach skills. 40 people answered this question.
Interest in professional development and training (Music Review survey)
The interest in networking is based on: wanting to reach out to others and learn/share practice and expertise; hope of finding new areas to work in and new colleagues to work with; the possibility of sharing resources and reducing effort; advocacy for the work; and accessing new funds.
As well as networking within the Northern Ireland music community there is interest in networking with business and tourism interests, with the formal education sector, and with international organisations.
One respondent summed it all up with a positive enthusiasm characteristic of the great majority of the people we consulted: “In general it would be better if we were all better networked so that we can take advantage of opportunities across the global musical landscape”.
When we asked about the possibility of collaborations, most organisations said they already work with others, for example in co-promotions or outreach projects, and there are some partnerships between artists and organisations. The most frequently mentioned collaborators in the survey were MOM, QUB, and the Ulster Orchestra.
Project-based collaborations, while seen as invigorating and often positive, were described as time consuming and not cost-saving. ACNI has encouraged individual organisations to consider collaborating administratively and save core costs. It is clear from the decidedly limited scale of administration currently in place in most funded organisations (and noted in
7 Such as programming, management, leadership skills, people skills, multi media training, fundraising, office IT systems.
| P a g e 53 several parts of this report) that this is not really viable – saving ‘back office’ costs is only possible when there is at least a back office of a size or scale to be open to efficiencies.
This report does not specifically concentrate on the support needed by individual musicians and creators, although it is discussed briefly in various sections. But our survey of those working in the infrastructure revealed the importance of showcasing for emerging bands and solo artists, and of business skills development for them and those around them. Here again there is mutual interest between the music industry and the wider music community.
To summarise, the priorities for support that emerged through consultation were:
networking;
touring support;
international connections – exchanges, promotion, showcases;
advocacy;
marketing skills;
community and outreach skills;
business and management skills; and
music industry business skills
3.6.4 Further considerations
The question of how to signpost the music community to relevant support and training was raised frequently. Local authority arts officers felt they should be able to do this but lacked information. Music organisations reported mixed experiences in terms of responses from ACNI. On-line training and support information from Audiences NI, Arts & Business and VAI was not being fully accessed. Some did not know, for instance, about the Clore Foundation leadership programme or the NI Arts & Business leadership programmes.
At a more strategic level, many people were unclear about the relative roles of ACNI, Invest NI, skills and training organisations, the British Council, and other support organisations.
It is possible that this situation is common to other artforms. It would be very useful (and timesaving) for the music sector if ACNI were to assist with the creation of a well-publicised, centralised on-line resource to which anyone working within the sector could turn for information on what support and training is available where.
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From a brief look at what is already available, there would appear to be a demand for the following initiatives for supporting the music infrastructure (of which might be achieved through relatively low-cost interventions as part of ACNI’s Business Support Strategy):
networking events for the music sector as a whole;
information and support to music sector organisations and their staff for networking with and learning from inspiring colleagues and leaders from the rest of the UK and Europe8;
encouragement and signposting of opportunities for contact, visits, showcases and residencies by Northern Irish artists elsewhere, and by overseas artists in Northern Ireland,; and
marketing skills training – including the use of new and old media – and joint initiatives with Audiences NI.
3.7 FUNDING AND DEVELOPMENT: THE ROLE OF ACNI AND OTHER AGENCIES
3.7.1 Arts Council of Northern Ireland
ACNI is the only body with the ability and remit to take a full view of music in Northern Ireland. It can provide support for music through direct funding, partnership funding or other leverage, signposting, and advocacy. In implementing a music strategy it will also act as a strategic development agency for music.
Although equal funding for all musical genres will not be appropriate or practical, we suggest that a new music strategy should state ACNI’s respect for all kinds of music, and an intention to work towards equity of opportunity.
3.7.1.1 Funding for music
In 2009/10 ACNI’s annual review showed the total of exchequer grants to music – in all funding programmes – to be £3.87m, which was 20% of exchequer expenditure. If the Ulster Orchestra grant of £2.05m is taken out of that total, the percentage to music drops to 9%.
Lottery grants to music total £1.66m, which is 16% of lottery awards overall; without an Ulster Orchestra lottery grant this drops to £1.56m, or 15%.
8 The lottery-funded Escalator programme for self-development of artists and managers in the East of England offered a useful structure for this.
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Overall, then, music was granted £5.53m, or 19% of total expenditure.
To these music figures we would need to add most of the funds for Traditional Arts organisations (around 3% of exchequer and 4% of lottery), some part of the Combined Arts (festivals, venues in particular) supporting mixed programmes in which music may feature, and perhaps the grants for opera (1% of exchequer).
To see how music expenditure is being allocated in more detail we have looked at figures provided by ACNI for 2010/11 music expenditure. The summary below includes Traditional Music grants and grants to the UYC and UYO, but not some cross-Council programmes included in the 2010 annual report.
Exchequer funding £3.29m Lottery funding £0.62m SIAP funding £0.13m TOTAL £4.04m
The exchequer funds were used as follows:
Ulster Orchestra £2.2m Other ASOP organisations (17) £0.8m DCAL funding for Musical Instruments for Bands (44) £0.2m Small grants and travel awards (23) £0.09m
Turning to Lottery funding, 21 larger lottery project grants went to 6 ASOP organisations and 15 to other recipients; there were also 31 small project grants (under £10,000 each). We have not seen information about the purpose of the larger project grants, but note that most of the organisations receiving them have received them in previous years as well.
Similarly we are unable to comment on the purpose of the SIAP awards.
Without any further analysis of ACNI’s expenditure, some things are immediately clear:
the Ulster Orchestra dominates/overshadows the spend in music and indeed the entire ACNI budget;
the remaining funds available to music are spread thinly over a disparate group of organisations (including a magazine and an arts and culture website);
funding for some organisations comes from more than one type of grant;
there has been a fair amount of movement (in both directions) between ASOP and project funding over the past few years, in particular with those receiving smaller grants tending to be moved from ASOP to project;
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unlike in previous years, the youth music organisations were not categorised as music clients in 2010/11; and
it is difficult to take a complete overview of ACNI’s music work and funding because of the different categories of funds and portfolios from which music benefits.
However, the context in which this scattered picture has emerged has been positive. ACNI has been led by overarching thematic strategies in recent years, responding to government and other key priorities, not by a music-focused strategy – and music funding has responded vigorously to those general strategic priorities.
Music funding has also been stretched because a changing environment has meant that the demand for music funding has broadened considerably. The key points here are that:
ACNI has responded to changing perceptions of the range of music that it should support, especially embracing contemporary popular and traditional music;
tourism, creative industries, and regeneration projects have been expanding and have taken music as a priority area, creating new demand for partnership funding;
social funding and peace funding initiatives have drawn music organisations in new directions, also creating new demand on ACNI;
similarly, language funding has given traditional music activities new routes to expand;
a wider awareness of the importance of youth music has created a growing area of interest and concern; and
the growth in festivals and combined arts organisations has benefited music provision but also increased potential demand on funds.
Accommodating these changes whilst still supporting longer-standing music organisations has led to an increase in active clients and the spreading of funds between them. Those clients may have achieved a lot – but in almost all cases their ACNI grants and thus their capacity and resources are too limited to be able to grow their operation as both they and ACNI would wish, especially by means of fundraising and marketing.
The current list of music organisation receiving regular or quasi-regular funding reflects ACNI’s statement (in our brief) that ‘The population of Northern Ireland is too small to sustain many professional music producing companies or instrumental ensembles on a full- time basis’. When we add several festivals and venues which engage with music alongside other artforms but are funded through a combined arts client list, the balance of clients moves even further from resident professional producing companies/ensembles.
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Yet there is general agreement that most music clients are under-funded to the point where they lack capacity to help themselves move forward. Tempting though it may be to suggest an initiative to recruit a new range of music clients, ACNI has not yet stabilised a group of core clients.
The initial priority must be to confirm regular funding - agree an acknowledged core music portfolio (and ameliorate the uncertainties that organisations may and often do otherwise face). In return, these organisations should be contributing to the evolution of the music strategy and committing themselves to providing a relevant and innovative resource for the people of Northern Ireland. This process will, over time, suggest the next new directions for funding.
Within the music spend we have not identified significant cost savings through possible mergers and collaborations. It is possible that there is flexibility within support for festivals, if an overview of the kind outlined in the Promoters/Festivals section were undertaken with other funding partners.
Clearly the Ulster Orchestra’s position in the portfolio is uncomfortable; but the orchestra is also significantly under-resourced. At this point ACNI should resist any calls to support a diverse and dynamic portfolio at the expense of the orchestra, and should work strategically with its music clients and external agencies to strengthen the sector overall.
The ASOP and very regularly project funded clients (i.e. those which are not ASOP but which resemble ASOP status in regularity of support) which are essentially ACNI’s contribution to the infrastructure for music should be acknowledged as such (even if funding packages have to be from different sources).
By confirming and settling the core portfolio and the funding for those organisations, ACNI will also be freer to target project funding towards approaches showing real innovation and likely to complement, refresh or influence others by example.
3.7.1.2 Ways of working
In adopting a strategy to support progress in the music sector in the coming years, ACNI must act as a development agency, not only in overarching Council approaches but in specific music matters.
This will depend on music specialism having a strong voice and clear connections across ACNI – with an overview of music-related funding in the various portfolios - and being vested with the necessary authority to deal strategically and proactively with other agencies on behalf of music and ACNI.
In our consultation there have also been clear requests for ACNI music staff to be in closer contact with music organisations (and not necessarily just with their portfolio of clients).
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Our first consultative contact with funded music organisations – convened by the music department - was a positive experience for all concerned – and particularly well-received by the clients since it was the first time they had met together as a constituency. Similarly, the group meeting recently held by ACNI for traditional arts and music organisations was also a first and much appreciated by those who attended.
Meetings such as these are just a small indication of how ACNI can act as developmental leaders – to help the sector to help itself through collective reflection and action. Much of a future music strategy will call for this modus operandi from ACNI music staff, beginning with discussion of this report with the sector.
Music staff are responsible for ASOP and project grant assessment and monitoring. Making these tasks easier – and sharing them with others – would free staff time for more strategic work. A full contact database across the spectrum of the sector would be a helpful resource.
Many consultees said that ACNI application and reporting processes are over-complicated and time consuming (on both sides), especially for small organisations with few or volunteer staff. Simpler block funding arrangements (which may have to be made up from different sources, but applied for and granted together) would free up staff and applicant time. It is understood that ASOP funding is likely to be put on a three year basis in future.
This should allow staff and clients to engage in monitoring that, although rigorous, is not necessarily as annually time-consuming at present and give clients the scope to plan ahead confidently.
Another area brought to our attention was the assessment of clients’ work by officers. A system of external specialist advisers would give robust support to officers who are currently both making judgements about the quality of work and assessing grant applications. In addition some organisations feel that their work is not being assessed by the most appropriate specialist officer.
We understand that ACNI is considering introducing some external assessment and would recommend that this welcome initiative should include music-based outreach and education work. As the music industry strategy shared with Invest NI gathers pace, ACNI will also need to ensure that the skills are available to assess applications from commercial organisations for subsidised activity.
3.7.1.3 Funding, advocacy, and partnerships
It is implicit that ACNI will continue its advocacy for optimum funding for the arts to DCAL and across government. Many consultees felt that a focus on music is now essential, and that government departments need to be convinced of the value of all music, not just the creative industries.
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However, the current economic situation and the new budget settlement inevitably circumscribes opportunities for growth in ACNI’s core revenue in the next three years.
The imperative for ACNI, as with any efficient public body - and not just in times of difficulty - is to work in partnership with all relevant parties for optimum use of funds collectively available for all aspects of artistic, and in this case musical, activity.
Because of the broadening interests in music described above, partnerships and co-funding initiatives are already taking place in several ways with other agencies. In some cases they are strategically planned, in others they may not be. At this point it is possible for ACNI to continue to develop – or take the lead in initiating - strategic partnerships with other bodies to support more work in music.
The outline that follows simply gives the possible points of mutual interest between each organisation and ACNI.
Invest NI
Collaborative funding of Fast Forward with Invest NI has led to the jointly-commissioned music industry strategy. As noted in the section on Contemporary Popular Music, in partnership with Invest NI and other agencies ACNI’s commitment will be most effective if is to a long-term programme in which its own funding contribution clearly aligns with its core purpose of supporting artists and arts providers. Supportive actions are well-defined in theindustr4y strategy, and can apply to all genres and styles of music that have aspects of commercial potential.
British Council
British Council support for Northern Irish artists and organisers is in evidence in various ways – exchanges, showcase opportunities etc. British Council priorities and ways of working are sufficiently different from ACNI’s that initiatives to develop intercultural relationships and extend work opportunities for artists from Northern Ireland need renewed exploration.
Northern Ireland Tourist Board
NITB already supports the Culture Northern Ireland website. It has also supported a number of music festivals around the country and sees music as an important tourist attraction. Our suggestion is that ACNI should propose a longer-term festivals strategy with NITB with clear indications of which festivals (or elements of festivals) ACNI would support.
A joint strategy should be extended to other kinds of music attraction (especially traditional music) and specific means of tying in marketing and audience development into their promotion.
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DCAL
As ACNI’s lead body DCAL already has a relationship with ACNI and arts funding. It does allocate other specific funds on occasions to special projects (e.g. for creative industry projects such as South by Southwest)
The opportunity with DCAL is to continue to explore where ACNI or its clients might connect with specific initiatives (e.g. the DCAL special funds to match local authorities for community festivals); and to engage and advocate with other departments of government and the strands of work with which they connect.
Education and Library Boards
Earlier in this report there are indications that a partnership with the ELBs (or successors) would help to develop collaborative youth music and music education strategies and programmes.
Department of Education
ACNI should advocate strongly for music education, and for an audit of music activity and tuition (in all genres) in the formal and informal sectors.
Beyond this ACNI with the ELBs should engage with the department to work towards a youth music strategy.
Ulster Scots Agency
At present there are some co-funded projects (e.g. RSPBA) but no formal plan between the two agencies.
An agreement with the Ulster Scots Agency would be useful, in order to identify and plan for areas of partnership support for music.
Belfast City Council
Significant ACNI/BCC funding partnerships already exist with the BCC culture and creative industries departments. BCC is developing an events strategy and may wish to devise a specific music strategy following its success in launching Belfast Music Week and attracting the MTV awards to Belfast.
A music strategy for the city, undertaken in consultation with ACNI, may offer ACNI the opportunity of revisiting the part that each takes in support of key organisations - and similarly a festival or events strategy for Belfast may further clarify some of the issues raised around festivals earlier in this report.
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Derry~Londonderry City Council & ILEX
Derry~Londonderry City of Culture 2013 provides a unique opportunity to plan a legacy music strategy in partnership with the council and ILEX. This would enable ACNI to revisit the partnership support for funded organisations and to define its role in festivals support in the city.
The Music Promise also provides practical advocacy and ‘test-drive’ for a nationwide youth music strategy (see Youth Music and Education section).
Other local authorities
Any new plans or proposals for music touring should include approaching local authorities as partners in a long-term programme. Local commitment (however modest financially) would strengthen the impact of a touring scheme.
Other UK arts councils
The Beyond Borders scheme with PRSF (see below) has already attracted all 4 UK councils to support major cross-border projects which visit all four countries.
Other schemes that ACNI might explore are Music Beyond The Mainstream (for world music across borders) which is currently co-funded by Scotland and England; and the fuller potential of the cross-border touring allowance of 15% of work or spend outwith the home arts council. The Cross Border Touring scheme for large scale lyric work is available to Northern Ireland but its potential might be greater at a smaller scale.
As well as exploring the full scope of these existing initiatives, ACNI music department’s regular contacts with their opposite numbers could generate other collaborative projects and offer new models of good practice.
RoI – Arts Council/An Chomhairle Ealaon (AnCE)
ACNI already contribute to the Irish Traditional Music Archive and the Contemporary Music Centre, both in Dublin, as well as Camerata Ireland. Until last year MOM received some funding from AnCE to tour into the Republic.
The revised North/South Strategy agreement between the two councils of May 2011 indicates a valuable and timely opportunity for music collaboration. AnCE music department have already indicated an interest in reviving music touring co-operation. The areas indicated in the North/South strategy document – which as well as touring include traditional arts and geographical cross-border areas – offer opportunities to bring artists and audiences across the island a rich range of experiences through partnership working.
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Separate reviews have been commissioned addressing orchestral provision in the north and south. Complicated though it might be, we would suggest that the briefs for any future strategic reviews should be discussed together to maximise their benefit.
Other overseas governmental agencies via cultural institutes
It would be useful for ACNI music department to explore any connections there might be with cultural institutes – for themselves and for their clients.
Trusts and Foundations
Arts & Business NI confirm that Northern Ireland arts organisations are under-represented in UK trust funding awards, although there are some excellent examples of successful clients such as Glasgowbury and Oh Yeah Centre with Paul Hamlyn Foundation. In addition we heard that applications from organisations overall tend to be weaker than those from other UK countries.
The Beyond Borders scheme with PRSF is a good example of the way a funding initiative can be generated between a trust and an arts council – and its precursor scheme began as a plan between Hamlyn, PRSF and Scottish Arts Council.
In time, ACNI music might explore new co-funding initiatives with major trusts, based on ideas arising through the implementation of a music strategy.
Music organisations will welcome the workshops in application writing being planned by ACNI.
The BBC
BBC Radio 3 and BBC Northern Ireland together have a strong influence on the classical music landscape in Northern Ireland, co-funding, promoting and broadcasting the Ulster Orchestra, as well as organising chamber music concerts and supporting the Young Musicians Platform. Other musics from Northern Ireland are regularly featured on radio and television.
It is recommended that ACNI pursue a dialogue with the BBC to encourage mutual understanding, sustained funding, and a complementary approach to supporting musical life in Northern Ireland; and to explore further collaborations.
Universities in Northern Ireland
Already central to cultural learning and provision in Northern Ireland, the universities would also be crucial partners in any discussion about establishing a music conservatoire and on the future of youth music.
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PART 4: DEVELOPMENT OF A MUSIC STRATEGY
4.1 A SUGGESTED VISION
Our vision is for a Northern Ireland in which music of all kinds is accorded equitable respect and opportunity; and where residents and visitors are able, as audiences or participants, to enjoy the widest and highest quality range of musical experiences, deriving full benefit of music’s contribution to social, economic and cultural life.
ACNI will play an active role as facilitator in building the music sector’s coherence, capacity and confidence to achieve this vision. It will respect the partnership of the sector, sustaining trust and confidence by fulfilling its unique potential as the authoritative advocate for the full spectrum of music and its audiences.
4.2 FINDINGS OF THE MUSIC REVIEW
This is the first comprehensive review for many years of the music sector in Northern Ireland and ACNI’s role in the sector.
The report offers a picture of the achievements and development needs of the sector, and proposes ways in which ACNI can play a major part in that development.
At the same as the review was being conducted, a music industry strategy was being researched and prepared; and this is reflected in the report where appropriate.
Information was gathered and issues were debated through a series of one-to-one interviews, group meetings with music sector representatives, online consultation and surveys, research and study of relevant written and online material, discussions with ACNI officers and research into relevant comparisons in other places.
In the course of the research the consultants found a music sector comprised of organisations and individuals whose achievements have been hard-won through commitment and determination during a severely testing period in the country’s history. They are positive about the future, and have taken opportunities in an organic and self- motivated manner as and when they have arisen.
Those working in the sector and their organisations are resourceful but in general under- resourced, and have found themselves relatively isolated and without much opportunity for collective reflection. Nevertheless they provide the basis on which, given time and attention, the interests of music can build and grow.
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The review found an arts council working flat out to cover an approach to music that, as elsewhere in the UK and Europe, is opening up to all music styles rather than the relatively limited approach of the past. ACNI is also increasingly called upon to play a part with music in many other spheres of society – tourism, community, creative industries, regeneration, peace and language.
The review recognised the hard work involved for ACNI in juggling budgets and funding demands between exchequer and lottery funds - and coping with the demands of assessment and monitoring.
In looking at the broad genres of music, the review identified disparate levels of profile and development.
Traditional music is burgeoning in popularity, both in performance through festivals and concerts and in opportunities to learn and participate through the work of a number of well- respected small organisations. Although sometimes locked into and supported through culturally specific communities - in particular in respect of the Irish language or the culture of Ulster Scots - the general view of those working in traditional music is inclusive. The importance of a country’s unique musical voices is recognised as a strategic priority for ACNI, and development proposals are for a coherent, collective movement of action and advocacy.
Music from other traditions is dominated by the strength of interest from performers and audiences in Americana. In other aspects of cultural diversity, there has been work by some organisations in world/roots music from elsewhere but this is a field in which more activity is possible.
Jazz and classical chamber music both have strong proponents in Northern Ireland - organisations which have maintained a profile and audience base for many years on slender resources. There are good prospects for greater exposure for the music and for building audiences from current modest levels, if development and touring work can be given a greater focus.
In the past few years ACNI has opened its musical remit to embrace the full spectrum of contemporary popular music, an area in which Northern Ireland has produced some excellent bands, performers and songwriters. Support organisations which have grown up around the music and musicians are fiercely committed, and have made significant progress. This area of music is closely associated with the commercial music industry but in reality its reach has extended across all cultural and social sectors and can share much common activity with other areas of the music sector.
The Ulster Orchestra, Northern Ireland’s only permanent resource for orchestral and symphonic music, is less well-resourced than most fulltime UK orchestras. It must continue recent work to increase its activity and profile within, and value to, the cultural life of the country, in order to broaden its financial base and meet its operational and artistic needs.
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The review also considered aspects of the infrastructure for music of common concern to all genres and kinds of music organisation, looking across ACNI’s various portfolios and activities.
As the key public agency in which music specialism can be harnessed, ACNI can take an increasingly active, developmental role in building and sustaining the infrastructure, maintaining an overview and using it to make, and advocate for, positive interventions.
Partnerships to support and fund music activities have grown up organically between ACNI and other public agencies, in Northern Ireland, the UK and with AnCE in the RoI. The priority in music is now for these partnerships to be defined as carefully as possible and extended for the best long-term, strategic effect.
4.3 STRATEGIC PRIORITIES
From the extensive findings of the music review, eleven areas of particular readiness for development have been identified. These priorities are suggested as the focus of music development at ACNI over the next six years. They are:
Confirming the music portfolio. The mix of music organisations supported by ACNI is generally the right basis for future development, but they have been funded through various routes year-by-year and now need a period of security in which to succeed. A priority for ACNI will be to acknowledge and strengthen the position of a core group of music organisations which will take the sector forward.
Traditional music. ACNI can support this crucial sector, as described above, by an audit of its reach and by helping to bring it together to share collective strength and advocacy.
Youth music. Northern Ireland’s education system for music, especially for young people, has been more robust than in many other parts of the UK, and perhaps for this reason has not been the focus of such a high degree of public attention. In a changing environment the combined strength and motivation of the formal education sector and the informal arts education sector in music can be brought together to research, advocate for and plan strategies to maximise opportunities for the country’s young people.
Touring and audience development collaboration. Although there are well-appointed venues throughout the country they are under-resourced in terms of programme funds and specific opportunities to present and build audiences for areas such as jazz, chamber music and world/roots music. Harnessing venues and promoters together with specialists in certain areas of music, touring and audience development will be the way to build long-term exposure and growth for a wider range of music provision.
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Orchestral provision. With a view to maximising the value of the orchestra and its individual musicians as a resource for all Northern Ireland, ACNI can support the Ulster Orchestra in setting out on a new plan for its future as described above. It can also initiate further dialogue and advocacy with the Ulster Orchestra’s other funders, and discussion with AnCE about orchestral collaboration and provision across the whole island.
Festivals. The proliferation of music festivals, large and small, in recent years, has attracted local audiences and incoming tourists. The complementary support of public agencies - especially ACNI, local government and NITB - could be better co-ordinated to maximise the interests of each.
Participation – support for volunteers. Voluntary and amateur music-makers, bands and choirs are unusually prolific in Northern Ireland. ACNI and other agencies can maximise the support they can provide to help this sector help itself. Organisations providing a range of musical experience to groups in communities similarly can be supported to extend their reach.
Professional development. The commitment of those working in the music sector is apparent but opportunities for them to gain experience and contacts further afield have been very limited. Developing their skills will impact on the scope and quality of their work for audiences and participants.
Music industry. The music industry strategy produced in parallel to this review offers opportunities for the economic value of the industry to grow - across all kinds of music styles. Training and support designed for workers and organisations in this field can be used, where they relate appropriately, to benefit other parts of the non-commercial music sector. ACNI can clarify the purpose of its input into industry strategies with its other partners.
Music and cultural diversity. Promoters and community music organisers can extend the breadth of experience on offer to audiences and participants through further work with musics from elsewhere.
Networking nationally and internationally. There has been some useful work done in extending the reach of Northern Irish music in showcases and exchange programmes with other countries. The impact - and therefore the continued development - of such programmes is important for the growth of confidence and skills on the national music scene. Similarly an increase of contact and networking between music personnel both at home and overseas (which has been limited in the past) will bring significant benefits.
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4.4 MUSIC STRATEGY ACTION PLAN
As noted on page 3, our first draft concluded with an indicative strategic action plan, with recommendations and actions drawn from the review and grouped under the strategic priorities. The Arts Council of Northern Ireland has since developed an updated plan against these priorities which is available separately.
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APPENDIX 1: CONSULTEES
Consulted Individually * denotes telephone interview; all others in person
STRATEGIC/CONTEXTUAL ORGANISATIONS
Arts & Business Mary Trainor ABO Keith Motson* Arts Council/ An Chomhairle Ealaíon Rosemary Collier* Arts Council of Northern Ireland Rosemary Kelly (Chair) Roisin McDonough David Irvine* Dr Rosa Solinas (lead officer) Karen Barklie (steering group) Maria McAlister (steering group) Sonya Whitefield Nick Livingston Noirin McKinney Debra Mulholland Fionnuala Walsh Jackie Witherow (Formerly) ACNI Philip Hammond Audiences NI Steven Hadley BBC Northern Ireland Marie-Claire Doris Mark Adair Reverend Tosh BBC Radio 3 Roger Wright* British Council Julia Handleman-Smith DCAL Stephen McGowan Joanna McConway EKOS Brian McLaren Fast Forward Ross Graham ILEX Aideen McGinley* Invest NI Martin Adair Local authorities (including arts centre visits) Carolyn Mathers (BCC) Brendan McGoran (BCC) Cllr Gavin Robinson* (BCC) Noelle McAlinden (Derry~Londonderry/City of Culture) Matt Peachey (Derry~Londonderry/City of Culture) Jean Brennan (Omagh) John Kerr (Strabane) Jill McEneaney (Armagh) Aisleain McGill (Newry) Emily Walsh (Ards)* Malcolm Murchison (Coleraine) Anthony Toner (Coleraine & musician) Making Music Robin Osterley* Musicians’ Union Bill Kerr* Sheena MacDonald NI Screen Richard Williams NI Tourist Board Helen Carey North West Library board Donal Doherty RTÉ Seamus Crimmins* South Library board Eithne Benson* Ulster Scots Agency Jim Millar Ulster Scots Community Network Iain Carlisle Anne Coulter Ulster Scots Language Society John McIntyre Voluntary Arts Ireland Bryony Flanagan*
MUSIC ORGANISATIONS
All Set Cross Cultural Project Mary Fox* An Droichead Ray Giffen Armagh Pipers Club Brian Vallely* Belfast Festival at Queens Graeme Farrow Belfast Music Society Pam Smith* Sheila Sloan* Belfast Philharmonic Choir Ethel Ruddock* Camerata Ireland Barry Douglas Eve O’Kelly (consultant) Contemporary Music Centre Evonne Ferguson* Crescent Arts Centre Keith Acheson* Feile an Phobail Jenny Penrose Feisean nan Gaidheal Arthur Cormack* Glasgowbury Paddy Glasgow Grand Opera House Michael Ockwell Irish Chamber Orchestra John Kelly* London Symphony Orchestra Kathryn McDowell Millennium Forum David Mclaughlin Moving On Music Brian Carson Paula McHugh Nerve Centre Pearse Moore NI Opera Oliver Mears* Oh Yeah Music Centre Stuart Baillie Panarts/Belfast Nashville Songwriters Festival Colin Magee Ann Coulter Practice Makes Perfect Brian Fisher Queen’s University Belfast Michael Alcorn
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Scottish Chamber Orchestra Roy McEwan The MAC Gillian Mitchell Ulster Hall/Waterfront Tim Husbands* Ulster Orchestra Sir Desmond Rea (chair) Declan McGovern Lydia Gamble Noreen McFarland Andrew Smith Colm Crummey Philip Davies Patrick McCarthy (Formerly) Ulster Orchestra David Byers (Formerly) Ulster Orchestra Dick Mckenzie* Ulster University (Coleraine) Janet Mackle* Ulster Youth Choir Majella Hollywood Ulster Youth Orchestra Stanley Foreman
Attended a music sector forum
BELFAST 1
Maxi McElroy Andersonstown Traditional and Contemporary Music School Pam Smith & Sheila Sloan Belfast Music Society Christine Dowling, William Duddy & Peter Woods BelfastTrad Phil McCarroll Best Cellars Music Collective Jennie Wallace Bruised Fruit Sara Graham Creative and Cultural Skills Rachel Kennedy Down Arts Service Jenny Penrose Feile an Phobail Maeve Gebruers Irish Traditional Music Archive Ian Anstee Live Music Now Brian Carson Moving on Music Sheena MacDonald Musicians’ Union Beverley Whyte Open Arts Community Choir Cliona Donnelly & Oliver Mears NI Opera Stuart Fleming Performing Rights Society Michael Alcorn Queen’s University Belfast Jim Heaney Real Music Club Mark Gordon Score Draw Music Gillian Mitchell The MAC Declan McGovern Ulster Orchestra John Mcintyre Ulster-Scots Language Society Majella Hollywood & Margaret Crosset Ulster Youth Choir Stanley Foreman & Diane Creighton Ulster Youth Orchestra
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BELFAST 2
Mary Fox All Set Cross Cultural Project Gary Shaw Antrim Borough Council Karen Smyth Antrim Borough Council/MADD Graham Ranklin Belfast Philharmonic Choir Sarah Jones Black Box Colette Norwood British Council Tony McCance Burnarvon Arts Centre Hugh Carslaw Camerata Ireland Fenuala Sweeney Dirty Blues Band Iain Davidson Down District Council Jimmy Devlin General Fiasco/No Dancing Records Nick Scott Making Music Workshop Erika Reid Music 4 Youth NI Stuart Baillie Oh Yeah Centre Kieran Gilmore Open House Festival Colin Magee Panarts Charlene Hegarty Smalltown America Records & Music Publishing Tom Sweeney Tom Sweeney Music Jane Wallace Ulster-Scots Agency Matthew Warwick Ulster-Scots Community Network Peter Fleming White Mountain Music Publishing
DERRY~LONDONDERRY
Gabriel Fitzgerald Association of Uilleann Pipers, Derry~Londonderry Richard Abbott Blue Piano Publishing Eibhlin O’Doherty Cultúrlann Uí Chanáin Rachel Tennis Derry~Londonderry Culture Company Paddy Glasgow Glasgowbury Pearse Moore Nerve Centre Basil Datton North West Regional College Brian Fisher Practice Makes Perfect Jean Smyth Strabane District Council Christopher Norby Student, University of Ulster Frank Lyons University of Ulster Kevin Murphy Wall2Wall Music/VAI Sarah Murphy Wall2Wall Music/St Cecilia’s College Iain Barr Waterside Theatre Derry~Londonderry Donal Doherty Western ELB
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APPENDIX 2: SURVEY RESPONDENTS
128 organisations were sent an on-line survey to inform the review about individual organisations and collective concerns.
It was initially sent to 86 music organisation contacts supplied by ACNI. An additional 42 contacts were researched and sent the survey close to the return deadline.
48 surveys were returned, a 38% response rate, from a diverse range of respondents:
All Set Cross Cultural Project An Droichead Ards Arts Belfast Music Society Best Cellars Music Collective BLUE PIANO PUBLISHING Brass Band League Brass Band League (Northern Ireland) Burnavon Arts and Cultural Centre Cappella Caeciliana City of Belfast School of Music Coleraine Borough Council Flowerfield Arts Centre Confederation of Ulster Bands Crescent Arts Centre Cultúrlann Uí Chanáin Derry~Londonderry City council Dún Uladh / Comhaltas Ceoltóirí Éireann Fil Campbell and Tom McFarland Glasgowbury Grand Opera House Irish Traditional Music Archive Jon Bromwich Live Music Now Mid Ulster School of Music Music Managers Forum Moving on Music Musicians’ Union NI Opera NWRC Oh Yeah Music Centre Open Arts Open House Festival School of Music and Sonic Arts Southern ELB Music Service Smalltown America Records
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Strule Arts Centre, Omagh District Council The Burnavon The Jigtime Programme of Irish Music The MAC The Market Place Theatre & Arts Centre The Real Music Club Ulster Orchestra Ulster Youth Choir Ulster Youth Orchestra Ulster-Scots Community Network VM Records Wall2Wall Music White Mountain Music Publishing Limited
Respondents gave their main role(s) as: Activities of survey respondents (Music Review survey) Response Answer Options Count Music performance 23 Music education 23 Community music/music outreach 17 Community arts/arts outreach 9 Concert promoter 10 Festival promoter 7 General arts promoter 8 Music tour producer 4 Receiving venue 9 General arts education 3 Record label 5 Agency/management 3 Umbrella body 5 Support/promotion of NI music outside NI 8
Other roles added by respondents were:
Arts centre (4) Music hub Studio Work with disabled/integrated groups Traditional dance and music in schools Music theatre education/performance Trade body (2) Music publisher (2) Traditional music archive Local Authority Development Section
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APPENDIX 3: DOCUMENTS CONSULTED
ACNI documents:
ACNI 5 year plan Creative Connections ACNI annual review 2009/10 ACNI ASOP funding pie charts 2010/11 (all artforms) ACNI Music and traditional arts ASOP and project funding tables 2010/11 ACNI officer ASOP reports for 2011/12 ACNI RFO outputs 2008/09 & 2009/10 ACNI all awards 2002/03 to 2010/11 ACNI ‘Strategic Stocktake 2010’ - mid-term review of Creative Connections ACNI Music Policy 2007-2012 Development of a Drama Strategy – Summary Report (SCE) 2007 DCAL – extract of budget proposal before budget set 2011/12 ACNI Press release: government settlement 2011 Revised North/South Strategy ACNI & AnCE May 2011 Jointly Funded Organisations Update ACNI & AnCE May 2011 Living & Working Conditions of Artists in NI & RoI 2010
Music Review background documents:
Brief and tender documents for this music review and strategy EKOS/GT Music Industry Strategy consultation powerpoint presentation and draft report 2011 Invest NI press release launching Fast Forward Feb 2010
Information about individual music organisations:
Economic and social impact of Ulster Orchestra 2005 (for ACNI) Review of Ulster Orchestra finances and financial management 2010 (for ACNI) Review of organisation of Ulster Orchestra 2010 (internal, Lennon/Hunter) Ulster Orchestra submission to DCAL committee 2009 Ulster Orchestra discontinued draft plan 2010 (part) Moving On Music – reports, accounts, statistics, correspondence Omagh District Council/Strule Arts Centre staff organogram Detailed information and promotional material from many other consultees
Bands:
ACNI Instruments for bands scheme report 2006 DCAL Marching Bands Study report 2011 DCAL Marching Bands Study ‘guidance notes’ 2011 Ulster Scots Agency Bands – Paper by Ulster Scots Community Network, Feb 2011 Oot and Aboot – The World of Ulster Scots (Ulster Scots Agency)
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Stakeholder and Strategic organisations:
Derry~Londonderry City of Culture bid summary NI Tourist Board events funding scheme leaflets Exploring The Music Festival Tourism Market, NITB January 2010 A Policy for Touring 2010-2015, AnCE Missing a Beat: orchestral provision in Ireland (confidential draft) 2011 Report on ‘Orchestrate’ Music Development Day 2008 Supporting Music Education in Schools and the Community (ELB Music Heads) May 2007 Counterpoint: conflict peace and music – the case of Northern Ireland (Teresa Hanley, University of Sheffield) 2010 Paul Hamlyn Foundation funding project ‘What’s The Big Idea’ booklet Association of British Orchestras campaign publications Arts Council of Wales Music Strategy Scottish Arts Council Music Strategy 2002-2007
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Arts Council of Northern Ireland Music Strategy 2013–2018
Introduction Northern Ireland is rightly proud of its musical heritage, one that boasts institutions and individuals (not only performers, but composers, directors, impresarios and others too) that have made a significant impact on the world stage. Apart from their talent, the people working in the sector here have shown themselves to be highly committed and resourceful in an environment where funds have historically been over-stretched and the market-place is increasingly competitive and globalised. Some of the challenges they face, of course, are endemic to the nature of this ever-evolving artform. Others are more directly determined by the local infrastructure.
Since its foundation, the Arts Council of Northern Ireland (ACNI) has been the sector’s main ally and supporter, recognising that quality music provision is an essential ingredient for any healthy society, informing its entire culture and contributing to the enrichment of the lives of all who are touched by musical activity, whether as participants (professionally or just for fun) or audience members.
In 2011, a comprehensive Music Review commissioned by ACNI and part funded by the British Council was carried out by Judith Ackrill and Nod Knowles (Ackrill & Knowles 2011). This Review, the first in many years, tells the fascinating story of the hard-won achievements of a vibrant sector and its inspired personnel. At the same time it exposes a range of urgent developmental needs, and suggests ways in which ACNI can do more to help.
Completion of the music sector review required a detailed analysis of the Ulster Orchestra (UO), ACNI’s largest and longest-standing music client, which was also carried out by the consultants in close collaboration with UO and ACNI, and informs a separate piece of work. This has prompted UO to undertake an ambitious change-management process, currently underway.
The purpose of the present, more general music strategy is to provide a clear statement of what developmental priorities, aims and objectives ACNI has set itself for the next five years. It illustrates how ACNI plans to enable the development of music creation and provision in Northern Ireland to meet its overall Arts Development objectives. The rationale and arguments that follow have been developed from the findings in Ackrill & Knowles 2011, and refer closely both to the evidence it presents and the recommendations it makes; the two documents are to be read as complementary. The concluding agreed action plan is the result of consideration of those recommendations and reflects ACNI’s commitment to the ten priority areas for development they highlight.
ACNI regards the development of its music strategy as a moment of special opportunity in its ongoing efforts to enhance music-making in Northern Ireland, but it seems wise to sound a note of caution, if only to avoid fostering unrealistic expectations. Inevitably, ACNI’s action plan is circumscribed by financial forecasts for the next five years, and by the overall operational context. The good news is that, although additional financial resources would undoubtedly help achieve results more quickly and sustainably, the extensive review process has helped ACNI focus on better ways to deploy the resources it already has at its disposal.
1 But if few of the challenges detailed here demand costly solutions, all of them demand a great deal of innovative energy, sensitive developmental work coupled with a willingness to listen closely to clients and the sector generally, and informed advocacy at both public and policy- making levels.
A strong vision for Music in Northern Ireland The vision of ACNI for the development of the sector in Northern Ireland is a comprehensive one. In fact, given our privileged position in the musical life of the region, it is nothing less than our duty to take this inclusive overview. It must inform our approach to musical production on the one hand, and to administrative facilitation, across various devolved government departments and arm’s-length bodies, on the other.
We recognise the historical value of music in its constituent cultural and social traditions and acknowledge the powerful contribution it makes in diverse community contexts, where it is one of the most powerful vehicles for promoting the expression of values and identity. On the other hand, we also celebrate music’s unique ability to bring people together and to break down the barriers to communication between those contexts. Therefore in recent years we have widened our remit from the relatively limited approach of the past to embrace all musical styles. We are firmly committed to enabling people in Northern Ireland to experience the best music, in any form: from classical to jazz, from traditional and folk to rock and pop, from world music to electronic and contemporary music. However, the findings in Ackrill & Knowles 2011, together with those arising from the recent development of our first ever Intercultural Arts Strategy, and of new Youth Arts and Community Arts Strategies, have highlighted the need for a far more inclusive approach to the diversity of genres and distinctive musics. This has already caused repercussions throughout all areas of our work. Through this strategy we want to define how best we can be involved with the increasingly rich variety of musical worlds in Northern Ireland, across the different spheres of music activity: from education to participation, from composition to performance.
Similarly, we recognise that our music strategy needs to be open and responsive to an ever- changing music scene. Our way of working must include in-built mechanisms for taking soundings from practitioners and audiences on an ongoing basis, and must remain focused on how best to build up the more sustainable infrastructure needed for a whole variety of music- making in Northern Ireland. The most visible way in which we support the music sector is through a range of grant schemes, directly and through partnership programmes with other organisations (British Council, Performing Rights Society Foundation for Music, and other UK Arts Councils), which are regularly available to musicians and organisations. Further, our specialist knowledge of the artform and our understanding of its representation locally mean that our support is seen as an indication of quality and, latterly, innovation; and one that can lever additional funding. But grant-making is only one of the ways in which we can help the sector develop. Our unique perspective enables us to assist the organic development of music-making throughout the region. Ours is the body best placed to facilitate partnerships and collaborations among artists within the music sector and across all artforms, and between the sector and other agencies. Ultimately, our knowledge and our creativity (especially in the face of financial constraints) are strengths we can offer the sector. Therefore we want to address the current situation of provision and the resource-base for music in a broader perspective that takes into account the common interests of other agencies. Some work has already begun with the appropriate partners to address the needs and gaps in the music sector,
2 but more co-ordination on the ground is crucial if the sector is to benefit fully from an effective multi-agency approach.
We acknowledge, then, the responsibilities that come from our privileged viewpoint, and we recognise that we have a crucial role to play as a networker, initiator, broker and facilitator in fulfilling our mission to stimulate and support the creation and performance of music throughout Northern Ireland and to ensure that this music is enjoyed by a wide audience, across the region and all the groups, traditions and communities within it.
Strategic priorities, objectives and actions
Working with the Sector As part of our commitment to act as a proactive development agency in the music sector, respecting all kinds of music, and working towards equity of opportunity, we undertake to increase our regular contact with those working in the sector across the region, including by means of convening group discussion. This will involve keeping a comprehensive register of music support across all ACNI portfolios and initiatives and, in particular, maintaining the strategic coherence of that support. Specifically, we will identify organisations within the music sector that are currently funded via non-music ACNI portfolios, and involve them and our other clients in contributing to the continuing evolution of this music strategy. Similarly, we will ensure that ACNI’s internal policies are fully informed by the music priorities set out in this strategy.
Looking beyond our own organisation, we will ensure that strategic agreements with other agencies, current and future, also reflect the agreed priorities. We will work to develop existing and new partnerships, especially with other Arts Councils, with the aim of promoting collaborative projects and offering new models of good practice. In accordance with the principles and initiatives outlined here, we will identify and explore new co-funding opportunities with other music funders and trusts. We will also liaise further with Arts & Business NI (A&B NI), Audiences NI, Voluntary Arts Ireland (VAI) and other interested agencies to offer bespoke training to music organisations. Mindful of our broader social responsibility, we will work at grassroots level, in new and existing combinations with partners, to grow music’s presence where it (in all its diversity) can act in communities in an energising and positively transforming way.
1. Traditional Musics Notwithstanding our commitment to the artform in all its manifestations, we recognise that the distinct traditional musics of Northern Ireland have a special place in the culture. As repositories of community history, and means for people to express (and in some cases rediscover) their community identity in a positive way, these musics are important to the social as well as the artistic aspect of our mission. They are also important both as tourist attractions, and, as it were, as exports of NI plc. Therefore we undertake, in consultation with a range of people working within the sub-sector, to develop and commit to a long-term programme of support and development. In particular, we will:
commission a full audit of traditional music to inform both our future planning and our advocacy for increased support and profile;
3 draw traditional music organisations into a forum to explore the sector’s own aspirations and proposals for development, and encourage them to act as a cross-community advocacy group for the inclusion of traditional musics in formal music education;
work with the traditional music sector to facilitate cross-border contact leading to joint projects and/or sharing of resources with the Republic of Ireland, Scotland, the rest of the UK and other relevant territories.
2. Youth Music Although this is undoubtedly an area where what is happening in certain parts of Northern Ireland is rich by comparison with other regions of the UK, it seems that there is much more we could do to ensure that whatever top-down provision is necessary is equally distributed across the region and fully supported by the infrastructure. The positive effects of targeting youth music are clear: not only does increased participation at grassroots level provide the best chance of increasing the number of people progressing to professional levels of performance and ultimately national and international excellence, but getting as many people across a range of communities to engage, experience and enjoy music on a regular basis has proven social benefits too. But to know how to target our work we need to know in comprehensive detail what is already going on; there is in other words a clear need for an overview of the sum total of youth music activity in Northern Ireland, focusing on the quality of what is on offer and on what gaps and opportunities there may be. Accordingly, we undertake to do the necessary research, and to begin our practical activity with the education sector: by bringing together the public-facing aspects of music education in schools, Higher and Further Education in Northern Ireland to ensure broader geographical and social coverage; by advocating strongly for an entitlement to music in education and lifelong learning; and by engaging with youth music providers to ensure high quality and to explore professional development and training opportunities for teachers and tutors. We also undertake actively to broker and facilitate sustainable partnerships for youth music activities beyond formal education, especially in the area of community-based project work. In particular, we will:
establish a forum in partnership with the Education and Library Boards (ELBs)—and Education and Skills Authority (ESA) when established—, music educators and relevant arts organisations to examine mutual issues and interests, and with a view to building a co- ordinated approach to the organic development of youth music in Northern Ireland;
through this forum, advocate for and contribute to a comprehensive audit of youth music in Northern Ireland (in all genres, state and private education, formal and informal contexts) leading to collaborative regional strategic planning and the development of pathway- structured provision for youth music;
explore as a matter of urgency the relevance of youth music initiatives in the UK and RoI, such as the results of the National Plan for Music Education, and encourage productive liaison and exchanges of ideas with stakeholders across the regions and borders;
guided by best practice (as identified through the measures above), embed across the sector mechanisms to connect youth music activity with the wider music sector, and with the industry above all, with a particular focus on collaboration, training and funding opportunities for the development of creative and cultural skills.
4 3. Regional Touring and Audience Development
Conscious that the excellent work being done in the music sector, by our existing clients and others, is not always fairly distributed geographically, and furthermore that this is disproportionately the case with certain kinds of muisc, we are committed to supporting a more ambitious, dynamic and cohesive approach to under-represented genres (such as jazz, world music and contemporary music) and to the development of year-round programming across Northern Ireland for the benefit of local artists and audiences alike. In order to achieve this, we will:
engage in active advocacy for specialist providers and promoters with local authorities and venues to ensure a fully rounded, high-quality programme of musical performance across NI;
develop a touring scheme with an integrated audience development and marketing strategy which gives priority to jazz, chamber music, world music and contemporary music;
encourage a structured collaboration between the Forum for Local Government and the Arts (FLGA) and specialist music providers with a view to securing local government commitment to a touring scheme;
proactively encourage Audiences NI and relevant individuals within the sector to explore the feasibility, potential benefits and resources needed to centralise commonly required audience development services and training.
4. Orchestral Provision The Ulster Orchestra (UO), by far the largest music organisation in Northern Ireland, consumes a proportionately large share of public resources. We celebrate the orchestra’s historical achievements and the place it has earned in the affections of its public, above all in Belfast, and in this document want to renew our commitment to orchestral provision. However, we must also acknowledge the current squeeze on financial resources, one that will surely not be relieved in the near future, and one that threatens the viability of this large, and by its nature relatively inflexible, organisation more than many others. Similarly, we must address the relationship of UO to other parts of the region if we are to turn it into the orchestra that Northern Ireland cannot do without. One area in which we can make steps towards this is by promoting, and bringing under more systematic review, the chamber music and other smaller ensemble activity that members are already involved in: to (among other initiatives) increase the number of opportunities for composers to work with members of the region’s flagship professional ensemble, and to create possibilities for collaboration between classical musicians and those from other genres. Fundamentally, in order to achieve sustainability, we must be prepared to contemplate, along with the UO management, radical changes in the way the organisation operates. Initially this will mean we:
continue to support UO through its ongoing change-management process, and engage with other key funders to monitor progress and assist it in seeking to broaden its income-base;
proactively engage with other potential stakeholders to advocate the benefits of a collaborative approach to Northern Ireland-wide orchestral provision;
work with An Chomhairle Ealaíon (AnCE) to open up new opportunities for cross-border collaborations, and to explore the possibility of an island-wide approach to orchestral provision—such as, in the first instance, the establishment of an all-Ireland orchestral forum.
5 5. Festivals We recognise the importance of music festivals as focal points and showcases for the year- round activity of the sector. We intend to continue to support music through festivals, but, as part of the present redefinition of our goals, regularly to monitor the relevance of our criteria for funding to ensure: strong artistic vision, distinct identity, need for public funding, audience development potential and integral role in year-round provision. In addition to this monitoring, which will be embedded across ACNI portfolios, we will devote new resources to prioritising key events, especially Derry/Londonderry UK City of Culture 2013. Thus we will:
develop a mechanism for a joint approach—with other agencies, such as local councils and Northern Ireland Tourist Board (NITB)—to funding for, and promotion of, festivals incorporating music;
identify existing and emerging stakeholders in Derry/Londonderry to ensure sustainable long-term growth of festivals and other cyclical provision as a legacy of UK City of Culture 2013 by prioritising activity with unique artistic identity, distinctive brand and long-term impact.
6. Participation: the voluntary and amateur sectors
We are keen to continue our support for the proliferation of activity in community contexts, where a multitude of choirs, bands and music-makers are at work developing individuals’ expressive capabilities and opportunities for artistic and social fulfillment, and we want to do this by linking up small pockets of similar or complementary work. In particular, we perceive a need for a mechanism for consistent liaison between small local organisations, collectives and influential individuals on the one hand and ELBs/ESA, local government and our larger clients on the other. This may mean expanding the remit of the forum mentioned in section 2 (Youth Music) above; it will also no doubt involve encouraging voluntary and amateur groups, including choirs and bands, to explore musical and artistic development in collaboration with professional music providers, and promoting (directly and indirectly) mentoring and support of community-based initiatives. We intend to signpost the benefits to the voluntary and amateur music sectors of connecting with umbrella and support organisations, both music and community based—particularly, but not only, VAI. In addition, we undertake to:
prioritise funding for individual artists and specialist organisations who have the skills and understanding to extend their reach within community music-making, and identify potential for dedicated match funding;
engage in advocacy with departments of devolved government to identify opportunities within their ongoing work for voluntary and amateur music organisations to harness additional support, particularly in relation to social development;
monitor the success or otherwise of newly introduced schemes for encouraging participation (such as Take it Away) while simultaneously exploring the possibility of introducing new ones that will contribute directly to the aims of this strategy.
6 7. Professional and artistic development for musicians
This is an area in which, following Ackrill & Knowles 2011, we perceive notable gaps, both infrastructural and cultural. Although we believe we are good at promoting excellence through recognising, encouraging and supporting the work of organisations, we need to do more to ensure the pathways are in place to allow individual musicians to achieve their potential. Certainly we need to ensure that our grant schemes continue to reflect the ever- evolving needs of the music sector in the area of artistic and professional development. But beyond that, what we think is needed is a fresh approach to networking, engaging more directly with initiatives already in place such as the University of Ulster’s composers’ concerts and composers’ symposia, Belfast City Council’s forum of commercial promoters, and Dublin-based events at the Contemporary Music Centre (CMC) and the Irish Traditional Music Archive (ITMA), as well as with the ACNI music forums outlined in this strategy. In addition, we need to devise further meaningful platforms to provide networking opportunities for musicians, where composers, individual performers, ensembles and organisations can meet and actively engage in the development of their own music and the sector as a whole. As a matter of urgency, we will:
improve the mechanisms for accessing the commissioning resources already available to composers/music creators/producers (such as the UK-wide programmes Beyond Borders and New Music Plus…, as well as our own programmes under SIAP) and work with partners to support them in testing and improving standards;
address the gaps in our portfolio of funding schemes to enable ensembles (across all genres) to apply for SIAP, and individuals to access greater support through SIAP and travel awards in the cause of professional development;
expand our encouragement and support of exceptional talent (e.g. through the ACNI/BBC Young Musicians Platform) by including genres other than classical, especially traditional musics and jazz.
8. Music Industry We are keen that our support does not overlap with (or, worse, inhibit) the workings of the commercial music industry. Therefore we need to ensure that the actions of the recently published Music Industry Strategy are accessible and relevant to the wider music sector. More basically, we need to develop our knowledge and understanding of issues facing the music sector as a whole to ensure funded activity, particularly festivals and touring, does not negatively impinge on the sustainability of commercial activity. On the other hand, though, we have a responsibility to all musicians working in Northern Ireland to promote professional development and opportunity. Taking all this into account, we hope ultimately to provide a link between the publically funded and the commercial music sectors. This will involve encouraging supported organisations to build strong links with commercial organisations and where possible to share skills, experience and resources, and to benefit mutually from the available training and mentoring; also, ensuring training or business development initiatives are accessible and relevant to the music sector as a whole. Generally, we want to make it possible for more musicians to be able to base their careers in NI. Specifically, we want first and foremost to improve access to information so that they can do so, through (among other things) the use of new technology and co-operation between agencies (Invest NI, NITB, local councils). Our priorities in this area will be to:
commit, along with Invest NI and other stakeholders, to a long-term joint strategic programme for the music industry, and ensure our contribution is consistent with our core
7 purpose of supporting the creation and performance of music and the promotion of that music to audiences;
support the music industry in achieving the aims of that strategy, in the first instance by contributing to the development of a dedicated online resource which clarifies the different roles of the associated agencies, to which anyone working in the music sector (or thinking of working in it—this should be available to HE and FE institutions too) can turn for information on available support and training.
9. Music and cultural diversity Across all the areas identified above, but perhaps especially in sections 2, 5, 6 and 7, and across the full portfolio of our funding schemes and existing clients, we are committed to identifying culturally diverse musical activity and ensuring that it enjoys equal respect and opportunity. From this overarching philosophy it follows that we will:
encourage existing music promoters to present a wider range of music traditions to their audiences, support touring and audience development opportunities which broaden the musical menu in Northern Ireland; —as part of the touring scheme in section 3 (Regional touring and audience development).
in line with our Intercultural Arts Strategy, actively encourage appropriate community music and educational organisations to work with minority ethnic communities and their musical cultures.
10. International Touring and Networking In the interests not only of developing markets and audiences for our clients, but also more generally of raising the cultural profile of NI, we will continue to collaborate with the British Council to increase performance opportunities by local artists abroad, and to foster connections with overseas artists performing in Northern Ireland. In addition, we will:
seek additional match funding from new potential partners to increase the scope for music- specific exchanges and showcase opportunities that are beyond the limitations of our current Artists International Development Fund;
seek to extend our collaboration with music funders outside NI, such as PRSF and other Arts Councils in the UK and RoI, in order to gain access to existing initiatives (or develop new ones) for the promotion of cross-border touring;
explore mechanisms to create regular interaction with cultural institutions representing Northern Ireland abroad (e.g. in Brussels) for the benefit of funded artists and organisations;
increase the circulation to those working in the music sector of information and support for networking with, and learning from, their counterparts in the UK and Europe to further opportunities for contact and exchange, including visits.
8 Summary: Proactive vs reactive
It will be obvious to colleagues in the sector, and perhaps to others, that the principles and measures outlined above represent a fresh approach on the part of ACNI, one that will enhance its activity as a body for the expert review and (for the purposes of allocating public funding) prioritisation of proposed work by adding a much more explicitly developmental function. The intention is that this be achieved primarily by increased dialogue with clients and partners in the sector, but also through maintaining a comprehensive and active overview of activity, and taking a more decisive role in co-ordination.
Taking into account the current financial context and the fact that ACNI is facing significant pressures on its resources, the detail of this strategy outlines how ACNI intends to increase its commitment to music above all through the development of partnerships with other organisations (from community groups to agencies of the devolved government to European and international bodies) and better exploitation of current mechanisms for encouraging greater access to, and participation in music on the one hand and raising awareness of existing funding streams and mechanisms on the other. Our plan for working in these ten priority areas in the coming five years is, in other words, proactive rather than reactive.
The following table provides a summary:
9 MUSIC STRATEGY ACTION PLAN
Timetable: Year 1 = 2013 Strategic Supporting Actions Key Partners Timescale Priorities evidence Years 1 to 5
1. Traditional musics Give specific priority to traditional musics and commit to a long-term programme of support and development, to be guided by the sector.
2.2.1, 2.2.3 Commission a full audit of traditional musics to inform both our future planning Traditional Years 1-2 and our advocacy for increased support and profile. music sector, DCAL, Invest NI.
2.2.1, 2.2.3 Draw traditional music organisations into a forum to explore the sector’s own Traditional Year 1 aspirations and proposals for development, and encourage them to act as a music sector & ongoing cross-community advocacy group for the inclusion of traditional musics in formal music education.
2.2.1, 2.2.3 Work with the traditional music sector to facilitate cross-border contact leading Traditional Years 2-5 to joint projects and /or sharing of resources with the Republic of Ireland, music sector, Scotland, the UK and other relevant territories. arts councils and agencies
2. Youth music Engage youth music providers and stakeholders to explore more efficient ways of ensuring high quality creative engagement and professional development.
3.4.2, 3.4.6 Establish a forum in partnership with ELBs/ESA, music educators and relevant ELBs/ESA, Year 1 arts organisations to examine mutual issues and interests, and with a view to Youth Music & ongoing building a co-ordinated approach to the organic development of youth music in sector NI.
3.4.2, 3.4.6 Through this forum, advocate for and contribute to a comprehensive audit of ELBs/ESA, Years 2-3 youth music in NI (in all genres, state and private education, formal and informal Youth music contexts) leading to collaborative regional strategic planning and the sector 10
Strategic Supporting Actions Key Partners Timescale Priorities evidence Years 1 to 5
development of pathways of provision for youth music.
3.4.2 Explore as a matter of urgency the relevance of youth music initiatives in the UK UK and RoI arts Year 1 and RoI, such as the results of the National Plan for Music Education, and councils, DCAL, encourage productive liaison and exchanges of ideas with stakeholders across DE, DEL the regions and the borders.
3.4.2, 3.4.3, Guided by best practice, embed across the sector mechanisms to connect youth Youth music Year 1 3.4.6 music activity and the wider music sector, and with the industry above all, with a sector, Invest & ongoing particular focus on collaboration, training and funding opportunities (CIIF) for the NI, DCAL, PRSF development of creative and cultural skills.
3. Regional touring and audience development Commit to supporting a more ambitious, dynamic and cohesive approach to under-represented genres (such as jazz, world music and contemporary music) and to the development of year-round programming across Northern Ireland for the benefit of local artists and audiences alike.
3.3.4, 3.3.6 Engage in active advocacy for specialist providers and promoters with local Specialist Year 1 & authorities and venues to ensure a fully rounded, high-quality music programme promoters of ongoing of musical performance across NI. jazz, chamber, trad and world music; venues.
2.3.2, 2.4.2, Develop a touring scheme with an integrated audience development and Promoters, Years 1-5 2.6.7 marketing strategy which gives priority to jazz, chamber music, world music and Audiences NI, contemporary music. local councils, arts organisations
3.3.4, 3.3.7 Encourage a structured collaboration between Forum for Local Government and FLGA; Years 1-2 the Arts (FLGA) and specialist music providers with a view to securing local promoters government commitment to a touring scheme.
3.2, 3.3.4 Proactively encourage Audiences NI and relevant individuals within the sector to Music sector, Years 1-3 explore the feasibility, potential benefits and resources needed to centralise Audiences NI
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Strategic Supporting Actions Key Partners Timescale Priorities evidence Years 1 to 5
commonly required audience development services and training.
4. Orchestral provision Renew our commitment to the Ulster Orchestra during its period of change-management, and to orchestral provision generally. Explore further funding and provision partnerships. Promote diversification of offering by orchestral ensembles (chamber music, composition workshops, cross-genre collaborations).
2.6.6 Continue to support UO through its ongoing change-management process, and Ulster Year 1 -3 engage with other key funders to monitor progress and assist it in seeking to Orchestra, broaden its income-base. BBC, BCC.
2.6.6 Proactively engage with other potential stakeholders to advocate the benefits of UO, BBC, NITB, Years 1 -3 a collaborative approach to Northern Ireland-wide orchestral provision. Local councils, ELBs, other Governmental depts.
2.6.6 Work with An Chomhairle Ealaíon (AnCE) to open up new opportunities for cross- AnCE, Year 2 -5 border collaborations, and to explore the possibility of an island-wide approach orchestral to orchestral provision—such as, in the first instance, the establishment of an all- providers in NI Ireland orchestral forum. & RoI
5. Festivals Continue to support music through festivals, regularly monitoring the relevance of our criteria for funding to ensure the presence of artistic vision, distinct identity, need for public funding, audience development potential and valuable role in year-round provision. Ensure that any strategic approach to festival funding across the ACNI portfolios respects the specific needs and issues of the music sector and the priorities outlined in this strategy.
3.3.8, 3.3.9 Develop a mechanism for a joint approach—with other agencies, such as local Local councils, Year 2 -5 councils and Northern Ireland Tourist Board (NITB)—to funding for, and NITB promotion of, festivals incorporating music.
3.3.8, 3.3.9 Identify existing and emerging stakeholders in Derry/Londonderry to ensure sustainable Music sector, Year 1 & ongoing long-term growth of festivals and other cyclical provision as a legacy of UK City of Culture DCC, ILEX, 2013 by prioritising activity with unique artistic identity, distinctive brand and long-term Culture 12
Strategic Supporting Actions Key Partners Timescale Priorities evidence Years 1 to 5
impact. Company
6. Participation: the voluntary and amateur sectors Encourage voluntary and amateur groups to explore musical and artistic development in collaboration with professional music providers. Signpost the benefits to the voluntary and amateur music sectors of connecting with umbrella and support organisations, both music and community based.
3.5.1, Prioritise funding for individual artists and specialist organisations who have the Individual Ongoing 3.5.2, 3.5.3 skills and understanding to extend their reach within community music-making, artists, music and identify potential for dedicated match funding. organisations
3.5.1, Engage in advocacy with government departments to identify opportunities NI Assembly Year 1 & 3.5.2, 3.5.3 within their ongoing work for voluntary and amateur music organisations to depts. ongoing harness additional support, particularly in relation to social development.
3.5.1, Monitor the success or otherwise of newly introduced schemes for encouraging ACE, NI music Year 1 ongoing 3.5.2, 3.5.3 participation (such as Take it Away) while simultaneously exploring the possibility traders of introducing new ones that will contribute directly to the aims of this strategy.
7. Professional and artistic development for musicians Devise meaningful platforms to provide networking opportunities for musicians, where composers, individual performers, ensembles and organisations can actively engage in the development of their own music and the sector as a whole. Connect with initiatives already in place, as well as the ACNI music forums outlined in this strategy. In addition, ensure that ACNI’s grant system reflects the ever-evolving needs of the music sector and provides support for individual artists, ensembles and arts workers to access support for artistic and professional development initiatives.
2.6.4 Improve the mechanisms for accessing the commissioning resources already Music sector, Years 2 -5 available to composers/music creators/producers (such as the UK-wide PRSF, other programmes Beyond Borders and New Music Plus…, as well as our own arts councils programmes under SIAP) and work with partners to support them in testing and improving standards.
2.5.1, 2.5.2 Address the gaps in our portfolio of funding schemes to enable ensembles Years 1-5 (across all genres) to apply for SIAP, and individuals to access greater support through SIAP and travel awards in the cause of professional development.
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Strategic Supporting Actions Key Partners Timescale Priorities evidence Years 1 to 5
2.4.1 Expand our encouragement and support of exceptional talent (e.g. through the BBC, Ulster Ongoing ACNI/BBC Young Musicians Platform) by including genres other than classical, Orchestra, especially traditional musics and jazz. other music providers
8. Music industry Encourage funded organisations to build links with commercial organisations and, where possible, to share skills, experience and resources; ensure the actions of the music industry strategy are accessible and relevant to the wider music sector, including training and business development initiatives.
2.5.2, Commit, along with Invest NI and other stakeholders, to a long-term joint Invest NI, DCAL Year 1 & 3.6.4, strategic programme for the music industry, and ensure our contribution is ongoing 3.7.1.3 consistent with our core purpose of supporting the creation and performance of music and the promotion of that music to audiences.
2.5.2 Support the music industry in achieving the aims of that strategy, in the first Invest NI, Year 1 & instance by contributing to the development of a dedicated online resource DCAL, local ongoing which clarifies the different roles of the associated agencies, to which anyone councils, music working in the music sector (or thinking of working in it) can turn for information sector on available support and training.
9. Music and cultural diversity Identify culturally diverse music activity across the full portfolio of funded organisations and ensure they receive equitable respect and opportunity.
2.3.2 Encourage existing music promoters to present a wider range of music traditions Music & Years 2 -5 to their audiences, support touring and audience development opportunities community which broaden the musical menu in Northern Ireland; —as part of the touring arts, Cultural scheme in section 3 (Regional touring and audience development). partners
2.3.2 In line with our Intercultural Arts Strategy, actively encourage appropriate Local Years 1 -5 community music and educational organisations to work with minority ethnic Community communities and their musical cultures. organisations
10. International touring and networking
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Strategic Supporting Actions Key Partners Timescale Priorities evidence Years 1 to 5
Continue to collaborate with the British Council on furthering opportunities for performance by local artists abroad, and for connecting with overseas artists, and devise new mechanisms to increase the potential for work in this area.
2.4.2, Seek additional match funding from new potential partners to increase the scope Invest NI, BC, Year 1 & 3.7.1.3 for music-specific exchanges and showcase opportunities that are beyond the NITB, local ongoing limitations of our current Artists International Development Fund. councils, and RoI partners
2.4.2, Seek to extend our collaboration with music funders outside NI, such as PRSF PRSF, UK and Year 2 3.7.1.3 and other Arts Councils in the UK and RoI, in order to gain access to existing RoI Arts & ongoing initiatives (or develop new ones) for the promotion of cross-border touring. Councils
2.4.2, Explore mechanisms to create regular interaction with cultural institutions Cultural Year 1 & 3.7.1.3 representing Northern Ireland abroad (e.g. in Brussels) for the benefit of funded agencies ongoing artists and organisations.
3.6.4 Increase the circulation to those working in the music sector of information and British Council, Year 1 & support for networking with, and learning from, their counterparts in the UK and agencies and ongoing Europe to further opportunities for contact and exchange, including visits. partners
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