Rediscover Northern Ireland Report Philip Hammond Creative Director

Home , Andy Shallal, Belfast Exposed, Bob Lynch (musician), Chris Agee, Darragh Morgan, Drums Unlimited

REDISCOVER NORTHERN IRELAND REPORT PHILIP HAMMOND CREATIVE DIRECTOR

CHAPTER I Introduction and Quotations 3 – 9

CHAPTER II Backgrounds and Contexts 10 – 36 The appointment of the Creative Director Programme and timetable of Rediscover Northern Ireland Rationale for the content and timescale The budget The role of the Creative Director in Washington DC The Washington Experience from the Creative Director’s viewpoint. The challenges in Washington The Northern Ireland Bureau Publicity in Washington for Rediscover Northern Ireland Rediscover Northern Ireland Website Audiences at Rediscover Northern Ireland Events Conclusion – Strengths/Weaknesses/Potential Legacies

CHAPTER III Artist Statistics 37 – 41

CHAPTER IV Event Statistics 42 – 45

CHAPTER V Chronological Collection of Reports 2005 – 07 46 – 140 November 05 December 05 February 06 March 07 July 06 September 06 January 07

CHAPTER VI Podcasts 141 – 166 16th March 2007 31st March 2007 14th April 2007 1st May 2007 7th May 2007 26th May 2007 7th June 2007 16th June 2007 28th June 2007

1 CHAPTER VII RNI Event Analyses 167 - 425

Community Mural Anacostia 170 Community Poetry and Photography Anacostia 177 Arts Critics Exchange Programme 194 Brian Irvine Ensemble 221 Brian Irvine Residency in SAIL 233 Cahoots NI Residency at Edge Fest 243 Healthcare Project 252 Camerata Ireland 258 Comic Book Artist Residency in SAIL 264 Comtemporary Popular Music Series 269 Craft Exhibition 273 Drama Residency at Catholic University 278 Drama Production: Scenes from the Big Picture 282 Film at American Film Institute 290 Poetry at Georgetown 299 Katzen Arts Center Art Exhibition 301 Literature Events 314 Glass Artist Residency at Lombardi 322 Poetry and Music Residencies at Lombardi/SAIL 329 Music at The Phillips Collection 346 Music Technology Residency at American University 357 Poetry at the National Geographic 363 NIPPA Photographic Exhibition 366 Opera Theatre Company 374 Peace Café 382 Placenames Symposium 389 Printmakers Exhibition 393 Printmakers Residencies 403 Traditional Music at the Library of Congress 413

CHAPTER I

INTRODUCTION AND QUOTATIONS

The Rediscover Northern Ireland arts and cultural programme was mostly about people – people from Northern Ireland meeting people from Washington – people in the arts in Northern Ireland working with people in the arts in Washington – Northern Irish artists communing with American artists. It was about showing the people of the United States that the people of Northern Ireland had moved on considerably from the days when our troubles featured all too prominently in the world’s news headlines. It was about showing how our arts and artists had played an important role at all levels of society in healing people’s divisions through their innate creativity.

So I am beginning this lengthy report with short quotations from the people who did the real work in the Rediscover Northern Ireland - whose experiences of that programme give a flavour of what was achieved on a very personal level.

The Rediscover Northern Ireland project was a great idea. The breadth of programming that was achieved was impressive. People all over the city, from many walks of life, were exposed to one or more aspect of the programming and I am certain that there is an increased visibility for N. Ireland, good will and curiosity to learn more. Janet Stanford, Imagination Stage

The Rediscover Northern Ireland campaign was very impressive. Programs highlighting other countries and cultures happen on a pretty regular basis in Washington, D.C. This program, RNI, did an outstanding job of sharing the story of Northern Ireland through the full spectrum of Washington’s many communities. Finding and working with these communities whose differences are economic, artistic, social, and geographic is quite a feat! Greg McGruder, National Geographic Society

The mural was a humbling experience and between working with the boys and standing side by side at the mural wall with Tracey Gallogly. This was a time I will never forget. Cheryl Foster, Washington Mural Artist

Having Mervyn on hand, to provide us primary source information on the complexities of life in Northern Ireland and how similar it was to some of the complexities that of life in Anacostia, was absolutely vital to charting a trajectory for the poems we created in the workshop. I was pleased to hear that during the workshop process Mervyn was determined to show a side of Anacostia that goes against what has become the normal dismal discussion about Anacostia. The fact that he was able to identify what the folk of Anacostia were going through, because it was so similar the types of disparaging things that are said about Belfast, Northern Ireland. Fred Joiner, Washington Poet

3 My involvement with Rediscover NI, in a professional and personal capacity, both through my poetry and my coverage and web content production with CultureNorthernIreland convinced me of the strength of the Northern Ireland cultural offer and I was privileged to witness at first hand the uptake of this offer in Washington during the programme. Kirsten Kearney Northern Ireland Poet

On behalf of ARCH, we felt that this project was a major success. Mervyn was a wonderful mentor to the youth of the ARCH photography program. The three projects implemented in Anacostia created a real synergy between the African American populations of Wards 7 & 8 in Washington D.C. and the struggles of Northern Ireland. Northern Ireland was the hot topic of the summer, especially East of the Anacostia River where so many similarities can be drawn between areas in N.I. and Anacostia. Amy Cavanaugh, ARCH Anacostia

I have just filed the first piece for my new art column. I know for a fact that I wouldn’t have been offered this job were it not for my participation in this Arts Critics’ Exchange Program as part of Rediscover Northern Ireland. Chris Klimek, Art Critic, Washington

The US participants came away with a better understanding of the cultural context in Belfast and Northern Ireland. Additionally two participants are actively seeking to return to Belfast in the next 6-months to report on topics encountered during the programme Sioned Hughes, Arts Critics Exchange Organiser, Visiting Arts London

Overall, I gained a lot of tips which will help me with my own writing and in training others, I made friendships in NI and DC which will last beyond the course, I developed the confidence to try criticism in new areas such as visual arts and opera… David Lewis, Art Critic, Northern Ireland

The week in Washington was chock-filled with charms. I loved meeting the authors and playwrights and seeing some great performances from Northern Ireland. Drew Bratcher, Art Critic, Washington

Another standing ovation; it’s amazing how The Brian Irvine Ensemble can turn a situation and an audience! I believe that we presented art from Northern Ireland which was totally unexpected by those who witnessed it. Feedback was unanimously positive. Brian Carson, Moving on Music

Brian Irvine was just incredible in his workshop with youth and adults of the Levine School of Music. His approach to music was fun and engaging while still remaining educational. Not one person from this workshop came out without one excellent piece of knowledge they could implement into their daily practice routine. I say this as a professional musician and witness to that particular workshop. Amy Cavanaugh ARCH Anacostia

4 Following from the hugely successful 3 week artist-in-residence collaboration between Elaine Agnew and Kate Newmann from N. Ireland, Philip Hammond asked if we would be able to do another collaboration with music composer Brian Irvine. We can honestly say that it was amazing to watch Brian work with all of our students, even the most shy and reticent ones amongst them were joining in with the group activities. James Laverty-Furphy SAIL

The invitation Cahoots NI received to present work on this international stage in the USA was an immense benefit to the profile, reputation and artistic programming for the company. One child was so enthralled he came back to see the show a second time and requested reading lists for the Cuchulain tales. Other audience members were astonished to see the beauty of the Northern Irish coastline and pledged to visit. Louise O’Neill, CahootsNI

The Northern Irish artists won the hearts of everyone they encountered with their friendliness and out-going personalities. We also found them a joy to work with; very well organized and professional in their preparation for the challenges of mounting shows on a trans-Atlantic tour. Janet Stanford, Imagination Stage

Paul and Christina brought many faces to light and life with their gentle antics and meandering through the pediatric cancer clinic, general hallways, and inpatient pediatric unit. Staff indicated many children smiled for the first time since they have been in clinic. Nancy Morgan, Lombardi Comprehensive Cancer Center

Cahoots ventured into the most serious venues, cancer treatment clinics and physicians' meetings alike, transforming them with humor, music and gentleness -the best medicine imaginable for our community. Nancy Morgan, Lombardi Comprehensive Cancer Center

Washington D.C’s hospitality was over-whelming, we were welcomed with open arms and treated with respect and appreciation. Christina Nelson, Cahoots NI

The audience at the concert in the Library of Congress was very high profile - from business, government and the arts. The concert allowed the orchestra to show its potential as an arts organisation of the highest quality and to show its value to government, business and the Arts Council. Hugh Carslaw, Camerata Ireland

I think the audience at the Library of Congress really loved Dave Morris’ composition that I played. The piece had an influence of Irish traditional music which really appealed to the audience and the composer also got a standing ovation for the piece. Eimear McGeown, Flautist, Camerata Ireland

5 Each of the artist’s performances were creatively excellent and the response by each of the audiences was very positive. Many audience members at each show requested the opportunity to meet the artists to pass on their personal thanks and congratulations. The Snow Patrol concert at the Bender Arena was attended by an audience of approximately 6000 people. Ross Graham, NIMIC

The very positive reception for the exhibition confirmed Craft NI’s core objective of focusing its resources on the development of high-end craft. Statements from the exhibition Comment Book included: ‘Not what I expected from Northern Ireland’; ‘..a contemporary yet elegant exhibition..’ ‘…craft that conveys both exemplary-quality and a sense of Northern Irish internationalism’ These, and other comments, confirmed the exhibition’s subtitle ‘Á Dynamic of Change’ and conveyed positive images of a reinvigorated Northern Ireland. Joe Kelly, Craft NI

The Residency allowed me to develop the understanding of Northern Ireland’s theatre and wider culture, in particular by focusing on the wide range of concerns, styles and forms of Northern Irish dramatists and to connect these to the work of students and staff at Catholic University of America. This enabled a dialogue which promoted the creativity of Northern Irish theatre artists and located their work within a wider international context. Dr.Tom Maguire, University of Ulster

McCafferty’s strength is akin to that of a short-story writer. The dramatists’s characters pulsate with authenticity, a quality underlined in director Des Kennedy’s superlative staging. Peter Marks, Washington Post

We cemented an excellent relationship with the American Film Institute and brought them up to date regarding developments in the screen industries here; made some great contacts for future collaborations. Moyra Locke, Northern Ireland Screen

It was a real honour to have been invited to take part in the Rediscover Northern Ireland programme, and I think the fact of taking part, and the associated press and publicity, really helped to raise my profile back home. As I mentioned, the event was my first professional US engagement, and it was great to be appearing not just as one writer but under the aegis of something much larger and multidisciplinary, with other artists and with a real sense of national and cultural identity. Lucy Caldwell, Northern Ireland Writer/Playwright

6 Andrea Spencer’s long term experience in a hospital and cancer center groomed her for this residency. She is talented, creative and resourceful, engaging members of our community in creating a variety of glass art projects - even calling on the workmen building a new building next door to help her convert electrical outlets for use in the U.S. She was good-natured throughout and ambitious! Nancy Morgan, Lombardi Comprehensive Cancer Center

I feel privileged, and I know Elaine Agnew does as well, to have met people who, in their courage and their forthrightness, and their desire to communicate, were humbling and who will always claim a place in our memory. Kate Newman, Writer/Poet

Friends, colleagues, family, supporters and staff members of WVSA/SAIL enjoyed the entertainment on the opening night. Approximately 200 people attended the event. This is a significant amount of people for us to host on an opening night. These numbers are a reflection of the flexibility and professionalism both Elaine and Kate showed during their 3-weeks here at WVSA/SAIL. James Laverty-Furphy, SAIL

In a particularly unusual position (having a 10 week old baby at the time!) we were very well supported and the whole experience was made as stress free as possible. It was a great opportunity to perform at the Phillips Collection for us. A beautiful and historic venue for chamber music. Not only was it an ideal venue, it was also a great series for us to be featured in. Daragh Morgan, Violinist

Bravura playing in the music of Franz Liszt drew extended ovations at pianist Michael McHale’s Sunday afternoon recital at The Phillips Collection… Daniel Ginsberg, Washington Post

We felt we had a great impact on the audience with lots of feedback and requests for the exhibition pictures etc. are still coming in, months after the exhibition closed. John Harrison, Photographer, NIPPA

7 Having one of our performances broadcast on the Kennedy Center website also magnified the impact of our project; in sum, we believe it has positively contributed to positioning Northern Ireland firmly on the international map of innovation in the arts. Evidence of this is to be found in the enquiries I have received from other opera companies around the world, mostly in the US and Canada. Rosa Solinas Opera Theatre Company

All those who saw A NIGHT IN NOVEMBER were greatly impressed by the extraordinary and unforgettable performance of Marty Maguire. The audience was also appreciative of having an opportunity to hear from and talk to playwright extraordinaire Marie Jones. It most certainly altered outdated or erroneous perceptions and provided an intimate window on core changes in Northern Ireland. Mimi Conway, Peace Café

The project has encouraged further research of who the artists are in Northern Ireland and how they fit into the international picture, thereby creating new bridges of understanding. Helen Frederick, Pyramid Atlantic Print Workshop

I was most impressed by the enthusiasm, expertise, and encouragement I encountered and came back feeling positive and inspired and able to hold my own on an international level. Washington as a city has a lot to offer the visual artist with the diversity of museums and exhibitions. Elaine Megahey, Printmaker

Pyramid Atlantic has fantastic facilities for bookmaking, papermaking and printmaking and I was allowed access to all these departments. There is a tremendous team of trainee interns involved who were very helpful. I very much enjoyed my residency and found it very beneficial in the development and production of new work. Jill McKeown, Printmaker

From our first meeting at the Washington Printmakers Gallery to the eventual arrival of Elaine Megahey and Jill McKeown, we were all impressed with the strong communication skills, the professional quality and the warmth of these people from Northern Ireland. Rosemary Cooley, Washington Printmakers Gallery

We were extremely pleased with the working relationship that resulted between Hillyer Art Space and the Belfast and Seacourt print workshops. Both Paula Gallagher and Robert Peters were extremely helpful in the planning of “Renewa”l, and we were greatly impressed by the artistic standard of the Northern Irish artists that the workshops represent. David Furchgott, International Arts and Artists

8 It was great to see around the Library of Congress and the Institute and to be interviewed for the archive was a boost to a sometimes fragile self-esteem. It’s always inspiring to talk to people who are on the same wavelength as you and perhaps the contacts we made will mean that more musicians and singers from here will get a chance to go and perform in the USA. Brian Mullen, Traditional Musician/Broadcaster

We were delighted by the quality of the performances in the Northern Ireland series. Each performer was enormously talented, professional, knowledgeable, and entertaining… an unqualified success. We look forward to working with you in the future. Maggie Kreusi, Library of Congress

Rediscover Northern Ireland had a huge impact not just in Washington but here in Northern Ireland and it reminded all of us of the vast amount of “culture” we have in all the art forms at our disposal. Mounting such a programme three thousand miles away is a real achievement and a measure of the strength of our arts and the creativity of our artists. What about England or Europe next, using Rediscover Northern Ireland as a brand? Glenn Patterson, Writer

9 CHAPTER II

BACKGROUNDS AND CONTEXTS

The appointment of the Creative Director

On November 1st 2005, I was seconded to the Department of Culture, Arts and Leisure under the job title “Creative Director” for the ancillary programme of the Smithsonian Folklife Festival 2007. I joined what was to become a small, efficient team of civil servants and other secondees such as the Business Manager Ryan Williams in the Smithsonian/Olympic Unit at DCAL. Although the Smithsonian Folklife Festival was the primary focus of my job, I was also engaged to provide a mid-term review of the “Face to Face” document which had been published in 2001.

Northern Ireland was invited by the Smithsonian Institution to take part in its prestigious Folklife Festival in Washington. In previous years, other countries and regions had traditionally organised an “ancillary programme” to complement the activity taking place on the Mall during the Folklife Festival. In most of those cases, the ancillary programme had been regarded as an opportunity to explore the wider connections which the profile of the Folklife Festival afforded. Mostly these connections had been political and economic with perhaps a broader use of some of the artists and cultural events featured on the Mall. The timescale had normally been restricted to the period of the festival or immediately beforehand.

It was my proposal as Creative Director to widen radically this timescale and to broaden considerably the perspective of the ancillary programme. I suggested initially using the period between March and September 2007 to promote a “Northern Ireland cultural festival” centred around the Folklife Festival in June/July. However, I soon reduced this proposal to cover the period to March - July having investigated the opportunities, as I saw them, more closely and having found that from the second half of July to the end of August Washington was ”not the place to be” due to heat and holidays.

During the period December 2005 – January 2007, I undertook five working visits to Washington DC to make contacts in and establish firm relationships with the cultural world of the capital and, through these, organise and set up a programme of cultural events. After each of these visits I wrote a full report, and these reports (included in this report as Chapter V) offer a chronology of the progress of the Rediscover Northern Ireland planning period which need not be repeated here. These reports were delivered to the Leadership Group, the Co-ordinating Committee, the Curatorial Group and the Arts Council of Northern Ireland. This wide distribution ensured the greatest possible awareness in the arts sector and amongst all those taking part in the Smithsonian project.

10 Programme and timetable of Rediscover Northern Ireland

March Date Event Venue (2007) Lombardi Comprehensive Two Artists in Health and in Education Cancer Center, March 12 - Residencies (Elaine Agnew, Composer and Georgetown University 30 Kate Newman, Writer) One day Arts in Hospital and at the School Healthcare Symposium for Arts In Learning March 9- Drama in Education Residency ( Dr Tom The Catholic University of 29 Maguire, University of Ulster) America March 14 - Photographic Exhibition by the Northern National Press Club 28 Ireland Press Photographers’ Association The Northern Ireland Bureau’s St Patrick’s St Patrick’s Event at which the Rediscover Northern Caucus Room Week Ireland Programme will be launched 20-22 Trade Mission to FOSE 2007 (a US Washington March Government procurement exhibition) 23 March Barry Douglas / Camerata Ireland concert. Library of Congress A weekend of contemporary popular music 23 - 31 Venues include Bender events (including Snow Patrol, Oppenheimer, March Arena and Iota Club Iain Archer and Foy Vance) Imagination Stage, 30 March – Cahoots NI at Edge Fest Children’s Theatre Bethesda, Children’s 7 April Hospital, Washington DC

April Date Event Venue (2007) 15 April -5 Printmaker Residency Elaine Megahey. Pyramid Atlantic, Silver Spring May Collette Bryce, Creative Writer and 16 – 29 Mervyn Smyth, Community Photographer ARCH Anacostia April in residence at ARCH, Anacostia & Exhibition 16 – 23 Brian Irvine, Composer in Education SAIL April Residency for the Arts 17 & 18 Lannan Symposium Festival: "Befitting Georgetown University

11 April Emblems of Adversity" - Lyric in Crisis in Northern Ireland 1966-2006. Evening Poetry Reading entitled: "A Shower of Rhyming Couplets" featuring National Geographic 18 Ciaran Carson, Medbh McGuckian, Paul National Geographic Society – April Muldoon, Michael Longley and introduced Evening event by Dana Gioia, Chair of the National Endowment for the Arts Music Technology Residency in Education 16-28 American University/Katzen Arts (Chris Mc Clelland, Sonic Arts Research April Center Centre, Queen's University) Katzen Arts Center / 22-28 Brian Irvine Ensemble ARCCommunity April Center/SAIL/Library of Congress. 24 Contemporary Visual Art Exhibition Katzen Arts Center at American April - entitled: "Resolutions: New Art from Universtiy 29 July Northern Ireland". Workshops at Fairfax Community 27 "Bug Off" Children's Opera with Opera Centre, performances at Kennedy April - Theatre Company in association with Centre Millenium Stage and 5 May Washington National Opera Imagination Stage Peace Café featuring " A night in 30 November " with actor Marty Maguire and Busboys and Poets April playwright Marie Jones Arts and Humanities Unit, 30 Artist in Health residency (Andrea Lombardi Comprehensive Cancer April - Spencer, Glass Artist) Center, Georgetown University 11 May Hospital

May Date Event Venue (2007) Five Traditional Arts/Folk Music lunchtime 2,9,16,23,29 events: John Moulden, Rosie Stewart, Library of Congress May McPeake Family, Robert Watt and Daithi Sproule, Gary Hastings and Brian Mullen “Renewal: Printmakers from the new Northern International Arts and 4 May - 22 Ireland” Print Exhibition from Belfast and Artists Gallery, Dupont June Seacourt Print Workshops Circle and Cosmos Club Four Sunday afternoon concerts featuring new Phillips Collection, 6, 13, 20, 27 music and musicians from Northern Ireland. Hillyer Court, Dupont May Circle

Jonathan Byers & Richard Sweeney (Baroque Cello & Theorbo), Darragh Morgan & Mary Dullea (Violin & Piano), Michael McHale (Piano), David Quigley (Piano) Arts Critics Exchange in association with Northern Ireland / 5 - 20 May Visiting Arts, London Washington D.C Mural Project in Anacostia ,Tracey Gallogly 5 - 20 May ARCH Anacostia (NI) and Cheryl Foster (U.S) Mural Artists Symposium on Northern Ireland Placenames, 16 May Dr Kay Muhr, Queen's University, Belfast and Library of Congress Dr Henry Glassie Literature Events with Glenn Patterson, Lucy Chapters Literary Caldwell, Owen McCafferty and Dolores 16/17 May Bookstore and Busboys Kendrick (poet laureate of Washington DC) and Poets featuring music by the McPeake Family “Scenes from the Big Picture” Play by Owen 17 May – 30 The Catholic University McCafferty, Solas Nua in association with June of America Tinderbox Theatre Company (NI) Gala Food and Drink Event (with music by Restaurant Eve, 22 May Harpist, Cliona Doris) Alexandria “Rediscover Northern Ireland on film” A 31 May – 5 American Film Institute, festival of Northern Irish Films and June Silver Spring Filmmaking. M a y – June SI Associates Lectures SI Venues

June Date Event Venue (2007) Pyramid Atlantic, Silver 2 – 23 June Printmaker in Residency Jill McKeown Spring 15 June - 31 Craft Exhibition “Made in Northern S Dillon Ripley Centre August Ireland (MINI): A Dynamic of Change” Smithsonian Institution 18 June - 25 Pyramid Atlantic Silver Exhibition of Prints from Northern Ireland August Spring. 26 June - 15 Union Station, Washington Titanic Exhibition July DC 27 June – 8 National Mall Washington Smithsonian Folklife Festival July 2007 DC

13 From the outset, I had a defined budget which I brought together in a partnership deal between the Arts Council of Northern Ireland and the Department of Culture, Arts and Leisure. DCAL offered £320,000 from its International Budget over a period of two years and the Arts Council agreed to an upper limit of £300,000 from its Lottery Funds – again over a period of two years.

Having this agreed figure for the programme budget from the outset was a very important factor in forward planning for the artistic programme. It was of immense help to me as Creative Director to know what was financially available; I was able to use that security to lever actual and in-kind support from potential Washington partners in discussions; in most cases it was the reason for initial interest. I was in a position to offer something very attractive in terms of payment of artists and travel and it allowed me to position myself in negotiating venues and other support which were by and large given in-kind as reciprocation. (see Chapter IV for estimated in-kind support from DC venues/partners)

Although the size of the budget defined the limitations of the programme, I intended to explore as many possible cultural opportunities as I could find in Washington, knowing that all avenues explored would not necessarily lead to final events. The chronology of how my endeavours unfolded can be followed in the series of reports I wrote for the various committees and groups established by the Smithsonian Unit as referred to above.

As it turned out, the programme developed a lot more slowly than I had originally anticipated in November 2005 when I wrote a first paper for DCAL outlining my ideas. In the end, as can be seen from the timetable and programme above, nearly all of my initial ideas led to events although the shape of those events was constantly evolving as negotiations and discussions between Northern Irish managers, Northern Irish artists, Washington venue managers and arts administrators and, in many instances, Washington artists all came into play. My role, throughout the fifteen months it took to finalise the programme, was a mixture of catalyst, intermediary, persuader, negotiator, arbiter and supporter. I felt like a marriage broker a lot of the time!

Throughout those fifteen months of putting the programme together, I was fully supported and advised by the Chairman, Chief Executive and arts officers at the Arts Council of Northern Ireland. As the lead body for the arts in Northern Ireland, the Arts Council’s aim and objectives, as laid out in its Corporate Plan, were at the forefront of my conception of the Washington programme. It was my intention to demonstrate to a large spectrum of Washington audiences, over a protracted period of time, how in Northern Ireland the arts were placed “at the heart of our social, economic and creative life”. This Arts Council mission statement very neatly combined with the strategic message of DCAL for the Smithsonian project – namely “to present Northern Ireland as a confident, creative, outward looking region and develop a relationship with the United States that will be mutually beneficial”.

14 Rationale for the content and timescale

Faced with the task of four months’ worth of programming, I had to determine what may be viable at a very early date (see Chapter V). Most of this determination was based on my own knowledge of, and lengthy experience in, the arts sector, here and internationally, but a number of “determining factors” in all the programming gradually emerged (See also pg 99 in this report)) These were that:

a. Each event had to have a Northern Ireland partner whose experience could indicate its ability to work at an international level

b. Each event had to have a DC partner willing to provide a platform/venue with an audience and preferably offer a partnership in terms of “in kind” contribution to costs. These came under the general headings of administration, management, venue, hospitality, accommodation, printing and publicity.

c. Northern Ireland artists had to be at a level of artistic quality which would be internationally acceptable.

d. Final selection of artists and arts organisations and their programme would be the prerogative of the DC partner.

e. Each event would have to be affordable within a tightly defined budget and a programme which had to cover as many artforms and arts environments as possible.

By March 2007, Rediscover Northern Ireland had developed into a full blown four month festival. This timescale gave Washington a unique opportunity to witness all sorts of Northern Ireland arts events, to meet a range of Northern Ireland artists over an extended period of time and really get to know them well. It allowed audiences with wide interests to attend events of several different artforms. It allowed venues of the widest possible range to take part – this would not have happened had the programme been restricted to a period of less than four months because there simply were not the dates available in their schedules at one more tightly defined period. I t e n gendered a deeper relationship with the DC partners and in particular gave them an opportunity to programme Northern Ireland events at intervals during the Rediscover Northern Irleand timetable. It allowed a wide range of Northern Irish artists to take part in Rediscover Northern Ireland because it gave them a choice that would best suit their own schedules and forward planning. The sheer variety of the resultant programme was one of the most commented upon features of the arts programme.

15 The budget

This following spreadsheet shows the amounts applied for by the participating arts organisations. This figure in itself was within the budget defined by DCAL and the Arts Council of Northern Ireland (£620,000). The eventual outturns are also well within budget, due to factors of an excellent exchange rate, in-kind support and careful administration by the various partners. For such a wide-ranging programme over such an extended period of time, this result of over £100,000 under budget is noteworthy.

EVENT BUDGET OUTTURN Drama Residency 770 University of Ulster 770 Lombardi Residencies 27,134 Artscare 18,350 Anacostia Residencies 27,560 Belfast Exposed 25,381 Print Residencies/Exhibitions 35,000 Belfast Print Workshop 35,000 Visual Art Exhibition 50,000 Golden Thread Gallery 42,100 Camerata Concert 63,000 Camerata Ireland 63,000 Phillips Collection Series 17,080 Ulster Orchestra 12,809 Craft Exhibition 35,000 Craft Northern Ireland 35,000 Peace Café Event 6,010 Tinderbox est6,010 Production/Residencies Drama 31,620 Tinderbox est31,620 Literature events 17,500 Verbal Arts Centre 17,500 Poetry Symposium/evening 17,450 Queen's University est17,450 Film Festival 25,000 NIFTC est15,000 Popular Music Festival 30,000 NIMIC 30,000 Music and Technology 9,980 SARC 9,980 Music Residency (Brian Irvine) 3,775 Moving on Music 3,676 Brian Irvine Ensemble 46,000 Moving on Music 45,229 Traditional Music Events 25,350 Open House Festival 15,700 Place Names Symposium 1,940 Place Names Project 1,875 Children's Theatre 19,981 Cahoots NI 19,981 Children's Opera 20,470 Opera Theatre Company 20,470 Press Photography Exhibition 7,500 NIPPA 7,500 Young Critics Programme 30,000 Visiting Arts 30,000 Website Updating 7,000 Culture Northern Ireland 7,000

Possible budget: 620,000 555,120 With estimates for Poetry, Peace Café and Drama Production OUTTURN 511,401

16 The role of the Creative Director in Washington DC

The role of the Creative Director of the Arts and Cultural Programme in the Rediscover Northern Ireland series of events was “to co-ordinate and manage the Arts and Cultural content of Rediscover Northern Ireland and to liaise with the Arts and Cultural partners in Northern Ireland and Washington DC”. This was the wording in the job description prepared when I was seconded from the Arts Council of Northern Ireland to DCAL in November 2005. Between the latter part of March and June, 2007, there were over sixty events related to the Arts and Cultural theme of Rediscover Northern Ireland (see Chapter IV). Some of these events were artists’ residencies, some were one-off, some were contained within a series at one venue – for example, there were four young musicians’ concerts at the Phillips Collection each taking place on the Sunday afternoons of May. Nearly 150 artists, all born or living in Northern Ireland, took part in the Arts and Cultural theme (see Chapter III). Although as Creative Director I was in charge of this Arts and Cultural theme, I realised that it would be very difficult for one person to manage all these events and look after all the artists during their stays in Washington. As explained above, my rationale behind the concept of the Arts and Cultural theme was to devolve, as far as possible, the micro- management of the administration of each event or series of events to an alliance of a Northern Ireland partner and a Washington DC partner.

The Northern Ireland partner had agreed to apply, with my assistance where necessary and appropriate, to the Arts Council of Northern Ireland for funding, to contract artists, to see to their payment of fees, subsistence and other receipted or invoiced expenditure. These aspects were all managed from Northern Ireland – even in the case of artists who had their home/work base elsewhere. The procedure had been developed in this way in order also to meet United States visa restrictions and tax considerations. In Washington DC, the American partner was usually a venue-based organisation and, through my negotiation, it would agree to oversee the actual event. That partner provided the venue management, looked after the basic publicity for the event or events, and in some cases eg. Library of Congress, The Phillips Collection, provided accommodation on a private/personal basis (see Chapter IV).

During the period between December 2005 and March 2007, I had already brokered all of the partnerships in order to provide a wide ranging programme of events. My role in Washington DC, during the period of Rediscover Northern Ireland, was to foster those relationships with DC partners and liaise where necessary with Northern Ireland partners in the facilitation of the artists actually taking part in the events. This included: • the writing, compilation and distribution of series brochures and programmes, • helping with press and media management where necessary, • providing on-going support and advice to DC venue managers on the needs of the artists, • keeping in close contact with the artists both before and after arrival in Washington DC,

17 • looking after the specific handling arrangements for accommodation and hosting of the artists, • overseeing travel co-ordination including visas, • liaising with all concerned in the management of receptions, • attending those receptions where appropriate • being on hand to trouble-shoot in situations where anything might go awry.

It is precisely because I had put together this entire programme of events that I was essential to their successful management from March to June, 2007, in Washington DC. I knew the artists, the arts organisations both in Northern Ireland and in Washington DC and I was fully conversant with the reasons for choice of programme and its artistic objectives.

A full list of all those who took part in Rediscover Northern Ireland and an estimate of in- kind support from DC is included in this report as Chapters III & IV. Full reports on the events including commentary by Northern Ireland partners, DC Partners and, in many cases, participating Artists is included as Chapter VII .

Those individual reports indicate the immensity of this programme and the work which the Rediscover Northern Ireland programme engendered both here and in Washington DC. The reports also point to the deep sense of involvement from all the administrators and artists, again both here and in Washington, and what they undertook before and during the Rediscover Northern Ireland programme.

Some headline statistics will exemplify the size of the undertaking.(see also Chapters III & IV)

• 66 individual arts events. • 147 artists and administrators actually visited DC during the period. • 27 Northern Ireland arts organisations partnered with 21 DC organisations. • 39 DC artists took part in the Rediscover NI programme as performers. • Applications to ACNI totalled £556,000. The favourable outturn, £511,000, was largely due to a good exchange rate and good administration/management. • Approximately $175,000 is a conservative estimate of in-kind support from DC venues/partners • Audience for the arts events alone is estimated at over 200,000 people from all parts of Washington society and the wider DC, Maryland and Virginia communities.

For many of the arts and cultural events, there was an added dimension in that they offered a platform for the other themes of the Rediscover Northern Ireland programme.

For example, • the Northern Ireland Bureau hosted a reception to open the Northern Ireland Press Photographers Association exhibition; • Invest Northern Ireland hosted a reception to highlight the economic status of Northern Ireland before the Camerata Ireland concert at the Library of Congress;

18 • The University of Ulster hosted a reception at American University to mark the opening of the Visual Art exhibition; • Queen’s University hosted a reception before the poetry evening at the National Geographic Society to highlight its literary strengths. What emerged was that the arts and cultural events were highly effective platforms for other interests, offering venues of world class recognition, providing proof of Northern Ireland’s new social image, giving opportunities for networking and corporate entertainment. This was one of the most important messages of the Rediscover Northern Ireland programme and one of its main legacy features.

The Washington Experience from the Creative Director’s viewpoint.

In October 2006, I wrote a paper for internal distribution in DCAL and the Smithsonian Unit laying out the specific requirements which, from the Creative Director’s point of view, I assumed would be necessary for the successful delivery of the Arts and Cultural programme. As stated above, I had done great deal of preparation during the fifteen month lead-up to the actual Rediscover Northern Ireland programme, establishing close partnerships with managers in both Northern Ireland and Washington and planning of the events to assure that as far as possible the presenter in DC was in close contact with the Northern Ireland manager and lessening any possibility of misunderstandings.

Taking onto account this delegated management approach, in Washington DC, I thought I would need • residential accommodation for four months • an office base from which to work, email and telephone and a laptop computer • access to a budget and bank account in order to pay for appropriate hospitality and internal transport of artists from airport to accommodation bases, to venue etc. • storage space for publicity and programme material for distribution to venues • on occasion, the services of an assistant, to be responsible to the Creative Director, to help manage artists’ care and needs as referred to above.

I envisaged a role for an “assistant” to the Creative Director in Washington DC which would be occasional and involve • helping the Creative Director look after the needs of the visiting artists in terms of meeting them at airports, their transportation to and from accommodation bases before and after events • checking accommodation and advising on eating places • helping the Creative Director liaise with venues and their requirements. • delivery of material to venues • checking storage facilities • collating and preparing evaluation material from venues, audiences and artists • general help with administration of the programme As it turned out, I did not receive several of these specific requirements nor did I receive any meaningful assistance in the form of an “assistant”. This made my job in Washington during the Rediscover Northern Ireland programme challenging.

The challenges in Washington

Although I do not want to dwell on those challenges I encountered while living and working in Washington, I feel that it is important to voice them in this report so that future ventures like this can take my experience into account and perhaps avoid some of the most obvious difficulties. I can deal here with the specific requirements as I had envisaged them above:

• residential accommodation for four months In January 2007, I engaged, and through DCAL paid, an estate agent to find me accommodation in DC. After relatively little time, I identified the rented accommodation I wanted and later made the specific arrangements necessary to secure this. I was required to write up a business case for this which I duly did. All payments to the rental firm were made through my personal credit card and I claimed back the amount for accommodation when I filled in my claim forms to the Department back home. There was no problem with this as I have a good credit rating on my credit card. For those not in my position, this payment every month of over $3,500 may have created difficulties on top of paying for other living expenses.

While in DC, I was allowed to claim essential transport in connection with my work as the Creative Director and very occasional hospitality- but only when entertaining visiting artists. I had originally been told that I could claim also a Cost Of Living Allowance (COLA) which would have been worth in the region of £1,200 at the rates explained to me in February 2007. As it turned out, this COLA rate was considerably revised after my departure and I was paid a total allowance of just over £24 for the entire five month period.

• an office base from which to work, email and telephone and a laptop computer Communication was one of the major difficulties I encountered during my Washington residency. Through the Arts Council of Northern Ireland I was allowed to bring with me my Arts Council telephone and my Arts Council laptop computer. I also bought a US mobile and set up an account for work related calls in the States, the cost of which I claimed back from DCAL. The cost of my Arts Council telephone has yet to be settled but it will have to be claimed back again from DCAL.

Having worked on a DCAL computer in the lead up to the RNI programme, all of my information was on that computer back home to which of course I had no access in the States. This was a major difficulty despite the fact that I had transferred a certain amount of material to the ACNI laptop before I went to Washington e.g. email addresses. However, because I had no access to the Department server abroad, I had to inform all my email contacts that I would be working from a different address. This caused a considerable amount of work for me.

20 I was not able to set up a personal internet connection in the States for such a short period of time so access to emails and the internet was reliant on the Wifi connection at my place of residence. This connection was weak and again, it caused me a considerable amount of inconvenience and difficulty as a result.

Probably none of this would have been quite so problematic if I had had an office base linked to my ACNI computer. It had originally been envisaged that I would work from the Northern Ireland Bureau – a logical assumption considering that DCAL paid for the services of the Cultural Affairs Officer based at the NIB. A number of other assumptions followed from that. However, I was offered a desk space and a telephone in the Folklife Center of the Smithsonian Institution and this accommodation was given to me free of charge from March through to mid - June when pressure on accommodation in the Smithsonian itself with the up-coming festival necessitated my relinquishing claim to this access. However, even though I was able to access a Smithsonian computer, there was not the ability to link this to my own ACNI computer for security reasons. This dislocation in communications meant that I was always trying to remember to duplicate all my work on both computers and I wasted a considerable amount of my time just doing this kind of low grade administrative work.

It also meant that I had several telephone numbers and several email addresses which was a confusion for those I was trying to work with in Washington and back home in Northern Ireland. For example, I had four telephone numbers – my apartment number, my Smithsonian number, my UK mobile number and my US mobile number!

Rationalisation of communications in any future international work must be a top priority.

• access to a budget and bank account in order to pay for appropriate hospitality and internal transport of artists from airport to accommodation bases, to venue etc. I had no specific budget or bank account in Washington and used my personal credit card and my personal banking account to pay for everything I did in Washington connected to my role as Creative Director. I was able to claim back certain expenses as indicated above but there were occasions when my personal outlay for business purposes was quite large – for example, I had to pay for the hotel accommodation of some artists, and I had to pay for the transportation costs of several artists, all on my personal credit card.

• storage space for publicity and programme material for distribution to venues There were real difficulties over storage space. As a result, some materials were sent to the Smithsonian Institution for my attention or sent directly to the venues if it was a matter of programmes or brochures. When material was sent to the NIB, it caused me minor disruption to access that material. On one occasion, I had to hire people to help me move programme brochures from the NIB and I personally had to lift a large number of boxes and carry them out of the NIB building.

• on occasion, the services of an assistant, to be responsible to the Creative Director, to help manage artists’ care and needs as referred to above. It had always been envisaged that DCAL’s Cultural Affairs Officer at the NIB would be the obvious assistant. However, very early on when I suggested to the Cultural Affairs Officer that she would be responsible to me for the Rediscover Northern Ireland arts and cultural theme, she told me that that was not possible. As a secondee to DCAL, I had no authority to question this response although I did inform the Cultural Affairs Officer’s line manager at DCAL – Colin Jack – that this had been the response. In the end, I did all the work myself in connection with the programme which I had devised. The Cultural Affairs Officer did help to look after two events – the NIPPA Exhibition and the Food Event – which the NIB considered their own.

The Northern Ireland Bureau Relationships with the Northern Ireland Bureau began amicably enough in December 2005 but soon began to deteriorate. In practical terms, this meant that the only formal, “official” Northern Ireland contact I should have had to rely upon in Washington was unavailable and I was entirely unsupported for the duration of the programme except during brief periods when Mick Cory from DCAL came out to DC on his monthly visits.

Publicity in Washington for Rediscover Northern Ireland

The public image and profile of Northern Ireland was central to the reason for undertaking both the Folklife Festival and Rediscover Northern Ireland. I was greatly impressed by the PR work of the Communications Manager in the Smithsonian Unit and the designs of F i r e I M C who together produced such well designed printed material and programmes for many of the RNI events; this material was often commented upon by the Washington partners and audiences and, even on its own, did much to raise the “quality” image of Northern Ireland.

With such a wide ranging programme as Rediscover Northern Ireland, however, it was decided early on that professional help would be needed in situ and so a tender from DC was sought. Susan Davis International was selected. After my very first meeting with Susan Davis, I produced at her request a table of events which I was overseeing with possible storylines for exploitation. I described it as Pressangles. I compiled it on 13th November 2006 and later updated it on 15th February 2007 as follows :

Overall messages of the Arts and Cultural Programme. 1. Unusually high number of internationally renowned artists to have come from Northern Ireland relative to the size of its population and many of these are coming to Washington as part of the programme.. 2. The Arts in Northern Ireland touch every aspect of society and this is reflected in the Washington programme e.g. Education, Health, Youth, Community.

22 3. The whole presence in Washington of Northern Ireland is being led by the Arts and Cultural programme – this is the largest single international showcase of Northern Irish arts ever to have taken place. 4. This programme reflects the regenerative power of the Arts and Culture. In Northern Ireland, the Arts have had a leading role in the Peace Process by bringing communities of all sorts together in a safe and creative environment.

Date Event Venue Story angle (2007) Nancy Morgan, Director of the Arts and Humanities Unit at Lombardi decided to change her career to Arts in Healthcare after a visit to 2 Artists in Health Belfast’s ArtsCare, a world and in Education Lombardi Comprehensive leading organisation in Residencies One Cancer Center, Northern Ireland which works March 12 – day Arts in Georgetown University in healthcare environments. 31 Healthcare Hospital and at the Second angle is that Symposium(Sym School for Arts In Lombardi Foundation also posium date 30 Learning supports the new Cancer Unit March t.b.c.) at Belfast City Hospital. The residencies at Georgetown Hospital link the two units – also Northern Irish doctor is a leading specialist in GU Hospital. The University of Ulster’s new performing arts school in Derry Northern Ireland is making this residency in Catholic the beginning of an exchange partnership for future collaboration between Drama in the two universities.

Education Second angle, Catholic is March 12- Residency Catholic University providing the space for a 31 Northern Irish play, presented

by Washington-based Solas Nua. The director is a new young rising star called Des Kennedy (24)—first appearance in DC in Owen McCafferty’s play Scenes from the Big Picture (21- hander) …see also 17th M a y . Arts criticism in Northern Ireland needs revitalising. Three Northern Irish arts Arts Critics correspondents meet with May 5-20 NI/DC Exchange three Washington based arts correspondents and together explore the arts scenes in Belfast and Washington,

23 under the tutelage of experienced US/NI critics and arts writers. Internationalism amongst 2 Printmaker Pyramid printmakers is renowned Mar – J u l y residencies and 2 Atlantic/International because of the ability of print Print Exhibitions Arts& Artists Gallery workshops to host exchanges – as in this case. Press photography in Northern Ireland has been Photographic seen worldwide during the Exhibition by the Troubles with images of terror March 14 - Northern Ireland National and mayhem. This small 28 Press Press Club exhibition will show the new Photographers image of Northern Ireland as Association it rebuilds itself for the future peace and stability of the new society. The Northern Ireland Bureau’s St Patrick’s Caucus Room Event at which Capitol Hill St the Rediscover

Patrick’s Northern Ireland

Week Programme will

be launched

Trade Mission to FOSE 2007 20-22 (a US Washington March Government procurement exhibition) Camerata Ireland draws together some of the best young players from the whole of he island of Ireland. Under Barry Douglas (Tchaikovsky Prize winner in 1980’s) this chamber orchestra shows the way in which music and the 23 March Business and arts cross all borders and Investment divides – in this case between Reception Library of Congress Northern and Southern Barry Douglas Ireland. The President of 23 March /Camerata Ireland and HM the Queen cont’d Ireland Concert are the joint patrons of Camerata Ireland – symbolically very important. New work especially commissioned for this concert by Dave Morris who taught many of the new generations of Northern Irish composers.

24 Contemporary Popular music events in Snow Patrol is the big catch Washington here and draws audiences of featuring world thousands wherever it renowned Snow 23-30 appears. There have been a Patrol with other March great many pop musicians supporting who have comer from NI programmes notably of course Van featuring Foy Morrison. Vance, Oppenheimer and Iain Archer Cahoots NI is a theatre company in Northern Ireland which focuses on children’s theatre work. The director of the company also works as a Clown Doctor in hospitals with sick children. Human Edge Fest 30 March – Imagination Stage, story here with good picture Children’s 7 April Bethesda opp’s... They will be in Theatre Imagination Stage and Washington’s Children’s Hospital

Two Northern Irish artists working with three community groups in Anacostia. As with so many of the presentations Creative Writer in Washington, our artists can and Community show that they work in all 16 – 29 Photographer in ARCH Anacostia parts of society – the arts April residence at make a difference and allow ARCH, Anacostia people to express themselves & Exhibition with the professional help of professional artists – photo opp’s here again…see also 5th May Brian Irvine is Composer in Residence with Northern Ireland’s only professional classical orchestra. He is also a jazz/crossover Composer in composer…he will be working 16 – 23 Education Duke Ellington School for in the Duke Ellington school April Residency (Brian the Arts and will write a piece based Irvine) on a Duke Ellington piece especially for this short residency at Duke. His ensemble will play with those young people at the school itself….photo opp’s…

25 The Lannan Program at GU is famous for these annual symposiums. This year’s symposium is devoted to Northern Irish poetry from 1960s to present day…eight 17 & 18 Two day Poetry Georgetown University Northern Irish poets will be April Symposium here for this and a new anthology of Northern Irish poetry will be launched here at the symposium.

This evening event at the NGS will bring together on one stage four of Northern Ireland’s most famous poets – introduced by Dana Gioia, Education event Chair of the NEA. Major and reception event. It is hoped that an ,Ciaran Carson, National Geographic exclusive short DVD Medbh 18 April National Geographic recording of Seamus Heaney McGuckian, Society – Evening event will be screened as part of Paul Muldoon, this evening. Michael Longley

The Sonic Arts Research Music Centre at Queen’s University Technology Belfast is a world leader at Residency in American University/ the cutting edge of sound and 16-28 April Education (Chris Katzen Center technology exploration. Mc Clelland) SARC has many American

links from Hollywood through

to Silicon Valley. The big concert of the Brian

Irvine Ensemble is its ARCCommunity appearance at the Library of Center/Duke Ellington Brian Irvine Congress…but the photo opp 23-28 April School for the Ensemble will be either at the ARC Arts/Library of Congress/ center in Anacostia or Duke Katzen Center Ellington School…see also

Brian Irvine 16-23 April The University of Ulster houses the only Art College in Northern Ireland which for several decades has produced nearly all of the visual artists working in th 28 April - Visual Arts Katzen Center American Northern Ireland today. This August Exhibition University exhibition at the stunning Katzen Center features a selection of paintings in an exhibition curated by the Katzen Center’s director Jack Rasmussen…he came to Belfast specially to select the

26 works…maybe an interesting interview here with him about his impression of Belfast… Peace Café is a product of modern and liberal thinking W ashington. The link tio the Peace Café th peace process in NI is 30 April featuring A Night Busboys and Poets obvious. Marie Jones in November playwright will attend this event – she wrote the play A Night in November Education event run in association with Washington National Opera.An opera for children and featuring children by Belfast born composer Stephen Deazley. 30 April – “Bug Off” Workshops at Fairfax Staged by Opera Theatre 5th May Children’s Opera Community Center, Company which is Dublin performances at Kennedy based but also is funded by Center Millennium Stage the Northern Ireland Arts and Imagination Stage Council to work in Northern Ireland as well….another example of the arts going beyond the borders of country divisions. Link to Camerata Ireland story…

Four Traditional Northern Ireland has a hugely Arts/Folk Music rich traditional music scene. lunchtime These events at Library of events: Congress throughout May (2)John give a taster of what will be in Moulden, store on the Mall at the 2,9,16,23,2 (9)Rosie Stewart Smithsonian Folklife Festival. 9 May (16)McPeake Library of Congress Each artist is famous in NI – Family, e.g. the youngest is Robert (23)Robert Watt, Watt, a highland piper who is (29) Gary world champion three times Hastings & over. Brian Mullen, Tracey Gallogly, a mural artist from Portadown in Northern

Ireland works with Cheryl Mural Project in 5 – 20th Foster, a miral artiost from Anacostia ARCH Anacostia May Washington and young

people in Anacostia to

produce a new mural…photo opps… So many names in the States Symposium on NI derive from place names in th Placenames Northern Ireland…this 16 May Library of Congress symposium at the Library of Congress explores some of the commonalities and

27 derivations from Gaelic and Ulster-Scots languages. Playwrights, and fiction writers appear with Dolores Kendrick at Busboys and Literature Events Poets reading and discussing with Glenn their work. Music provided by Patterson, Lucy Bookshops in DC, musicians fro the Francis Caldwell, Owen th Imagination Stage McPeake School of Music in 16/17 May McCafferty and Bethesda and Busboys Belfast on traditional Dolores Kendrick and Poets instruments (they will have (poet laureate of just done a lunchtime concert Washington DC) at the Library of

Congress)…may also be photo opps at Bookstore book signings by the authors. See also March 12-31. Owen will be at the opening night and in DC for a week or so before that to see the final “Scenes from the stages of rehearsals. New 17th M a y – Big Picture” Play young director from Northern end of by Owen Catholic University Ireland Des Kennedy – first June McCafferty US job. Solas Nua…exciting up and coming new theatre company in DC, led by Dublin born Linda Murray.

Gala Food and Nice photo opp

Drink Event here…Northern Irish harpist 22 May Restaurant Eve, (with music by Cliona Doris will look well with Alexandria Harpist, Cliona her harp…orchestral harp not

Doris) Irish harp! Food and Drink reception at the May UK British Embassy Ambassador’s Residence

M a y – June SI Associates SI Venues (inc) Lectures 4 Sunday All these young musicians afternoon appearing at the Phillips concerts by every Sunday Afternoon in Young NI May. Each programme will Musicians : feature Northern Irish and (6)Jonathan American works from the 6,13,20,27 Byers & Richard Phillips Collection contemporary repertoire M ay Sweeney Dupont Circle along with more standard (baroque cello & fare. New commission from Arch lute), Northern Irish composer (13) Darragh Deirdre Gribbin in Darragh Morgan & Mary Morgan/Mary Dullea Dullea (violin & programme Piano)

28 (20)Michael McHale (piano), (27) David Quigley (Piano) Micky Bo and Me, Middletown, and other NI “Rediscover shorts and feature films . The 31st M a y – Northern Ireland American Film Institute, growth of the film trade here 5th June on Film” Films Silver Spring illustrates the growing from NI influence of the creative industries in the Northern Irish economy 25th June Titanic Exhibition Union station Launch of SI Mid June F o l k w a y s Recording Cutting edge of craft – not the th 15 June - Craft Exhibition lower end of the market here S Dillon Ripley Center August – craft as an artform and Smithsonian Institution inface-ing with technology.

25-29 June Trade Mission Fairfax County

Although we are not paying for 27 June – this, Paul Flynn Traditional National Mall 8 July Folklife Festival Arts Officer at ACNI has been Washington DC 2007 much involved in helping with this.

A full report on PR and Publicity is available elsewhere with lists of media coverage in DC and in Northern Ireland arising from the Rediscover Northern Ireland programme. All in all, it is an impressive “account” of how the programme attracted the attention of the media over a protracted period of time and it justifies the large amount of money spent in this connection.

I was quite aware of the inevitablity that not every event in the Arts and Cultural theme was going to get specific publicity in the leading media outlets of DC or indeed the same amount of publicity. The concentration on only some events meant that others would by default be overlooked. I felt this was inevitable - but unfortunate. I felt however that some of the lesser known news papers did not carry any pre-publicity or post reviews perhaps because they had not been specifically approached – if so, this was an oversight in my opinion. There certainly was in some cases a disjunction in Washington between the “official PR firm” and the promoters of some of the smaller events and this confusion was unfortunate.

Publicity and PR for the Rediscover Northern Ireland programme was very important from my perspective. The vast majority of the events which I had put in place were, of course, going to be managed and administered by the Washington venue/partner, most of whom had their own publicity expertise.

However, I knew also that the audiences for most of the events was going to be small and focused on a specialised group of people. It was therefore essential, in my opinion, to spread the potential profile these events could engender to a much wider group of people in the Washington area and indeed in the US.

This would be achieved not because a certain amount of people attended the actual arts events as audiences but because the events provided a stimulus to other sectors of interest – they could raise a profile in areas totally unrelated to the arts by the mere fact that such a lot of events from Northern Ireland were actually taking place in Washington over a number of months. It was this cumulative effect – the sum of the total if you like - that I hoped would carry more weight than, simply, individual arts events on their own.

At times it seemed to me however that, on the part of SDI, there was a lack of meaningful understanding what these arts events were about, whom they projected, the reason for their content. I personally spent time in the early months of the RNI programme giving information to SDI, briefing and responding to the many and seemingly ever changing personnel at SDI who got in touch with me for help.

I felt that the arts and cultural theme of Rediscover Northern Ireland lost out and the linkages between the events – the sum of the total I refer to above – were not fully exploited. Again, handling such a wide ranging, long term programme was never going to be an easy project in terms of PR/Publicity.

30 Rediscover Northern Ireland Website

It is my conclusion that we made a very bad decision at the outset of planning for the Smithsonian/Rediscover Northern Ireland programmes when we set up a website under the auspices of the Government and Civil Service. Whereas it may have seemed at the time as if this was a natural extension of the management and organisation of the whole programme being based at DCAL, the lack of technical and practical expertise and support, the inflexibility of response, the restrictions on content, and the general inadequacy of understanding how an arts website should operate – all led to a very unsatisfactory web image for the programme.

The immense potential of the website – arguably the most important tool in America for the distribution of information - was in my view not fully exploited. It was not properly in operation even by the time the RNI programme had begun; mistakes in information were not corrected; old information was not replaced with new information; overall s t y l e and format were unattractive. Items like my podcasts, which involved hours of work on my part and which had an immediacy pertinent to the timetable of events, took weeks to be put on the website. Numbers 6, 7, and 8 have never appeared on the Rediscover website.

Real efforts were made by the Smithsonian Unit to overcome these huge problems. Indeed eventually, Culture Northern Ireland was engaged, with money from the Rediscover Northern Ireland budget supplied through DCAL and the Arts Council, to add content and artistic vibrancy to some aspects of the web programme. But I felt this “sticking plaster” came very late in the day.

An independent website operator may have been a better solution from the outset.

Audiences at Rediscover Northern Ireland Events In Chapter IV, as part of the statistical analysis of in-kind support, I have added audience numbers attending events. The total number is estimated at over 200,000 people. Judging by the numbers alone, however, it may look as if many of the events did not attract huge audiences. In most cases, this was down to capacity - the venue could not hold huge numbers. For example, The Phillips Collection music room has a capacity of about 110; The Library of Congress Coolidge Auditorium has a capacity of about 400; Busboys and Poets has a capacity of about 100; The Callan Theatre Studio has a capacity of about 80; Imagination Stage has a capacity of about 250; the National Geographic has a capacity of about 400; AFI has a capacity of about 150.

In this context, the audiences which the events attracted were in reality very good – in particular, the lunchtime traditional music lectures and recitals at LoC were very well attended. Likewise, the music concerts at LoC were also very well attended. The Literature event at Busboys and Poets was a disappointment and I attribute this to the lack of pre-publicity and the absence of a DC literature partner to manage this. In every case, the venues and Washington partners were very content with the audience numbers and that is an important fact.

Another factor does come into play here. The competition in Washington for audiences in the arts is always intense. PR and Publicity is very important in this respect as noted above. It would also have to be acknowledged that althought the quality of our artists appreaing in Rediscover Northern Ireland was consistently high, most of them would have been entirely unknown to Washington audiences before this.

A factor not immediately apparent from the audience numbers attending events is of course the number of people who became aware of Rediscover Northern Ireland through media coverage of events – either in print, on the air or on television. The archived webcasting of events as on the Library of Congress website for example would add considerably to the broader interpretation of “audience numbers”.

I would contend that the wider perspective of Rediscover Northern Ireland has to be taken into account here. Its primary function was as a complementary programme to the Smithsonian Folklife Festival and it fulfilled that function more than adequately as can be seen from the reports in Chapter VII.

32 Conclusion I arrived in Washington on 25th February 2007 to take up residency there for almost the next five months – leaving on 11th July for a period in Portland Oregon. I returned to Belfast on July22nd.

My five months in Washington were the culmination of fifteen months preparation. As the largest programming of arts and cultural events from Northern Ireland ever staged outside Northern Ireland, Rediscover Northern Ireland fulfilled its raison d’etre as being a notable complement to the Smithsonian Folklife Festival which was the colourful culmination of our presence in the heart of the United States political centre.

I offer below a list of Strengths and Weaknesses as I regard them from the perspective of the Creative Director role. I also offer a short list of possible Legacies. I think there is a tremendous amount of goodwill and willingness on the part of the partners we established in Washington but I should caution at this stage that none or few of the legacies will ever come to fruition if the funding for International arts work is not available.

Strengths High quality of Northern Irish Artists and Northern Irish Art Very broad spectrum of NI arts presented over a good timescale Close personal and business relationship with DC Partners Close personal and business relationship with NI Partners Good liaison and partnership between ACNI and DCAL Strong links with Smithsonian Institution Good relationship with US Consulate in Belfast Up-front budget of sufficient capacity Careful budgetary oversight throughout the programme Delegated administration and management of individual event budgets Dedicated, reliable, independent administrative staff in the Smithsonian Unit DCAL

Weaknesses Deterioration of relationship with NIB in DC Website inflexibility and inadequacy Technological Communication from Washington Lack of PR and Marketing control in Washington

Potential Legacies New play commission or a NI theatrical production for Buffalo NY New poetry Anthology with the National Endowment for the Arts New relationship with Americans for the Arts New relationships between arts organisations and businesses in Northern Ireland New international confidence of Northern Ireland arts and artists Potential on-going relationships between DC and NI partners Archived events at the Library of Congress Website broadcasts from Library of Congress Archived website of RNI

33 I want to end this part of the overall report with the paper I wrote for the Leadership Group meeting on June 6th as it sums up well my Washington experience.

“For the past three months or more, since February 25th in fact, I have been living in Washington DC, overseeing as best I could the series of arts and cultural events which made up the bulk of the Rediscover Northern Ireland programme.

I have managed classical musicians, co-ordinated composers, photographed photographers, rearranged writers, talked to traditional artists, vied with visual artists, co-operated with community artists, conversed with young arts critics, presented printmakers, placated poets and organised opera singers.

I have watched our Northern Irish artists work with every stratum of society, engage with every age group, entertain large audiences and small audiences, appear in venues as diverse as a hospital ward, a school for children with learning differences, an alleyway in Anacostia, and auditoria renowned as being the most prestigious in America and indeed the world.

I have been involved in the minute detail of presenting these artists and attended nearly all of their individual events which I helped to programme as part of Rediscover Northern Ireland. I have written and delivered visa letters, organised hotel and private accommodations, ordered taxis, travelled on and explained the Metro for these artists, and on one occasion rented a bus to bring fourteen of them to an inconvenient destination and at an inconvenient time.I even had to manhandle a fullsize concert harp at one stage – but not of course the harpist. I have entertained these artists in my little apartment on Massachusetts Avenue or taken them to restaurants and cafes in the nearby vicinity of Dupont Circle by way of gratitude on behalf of Rediscover Northern Ireland. I have given interviews to the press, provided large amounts of information to the PR company brought in to help in DC, produced podcasts for our website, and on two occasions even given piano recitals to raise awareness of our programme. I have personally distributed brochures and materials connected with the arts and cultural programme around this town, and I have liaised constantly with a huge and varied array of arts administrators, event organisers, venue managers and a host of other helpful people who have been our supporters and partners in DC and without whom nothing could have happened here.

It’s been a twenty four hour a day, seven day a week undertaking – not just for me but for all of the team connected with Rediscover Northern Ireland. From my personal point of view, it has been difficult at times. The details of those difficulties will no doubt never really emerge because what has been important during this period in Washington for me, and will remain important, has been the fact that this programme – and particularly the arts and cultural theme – has brought to Washington a most talented, gifted and entertaining group of people who have through their artistic abilities and engaging personalities shown Americans that there is an abundance of creativity and a new confidence in Northern Ireland.

I have witnessed that we can take our place easily on the international platform from now on, with no reservations as to the quality of our artistic product and without embarrassment about our political and social history - because we can acknowledge that history and show we have moved on.

In a short report like this, I cannot possibly go into the details of audience numbers, press reaction, participant response, or partner analysis for over sixty events - such a report will follow at a future date. Although the bulk of the arts and cultural events are now completed, this evening for example I have to go to the opening of the Rediscover Northern Ireland on Film festival down at Silver Spring which will last until this coming Sunday. Following that I have only two more commitments – the Craft Exhibition at the S Dillon Ripley Center and the Printmakers Exhibition at Pyramid Atlantic in Silver Spring. I will then be available for use at the Smithsonian Folklife Festival towards the end of June.

On July 11th I leave for Portland, Oregon and return home to Belfast on July 22nd.

My opinion is that Rediscover Northern Ireland has been artistically a success and that, from an arts and cultural perspective, it has proudly delivered “the message” intended.”

I wrote that in June of this year. It is now October and I am about to return to the Arts Council of Northern Ireland – my secondment at DCAL has come to an end. The Smithsonian Folklife Festival and the Rediscover Northern Ireland programme raised great awareness, great expectation, great enthusiasm both in Washington and Northern Ireland. The festival itself was a superbly colourful culmination to the months of our presence in the heart of the United States. To all intents and purposes, the Arts delivered an entirely positive and optimistic message to the people of Washington. We did what we said we would do and what was asked of us.

PHILIP HAMMOND Creative Director DCAL October 26th 2007

35 CHAPTER III ARTIST STATISTICS REDISCOVER NORTHERN IRELAND ARTISTS IN DC Total Number:147 Artists in Health at Lombardi Cancer Center Kate Newman Elaine Agnew Andrea Spencer Lorna Hastings (4)

Drama in Education/Production at Catholic university Tom Maguire Des Kennedy (2)

Press Photography Alan Lewis John Harrison (2)

Camerata Ireland at the Library of Congress Emmet Byrne Brona Cahill Hugh Carslaw Siona Crosdale Niamh Crowley-Fitzpatrick Michael d’Arcy Barry Douglas Ronan Dunne Michelle Fleming Ian Forbes Alison Gordon Cormac Henry Nick Hougham Rebecca Jones Elizabeth Leonard Ciaran McCabe Roger McCann Eimear McGeown Sarah McMahon Matthew Manning Melissa Morrow John Murphy Malcolm Neale Lynda O’Connor Gerald Peregrine Ioana Petcu-Colan Miriam Roycroft Eoin Schmidt-Martin Sarah Sexton

36 Neil Shewan Galena Tanney Emily Thyne (32)

Popular/Contemporary Music in DC Ross Graham John Edmond Iain Archer Foy Vance Snow Patrol (5) Duke Special (3) Oppenheimer Claire Sproule (14)

Children’s Theatre at Imagination Stage Cahoots NI (13)

Artist in Education at School for Arts In Learning David Campbell

Printmakers in DC Paula Gallagher Robert Peters Elaine Megahey Jull McKeown (4)

Artists in the Community at Anacostia Mervyn Smyth Colette Bryce Kirsten Kearney Tracey Gallogly (4)

Brian Irvine Ensemble in DC James Allsopp Dylan Bates Alex Bonney William Campbell Brian Carson Stephen Davis Scott Heron Michael Keeney Andrew Lavery Philip Lavery David Liddell Richard Mawhinney Philip Smyth (13)

37 Poetry in DC Ciaran Carson Leontia Flynn Nick Laird Michael Longley Edna Longley Shan McAnena Siobhan Morrisey Paul Muldoon (8)

Composers in DC Chris McClelland Dave Morris Deirdre Gribbin Frank Lyons Stephen Deazley Brian Irvine (6)

Visual Arts at the Katzen Center Noreen Taggart Peter Richards Ian Charlesworth Paul Seawright (4)

Opera Theatre Company Eimer Murphy Rosa Solinas Andrew Clancy Brendan Collins Orla McKeagney David Knotts (6)

Peace Café production Marie Jones Marty Maguire (2)

Traditional Music at the Library of Congress John Moulden Rosie Stewart Francis McPeake III Francis McPeake IV Mairead Forde Sean O’Kane Robert Watt Brian Mullen Gary Hastings (9)

38 Arts Critics Exchange Sioned Hughes Linda Christmas Matt McCreary Linda McKee David Lewis (5)

Musicians at the Phillips Collection Jonathan Byers Richard Sweeney Daragh Morgan Mary Dullea Michael McHale David Quigley (6)

Place Names Symposium at the Library of Congress Kay Muhr

Literature in DC Lucy Caldwell Glenn Patterson Owen McCafferty (3)

Harpist Cliona Doris

Film in DC Cian Smyth Moyra Locke John Joe O’Neill John T Davis Pearse Elliott Terry Loane (6)

Craft in DC Joe Kelly

39 US ARTISTS INVOLVED IN REDISCOVER NORTHERN IRELAND Total: 39 Cheryl Foster Dana Gioia Anacostia Poet Matt Weiner Daithi Sproule Henry Glassie Dolores Kendrick 21 Actors in Solas Nua 5 Opera orchestra players Chris Drew Bratcher Alison McAdam Glenn Harper plus 2 lecturers in Arts Critic Exchange

Plus numerous Washingtonians of all adult ages, and the children and young people who took part in the many educational outreach and community projects.

40 CHAPTER IV EVENT STATISTICS Arts & Cultural Events and associated costs given in-kind Rationale: One week/one event administration and management = $1000-$3000 Venue use = $500 - $1000 Hospitality/Accommodation per week per person = $1500 Technical costs/Lighting/sound equipment/crew per event:= $500 - $3000

1 exhibition of NIPPA at the National Press Club Audience: 950

3 events associated with Kate Newman and Elaine Agnew LCCC Symposium and Concert/Reading and SAIL Audience : 380 Venue use: $500 Management/Administration: $2000 Printing/Publicity: $500 Hospitality/Accommodation: $6000

Drama Residency at Catholic University Audience: 115 Management/Administration: $1000 Hospitality/Accommodation: $3000

3 events associated with Camerata Ireland Concert and two education outreach Audience: 350 Venue use: $3000 Technical costs: $3000 Printing and Publicity $2000 Management/Administration $3000

5 events associated with Contemporary Popular Music Audience: 6,200

4 events associated with Cahoots NI Stage shows and hospital events Audience: 906 Venue costs (week residency): $3,000 Management/Administration(week plus several events): $3000 Hospitality/Accommodation :

3 Printmaker Residencies Two residencies and Pyramid Atlantic exhibition Audience: 100 Management/Administration: $4000

41 Hospitality/Accommodation: $6000 Venue cost: $1000

2 Printmaker Exhibitions International Arts and Artists and Cosmos Club Audience: 1000 Venue cost: (Cosmos Club) $1000

3 Artists in the Community Photography and Writing, Comic Book Artist residencies and exhibition Audience: 245 Exhibition/event: $1000 Mervyn Smyth travel/accommodation for exhibition: $3000 Management/Administration (SAIL): $750 Venue (SAIL): $500

2 Brian Irvine Residency SAIL and Levine School of Music Anacostia Audience: 25 Management/Administration (SAIL): $750 Venue (SAIL): $500

4 Brian Irvine Ensemble American University/ARC/SAIL/Library of Congress Audience: 680 Venues: (AU & LoC) $4000 Administration/Management: $2000 Printing/Publicity: $500 Terchnical costs: $3000

4 Poetry Events Georgetown Symposium and National Geographic Society Audience: 900 Venues: $5000 Management/Administration: $5000 Printing/Publicity: $2000 Hospitality/Accommodation: $6000 Fees paid by Georgetown: $1500 NEA Grant/Administration: $8000

1 Music Technology Residency Audience: 40 Venue use: $1000 Technical costs: $2000 Printing and Publicity: $500 Management/Administration: $1000

42 1 Visual Art Exhibition Katzen Arts Center Audience: 6122 Venue use: $3000 Technical costs: $3000 Printing and Publicity $2000 Management/Administration: $3000

3 Opera Theatre Company events Education Outreach Fairfax County/Kennedy Center/Imagination Stage Audience: 460 Venue use: $2000 Technical costs: $2000 Printing and Publicity $500 Management/Administration: $2000

1 Peace Café Audience: 120 Venue use: $500 Technical costs: $500 Printing and Publicity $500 Management/Administration: $1000

1 Glass Artist (Andrea Spencer) residency at Lombardi Audience: 140 Venue use: $500 Management/Administration: $1000

5 Traditional Music events at Library of Congress Audience: 1,100 Venue: $5000 Management/Administration: $5000 Printing/Publicity: $2000 Technical facilities: $5000 Hospitality: $1000

1 Place names Symposium at Library of Congress Audience: 120 Venue: $1000 Management/Administration: $1000 Printing/Publicity: $500 Technical facilities: $500 Hospitality: $200

2 Arts Critics Exchange NI/US

43 2 Mural in Anacostia events Residency and opening event Audience: 30

4 Music events at The Phillips Collection Audience: 350 Venue: $4000 Management/Administration: $4000 Printing/Publicity: $500 Technical facilities: $2000 Specially Commissioned work: $2000

2 Literature Events Busboys and Poets and Chapters Bookshop Audience: 60 Venue: $500 Management/Administration: $1000 Printing/Publicity: $500 Technical facilities: $500

2 Drama “Scenes from the Big Picture” Residency by Des Kennedy and 6 week play run Audience: 2400 Venue(Catholic University): $9000 Management/Administration(CU): $1000 Technical costs (CU): $5000

6 Film events at AFI Thurs evening/Fri evening/ Sat afternoon and evening/Sun afternoon and evening Audience: 750 Venue: $6000 Management/Administration: $6000 Printing/Publicity: $3000 Technical costs: $1000

1 Craft Exhibition Audience: 186,993

ESTIMATED TOTAL (in kind) $178,700 TOTAL NUMBER OF “EVENTS” 66 TOTAL ESTIMATED AUDIENCE: 210,536

44 CHAPTER V CHRONOLOGICAL COLLECTION OF REPORTS 2005-07 “OVER HERE, OVER THERE….” 2007 A year of interchanging arts and ideas between Northern Ireland and The United States.

CONTEXT: In the spring of 2005, the Government in Northern Ireland committed to the Smithsonian Institution’s Folklife Festival in Washington DC as a clear opportunity to promote a positive image of Northern Ireland in the United States, to improve understanding in the US of developments in Northern Ireland, to encourage further socio-economic, cultural, educational and other development, and foster relationships between Northern Ireland and US.

The strategic message which underpins the approach to the Folklife Festival, and the several other strands of activity which are generated by and evolve from it, is “to present Northern Ireland as a confident, creative, outward looking region and develop a relationship with the United States that will be mutually beneficial”.

OPPORTUNITIES There are three main areas of opportunities through which realisation of the strategic message will happen: • The Smithsonian Folklife Festival on the Mall • The Smithsonian Associates Programme • The Northern Ireland Ancillary Programme

There are degrees of overlap and interaction between all three areas but important differences and demarcations can be identified which can bring clarity to the totality of events. 1. The Folklife Festival is “time bound” to a period of two weeks in Washington DC at the end of June/beginning of July and is focused on a particular kind of cultural representation based on historical context and living experience. In terms of the Arts per se, it will concentrate on Traditional Music and Crafts. Decisions on the programme will be the prerogative of the Smithsonian Curator, with guidance from the DCAL Curatorial Group. 2. The Associates Programme is set by the Smithsonian. It can complement the Folklife Festival but may tend to aim at a different target audience which is fully aware of and responsive to the higher end of the cultural market. There is no time limit to the period to which the Associates Programme need adhere in terms of the two weeks in the summer allocated for the Folklife Festival. 3. The Ancillary Programme is entirely the domain of the Northern Ireland organisers and will have several themes. Quoting from the Strategic Plan, this programme of “activities and events…will need to be designed carefully to address [the strategic message], and target the appropriate

45 audience, with appropriate launch events and public relations/media management to ensure that this message is delivered. The role of the Northern Ireland Bureau is crucial here.” THE ANCILLARY PROGRAMME Six basic themes are proposed for the Ancillary Programme: • Culture • Education • Food and Drink • Research, Science and Technology • Tourism • Trade and Business Within these themes, there is scope for interactivity and cross-cutting events. These interactions need to be carefully discussed at Curatorial Group meetings in order to maximise coverage and minimise costs.

CULTURE As Creative Director for the cultural aspect of the Ancillary Programme, I envisage as a basis for the programming a “mutually beneficial” element of exchange. It will be central to my planning to involve fully artists and arts organisations here in Northern Ireland and ask them to commit to inviting United States artists and arts organisations to come here throughout 2007. It also follows that the arts organisations here will be central to the choice of artist and artwork to be featured in the States, and particularly Washington DC.

Over here… Amongst those I intend to target in Northern Ireland are the main specialist arts festivals, arts venues, arts organisations and arts promoters. There are other avenues to explore in this respect such as the “twinning” arrangements several towns in Northern Ireland have with towns and cities in the States, and also of course through the connections made by individual artists.

A list of interested festivals in Northern Ireland will include:

• Belfast Music Society Festival of Chamber Music February/March • Between the Lines Festival at the Crescent March • Sonorities Festival of Contemporary Music April/May • Young at Art Festival May • Cathedral Quarter Arts Festival May • Feile an Phobal August • BBC/Ulster Orchestra Summer Invitation Concerts August/September • Aspects Festival September • Open House Festival October • Belfast Festival at Queen’s October/November

46 Not all arts activity happens within a festival context of course so it may also be possible to identify with certain arts organisations an American theme which they could feature as part of their annual programming during 2007. These programmings would be cumulative in enhancing an American presence throughout the period of the projected Ancillary Programme in Washington and could run from March-September.

Amongst the arts organisations and promoters who may contribute to the “Over here” aspect of the Ancillary Programme would be:

Ormeau Baths Gallery (Exhibition/Installation) Belfast Print Workshop (Exhibition/Residency) Seacourt Print Workshop (Exhibition/Residency) Craft Northern Ireland (Residency) Flax Studios (Residency) Queen Street Studios (Residency) Golden Thread Gallery (Exhibition) The Void Gallery (Exhibition) The Engine Room Gallery (Exhibition) The Naughton Gallery (Exhibition) The Ava Gallery (Exhibition) Belfast Exposed (Exhibition/Residency) Nerve Centre Derry (Residency) Cinemagic (Programming) Old Museum Arts Centre (Programming) Grand Opera House (Programming) Millennium Forum Derry (Programming) Market Place Theatre Armagh (Programming) Riverside Theatre Coleraine (Programming) Prime Cut Productions (Programming) Kabosh Theatre Company (Programming) Tinderbox Theatre Company (Programming) Ransom Productions (Programming) Moving on Music (Programming) Ulster Orchestra (Programming) Linenhall Library (Exhibition) John Hewitt Summer School (Programming) Verbal Arts Centre (Programming/Residency) Blackstaff Press Gallery Press Lagan Press Guildhall Press

47 Over there… The following organisations would be obvious partners in arts event promotion to the States: • Arts Council of Northern Ireland • British Council • Northern Ireland Film and Television Commission • BBC Northern Ireland • MAGNI • Northern Ireland Music Industry Commission

At this point in considering content for a cultural ancillary programme, I would suggest that the list will be primarily through “artform” events. It is not possible to be specific yet on detailed content although it is possible to estimate some “ball park” figures in relation to costs. I have no specific costs of venues, promotion material, possible promoters in Washington etc. but the figures will include several headings which however will be indicative only.

First, a list of possible artform events:

• Photographic Exhibitions • Print Exhibitions • Contemporary Paintings/Visual Arts Exhibitions • Video Installation • Ulster Orchestra Concert Tour • Camarata Ireland Concert Tour • New Music Commissioning for US artists • Solo recitals by young NI Musicians • Drama events • Craft Northern Ireland Exhibition • Literary Openings • Poetry Readings(with /without music content) • Architectural lectures • Film festival • Individual artist placements working with Washington arts organisations or individual American artists, including Playwrights and Directors.

It may also be possible to have some events which cross Culture with other specialisms such as:

• Music and Technology (Sonic Arts Research Centre) • Visual Art and Heritage • Arts and Education • Arts and Health

48 Linking cultural events with business events and trade launches is also an obvious opening for the Ancillary Programme.

The main feature of the Ancillary Programme is its flexibility in terms of location and scheduling. Until I have met with promoters and venues in Washington, I will not be in a position to indicate specific dates. I think however that if the Programme opens in March – maybe linked to the St Patrick’s Day celebrations – then the cultural element of those celebrations needs to be carefully considered and not be merely an adjunct to the usual predictable presentation. Music (and not necessarily Traditional Music only) in combination with Literature/Poetry featuring maybe a couple of major figures in the literary world of Northern Ireland may be possibly linked with a focused Visual Art Exhibition and would sound a note of confidence in our cultural future in a more unusual fashion.

POSSIBLE BUDGET / COSTINGS

EVENT Fees Travel Insurance Shipping Total Individual artist placements (10) 50,000 Photographic Exhibition (1) 15,000 Print Exhibition (1) 15,000 ContemporaryPaintings/VisualArts 50,000 Exhibition (1) Video installation (1) 7,500 Ulster Orchestra Concert Tour 150,000 Camarata Ireland Concert Tour 50,000 Solo recital series b y 6 young NI Musicians 15,000 Craft Northern Ireland Exhibition 35,000 Drama event (1) 50,000 Literary Opening (6) 9,000 Poetry Reading (with music content) (3) 9,000 Poetry Reading (without music content) (3) 4,500 Architectural lectures (3) 4,500 Film festival (lost weekend of 4) 15,000 Music and Technology (S A R C) 10,000 Visual Art and Heritage (UM) 50,000 Arts and Education 25,000 Arts and Health (ArtsCare) 25,000 TOTAL: £589,500

49 Budgetary Considerations • The minimal budget suggested above is based on a specific number of artform type events. Obviously, for example, two photographic exhibitions would cost double the amount specified and this would affect the total budget. • The budget may also be affected upwardly when venues and venue costs are added in some cases. • There may also be some additional “promotional” costs as we will be relying on promoters on location in the States to look after most if not all of these events. • There is no contingency in this proposed budget. • There is no “enhancement factor” for organisations wishing to present American art here in this budget.

Taking into account the above considerations, a minimum of £750,000 is envisaged at this stage as being necessary for the cultural ancillary programme.

50 “Over there….” A report on an initial visit to Washington DC 4 – 11 December 2005

Philip Hammond

Introduction Following on from my “Over here, over there...” paper which contained an outline of the cultural aspect for the Ancillary Programme of Smithsonian 2007, I undertook a week long visit to Washington DC 4-11 December 2005. I invited Colette Norwood, British Council, to join me on this visit as she has been involved in international work for several years and has proved to be of immense assistance in all our Arts Council international programmes during her time at the British Council. The British Council will be a key player in the Washington ancillary programme in 2007; during this visit Colette was again invaluable in her dealings with arts organisations and, in my view, an excellent and totally informed ambassador for Northern Ireland’s arts and artists.

I was most appreciative that the first part of this visit was most helpfully facilitated by the Northern Ireland Bureau and the schedule Tim Losty and his team kindly put together is attached as Appendix A. I kept closely in touch with Tim throughout the visit and gave him a de-brief on Friday afternoon, 9th December.

Context In general, Washington DC is a formal and conservative environment – even in the world of the arts and at least on first meeting. Most of our meetings had therefore been set up in advance although I did try my luck once or twice by telephoning and talking my way in. This worked surprisingly- except on one occasion and that was because it was Saturday and the person I needed to get to was not at his desk – it being the weekend! Once again in general, everyone Colette and I met was friendly, generous with their time and as helpful as they could be at this stage in the process.

It is my opinion that we are just on the very edge of the time it needs to get venues and partners in place for a 2007 ancillary programme. In the arts, we all work well in advance because the artists upon whom we depend tend to get booked some years ahead- the more famous the less likelihood there is for a “window of opportunity”. Additionally, it takes a lot of time to set up the mechanics and minutiae of tours and events. In most cases, we encountered interest and in some cases, great interest, in our ideas. It would be fair to say however that nothing is as yet signed sealed and delivered – despite my own impatience!

Because of this, I have now reconsidered the duration of a proposed cultural ancillary programme “over there”. In my original paper, I proposed March – September. Tim Losty (NIB) and the people I met informed me that in July and August most people in Washington leave the city. As these are to some extent the people we want to influence, it seems pointless to programme in those months; to try and pick up a similar momentum again for a few weeks in September would be difficult if not unwise. As a result I am

51 now proposing a programme of events running March – end of June. The official Ancillary Programme should probably wind up with the climax of the Smithsonian Folklife Festival on the Mall – a fitting culmination.

This does not mean however that we cannot facilitate and indeed encourage events and connections after that. One of the main reasons for this whole initiative is to increase contact in the future – but the thrust of our specific programming should now be considered for the period March – June.

The following reports of visits and contacts is not a comprehensive list of everything we saw and visited but is only the list of those who at present seem most pertinent to the place where we are at. Add to this a tour of the incredible XM Satellite Radio Station with Ken Aiken (VP Facilities and Office Services) and Richard Aubrey Davis (Music Program Presenter ), a meeting with NPR’s Margaret Low Smith(VP Programming) and Ben Roe (Director of Music), half of a seasonal Celtic Christmas Concert in Dumbarton Historical Church, and numerous taxi rides around Washington and it is not difficult to realise why the week flew past.

Visits and Contacts (A list of contacts details from this visit is attached in hard copy only as Appendix B.) National Endowment for the Arts The NEA lost much of its central importance after the Maplethorpe controversy. However, as the main arts agency for the US, it still has a certain amount of clout and influence – and grant programs. I have worked with the NEA in the nineties and was pleased to find that one of my contacts was still there -Penny Ojeda (Co-ordinator, International Activities). With her, we discussed international program grants which Americans could access in coming to Northern Ireland. She also talked about the Chairman of the NEA, Dana Gioia who is a poet and it seems would be an excellent contact for expanding our literary and poetry programmes in the ancillary programme. She also told us that April and May in Washington have a special significance in both those artform areas.

At the NEA, we also met Paula Terry (Director, AccessAbility) who was able to give us an insight into how the arts in the States are interfacing with questions of disability, accessibility and ageing from which we in Northern Ireland can learn and indeed to which we can contribute.

DC Commission on the Arts The Northern Ireland Bureau had arranged a meeting with Anthony Gittens (Executive Director and Mayor’s Advisor for Cultural Affairs). He and several members of his staff met with us at their HQ and were very helpful in suggesting venues and contacts. I think the DC Commission’s support will become more defined as we proceed.

Northern Ireland Bureau The NIB will be central to our programming in Washington. Tim Losty and his staff were immensely welcoming and helpful in introducing us to many people in the first

52 couple of days and thereafter provided me with space and a desk to make phonecalls and emails. It became a focus of the visit and I kept closely in touch with Tim throughout. On subsequent visits, we can get down to more detail on artform content with some of the contacts Tim gave us. It was particularly good to meet again with Carmel McGill originally from Dungiven, with whom I enjoyed a wonderful working relationship in the nineties when she was with the British Council in Washington.

The British Council Andy McKay (Director) and Molly Michal (Arts Coordinator) met with us and we explained “the message” as far as our whole Washington presence in 2007 is concerned. In particular I talked about the cultural aspect. The British Council is absolutely central to any cultural programming although much of the programme I envisage is perhaps a little too “safe” for the Council’s brief – but by no means all of it. Back here in Belfast, the British Council office is totally supportive of this whole campaign as witnessed by their willingness to allow/finance Colette Norwood accompanying me on this initial visit.

The Smithsonian We spent a lot of time with the three Smithsonian contacts, Diana Parker, Richard Kurin and Nancy Groce whose support and assistance is exemplary – even with the ancillary programme which is outside their official remit.

In particular, I was able to meet through them Al Chapman (Special Projects Manager, Alberta Foundation for the Arts) who is co-ordinating the Canadian side of this coming year’s Smithsonian Folklife Festival. I think it would be helpful to have regular video conferencing opportunities with him and his team in Alberta so that we could watch and follow at close quarters exactly what they encounter along the way to the Mall as it were. He is very keen on this and I think this should be followed up. I was also thinking of course that in future, this might be a way back into Canada for re-establishing our links begun in the nineties but lapsed after Quebecois festival in 12997 due to lack of resources. In any case, there are several opportunities which our Traditional Musicians can access in Canada after their stint on the Mall in 2007. Al would be an excellent contact for this.

The story so far…. At this stage in the process of bringing together a cultural programme, contacts are everything. I am arranging these - plus programming comments in artform order as follows:

53 Classical Music Kennedy Center for the Arts Ann Stock (Vice President at KC) and Julia Stemper (Programming Coordinator) A huge and prestigious complex for the performing arts, Kennedy Center will be an important venue during the Folklife Festival with its Millennium Stage which will feature traditional musicians from Northern Ireland at that time. It may be a venue for the Ulster Orchestra but I have no defined dates as yet because I am waiting to speak to Alex Cover (External Hire Coordinator) who at KC organises the bookings. This will be a rental situation and will cost. How much I won’t know until I can contact him.

Strathmore Hall This is a new 2000 seater facility/concert hall in Rockville/ North Bethesda outside of Washington DC area but totally accessible by Metro. I used this means of transport for my visit on Saturday 10th December. The hall is one of the most beautiful venues I have seen anywhere and is totally music oriented with an attached music school – The Levine School of Music. I think it would be excellent for the UO or indeed the Ulster Youth Orchestra; City of Belfast Youth Orchestra is also a possibility because of the educational aspect. It is also a possibility for a presentation of Opera Theatre Company although not a proscenium arch. The acoustics are wonderful. As it was a weekend visit I could only tour the facility and could not access Administration. The person to contact is Shelley Brown (Vice President/Artistic Director) and Miriam Teitel (Operations Manager)

Library of Congress A very prestigious venue, situated right behind the Capitol building the concert hall here seats around 500 and runs its own music programme. I met Anne McLean (Senior Producer) and Tomas Hernandez (Senior Producer) for the series of “Concerts from the Library of Congress”. This would be a venue for Barry Douglas and Camerata Ireland in a size of up to twenty five - thirty players i.e. chamber music size. Anne was very interested in this idea as long as there was an element of northern Irish music involved. I also suggested the Brian Irvine Ensemble which I thought would blow away any cobwebs which may lurk in the venue(!). I have to follow up with CD’s etc. and websites for this. The Library of Congress also has a huge interest in Traditional Art. We met Peggy Bulger (Director of the Folklife Center) and David Taylor (Folklife Specialist) and they were interested in the Traditional Music aspect as well as poetry and writing aspects as well. I see the Library of Congress being a major partner in the cultural ancillary programme both in terms of “over there” and “over here”.

Union Station Taking up the Brian Irvine theme, Colette Norwood had a wonderful idea of touring the ensemble in the great railway stations of the east coast. So start off in Washington Union Station, go to Philadelphia, then Grand Central in New York and finish off in Boston. This might take a little time to organise but if anyone can do it, Brian Carson from Moving on Music can.

54 The Phillips Collection I visited this venue on Saturday and therefore no-one was available who could give me specific details. However the concert room itself is like a large drawing room in the old house near Dupont Circle and hosts a series of Sunday Lunchtime concerts – usually for young pianists. This is where I would like to do our young musician series and I have telephoned and written to Mark Carrington who is the artistic director of the series. He has responded and we will talk about these ideas soon.

Visual Arts

Washington is awash with private galleries e.g. at Capitol Hill, Downtown DC, Dupont Circle, Georgetown, Uptown DC etc. However, the sheer diversity and usually small scale of these galleries means that we would find it difficult to coordinate a NI presence through them. On an individual level, there would be openings but neither time nor admin support would allow us to engage too much on this scene.

It means therefore that we have to access public galleries either at universities or in the not for profit arena.

Katzen Center We visited the Katzen Center at American University, which is a magnificent new space on the edge of DC. Dr.Jack Rasmussen (Director and Curator) was interested in seeing what we could offer – and pay for – in terms of contemporary visual art and the Arts Council’s collection would be the best starting point for this exploration.

Hirshhorn Museum At the famous Hirshhorn Museum, we met Kerry Brougher (Director and Curator) and Kristen Hileman (Assistant Curator). In 2007, the Hirshhorn is undergoing some radical rebuilding so the programme that yuear will concentrate more on video/film installation art. Willie Doherty is a major possibility here and the Hirshhorn like the idea and have been thinking of him for some time even before our arrival! There may also be the possibility of having some younger less well known artists of similar discipline to be interesting to the Hirshhorn as well.

Edison Place Gallery This is a new venue in Gallery Place - a not for profit venue to which we have to make proposals which they may or may not accept. It is a very good space for a Print Exhibition or a Photographic Exhibition. I was unable to secure an appointment with the Manager of the space, Norma J.Davis. Flashpoint Gallery We met the Flashpoint Gallery Manager Rebecca Lowery. This is a very small space but one which may be useful in the presentation of the work of a single artists from Northern Ireland. We thought that a residency of one to three months and an exhibition of the work coming out of that would be ideal for this space. As with the Edison, we have to make a proposal – and very soon.

55 Washington Printmakers’ Gallery We met Gail Vollrath (Director) at this small gallery specifically dedicated to prints and printmaking on behalf of a collective of printmakers. There is a possibility of exchanges with the Belfast Print Workshop and Seaforde Print Workshop. Also an exhibition at the Edison if we can get in there would be an appropriate platform for a large scale exhibition of prints.

International Arts and Artists Quite unexpectedly and in something of a serendipitous coincidence, we met David Furchgott (Director) of International Arts and Artists, an organisation which deals specifically with touring visual arts in the States and internationally. The standard of their exhibition publications is excellent and I see this being an extremely useful connection if we bring part of the Arts Council’s collection to the States – and then tour it more extensively. IAA would be expensive but worth hiring as the agent who would overcome all the hassles involved with this type of touring – which I recall when ACNI and the British Council undertook something similar with the Basil Blackshaw Exhibition in the nineties. David Furchgott also offered Northern Ireland the chance to take on an applied art exhibition from Korea for very little cost and we will approach the Ormeau Baths Gallery about this asap. We talked with David about a number of different international opportunities and it is my feeling that this could turn out to be a very helpful contact in the future.

Arts in Health

Society for Arts in Healthcare I met with Sarah Kemp, Operations Manager at the Society for Arts in Healthcare at an unusually beautiful if somewhat decayed mansion on the edge of the DC area. It was a snowy morning and the city had come to a standstill – very picturesque but impossible to get taxis that morning! Anyway, I see close ties being formed with the SAH and ArtsCare although the SAH is a States-wide organisation which acts solely as a “linker” to all other arts in healthcare organisations. This however would be a good connection for ArtsCare.

Lombardi Cancer Foundation More particular however was my meeting with Nancy Morgan, Director of the Lombardi Arts and Humanities Program in Georgetown Hospital which is of course connected to Georgetown University. I am informed that there will be closer ties in the future between Queen’s and Georgetown Universities so a specific connection in the arts and health area would be especially interesting I think. I have worked with Nancy before in the nineties in educational work in a previous job of hers and she is totally reliable and enthusiastic to pursue closer links with NI. I see an exchange of artists who work in healthcare environments through this.

Programme update

Taking my original list of possible artform events in Washington, I can now give a little more detail as to venues but bearing in mind that nothing is yet in place or confirmed:

Photographic Exhibitions • Possibly Edison Place Gallery Print Exhibitions • Possibly Edison Place Gallery with exchange possibilities at the Washington Printmakers Gallery • Contemporary Paintings/Visual Arts Exhibitions • Flashpoint Gallery (single artist in residence plus exhibition, Katzen Center for ACNI collection exhibition Video Installation • Willie Doherty at Hirshhorn Ulster Orchestra Concert Tour • Kennedy Center preferably or possibly the Strathmore Hall. Programme with soloist James Galway and conductor Kenneth Montgomery plus NI contemporary piece newly commissioned perhaps. Camerata Ireland Concert Tour • Library of Congress with Barry Douglas doing some sort of masterclasses and playing some NI contemporary music in the programme New Music Commissioning for US artists • Nothing in place Solo recitals by young NI Musicians • Piano recitals at the Phillips Collection Drama events • Nothing in place. Venues very difficult to access or lacking prestige Craft Northern Ireland Exhibition • Nothing in place Literary Openings • Library of Congress and the specialised months in Washington to be explored Poetry Readings(with /without music content) • Library of Congress and the specialised months in Washington to be explored Architectural lectures • Nothing in place Film festival • Nothing in place Individual artist placements working with Washington arts organisations • Lombardi Arts and Humanities Program at Georgetown Hospital/University

57 For future visits: Film the API at Silver Spring Opera and Washington Performing Arts Society Drama at Wooley Mammoth, Studio Theatre Arts in Education – Charter Schools and Seed schools Canadian Embassy for events Solo/chamber music at the National Gallery Alternative arts at the Busboys and Poets venue Contemporary Music at the Sonic Circuit festival of new music Traditional music at Wolftrap and other places. Arrange a Curators’ Visit.

…and all the other things as well…..

Appendix A SUNDAY DECEMBER 4TH Hotel check in The Latham Hotel 3000 M St, NW, Washington DC 20007 Tel (001) 202 726 5000 Fax (001) 202 337 4250

MONDAY DECEMBER 5TH

10.30 am - 12.00 noon Briefing at the Northern Ireland Bureau with Tim Losty, Director 601 13th St, NW Suite 570 South Tel 202 367 0461

12.15 pm – 2.00 pm Lunch with Arts and Culture Advisers at La Colline Restaurant 400 North Capitol Street Tel 202 737 0400

Ken Aiken, XM Satellite Radio Sara Aiken Hugh Carroll, Hays Companies Mary D Pembroke, Special Olympics Duane Gautier, ARCH Carmel McGill, McGill Consulting Jackie Zimmerman, Dept of Education Aoife McGarry, Embassy of Ireland

2.30 pm Robert Aubrey Davis Classical Music Programmer, XM Radio 1500 Eckington Place, NE

58 Washington, DC 20002 Tel 202 380 4092 (Ken Aiken’s tel no)

TUESDAY DECEMBER 6TH

9.00 am Andy Mackay, Director Cultural Department The British Council, USA British Embassy 3100 Massachusetts Ave, NW Tel 202 588 7843

10.30 am Nancy Groce, Curator Smithsonian Institution 750 9th St, NW Suite 4100 Tel 202 275 1957

Afternoon DC Commission on Arts & Humanities 410 8th St, NW 5th Floor Washington DC 20004 Tel 202 724 5613

Late Afternoon Ann Stock, VP Institutional Affairs Early Evening Kennedy Center Washington DC Tel 202 416 8703

WEDNESDAY DECEMBER 7TH THURSDAY DECEMBER 8TH FRIDAY DECEMBER 9th

Free to visit other venues 7/8/9th Dec

59 “Over there….” A report on a second visit to Washington DC 29th January – 6th February

Philip Hammond

Introduction Following on from my “Over here, over there...” paper which contained an outline of the cultural aspect for the now newly named “Rediscover Northern Ireland” Programme of Smithsonian 2007, and a report on a week long visit to Washington DC 4th – 11th December 2005, presented to the Co-ordinating Group on January 11th 2006, I met with the Arts Council of Northern Ireland on Thursday 19th January 2006. At this meeting, and on the basis of the two above mentioned papers, the Council offered to match DCAL’s arts budget for the Cultural Programme up to a limit of £320,000.

I returned to Washington DC on January 29th and stayed until Saturday 4th, then travelled by train to New York where I went to a musical on Broadway in order to meet with the actor David Hyde Pierce. My purpose was to ask him to take part in an Ulster Orchestra Concert in some way – maybe picking the programme and introducing it. I spent a couple of hours with him after the show and he was receptive to the idea although his diary was a little busy for the next couple of years. It will have to be a “long-term” project. (For those who do not know David, he was Nials in Frazier). I also took advantage of the time in New York on my way home to Belfast to visit the Whitney Museum of Modern Art.

The main purpose of my second visit to Washington was:

• to consolidate contacts made during the December visit; • to continue to define, and confirm if possible, venue dates; • to explore the areas which I was not able to do on my December visit e.g. drama, film, children’s theatre and educational projects; • to locate further venues/projects for partnerships; • to continue liaison with the Smithsonian Team.

Throughout my visit, I was able to use the facilities of the Northern Ireland Bureau and keep those colleagues abreast of what I was doing. The continued cooperation and support of the NIB is a valued part of this whole process.

As in previous reports, I am arranging report in artform categories. At the end I attach a summary of the programme to date and a full schedule of my visit.

PH 12th February 2006

Classical Music

Kennedy Center for the Arts & Washington Performing Arts Society It is proving very difficult to place the Ulster Orchestra in the Kennedy Center. First of all, it took some weeks to establish who exactly I should be dealing with. This turned out to be the Washington Performing Arts Society but then it took some more weeks to make positive contact with them. On this visit to Washington I was able to meet with the Head of Programming at the WPAS, Travis Bowerman. He however was waiting to get confirmation of even a date from Kennedy Center and he pointed out that WPAS had already fully programmed their next season. If the Ulster Orchestra was to be fitted in additionally it would take a special decision of his Board and this had not yet been forthcoming. The difficulty at present is that only one date 15th May is a possibility at the Kennedy Center and for the Ulster Orchestra schedule next year in our particular time period. On top of this a major soloist would be necessary to get an audience in Washington where the UO would not it has to be admitted be a major draw on its own. Sir James Galway would have been my choice for this concert but he cannot manage this date. So the situation of uncertainty continues.

Phillips Collection The Phillips Collection runs a series of Sunday Afternoon concerts. It is a prestigious series in a prestigious venue – normally more associated with the visual arts of course. I met Mark Carrington who programmes the music series at the Phillips and he has provisionally offered me four dates in May for young – or rather relatively young – musicians originally from Northern Ireland although now making their careers in places more open to that pursuit. The four concerts would be given by : • Michael McHale (solo piano) • David Quigley (solo piano) • Darragh Morgan and Mary Dulles (Violin & Piano) • Jonathan Byers and Richard Sweeney (Baroque cello and archlute)

In each concert there would be a programme featuring some aspect of music from Northern Ireland – yes, even the Baroque cello programme because David Byers has written works for his son to play on that instrument!

Library of Congress I met Anne McLean and Tomas Hernandez again during this visit to confirm that Barry Douglas and Camerata Ireland would give the opening concert of the whole Rediscover Northern Ireland programme at the Library of Congress on March 23rd 2007. Again the programme will have an element of Northern Irish music,

I am also still trying to persuade the Library of Congress to present Brian Irvine’s Ensemble on April 27th. This is proving a little more difficult as it would not be a normal type of concert for the LoC and I have to find a more persuasive hook yet for this.

61 Traditional Music Library of Congress Although Traditional Music will feature very prominently indeed as part of the Folklife Festival on the Mall, the Library of Congress are interested in featuring some events with Northern Irish folklife as the theme. I met Peggy Bulger and Ilana Harlow at the LoC to discuss this and Peggy is looking for two events plus perhaps a couple of lectures. I have to engage with Dr. Nancy Groce on this because as Curator of the Folklife Festival I do not want either to undermine or to duplicate her programme. Peggy suggested something which would relate to the vast archive of the LoC and Irish Traditional Music so there is a lot of scope here. I met with Nancy Groce during this visit to keep her informed of all developments and especially this particular idea.

Visual Arts Katzen Center I met with Dr.Jack Rasmussen again at the Katzen Center out at American University. He is still very interested in having a major exhibition of visual art from the Arts Council’s collection – at least as a basis for his curation. I have offered, through the British Council, to bring him across to Northern Ireland in May of this year for him to curate his exhibition. Until that happens I will not know for sure about the possible Katzen exhibition but at the moment Dr. Rasmussen has pencilled in May – July as the possible dates. If that happens, I would like also to offer him an Artist in Residence at American University and a concert of music by one of the young musicians at the Phillips Collection – because Katzen openings happen on a Saturday night and this it would be possible to link with the Phillips. Another little variation on the Katzen theme is a possible Sonic Arts sound installation in the gallery. This needs to be discussed with Michael Alcorn at SARC.

Washington Printmakers Gallery I paid two visits to the Washington Printmakers Gallery during the week – one to discuss the possible exchanges of printmakers and prints and one to see their latest exhibition. As the gallery is run by a collective of printmakers, my proposals will have to be ratified by the membership. However, Gail Vollrath, the administrator of the gallery and several of the printmakers whom I met were very enthusiastic to make the links with Belfast Printworkshop and Seacourt Printworkshop in Bangor. I have to get budgets and feasibilities together for this to be confirmed.

Arts and Artists International I met with David Furchgott of this organisation again during this second visit. His organisation is about to build on a small gallery to their present workplace in Dupont Circle an he has offered this space for a possible print, photographic or visual art exhibition. He was the person who put me in touch directly with Dr. Rasmussen at the Katzen Center and this second offer of assistance was quite unexpected. It could be however that Arts and Artists International would be the vehicle for touring the Arts Council exhibition at Katzen further afield in the States. This remains to be discussed however as there is a cost implication.

Drama

Woolly Mammoth Theatre Company I was asked to attend a preview of Woolly Mammoth’s latest production at their new state of the art venue in Washington. The play – “The Velvet Sky”- was excellently staged though as I found out later in conversation with the theatre’s artistic director Howard Shalwitz, the budget was relatively small – again proving what can be done on stage with loads of imagination in the production even with a small budget. Howard Shalwitz was very keen to be involved with drama from Northern Ireland but unfortunately his own programme for the 2007 season is fully completed. As I said in my first report, we are on the very edge of being able to get in on programming of venues and companies because most of them have already made their decisions. However, I asked if there was the possibility of sending out to his theatre a one-hander – such as Hurricane, or Bright Colours – and he was interested in this idea but wants to se the script and any other material. I have asked Gilly Campbell at ACNI to help get me this information to him asap. There is also the possibility he told me of using their small “studio” space for play readings so we might get a mini-series of these programmed at Woolly Mammoth. A good deal more work to be done on this yet.

Studio Theatre Company This converted car showroom now houses four 280 seater theatre spaces and is rather like one of those multiplex cinemas only for live theatre! I met with Danielle Amato, the dramaturg for the company and she was interested to read new plays from Northern Ireland with a possible interest in staging some at Studio in the future. I have put her in touch with Mick Duke at Tinderbox Theatre Company here in Belfast as that company runs the Dramaturg Programme for Northern Ireland on behalf of all the new writing companies.

Children’s Theatre

Imagination Stage I went down to Bethesda to meet with Janet Stanford, artistic director of the Imagination Stage and several other of her colleagues there.. This brand new venue has a 400 seater theatre and many other spaces focused entirely on children and the arts but particularly drama and dance. We talked about dance student exchanges, about Opera Theatre Company doing their children’s opera “Bug Off” there and also about links with Cahoots Theatre Company and Replay Theatre Company. Janet wants to start a Children’s Arts Festival in Bethesda so I have offered her a trip – once again through the British Council - to the Young at Art Festival here in Belfast to see how it can be done. This could be the start of an on-going exchange possibility for the future.

63 Film

American Film Institute at Silver Springs I met Ray Barry at the AFI o guage AFI’s interest in being associated with the Rediscover Northern Ireland programme. When I mentioned the connections with Liam Neeson and Kenneth Branagh, it was a definite “point of contact” and from there on we discussed a number of different scenarios. The Film element of the Rediscover Northern Ireland programme I have handed to the Northern Ireland Film and Television Commission as the obvious leaders in this field. Cian Smyth has been appointed to put together a number of “happenings” and I have reported to him on my visit to AFI. He is very enthuisiastic about the whole project. NIFTC will also match funding for these events. Their other major factor/contribution in this whole thing is that Kenneth Branagh is their official patron”. Through them, we are hoping to confirm KB as a figurehead for Northern Ireland@DC. I will be preparing that letter very soon.

AFI has a truly wonderful venue in Silver Springs. Half of it is a fully restored 1930’s art- deco cinema house. Having seen it, I told Ray Barry that it would be perfect to stage Opera Theatre Company there and also Brian Irvine’s Ensemble in a silent movie accompaniment evening. He seemed interested by these suggestions – a little more persuasion still needed perhaps.

Poetry

National Endowment for the Arts I met with Pennie Ojeda twice on this visit because she has very kindly organised for me to meet the Chair of the NEA – Dana Gioia. Dana is a well respected poet and writer in the States as witnessed by his presidential appointment to the Chair of the NEA. He was most welcoming to me and was very keen indeed to be as helpful as he could be in offering two major suggestions. One was for Seamus Heaney to be invited to the West Chester University Poetry Conference in June 2007 as its key speaker – this is something which is outside the scope of NI@DC but it ties in with Dana’s second suggestion. This was a Northern Ireland poetry “convention” in Washington. He has offered not only help in setting this up but also matched funding of up to $30,000. Naturally I accepted the offer. There is a great deal to arranged for this and I will be asking Chris Agee of Irish Pages, Ciaran Carson of the Seamus Heaney Centre at QUB and the Verbal Arts Centre in Derry to be involved in some way in organising the whole event. This will be a major event in the Rediscover Northern Ireland programme and one which has to be fully “public friendly” and non-academic in its focus. There is room for an academic element but Dana wants crowds there an if we can get the likes of Heaney, Longley, Carson, Muldoon and some of the new up and coming poets together in Washington for this, I think it would be highly attractive for a Washington audience.

64 Arts in Health Lombardi Cancer Foundation I met with Nancy Morgan at the Georgetown University Hospital where she runs the Arts programme at the Lombardi Cancer Unit. This time I was accompanied by Michael Gould from the Northern Ireland Bureau so that I could engage him in the possibilities which he can explore in relation to Lombardi and the Queen’s University links. I think he was impressed by Nancy’s total commitment and by what she does there and he even came up with an excellent suggestion which we could do as part of the programme with Lombardi in 2007. Apart form artists’ residencies there, Michael suggested an internet link-up with patients who are undergoing treatment over there and over here. The focus of this link up would be their different reactions to the arts element in their recovery periods. This could also be documented as continuing evidence of the benefit of arts in health. With ArtsCare in Northern Ireland we will explore the very real possibilities of this - a virtual “chat room” for patients in Georgetown and maybe the City Hospital.

Arts in Education SAIL School I met Larry Riccio at the School for Arts In Learning. He is a pioneer of education which sits outside the public system and is aimed at young pupils who do not easily fit into the ever tightening grip of “standardised curricular education” as envisaged by government. In SAIL, 80% of the pupils are those who require particular attention – what used to be called “special needs” pupils but I gather this is non-pc now. Larry is keen to do a project with some of our artists but I have yet to work out any details.

Seed Foundation School I paid a visit to Robin Lewis at the Seed School on the outskirts of DC and in an area of some deprivation. I had hoped we could stage the Arts in Sport project which Mike McCann is heading up but this proved to be a little too ambitious for the resources at See, What I have suggested is a three/four week artists’ residency – a composer and a creative writer who would work with a group of singers. Robin told me that of all the arts in the school – and it would have to be said that there was not a lot – singing was the most popular. I thought of a choral piece being devised with a “libretto” devised by the young pupils. The obvious people to do this would be Elaine Agnew and Kate Newman, both of whom have done a similar project in Lisburn at Harmony Hill last year to great effect.

Genealogy/Archives National Archive Museum Through Michael Gould I had the opportunity to talk with Sam Anthony who is Special Assistant to the Archivist at the National Archive Museum of the United States in Washington. This is where the Declaration of Independence and the US Constitution is housed in great splendour. I have contacted Dr. Gerry Slater to discuss how we might do some joint project with Sam Anthony – maybe something to do with the Second World War and the American Forces stationed in Northern Ireland, or maybe some genealogical project. All the records of immigration are held at the National Archive Museum so those who would like to trace their ancestry may find the link up between PRONI and NAM interesting. Lots to work on!

65 Summarised Cultural Programme update: February 2006

Almost confirmed:

Print Exhibition – Exchanges and exhibitions with Washington Printmakers’ Gallery and possible exhibition at Arts and Artists International Gallery and possibly Cosmos Club

Camerata Ireland – opening concert of the programme almost confirmed with Library of Congress with Barry Douglas and Camerata Ireland March 23rd 2007

Brian Irvine Ensemble – Concert at the Library of Congress April 27th and exploring concert possibilities at Silver Springs American Film Institute theatre

Young Musicians’ Solo Recitals – series of four Sunday afternoon concerts at the Phillips Collection May 6,13,20,27

Contemporary Art Exhibition – exhibition at the Katzen Center, American University, May – July 2007 with possible music dimension

SI Folkways Recordings – to be arranged with the Smithsonian Institution. Only needs funding

Arts & Health – the arts program of the Lombardi Cancer Unit of the Georgetown University Hospital will do exchange and artists residencies

Poetry -The National Endowment for the Arts have offered to partner us with a two day Conference on Poetry from Northern Ireland in Washington

Traditional/Folk Music – two events and lectures at the Library of Congress

On-going projects:

Photographic Exhibition – will explore possible Press Club interest

Vi d e o – on-going discussion with the Hirshhorn Museum for Willie Dogherty

Ulster Orchestra Concert Tour – exploring possibilities with Washington Performing Arts Society and Kennedy Center

Craft NI Exhibition – working with Craft NI and looking for space to exhibit

Drama Event – exploring with Tinderbox in Northern Ireland new writing presentations and perhaps a production with two Washington venues -Woolly Mammoth Theatre Company and Studio Theatre

Literary Openings – Literature possibilities with the Library of Congress.

Film Festival – exploring with NIFTC a film festival at the American Film Institute at Silver Springs

Architectural Lectures- exploring possibilities with DFP, Arts Council and The Place

Music & Technology- Sonic Arts Research Centre at QUB making contacts with Sonic Circuit festival of contemporary music in Washington

Visual Art & Heritage – limited possibilities in this area. May have some links with the Phillips Collection in the future

Arts & Education – two schools in Washington DC interested in artists residencies; SAIL School and the SEED Foundation School

Genealogy Events – exploring possibilities with the National Archive Museum in Washington

Childrens’ Theatre – exploring a programme of events at the Imagination Stage in Bethesda

Other possibilities:

Northern Irish Women in the Arts at the National Museum of Women in the Arts Opera Theatre Company at Wolf Trap and Lyric Opera Baltimore and AFI Silver Springs More artists residencies

67 WASHINGTON SCHEDULE Sunday 29th January – Monday 6th February 2006 Sunday 29th January

Arrive. 5 pm.

7 pm. David Furchgott, International Arts and Artists

Monday 30th January

10 am Anne McLean, Library of Congress

4 pm Travis Bowerman, Washington Performing Arts Society 2000 L Street Suite 510 202 833 9800

6 pm Mark Carrington, Phillips Collection Music Series

Tuesday 31st January

10 am Nancy Groce and Diana Parker Smithsonian

12 noon Janet Stanford, Imagination Stage 4908 Auburn Avenue Bethesda, Maryland 20814 301.280.1660

3.30pm. Kim Witman, Wolf Trap Opera Company 1645TrapRoad Vienna,Virginia22182 (703) 255-1900(Cancelled due to illness)

5 pm Tim Losty NIB

7.30 pm Nancy Groce, Smithsonian Institution

Wednesday 1st February

10 am Peggy Bulger, Library of Congress

3 pm Dana Gioia, Chairman NEA Pennie Ojeda, Co-ordinator, International Activities NEA

6 pm Nancy Morgan, Lombardi Cancer Unit, Georgetown University

68 8 pm Howard Shalwitz, Woolly Mammoth Theatre Company 641DStNW,Washington,DC20004 202-289-2443

Thursday 2nd February

10 am Michael Gould, NIB Nancy Morgan, Lombardi Cancer Unit, Georgetown University

12 noon Danielle Amato, Studio Theatre

3 pm Robin Lewis, Seed School

Friday 3rd February

11 am Gail Vollrath, Washington Printmakers Gallery

2 pm Ray Barry, American Film Institute AFISilverTheatreandCulturalCenter 8633ColesvilleRoad SilverSpring,MD20910 301.495.6720

4pm Larry Riccio, SAIL school.

Saturday 4th February

8.30am Carmel McGill, Arts Consultant

12 noon Train to New York

Edison Hotel 228 West 47th (btw. 8th and Broadway) Street New York, NY 10036 Tel:212-840-5000

8pm Attend Musical “Spamalot” on Broadway to meet David Hyde Pierce

Sunday 5th February

12 noon Whitney Museum of Modern Art

8pm Return to Belfast/arrive Monday morning.

69 “Over there….” A report on a third visit to Washington DC 18th March – 25th March

Philip Hammond

Introduction This is the fourth paper I have written since November 2005 and the initial “Over here, over there...” paper which contained a preliminary and estimated outline of the cultural aspect for the “Rediscover Northern Ireland” Programme of Smithsonian 2007.

It is a report on a week long visit to Washington DC 18th – 25th March 2006; the previous two visits took place on 4th – 11th December 2005, and 29th January – 6th February 2006. These visits “over there” have been essential for the “face to face” contact necessary to establish and develop working partnerships with artists, arts organisations and presenters in Washington DC. It is not possible to initiate, develop and sustain the relationships which one needs for this type of festival programming without a continuing physical presence. Emails and telephone calls can help to keep up contact and confirm detail, but there is no substitute for actually going to the people with whom you are partnering and upon whom you are relying for presentation of product.

Before departure on this last visit, I prepared a schedule (attached with this report) which outlined several specific objectives. These were:

1. To follow up on contacts made in the previous two visits, e.g. National Endowment for the Arts, National Archive Museum, Library of Congress

2. To visit possible venues for the Day of Poetry Conference e.g. Reagan Center, National Geographic Society, Shakespeare Theater.

3. To visit more drama venues and programmers with a view to bring NI Drama to Washington, e.g. Roundhouse Theater

4. To explore further gallery space e.g. Meridian Center

5. To establish more contacts for possible programming e.g Strathmore Hall, Levine School of Music

6. To continue dialogue with confirmed presenters e.g. Imagination Stage, ARCH

7. To continue liaison with the Smithsonian executive e.g. Dr. Nancy Groce

My schedule became more full as I made more and more contacts in Washington DC and tried to consolidate earlier contacts; it eventually ended up as later detailed. On all my visits I have found the Washingtonians welcoming and open to working with me on this cultural side of the Rediscover Northern Ireland programme. There is however no doubt of the interest and warmth which people over there feel for Northern Ireland and it is something from which we can benefit.

One example of this was an evening with Mimi Conway and Dennis Houlihan. Dennis is a Board Member of Solas Nua and his wife Mimi is a writer and council member of Theater J in Washington. They took me out to a venue in the U Street part of town – being regenerated by the arts and culture a bit like what we hope will happen to Cathedral Quarter, although U Street is a bit rougher. Busboys and Poets is a “cool” place to be with an attached performing space which is frequented by the knowing and the knowledgeable both young and not so young – a perfect place for those more edgy aspects of NI arts and culture. These two Washingtonians were immensely hospitable and helpful in giving me contacts that I can follow up on in subsequent visits. The Solas Nua contact in theatre has already proved interesting.

As usual on all my trips to Washington, I am grateful to have been able to use the Northern Ireland Bureau as a base for phoning etc. This has also offered another opportunity to keep the Director, Tim Losty, fully informed about what I am doing (he also receives my schedules in advance and my reports when written). It would be fair to say that the NIB is not an organisation primarily focused on “arts and culture” and so as the Creative Director of the Rediscover Northern Ireland programme, I have assumed responsibility for making initial decisions on arts events, including cultural partnerships, arts content and presenting venues. This information is shared with the members of both the Co-ordinating Group and the Curatorial Group; the practical detail is considered in liaison with the Arts Council of Northern Ireland and the British Council in Belfast.

The appointment of the new Cultural Affairs Officer at the NIB, funded by DCAL, will help me to sustain the partnerships and relationships I have forged over the past few months. Over the next twelve months, I will be relying on the CAO to provide support in progressing the Rediscover Northern Ireland Cultural Programme locally in Washington DC. There are still areas I need to work on – like a literary event and I have made some contacts (e.g. Chapters Literary Bookstore on 11th Street) but this needs more focussed time on my next visit. And of course there is still lots of work to be done on developing and confirming the interest of all the other contacts I already have been cultivating. Until this trip, I had not been in a position to confirm any events – except one - and this had been a source of concern to me. I am pleased to report that after this recent visit and several face to face meetings with presenters, I can now confirm a number of activities- if in some cases, even yet, not exact dates. A full update is attached later in this report.

Philip Hammond March 30th 2006

Classical Music

Kennedy Center for the Arts & Washington Performing Arts Society In my last report, I indicated that it had been proving very difficult to place the Ulster Orchestra in the Kennedy Center. The Washington Performing Arts Society eventually contacted me at the beginning of March to inform me that it would not be in a position to present The Ulster Orchestra at KC. I wrote back immediately and enquired if the Society could offer any other suggestions but I did not receive a response. When in contact with the Kennedy Center, I was informed that it would be difficult and very expensive to promote such an event without a promoter in DC.

On this visit I went to Strathmore Hall in Bethesda (see also December Report) and met the Artistic Director of the venue Shelley Brown. She was very helpful indeed and interested to explore the possibility of programming the Ulster Orchestra there in this 2000 seater outside the DC area. On my return, I spoke with the Chairman of the UO and with David Byers, CE of the UO, about this idea. We all agreed that it would not be economically viable to promote the orchestra in one venue only – and, in perception terms only, in “not the Kennedy Center”. At this stage, it would be well nigh impossible to find other US venues still open to a touring orchestra as nearly everywhere will have its programme filled for the coming season and the planning process for such a tour is now just too tight. In any case, the Rediscover Northern Ireland “cultural” budget as it now stands could not offer a sufficient subsidy for such a proposed tour.

This is a major disappointment but this decision has to be made.

Phillips Collection I attended a Sunday Afternoon Concert at the Phillips Collection as this will be the venue for four young musician recitals next year on each Sunday in May. The recital on this occasion was by a young-ish American pianist called Michael Sheppard who played with great panache and displayed considerably technical ability. He also introduced the programme which greatly appealed to the audience of about 100. This is a very prestigious venue in Washington and I have some details yet to finalise in connection with our events there. Unfortunately Mark Carrington, the Artistic Director of the venue’s music programme, had had to leave the country to visit an ailing relative in Europe and I did not have a chance to see him before he left.

Library of Congress The Library of Congress had already confirmed that Barry Douglas and Camerata Ireland would give the opening concert of the whole Rediscover Northern Ireland programme on March 23rd 2007. In my last report however I was still trying to persuade them to present the Brian Irvine Ensemble so I made another visit to see Anne McLean the music programmer at LoC during this trip.

I am now happy to report that the Library of Congress will present Brian Irvine’s Ensemble on April 27th 2007. As a result of this confirmation, I intend to bring Brian and his group to Washington for a week-long residency during which they will play at the Union Station at a peak travel time at the beginning of the week to raise profile, then do outreach work at schools, another concert at the Ark Center for the Arts in Anacostia ( a community venue in a deprived area of DC) and finish off with the grand finale at LoC. This will be a major profiling opportunity for an unusual type of music and in unusual venues.

Traditional Music

Library of Congress In my last report I noted that, although Traditional Music will feature very prominently indeed as part of the Folklife Festival on the Mall, the Library of Congress were interested in featuring some events with Northern Irish folklife as the theme. I therefore met Peggy Bulger, David Taylor, Ilana Harlow and Theadocia Austen at the LoC in company with Dr. Nancy Groce with several proposals which I had already cleared with Dr.Groce so as not to interfere in any way with her own programming for the Folklife Festival on the Mall. The LoC team were most interested in all the suggestions. Davy Hammond and another folk artist – m a y b e A r t y McGlynn – will do a lecture demonstration on song. Gary Hastings and Brian Mullen will give a joint “concert” on the cross over of Ulster Scots and Irish traditions. The McPeakes will give a concert this linking in with the Library’s own archives of this family. John Moulden will give a lecture on song collection in Northern Ireland. Finally, a lecture on place names of Ireland and America will be given in conjunction probably with an exhibition of maps from the Library’s archives. The Library is to get back to me with dates for these five possible events.

Visual Arts

Arts and Artists International I have already confirmed events in the Visual Arts at the Katzen Center out at American University and at the Washington Printmakers Gallery. This latter venue is situated in the Dupont Circle area well known for its private galleries. One of these is run by International Arts and Artists and David Furchgott who has been immensely helpful in securing the Katzen Center exhibition has also offered a new exhibition space at his Dupont headquarters for a moderately long term print exhibition from Northern Ireland. This will neatly complement the Washington Printmakers Gallery exchange residencies. Prints can be sent out and then framed in the States at a smaller cost than sending by freight already framed prints.

73 As an appendix to the DC events, International Arts and Artists has also offered an exhibition to Belfast of contemporary ceramics from Korea at a very competitive cost – subsidised by the Korean Government. The Arts Council are looking into this possibility at present for OBG. This has no budgetary or programming impact on Rediscover Northern Ireland but shows how even already there has been a worthwhile connection made as a result of our DC presence.

Drama

Despite attempts both before and during my March visit to DC, I was unable to elicit any response from either Woolly Mammoth Theatre Company or Studio Theatre – both of which venues I visited in January/February. I had already asked Tinderbox Theatre Company in Belfast to send scripts to both companies in the hope of those companies presenting NI drama as part of their season, as a venue for a NI company production or for play reading events.

I have been exploring other avenues as a result. I was given a contact at the Round House Theatre in Bethesda by the director of Imagination Stage, Janet Stanford – who has been very helpful indeed in this respect. I met with Blake Robison, the Artistic Director of Round House but his programme for the next season is already complete. He said however that he may be interested in seeing material on “one handers” which could be staged or presented by a NI theatre company in the theatre’s “black box” studio in Silver Spring – next to the American Film Institute where I hope we will have a presence through the NIFTC’s film programme currently being explored with AFI. I will be sending material to Mr. Robison soon.

The other avenue I explored was the only Irish theatre company in Washington – named Solas Nua with artistic director Linda Murray. I was impressed by her energy and enthusiasm. She will be putting on Owen McCafferty’s “Shoot the Crow” next season and I asked her if we could partner her in that. She is keen to do this as her company is a fledgling organisation and only making its way in DC. However, in order to judge standards, she invited me to one of her current productions – “The Mai” by Dublin playwright Marina Carr. I went to his on Friday night. It was a “site specific” venue – an elegant Victorian building in DC allegedly once built as the official residence for the US Vice President but never occupied as such – and I was again impressed, this time by the tightness of the production, the quality of the acting and the impact of the direction. So I would have no qualms in associating with Solas Nua if the opportunity develops – perhaps in another production or in a series of play readings. Linda Murray is going to explore the possibilities of these with other companies in DC.

At the Solas Nua event, I met an arts journalist called T.K.Maloy from United Press International. I asked if he would be interested in an article sometime on the NI arts events which will be happening in Washington and he told me that he would. Something for the future

74 Children’s Theatre

Imagination Stage I went to a concert at the Kennedy Center with Janet Stanford, artistic director of the Imagination Stage in order to maintain our contact. Replay and Cahoots have both been in touch with her and she is also interested in presenting Opera Theatre Company in its children’s opera “Bug Off” by NI born composer Stephen Deazley. Janet will be coming to Belfast through the British Council at the end of May to attend the Young at Art Festival here and meet with Replay and Cahoots directly.

Poetry

National Endowment for the Arts In my last report I conjectured that this poetry event “will be a major event in the Rediscover Northern Ireland programme and one which has to be fully “public friendly” and non-academic in its focus”. The situation has moved on and developed since then and at my meeting with the Chair of the NEA, Dana Gioia, this time we discussed a slightly new format. He suggested that an academic type conference at a DC university and then a public event in the evening with the big hitters e.g. Heaney, Longley etc, would be the best way forward. I think he’s right.

So I made arrangements to visit several “public” venues in DC – like the Shakespeare Theater, The Reagan Center and the National Geographic Society Hall to see which would be best. We all agreed that The National Geographic was the best – and having struck up a good rapport with Greg McGruder, the Director of Lectures and Public Events there – we now have a partnership with the National Geographic who will give us the venue in kind with publicity in all their written material as long as they can pick up the box office. This has to be cleared with the NEA but I am hopeful that it is not a problem. Queen’s Seamus Heaney Centre remain the partner on this side of the Atlantic but I can still envisage this day as being a major event in the Rediscover programme. It will take place probably on April 20th but I have yet to identify a university in DC who will stage the academic conference aspect so I cannot confirm that date until I have the other partner in place.

All of this has to be put past Ciaran Carson again as it has changed slightly in concept since I last spoke with him – this is all part of the ever-evolving nature of festival programming in the arts.

Greg McGruder was also interested in the National Geographic being involved in other aspects of the Rediscover programme and we are exploring the possibility of a food and drink event there and a series of film shorts on their regular Tuesday lunchtime slots.

75 Arts in the Community I met with Duane Gautier, President and CE of ARCH, and his assistant Amy Cavanaugh. ARCH is a community regeneration organisation which works in the Anacostia area of Washington. This is an area within sight of the Capitol but which is almost exclusively Black in ethnicity and suffering all the major features of community and social deprivation. Duane was in Belfast a few weeks ago and I and several other people connected with the NI@DC project met with him. He is keen to offer residencies in Anacostia for artists who will work with youth “at risk” – a euphemisim in the States for those young people who have been in trouble with the Law.

This type of work is not easy and not for every type of artist but I think it may well be the sort of thing we over here do extremely well and I want to put it past the Prison Arts Foundation for thoughts. Duane also wants to offer us exhibition space in U street with a private gallery and at Anacostia. I am keen to do this but the budget for this needs to be carefully considered.

When in Anacostia I went to the Smithsonian outreach museum there – a community museum if you like. I think there is scope here for Belfast Exposed to send an appropriate photographic exhibition to this venue and for the community there to make strong arts links with maybe young people from Northern Ireland. I saw one exhibition of their art work and I was impressed but its vibrancy. Apparently there has been contact with NI through the PSNI already and I think this should be followed up through our Rediscover Northern Ireland programme.

Finally in Anacostia, I visited the Ark Community Centre for the Arts – a brand new building established through a private/public partnership in the area. I would like this to be the venue for a concert by the Brian Irvine Ensemble during his week long residency in DC, and also as the venue for outreach/educational work with the Levine School of Music which has close links with this venue. I met with Lois Narvey and Karen Shepherd of the Levine School of Music – the school has four campuses, one of which is in Anacostia. They were enthusiastic about hosting mastercalsses and workshops with some of our visiting musicians.

The Anacostia Project – as I think I will term it – would be the major Arts in the Community aspect of the Rediscover Northern Ireland culture programme.

Genealogy/Archives

National Archive Museum During my last visit and through Michael Gould of the NIB I had the opportunity to talk with Sam Anthony who is Special Assistant to the Archivist at the National Archive Museum of the United States in Washington. This time round, I actually met with him at the Museum and we explored several possible areas for partnership with the PRONI. These are being further investigated by both parties but there is a good possibility of a major set of events happening in this very prestigious venue as part of the culture programme.

76 History Exhibition

Meridian Center I met with Dr.Curtis Sandberg initially to explore the possibilities of using the Meridan Center as a venue for visual art. He had worked very closely and successfully with the Linenhall Library on their recent Troubled Images Exhibition tour of the States. In conversation with him, we eventually gravitated towards an idea of his which was to mount a touring Titanic Exhibition for the States over the next couple of years. It would be a two dimensional exhibition maybe including such things as the original plans for the Titanic, contemporary social pictures, launching pictures – maybe even including the footage in the NIFTC of the Titanic leaving Belfast. I think there is a real possibility of this being of big interest to a US audience and I would like to explore it with the appropriate people here in Belfast – though it is just a little outside the scope of the “cultural” programme – but not necessarily so!

Summarised Cultural Programme update: March 2006

Confirmed:

Orchestral Concert – Concert at The Library of Congress with Barry Douglas and Camerata Ireland Also with a complete outreach/education package included. Date: March 23rd 2007and other dates t.b.c. NI Partner: Camerata Ireland

Poetry - a one day academic Conference on Poetry from Northern Ireland at a Washington University t.b.c. (possibly Georgetown University). The evening event will be presented by The National Geographic Society building in partnership with The National Endowment for the Arts Date: week of 16th April 2007 possibly Friday 20th April NI Partner: Queen’s University Belfast / Seamus Heaney Centre

Jazz/Contemporary Music – The Brian Irvine Ensemble as musicians in residence in DC. Events at Union Station, The Ark Center for the Arts, The Library of Congress Dates: 23rd - 27th April 2007. Library of Congress concert confirmed as 27th April and still exploring/developing concert/outreach/education dates at the other venues NI Partner: Moving on Music

Print Exhibition – Exchanges and exhibitions with Washington Printmakers’ Gallery and exhibition at International Arts and Artists Dates: t.b.c NI Partners: Belfast Printworkshop and Seacourt Print Workshop

Visual Arts/Photography Exhibitions –possibly up to eight private gallery exhibitions for individual artists at ARCH in Anacostia and a private gallery in U Street Dates: March – July 2007 NI Partner: Golden Thread Gallery

Arts in the Community Residencies - two artists in the community residencies in Anacostia working with youth “at risk”. Dates: April – July 2007 NI Partner: t.b.c. CAF/PAF?

Arts & Health – the arts program of the Lombardi Cancer Unit of the Georgetown University Hospital will do exchange and artists residencies including Elaine Agnew (composer) and Kate Newman (writer) Dates: April - June 2007 (exact dates for individual artists t.b.c.) NI Partner: ArtsCare

Traditional/Folk Music – Five events at the Library of Congress involving concert/demonstrations/lectures featuring

The McPeake Family et al., Davy Hammond (singer) with a.n.other- possibly Arty McGlynn, John Moulden (collector specialist) Gary Hastings and Brian Mullen(Flute and voice – Ulster Scots/Irish) Place Names Lecture linked to LoC Maps Exhibit

Dates: t.b.c. NI Partners: Foras na Gaelige and Ulster Scots Agency, Colmcille Initiative,Francis McPeake School of Music

Almost confirmed:

Young Musicians’ Solo Recitals – series of four Sunday afternoon concerts at The Phillips Collection featuring David Quigley (Solo Piano music from Northern Ireland) Michael McHale t.b.c. (Mixed programme of solo piano music) Darragh Morgan (violin) and Mary Dullea (piano) (V & P recital with some music from NI included) Jonathan Byers (baroque cello) and Richard Sweeney (archlute). Dates: May 6,13,20,27 2007 NI Partner: None identified as yet

Contemporary Art Exhibition – exhibition at the Katzen Center, American University, Dates: May – July 2007 with possible music dimension featuring SARC NI Partner: Arts Council of Northern Ireland/SARC

Drama - Production of Stone the Crow by Owen McCafferty by Solas Nua Theatre Company Dates: t.b.c. NI Partner: t.b.c. Tinderbox Theatre Company?

Childrens’ Theatre –a programme of events at the Imagination Stage in Bethesda Dates: t.b.c. NI Partners: Replay, Cahoots, Opera Theatre Company

On-going projects: SI Folkways Recordings – to be arranged with the Smithsonian Institution.

Photographic Exhibition –exploring Anacostia Museum with ARCH

Vi d e o – on-going discussion with the Hirshhorn Museum for Willie Dougherty

Craft NI Exhibition – working with Craft NI and looking for space to exhibit

Drama Event – exploring with Tinderbox in Northern Ireland new writing presentations and perhaps a production with two Washington venues -Woolly Mammoth Theatre Company and Studio Theatre. Also play readings with Solas Nua Theatre Company

Literary Openings – Literature possibilities with independent bookstores and perhaps Pen - Folger Award organisation

Film Festival – exploring with NIFTC a film festival at the American Film Institute at Silver Springs

Architectural Lectures- exploring possibilities with DFP, Arts Council and The Place

Music & Technology- Sonic Arts Research Centre at QUB making contacts with Sonic Circuit festival of contemporary music in Washington

Visual Art & Heritage – limited possibilities in this area. May have some links with the Phillips Collection in the future

Arts & Education – two schools in Washington DC interested in artists residencies; SAIL School and the SEED Foundation School

Genealogy Events – exploring possibilities with the National Archive Museum in Washington

Popular/Rock Music – exploring possibilities for presenting venues

WASHINGTON SCHEDULE

Saturday 18th March – Saturday 25th March 2006

Hotel: Jury’s Hotel 1500 New Hampshire Avenue, N.W, Washington DC 20036, USA. Tel: +1-202-483 6000

Saturday 18th March

Continental Airlines – Newark – Washington Arrive. 5 pm.

Sunday 19th March

1pm. Nancy Groce Smithsonian Folklife Festival Curator 4.30 Phillips Collection Concert

7pm Nancy Morgan Lombardi Cancer Unit Georgetown Hospital

80 Monday 20th March

10am The Shakespeare Theatre 450 7th Street NW Contact -- Genevieve Cooper 202-547-3230 x2226 gcooper@shakespearetheatre@org

12.30 National Geographic Society 17th and M Streets NW Contact -- Greg McGruder, Director of Lectures and Public Programs 202-828-5661 [email protected]

2 pm Sam Anthony and Nancy Groce National Archives

7 pm Mimi Conway (Writer) and Dennis Houlihan Board Member Solas Nua Theatre Company

Tuesday 21st March

9.30 Reagan Center 1300 Pennsylvania Avenue, NW (across form the NEA) Contact -- Annette William, Rental Coordinator 202-312-1325

11.30 Dana Gioia (Chair) Pennie Ojeda and Rebecca Helm NEA 202 683 5562

2pm Blake Robison, Artistic Director, The Roundhouse Theatre Bethesda 240-644-1099

4 pm David Furchgott International Arts & Artists

Wednesday 22nd March

10am Linda Murray Artistic Director, Solas Nua Theatre Company

1 pm Shelly Brown, Head programmer, Strathmore Hall, Bethesda

81 3 pm Karen Shepherd, Director Levine School of Music, Strathmore 202 686 8000 ext.1301

4.30 Terri Merz Director, Chapters Literary Bookstore

Thursday 23rd March

10.30 Peggy Bulger and Nancy Groce Library of Congress

1.30 Duane Gautier, President & CEO, ARCH

7 pm Concert at the Kennedy Center with Janet Stanford, Director, Imagination Stage

Friday 24th March

10am Lois Narvey, Director, Levine School of Music, 2801 Upton St. DC 202 686 8000 ext.1039

2pm Tim Losty Director, NIB

3.30 Larry Riccio School for Arts in Learning

4.30 Dr.Curtis Sandberg Director of Exhibitions Meridian International Center 1630 Crescent Place, NW Washington, DC 20009 tel. (202) 939-5569

7pm “The Mai” - a play by Marina Carr Production by Solas Nua Theatre Company Josephine Butler Parks Center 2437 15th Street NW

Saturday 25th March

9am Carmel McGill, Arts Consultant

3 pm Flight to Newark 8pm Flight to Belfast

82 “Over there….” A report on a fourth visit to Washington DC 27th June – 6th July 2006 Philip Hammond Introduction This is the fifth paper I have written since November 2005 and the initial “Over here, over there...” paper which contained a preliminary and estimated outline of the cultural aspect for the “Rediscover Northern Ireland” Programme of Smithsonian 2007.

It is essentially a report on a ten day visit to Washington DC 27th June – 6th July 2006; the previous three visits took place on 4th – 11th December 2005, 29th January – 6th February 2006 and 18th March –25th March 2006. This particular visit was focused on the Smithsonian Folklife Festival itself and several other members of the Smithsonian Unit were also in DC at the same time along with a number of people who sit on the Co- ordinating Committee. It was a very useful opportunity therefore to introduce people from Northern Ireland (ACNI, NITB, DRD, DCAL and Smithsonian Unit) to people in Washington with whom I have made partnerships and friendships, bringing a sense of personal involvement in the series of events which will next year culminate in the Folklife Festival.

In particular, I was able to bring with me to meetings, on occasion, Mick Cory of DCAL, and Pat Wilson, and Joanne Eland from the Smithsonian Unit itself. This assisted everyone to ask questions, explore opportunities and get to know some of the other people involved in this rapidly expanding process. Paul Flynn, the Traditional Arts Officer of the Arts Council of Northern Ireland, and Joe Kelly, Director of Craft Northern Ireland, also were present at this time and I was able to either bring them to meetings or see the venues chosen for exhibition space (as in the case of Craft Northern Ireland). Again, the personal connection of these players was an important step forward.

For the first time also, it was advantageous to be able to see the new Cultural Affairs Officer of the NIB, Courtney Patterson, engaging with the cultural programme “in situ” as it were. It will be important to clarify roles and responsibilities in the months to come to ensure co-ordinated delivery of the Cultural Programme . In this connection, the Arts Council is very supportive of the idea of my being in Washington DC for the duration of the Cultural Programme from March to July next year and this will require some organisation.

Keeping as many people involved in Washington and “on board” as it were is very much part of the process I am working through. For this reason, I went to see Sarah Frankland at the British Council in Washington. Although nominally the arts officer there, Sarah is acting up as Director of the British Council until the new director arrives later this summer. I went through with her the programme as it currently stands and she was willing to be as helpful as she can be on behalf of BC. Not all of the events will fit into the BC’s strategic priorities which tend to avoid the “tried and tested”. BC offered support in terms of advice and this of course is very useful in the Washington context. I am not quite sure however if direct involvement is part of the deal.

83 It was good also to meet again with Bob Lynch, CEO of Americans for the Arts. I have known Bob since the 1990’s when as Director of the National Association of Local Arts Agencies in the States, he had many dealings with the Arts Council of Northern Ireland. He will be a great supporter of Northern Ireland’s presence in DC next year. It seems to me now that, by the end of September, I am going to have to draw a line under the number of events which can be accommodated within the Cultural Programme. I had thought in previous reports that this could have been achieved much earlier, but as always in such processes, the timescale has been extended through circumstance and opportunism. For example, by following up a lead on a Washington based person enquiring about financial help for a documentary, I discovered that he was an assistant professor at Catholic University in their Drama Department. As a result, this person – Dr.Patrick Tuite - has been immensely helpful in setting up a playwright residency there for next year.

These are the sort of things you cannot necessarily plan for but which are hugely rewarding when they happen. The converse is also true however. Having made contact with the Meridian Center in Washington, for example, and having received from Dr. Curtis Sandberg a good idea around the Titanic theme, he and the Center are unable to schedule an exhibition there until 2008 – which is of course too late for the DCAL Cultural Programme and therefore a potentially excellent lead… leads nowhere.

Patience, attentiveness and good interpersonal communication are the keys to making things happen. A good product helps as well of course. All these qualities present difficulties for programme organisers – dare I say a “Creative Director” - but I have found everyone I have met in Washington on the arts scene to be greatly interested in Northern Ireland, keen to be part of what we are about, and only too willing to help. I have encountered nothing but enthusiasm for the breadth and scope of the cultural programme to date as it potentially reaches into so many contexts in society, from high art to community involvement, from established venues to healthcare environments, from universities to special schools, from larger-scale events to individual artist interactions – from young to old. To me, it is a valid reflection of the creativity of Northern Ireland.

With the conclusion of the Smithsonian Folklife Festival as the grand finale to our DC profile next year, I see the Cultural Programme as a creative complement, adding to what will be on the Mall without duplication and showing other aspects of the best artists that we can offer.

As an appendix to this paper, I have included a report I made to the Arts Council of Northern Ireland in the middle of June. ACNI is the major financer of the Cultural Programme next to DCAL and will be the conduit for all of the monies we will use in funding arts organisations and artists taking part in our Washington presence next year. As such, it has been essential to keep both Council and Executive fully informed of what I have been doing. A paper on the rationale behind the arts programme is also attached.

As always, before departure on this visit, I prepared a schedule (attached with this report) which outlined several specific objectives. These were:

84 • To follow up on contacts made in the previous two visits, e.g. National Endowment for the Arts, National Archive Museum, Library of Congress, National Geographic Society, Katzen Center. • To confirm and discuss the format for a Poetry Conference with Professor Mark McMorris of Georgetown University • To explore drama presentation/play readings with Linda Murray of Solas Nua Theater Company and Patrick Tuite of Catholic University • To explore gallery space for a Titanic Exhibition • To experience the Smithsonian Folklife Festival and continue liaison with Smithsonian staff • To establish a partnership with the Duke Ellington School of the Arts • To investigate other event possibilities for the ancillary Cultural Programme • To introduce to and accompany colleagues from the DCAL/Smithsonian Unit on site visits with US cultural partners

My original schedule became metamorphosed as circumstances changed; no-one could have predicted for example that unprecedented, torrential rain in DC would flood several of the museums on the Mall and mean that meetings were cancelled. Much of the time that I was not at meetings was used by visiting the Folklife Festival seeing the exhibits from Alberta and attending concerts etc.

My schedule eventually ended up as detailed here:

Tuesday 27th June Continental Airlines – Newark – Arrive Washington 7 pm.

Wednesday 28th June

9 .00 Patrick B. Tuite, Ph.D. Assistant Professor & Head of MA Program Drama Department The Catholic University of America Washington, D.C. 20064 202 319-6870

11.00 Rory Pullens, Michael Clarke, John Payne Duke Ellington School for the Arts 3500 R Street NW Washington DC 20007 202 282 0123 14.00 Pennie Ojeda, Co-ordinator, International Activities David Kipen, Director of Literature, and Dan Stone National Endowment for the Arts 1100 Pennsylvania Avenue Washington DC 20506 202 682-5562

85 17.00 Vivienne Lassman (Art Consultant for the DC Art Fair) and Mark Carrington ( Curator and Programmer for the Phillips Collection Music Series)

19.30 Dinner with Mick Cory, Stephen Grimason et al, Georgetown.

Thursday 29th June 10.00 Library of Congress Contacts: Anne McLean(Senior Producer, Concerts and Special Projects) Peggy Bulger (Director, Amercian Folklife Center) LoC, 101 Independence Avenue Washington DC 20540-4610 202 707 1745 Peggy Bulger 202 707 8432 Anne McLean

13.30 Katzen Center at American University Contact: Dr. Jack Rasmussen (Director) 4400 Massachusetts Avenue NW Washington 2001-8031 Tel: 202 885 2489

15.30 National Geographic Society 17th and M Streets NW Greg McGruder, Director of Lectures and Public Programs Robert Attardi Lecture Series Manager 202-828-5661

Friday 30th June 10.30 Opening Ceremony of Folklife Festival

13.00 Professor Mark McMorris Director, Lannan Program Georgetown University 001 202 255 6390 (Cellphone) Lunch at Café Milano 3251 Prospect Street

Saturday 1st July

9.00 Reception at the Canadian Embassy 10.30 Folklife Festival

19.30 Dave Brubeck Quartet at National Cathedral with Declan McGovern (BBC)

86 Sunday 2nd July

12.00 Linda Murray Director, Solas Nua Theatre Company

18.0 Nancy Morgan Director, Arts and Humanities Unit, Lombardi Cancer Center, GU Hospital

Monday 3rd July

10.00 Northern Ireland Bureau

13.00 David Furchgott Director, Arts and Artists International

15.0 Sarah Frankland Temporary Director, British Council c/o British Embassy 202 588 7847

19.0 Dennis Houlihan and Mimi Conway (Solas Nua) at Busboys and Poets

Tuesday 4th July

Folklife Festival and evening reception at the Smithsonian

Wednesday 5th July

9.30 Co-ordinating Committee (NIB)

13.30 Bob Lynch CEO, Americans for the Arts

Thursday 6th July

Leave Washington

87 Progress on Cultural Programme July 2006

Classical Music

Library of Congress I confirmed with Anne McLean and Tomas Hernandez that the programme for Barry Douglas and Camerata Ireland has now been finalised as Mozart 25th Symphony, Elliott Carter “Elegy for Strings”, Beethoven 2nd Piano Concerto and a newly commissioned work for the occasion from Northern Ireland based composer Dave Morris. This combination of American and Northern Irish music in an otherwise standard programme helps to give a particular slant to the event which will be the first of the Cultural Programme. Mick Cory came with me to this meeting and he was able to see the venue both for the concert and for the reception which it is hoped will launch the programme.

Phillips Collection I met with Mark Carrington to discuss the programmes for the Phillips Collection series in May 2007. As with the Camerata Ireland concert, I have suggested to each artist in the series that new music from Northern Ireland should be featured with an American work. The only difficulty will be the Baroque cello concert – we can find a new work from Northern Ireland but not a baroque work from the USA – for obvious reasons.

I also asked Mark Carrington about the perceived problem raised by the NIB in relation to an event happening on Memorial Weekend (27th May) when Washington is more or less taken over by hordes of bikers. He did not seem to think this would necessarily impact on the concert at the Phillips as the audience would be different . Also the event is part of a month long series and therefore not isolated.

Traditional Music

Library of Congress I confirmed with LoC that I had invited on their behalf all the artists of whom they approved in our last meeting in March. I also explained to them that I had had a meeting with the Chair of the Ulster Scots Agency in Belfast recently. He had expressed a request to have a specifically Ulster Scots performer as part of the programme and I put this to Peggy Bulger and her colleagues. They agreed to ask me to invite Robert Watt, a young piper of outstanding quality, to take part in a noontime concert on Wednesday May 23rd 2007. It was however pointed out that that concert already had been scheduled for another artist but that they were willing to make adjustments to their programme in order to accommodate this request from us.

The addition of this event means that every week in May there will be a folk/traditional music event happening at noontime at the Library of Congress. One of these events will be a place name symposium. I am asking the Library to make the decision on how this event will be structured and the one expert from Northern Ireland they would like to invite to take part.

88 Visual Arts Arts and Artists International I met with David Furchgott of Arts and Artists International to confirm his willingness for us to use his space for a print exhibition. David also suggested that I contact the Washington Sculptors’ Society – Mariah Jossefy- whom I later telephoned while I was in Washington to talk to her about the prospect of sending out a sculptor to do a residency with her organisation. She explained that the society is an amateur-run grouping without access to funds or indeed a studio/work space/administration. She however was interested in exploring this idea further as it may be possible to enlist one of the members of the society to allow his/her studio to be used on a personal basis. There is a little more investigation to be done here.

I have invited David Furchgott to Northern Ireland in October at the same time as Dr. Jack Rasmussen. Both will be curating exhibitions for their spaces. Mick Cory visited the Katzen Center with me and met with Jack. At Katzen I hope to run concurrently with the proposed visual art exhibition an electro acoustic installation from SARC. The opening will be Saturday 28th April and run to the end of July 2007.

I also met with Vivienne Lassman who is programming the Washington Art Fair next year. I put her in touch with the Ava Gallery here in Northern Ireland to see if that gallery would be able to take part in the fair. The fair is aimed at the participation of private galleries only.

Drama Solas Nua and Catholic University I have continued to develop the partnership with Solas Nua which I established in March of this year. I met with Linda Murray a couple of times and she has generously offered that her company will co-produce a play by Owen McCafferty during probably May or June next year. “Themes from the Big Picture”. The co-producer would be Tinderbox and Mick Duke may well be interested in directing the play. This is a good idea because none of the established companies in DC seem to be interested in any of the overtures I made over the past few months. Linda has talked with Owen and I have suggested that he spend some time in Washington before and at the start of the production in order to establish a presence and be of help. The cast for the play is a very big one 21 players in all – so that in itself should raise interest! The other good news on the drama front is that I met with Dr. Patrick Tuite, assistant professor at the drama department of Catholic University, and he has managed to set up a residency for a Northern Irish playwright at Catholic for the month of March leading to a student reading of a play by same playwright. I am hoping that the drama department at the Performing Arts Centre in Foyle, University of Ulster, will be interested in partnering with this and maybe making a more long term relationship with Catholic. It has alwa y s been one of my intentions that the partnerships emerging from the cultural programme last a little longer than a few months – but of course that remains to be seen. There is still a lot of work to be done on these two drama projects but I am hopeful of a successful outcome.

Children’s Theatre

Imagination Stage Janet Stanford, artistic director of the Imagination Stage in Bethseda, came to Belfast through the British Council at the end of May to attend the Young at Art Festival here and she met with Replay and Cahoots directly. She has offered to stage a new production by Cahoots at her first Children’s Arts Festival next year at the end of March although Cahoots has since run into a little snag because of the Arts Council’s deadlines for new work applications. I am not quite sure of a way around that one but will work with the Arts Council to help things along. Janet is still also interested in presenting Opera Theatre Company in its children’s opera “Bug Off” by NI born composer Stephen Deazley.

Arts in Health and Education

Lombardi Cancer Centre I met Nancy Morgan again during this visit and confirmed that in March next year for four weeks, Elaine Agnew (composer) and Kate Newman (writer) will be artists in residence at the Lombardi Cancer Center at Georgetown University Hospital.

Nancy has also suggested that she organise a symposium on arts in health at Georgetown and feature Elaine and Kate as examples of artists doing such work. This will happen I hope towards the end of March just after we have set the Cultural Programme in motion. When I was in Washington I telephoned Professor Bob Clarke who is the senior doctor working in the Cancer Center at Lombardi. He is originally from Northern Ireland and was close friends with two of my own friends at Queen’s University – they set me up with an introduction to Bob. He was very interested to know what we were doing in Washington next year and promised his support especially for the work being envisaged at Georgetown University Hospital.

There is of course another direct link with Belfast here as Queen’s and Georgetown University with the Lombardi Foundation are closely involved with the new Cancer Unit at Belfast City Hospital. For this reason I have asked the ArtsCare Artist in Residence there, Andrea Spencer, to go to Washington in June next year to do another residency with Nancy Morgan at the Cancer Center. Andrea has made considerable impact at the City Hospital and as a glass artist she may be able to leave a lasting art piece at Georgetown University Hospital in the same way as she has done at the City Hospital in Belfast.

When Elaine and Kate are in Washington for the Lombardi residencies, I am also going to ask them to fit in a project at the School for Arts in Learning (SAIL). I have to talk this through with Dr.Larry Riccio – the principal of the school - whom I met on previous visits but he was very enthusiastic to be part of our arts in education context. There is no- one better to head this up than Elaine and Kate, both of whom have lots of experience here in Northern Ireland doing such work.

90 One of the new contacts which I made on this visit – and this was through Courtney Patterson at NIB – was with the Duke Ellington School for the Arts. Although pleasantly situated in Georgetown, the school deals largely with young people from less well-off areas. I met a number of officials there including Ronald Lee Newman – the operations manager. I have to follow up on the enthusiasm to have Brian Irvine (composer) do a residency there. My idea would be for him to work with some of the music ensembles and then do a public concert or some such event at the end of the residency. This would be during the week before Brian’s ensemble arrives in DC – so that would be the week commencing 16th April.

Poetry

National Endowment for the Arts/National Geographic Society/ Georgetown University In my last report I noted that the poetry event on April 18th at the National Geographic Society“will be a major event in the Rediscover Northern Ireland programme and one which has to be fully “public friendly” and non-academic in its focus”. Chair of the NEA, Dana Gioia, suggested that an academic type conference at a DC university would be an excellent complement to the evening of Heaney, Longley, Muldoon, McGuckian and Carson.

So, through the good offices of my friend and erstwhile colleague Carmel McGill from Northern Ireland, now an independent and very excellent arts consultant in Washington, I was able to be introduced to the poetry department at Georgetown University. On this visit, along with Courtney Patterson, I met with Professor Mark McMorris, Director of the Lannon Program which deals with an annual poetry conference at GU. Mark turned out to be fully in favour of having Northern Ireland as the focus of this event next year. He, as I understood however, is only temporarily in charge as Professor George O’Brien is currently on sabbatical but will be back for next year’s conference and it is he who will decide programme and content. Mark McMorris personally took me around the venue at GU for the conference and then made arrangements for me to meet with Professor O’Brien who happened to be in Ireland for the month of July.

Subsequently I met with Professor O’Brien in Belfast on July19th in the company of Tom Collins of Queen’s University. We discussed the idea of using the new anthology of poetry from Northern Ireland as being a basis for one of the panels at the Georgetown symposium as well as other subjects. I suggested that Professor Edna Longley would be a good keynote speaker - maybe starting out with reference to some of the Louis MacNeice centenary celebrations next year. Professor O’Brien also suggested that some of the new generation of poets would be another good subject for inclusion –Leontia F l y n n, Sinead Morrisey, Nick Laird or Allen Gilles were all proposed. I suggested that we could provide an airfare for Professor Longley if she were to be chosen by Georgetown as a keynote speaker and perhaps airfares for two of the younger poets. The choice again would be that of Georgetown. Finally, I suggested the involvement of Irish Pages in some way and Professor O’Brien thought that its Editor, Chris Agee, would be a good panellist. I thought perhaps he could approach the Arts Council for a Travel Award for this. The symposium is now confirmed but the details are yet to be decided.

91 Meanwhile – back in Washington! - Mick Cory and I went to the National Geographic Society to meet my partner there, Greg McGruder. It is now confirmed that Queen’s University through the Seamus Heaney Center, will administer the mechanics of getting this event up and running and the Vice-Chancellor has also agreed that the university will hold a reception in the National Geographic building after the event..

Arts in the Community

I was unable to meet with Duane Gautier and Amy Cavanaugh at ARCH in Anacostia this visit. There are some difficulties in this project with regard to costings and I am trying currently to work through them with ARCH. It could be that the scope of the involvement with ARCH as originally envisaged will have to be curtailed maybe to just the photography project.

Genealogy/Archives

National Archive Museum My meeting with Sam Anthony had to be cancelled because of the floods in DC. I was hoping to explore several possibilities with him but it didn’t happen so I am no further on in this project.

History Exhibition

Titanic I have moved away from my original idea of partnering with the Meridian Center in Washington because Dr. Curtis Sandberg, an assistant curator there, could only offer a 2008 date.

I have been in touch with Gillian McLean of the National Museums. We have to resolve whether this exhibition will be part of the lead-up Cultural Programme or not. She would still like to work with Meridian at a future date. As mentioned above, I tried to meet with my contact at the National Archives Museum in DC but they were flooded and the meeting was cancelled. I had hoped to explore the Titanic possibilities there.

Mick Cory and I met with my contact at the National Geographic Society and there is a possibility of a lecture and photographic exhibition there. This venue also has reception possibilities. A very special dinner around the Titanic theme could be organised – an exclusive restricted number of places – maybe on the anniversary of the night she went down…April 14th. The main thing to note is that time is running out here and co-ordination with the National Museums – and probably Belfast City Council - is vital in getting a photographic exhibition together quickly.

92 Craft As mentioned earlier in this paper, Joe Kelly, Director of Craft NI, was in Washington at the same time as I was. He and I visited Union Station to look at the potential sales opportunities for NI craft there. Joe has since made a report on the possibilities he sees in DC next year and I quote here some paragraphs from his report:

• Met with Rebecca Stevens, Curator, Textiles Museum, Washington. Rebecca provided guidance and advice on potential exhibition spaces and useful contacts for other activities. • Met with Matt Barinholtz, Covenant House / ARCH furniture exchange project with Upper Bann Institute. The project is likely to involve a 3 week visit by a furniture tutor / post grad students from Upper Bann to Covenant House’s 6 month furniture programme which targets ‘at risk’ young adults. 3-4 young adults will visit Upper Bann to participate in the furniture course there. • Met with Ellen Dorn, Seth Waite and Beth Robinson (Arts & Industries Museum) re suitability of exhibition space in S Dillon Ripley Centre on the National Mall. Viewed space, display cabinets, lighting etc and discussed exhibition dates and CNI application to the Smithsonian Institution. It was agreed that the space would be appropriate and that May – Sept was the most appropriate time. Craft Northern Ireland and Interface, UU will bring 3 small exhibitions representing the best contemporary NI Craft and applied artists. • Visited Jewellers Werk – one of the few contemporary jewellers in Washington. Met with Judy Harkins, Coordinator at McLean Jewellers Cooperative re potential cooperation between McLean and Association of Contemporary Jewellers NI. Have now asked Sarah McAleer (Gold Digger 79) to make contact with Ellen.

• Conclusion: The trip was very beneficial. As well as helping to make contacts re next year’s Smithsonian FolkLife festival, it also enabled me to confirm that the exhibition space was appropriate for MINI (Made In Northern Ireland) – a pinnacle exhibition of contemporary NI craft. Useful contacts were also made with DCAL and other NI government departments and agencies e.g. NI Bureau (Washington), NITB, Tourism Ireland, INI, and other individuals involved with coordinating next year’s festival. As a networking opportunity it helped raise Craft NI’s profile both at home and abroad. • Craft Northern Ireland now has to make application to the Smithsonian Arts Review Committee for the S Dillon Ripley Centre to make final confirmation for the project. This will be done in October when we also hope to receive a decision. (We’ve been informed that it is highly likely that the exhibition will be approved.)

Film I met with the NIFTC to discuss their proposed programme. I am very aware that NIFTC are the specialists in this field and they have the right contacts in the American Film Institute – I met with the AFI on my second Washington visit and know that their venue at Silver Springs is the best possible partner for the film programme. Cian Smyth of NIFTC has all the experience needed for putting together the film series and I respect totally his judgement and that of course of NIFTC. I attach his proposals here as follows:

93 NIFTC/DCAL Events Plan 25/07/06 Washington DC - March to June 2007

The proposed events are to take place as part of a programme of work co-ordinated by DCAL in the run-up to the Smithsonian Folklife Festival in June 2007.

The American Film Insitute (AFI) has agreed in principle to partnering with the NIFTC in delivering some or all of these events. Confirmation of their involvement, and in which events, will follow their reading of the final version of this document.

Events are most likely to take place end March/early April and/or June.

These events have been co-ordinated in line with feedback from DCAL Northern Ireland and the Northern Ireland Bureau in Washington DC.

Proposed Events: 1. Keynote interview/s and screening/s

What? A screening and post-screening interview with a leading Northern Ireland film figure.

Who? Liam Neeson will be approached in the first instance, considering his present work on Stephen Spielberg’s Abraham Lincoln project. Kenneth Branagh will be approached in the second instance, considering his new film The Magic Flute.

When? End March/early April or June, to be decided in consultation with AFI.

Additional… Reception/dinner costs. 2. Films from Northern Ireland programme

What? A programme of film work from Northern Ireland. AFI would prefer a programme of new work. Programme may include some classics, for consideration. Ideal quantity of up to 6 films. Candidate films at present include: Small Engine Repair, Middletown, Mickybo & Me and possibly Shrooms. Programming suggestions subject to feedback from AFI.

When? End March/early April or June, likely to be over somewhere in the range of 3-5 days depending on shape of programme and AFI agreement.

Additional…

94 Printed programme to include this and all film events. Posters and promotional material.

3. Real Northern Ireland – Docs What? A celebration of Northern Ireland’s television work, specifically documentary filmmaking. In association with Silverdocs at the AFI subject to their interest in product. Which films? John T Davis retrospective and additional strand of new or best work from key Northern Ireland factual producers. Diversity of programme is key. It is very important to note that the programming of this strand will rely entirely on Silverdocs’ intentions, selection and interests. When? Silverdocs takes place in June just prior to Folklife festival. Additional… Creative Industry/Trade/Networking reception with Discovery Networks and National Geographic and Silverdocs delegates. A programme of films or additional industry activity at Silverdocs assumes a level of sponsorship or reception activity from the NIFTC.

4. Digital Film Archive What? Subject to approval of copyright situation from NIFTC Education department, to involve the Digital Film Archive in workshops and presentations within the AFI’s schools programme.

When? End March/Early April or June or, possibly, in conjunction with activities at Silverdocs.

Additional… Participation of DFA staff.

Organisational Responsibilities The programme is to be directed and managed by the Marketing Department of the NIFTC.

AFI will assist in terms of the groundwork at the venue, local advice and feedback and approval in terms of programming.

The Marketing Department of the NIFTC will assist Silverdocs management in the provision of titles for viewing. Programming for Silverdocs is at the discretion of this festival’s organisers and any Northern Ireland involvement in their festival is at their invitation.

95 As mentioned earlier in this paper, I am attaching two reports I wrote for the Arts Council of Northern Ireland as follows: REPORT FOR THE ARTS COUNCIL OF NORTHERN IRELAND 15th June 2006 Philip Hammond Creative Director, Department of Culture, Arts and Leisure

Since my secondment to DCAL in November 2005, I have been in Washington three times in order to define partnerships and explore programme content for the lead up period to the Smithsonian Folklife Festival in June/July 2007. This lead up period and its emphasis on Northern Ireland’s profile in the capital has been renamed “Rediscover Northern Ireland” and is distinct from, though complementary to, the two other elements in our presence there – The Smithsonian Associates and the Smithsonian Folklife Festival itself.

As can be seen from the attached “Summarised Cultural Programme”, I have managed to secure a number of high/good profile events in some very prestigious venues. These venues have all offered significant help “in kind” in terms of venue costs, publicity and, in some cases, accommodation. Without this type of support from the American partner, it would be difficult administratively, strategically and indeed financially to mount a programme of the proportions which I am envisaging.

My efforts to persuade Northern Irish arts organisation to present American arts and artists here during 2007 have not been quite so successful as I would have hoped. This is not always a reluctance on the part of the organisations here, but more to do with the fact that I have not had sufficient time to devote to this element of my original plans the “Over here” as well as the “over there” concept. Several organisations have expressed their keenness and enthusiasm but without concerted follow-up, I doubt that a huge amount will be achieved on this side of the Atlantic – but there’s time yet!

Despite the limited number to date, the confirmed events in DC indicate the wide range of artform and scope of the programme. It has been an objective to show that the arts in Northern Ireland are far reaching into the community at large and have relevance in all settings. This programme is as I stated at the top of this report only a part of a much wider series of events culminating in the Folklife Festival – so it does not attempt to provide a total picture, merely an indication of the best that is available within a context of certain limitations.

It would have been nice to report that all events are now in place – but as you again can see from the attached programme, there are as many “on-going” projects as there are “confirmed” events. I do not intend to continue working with these beyond the Autumn because it is just getting too close to the actual period of presentation and also because the budget is not big enough to handle everything anyway. My own view is that some of these on-going projects may not work logistically but I am not at a point just yet to draw a line under a “finalised” programme – and some of the possibilities are unusual and intriguing!

In nearly every case, I have identified Northern Irish partners to undertake the micro- management of dealing with programme, artist placements, accommodations, exchanges, contracts and, most importantly of all, applications to the Arts Council for funds. In one or two cases, I have not been able to identify NI partners and in those cases I will look after arrangements myself – although this is not ideal.

In terms of the budget, Council agreed at its January meeting to match DCAL monies. I am now aware that the British Council is not in a position to offer actual cash input to the programme although that organisation has excellent contacts in the States and in DC in particular and ACNI has the co-financing of BC arts officer Colette Norwood’s position to call upon as an invaluable resource for event arrangement. This will probably be the extent of British Council input.

I am attaching also a projected budget for the programme in terms of probable costs. As yet, no details have been agreed and no contracts entered into. My first step will be to draw up Memoranda of Understanding, then issue contracts. The latter will only follow after application to the Arts Council has been made. The reason for this is that all monies will be paid through the Arts Council’s grant procedure. Council will be receiving a paper from Lorraine MacDowell on this proposed procedure. I would appreciate some administrative assistance from ACNI in all of this as I have no administrative support at DCAL for this type of work.

The Northern Ireland Bureau has recently appointed a new Cultural Affairs Officer – Courtney Patterson. I am expecting that she will be of great assistance in the actual operational organisation and delivery of all the events in DC and I hope too that – if permission is granted and funds found – I will be in DC for the duration of my proposed programme of events.

Throughout the period of my secondment at DCAL, I have endeavoured to engage with as many people as possible both in the States and in Northern Ireland. Not everyone will be appearing in DC as part of the Cultural Programme and it has not been possible to respond to all suggestions for programme content. Wherever possible, I have consulted with artists, arts organisations and recognised advisory bodies. In the end, however, I have made my proposals and these have then been approved by the various official representative committees set up by DCAL –the Co-ordinating Committee, the Curatorial Group and the Leadership Group.

97 Washington Cultural Programme 2007 24th July 2006 Philip Hammond Creative Director, Department of Culture, Arts and Leisure

Programme Rationale and Administrative Partners

In programming art and artists for the Cultural Programme, the main criteria in my mind have been international experience, quality and, most importantly, interest and commitment from Washington presenters in programming work from Northern Ireland. It has not been my choice in most cases as to what has so far found platforms in DC and it would be impossible for me to present anything if I did not have a presenting partner there. Another consideration to be borne in mind is that the Cultural Programme is but one aspect of the Northern Ireland presence in DC next year. The catalyst for, and biggest part of, the presence is the Smithsonian Folklife Festival. As well as a possible Smithsonian Associates Programme (on which the Northern Ireland Tourist Board is leading) there are ancillary six themes which will complement this Festival – Culture, Food and Drink, Tourism, Education, Science and Technology and Trade and Industry. No one theme will necessarily cover all that there is available throughout Northern Ireland but as each theme will be complementary one to the other, so the sum of the whole will represent Northern Ireland in its entirety along with the Festival itself.

The Cultural Programme, which I have led for the past nine months and kept Council fully informed about progress in regular reports, has concentrated on artform presentations. Other representations, references and connections however can also be made apparent on closer analysis.

For example, Barry Douglas and Camerata Ireland bring into play an international arts figurehead with orchestral players from the whole island of Ireland, referring to the long established, cross-border aspect of Northern Irish arts. A new commission for this opening concert of the Cultural Programme from composer Dave Morris, recently retired from the new Performing Arts Unit at the Magee Campus in Derry of the University of Ulster, expresses the key position that this composer in particular has had in influencing new music from this island over the past two decades. The fact that Dave is not a “young thing” should not be missed either.

Poetry has been the vehicle for perhaps the most significant world renown which Northern Ireland has achieved in recent decades. The big poetry event is therefore a stellar line up of five of the most important figures in Northern Irish poetry today. It will be no surprise that, as with many of the artform representatives, not all of them currently live in Northern Ireland. For example, Seamus Heaney lives in Dublin – Paul Muldoon lives in the United States - but the former comes from Co.Derry, the latter from Co.Armagh.

98 Opera Theatre Company will present at the Imagination Stage in Bethesda a children’s opera by Northern Irish born composer Stephen Deazley. OTC has its northern headquarters in Derry. Paul McEneaney, a native of Armagh, will produce a new show at this same venue for Cahoots NI.

The Library of Congress has invited several well known figures from the world of Traditional Arts – John Moulden is based near Coleraine, Brian Mullen lives in Derry, Gary Hastings, originally from East Belfast now lives in Galway. One of the reasons the LoC invited the Belfast born McPeake Family to appear is that they have an archive on the family in their Washington library. The traditional arts presentations will feature the recent world champion piper Robert Watt, a native of Maghera in Co. Derry, in a series that also brings together two long established musicians from Belfast Davy Hammond and Arty McGlynn. The Library will also convene a symposium on Irish place names, using again their own extensive archive of maps as a starting point.

The series of young musicians appearing every Sunday afternoon in May at the Phillips Collection will feature young performers who began their studies in Northern Ireland but, like other Northern Irish artists, have become part of Northern Ireland’s exports. David Quigley, for example, is a young pianist from Newry who now lives in Birmingham and has recently made a CD of Northern Irish Piano Music for the Arts Council. One of the other pianists in this Phillips Collection series, Michael McHale, won the first Clandeboye Camerata Ireland Bursary and I hope that in years to come the Phillips Collection will make an agreement with Clandeboye to feature the future winners in its series.

Those are just a few examples of the “geographic breadth” of the artists’ Northern Irish origins.

In terms of arts organisations here which will be partnering in the presentation of artists in DC, in most cases it is purely an administrative function. For example, ArtsCare, with its outreach throughout the Northern Ireland healthcare field, will handle the travel arrangements for the artists connected with the residencies at the Lombardi Cancer Center in Georgetown University Hospital. Golden Thread Gallery in Belfast will handle the administrative arrangements for shipping the Arts Council Collection to American University because its director, Peter Richards, is one of the most experienced international activists in the visual arts world here.

I have also encouraged partnerships within Northern Ireland. For example, I hope that Belfast Exposed and the Verbal Arts Centre in Derry will partner in administering the possible Community Photography/Creative Writing Project in Anacostia. Seacourt Printworkshop in Bangor will partner with Belfast Printworkshop in looking after the print residencies and print exhibitions planned in DC.

When an arts organisation is presenting itself, I have asked that organisation for obvious reasons to do its own arrangements e.g. Opera Theatre Company in Derry, Cahoots in Belfast. Moving on Music has always handled management arrangements for Brian

99 Irvine and his Ensemble and there is still a chance that the British Council will also be involved in this project.

The Northern Ireland Film and Television Commission and the Northern Ireland Music Industry Commission will handle arrangements for, respectively, film and popular music as they are the lead bodies here in their specialist field.

In looking for these partnerships, I have approached a great many organisations which have an access into different types of artforms. For example, both universities look after a number of different art forms and for this reason I have made particular efforts to engage with them. For example, I have visited Derry through the good offices of Kate Bond and I hope to involve UU through its Magee Campus in a drama residency. I have also made a connection with the Seamus Heaney Centre at Queen’s University to administer the poetry event at the National Geographic Society.

In the case of the Cultural Programme, the widest possible definition of partnerships would include Arts organisations here and in the States and related bodies with whom I am dealing. I have therefore included here the partnerships of government and government agencies which are / will be involved in events to date, but it should also be remembered that more partners of whatever description will also become involved as the details of the programme emerge and continue to expand.

These types of partnerships under the Cultural Programme therefore include the following:

NORTHERN IRELAND

Departments DCAL, DSD(through the Regeneration project), DHSS (through Artscare), DEL (through Universities),

NDPB's and related bodies ACNI, NGMNI, British Council, NIFTC, NIMIC, Craft Northern Ireland, PRONI, Visiting Arts London Northern Ireland Bureau BBC

100

Arts Organisations etc. Camerata Ireland, Queen's University, University of Ulster, Moving on Music, Belfast Printworkshop, Seacourt Printworkshop Bangor , ArtsCare, Belfast City Hospital, Sonic Arts Research Centre, Foras na Gaelige, Ulster Scots Agency, Belfast Exposed, GoldenThread Gallery, Ormeau Baths Gallery, Ulster Folk and Transport Museum, Verbal Arts Centre Derry, Belfast Exposed, Young at Art, Cahoots Northern Ireland, Opera Theatre Company Dublin/Derry, Linenhall Library, Press Photographers Association of Northern Ireland, Tinderbox Theatre Company, Washington Ireland Program/Belfast City Council, Francis McPeake School of Music.

WASHINGTON DC

Government Agencies National Endownment for the Arts (NEA), National Archives Museum, Smithsonian Institution

Arts Organisations and related bodies

National Geographic Society, American University, Catholic University, Georgetown University, Arts and Humanities Unit at the Lombardi Cancer Center, Library of Congress, Anacostia Regeneration Community Housing, Washngton Printmakers' Gallery, Pyramid Atlantic,

101 Arts and Artists International, Phillips Collections, Solas Nua Theatre Company, School for Arts In Learning (SAIL), Duke Ellington School for the Arts, American Film Institute, Imagination Stage, Levine School of Music.

Summarised Cultural Programme update

Confirmed July 2006

Orchestral Concert – Concert at The Library of Congress with Barry Douglas and Camerata Ireland with an outreach/education package included. Programme comprises the Elegy for Strings by American composer Elliott Carter and a new commission from Northern Irish based composer Dave Morris side by side with Beethoven 2nd Piano Concerto and Mozart Symphony No. 25. Date: March 23rd 2007 NI Partner: Camerata Ireland

Poetry - a two day academic Conference based around Poetry from Northern Ireland (details t.b.c) at Georgetown University. At the conference, the prerogative of the programming belongs to Georgetown University as part of its Lannan Program but it is hoped that a younger generation of Northern Irish poets will be involved as well. (t.b.c.)The conference will be associated with the evening event on 18th April.

That evening event will be presented by The National Geographic Society building in partnership with The National Endowment for the Arts. Poets for the evening will feature a “stellar” line-up of Seamus Heaney, Michael Longley, Ciaran Carson, Paul Muldoon and Medbh McGuckian introduced by the Chair of the NEA, Dana Gioia Date: 17th/ 18th April 2007 NI Partner: Queen’s University Belfast / Seamus Heaney Centre

Jazz/Contemporary Music - The Brian Irvine Ensemble as musicians in residence in DC. Events possibly at Union Station, The ARC Center for the Arts, and confirmed at The Library of Congress. It is also hoped to bring Brian Irvine to Washington during the previous week to do workshops with young DC musicians and maybe feature them as part of the following week’s concerts . (t.b.c.) During the previous week, it is hoped that Brian Irvine will do a residency at the Duke Ellington School for the Arts

102 Dates: 23rd - 27th April 2007. Library of Congress concert confirmed as 27th April. Week beginning 16th April for Brian Irvine project at Duke Ellington School for the Arts. NI Partner: Moving on Music/British Council

Print Exhibition – Exchanges with Washington Printmakers’ Gallery, arranged in DC through another print/visual art organisation called Pyramid Atlantic and print exhibition at Arts and Artists International at its recently opened space near Dupont Circle Dates: April – July 2007 NI Partners: Belfast Printworkshop and Seacourt Print Workshop

Arts & Health – the arts program of the Lombardi Cancer Center at Georgetown University Hospital will do exchange and artists residencies including Elaine Agnew (composer) and Kate Newman (writer) and ArtsCare artist in residence at Belfast City Hospital Andrea Spencer (glass artist) Paul McEneaney of Cahoots NI will also do a short residency here. Dates:5th – 30th March - Elaine Agnew and Kate Newman June 2007 (exact dates t.b.c.) Andrea Spencer NI Partners: ArtsCare /Belfast City Hospital/QUB

Contemporary Art Exhibition – exhibition from ACNI collection at the Katzen Center, American University, The exhibition will be curated by the Director of Katzen Dr. Jack Rasmussen who will come to Belfast in October 2006 for this purpose. A possible music dimension featuring SARC t.b.c. Dates: 29thth April – 29th July 2007 NI Partners: Golden Thread Gallery/Arts Council of Northern Ireland/SARC

Traditional/Folk Music –Six events at the Library of Congress involving concert/demonstrations/lectures featuring The McPeake Family et al., Davy Hammond (singer) with Arty McGlynn, John Moulden (collector specialist) Gary Hastings and Brian Mullen(Flute and voice – Ulster Scots/Irish), Robert Watt (piper) Place Names Lecture linked to LoC Maps Exhibit Dates: 2, 9, 16,23, 29 May noontime events NI Partners: Foras na Gaelige and Ulster Scots Agency, Francis McPeake School of Music

Childrens’ Theatre –a programme of events at the Imagination Stage during its first Children’s Festival in Bethesda featuring Cahoots NI and Opera Theatre Company. OTC will perform a Children’s Opera written by NI composer Stephen

103 Deazley. Paul McEneaney will also perform at the Lombardi Cancer Center at Georgetown University Hospital. Dates: 28th March – 7thApril 2007 NI Partners: Cahoots NI, Opera Theatre Company

Young Musicians’ Solo Recitals – series of four Sunday afternoon concerts at The Phillips Collection featuring in order of appearance Jonathan Byers (baroque cello) and Richard Sweeney (archlute). Darragh Morgan (violin) and Mary Dullea (piano) (V & P recital with some music from NI included) Michael McHale (Mixed programme of solo piano music)David Quigley (Solo Piano music from Northern Ireland) Dates: May 6,13,20,27 2007 NI Partner: None identified as yet

Projects nearing confirmation:

Craft Exhibition at the Smithsonian’s Arts & Industries Museum space in the S Dillon Ripley Centre on the National Mall. MINI (Made In Northern Ireland) will be a pinnacle exhibition of contemporary NI craft and will bring 3 small exhibitions representing the best contemporary NI Craft and applied artists. Dates: May – September NI Partners: Craft Northern Ireland and Interface, UU

Drama Production of “Themes from the Big Picture” by Owen McCafferty by Solas Nua Theatre Company with possible co-production with Tinderbox Theatre Company t.b.c. Dates: May/June 2007 NI Partner: Tinderbox Theatre Company(t.b.c.)

Drama Residency for one month at Catholic University possibly in association with the Performing Arts School at Magee Campus UU Dates: March 2007 NI Partner: Performing Arts School, UU Magee Campus (t.b.c.)

104 On going projects:

Arts in the Community Residencies - two artists in the community residencies in Anacostia working with youth “at risk” in photography and creative writing. This will be explored with the Anacostia Museum and ARCH NI Partner: Belfast Exposed/Verbal Arts Centre Derry

Visual Arts/Photography Exhibitions –possibly up to four private gallery exhibitions for individual artists at ARCH in Anacostia and a private gallery in U Street. NI Partner: Golden Thread Gallery

Vi d e o – on-going discussion with the Hirshhorn Museum for Willie Doherty

Film Festival – programme being arranged by NIFTC - a film and documentaries festival at the American Film Institute at Silver Springs

Architectural/Regeneration Events- exploring possibilities with DSD, Arts Council and others

Heritage – limited possibilities in this area. Possible Titanic Exhibition The Northern Ireland partners currently being engaged are the Ulster Folk and Transport Museum and Belfast City Council. NITB also involved.

Genealogy Events – exploring possibilities with the National Archive Museum in Washington

Popular/Rock Music – Northern Ireland Music Commission and ACNI are exploring possibilities for presenting venues and showcasing performers/bands.

Young Critics Exchange – exploring a programme with Visiting Arts in London to bring together three emerging critics from DC with three from Northern Ireland in the areas of Visual Arts, Literature and Music for an intensive period of study with leading critics/teachers/artists for week in DC and a week in Belfast.

Photographic Exhibition – exploring possibilities for an exhibition at the Press Club in DC through the Northern Ireland Bureau and with the Northern Ireland Professional Photographers’ Association

DR.PHILIP HAMMOND Creative Director, DCAL. 2nd August 2006

105 ANCILLARY CULTURAL PROGRAMME: POSSIBLE COSTINGS

EVENT Original April 06 July 06 Individual artist placements 50,000 50,000 15,000 Photographic Exhibition (Community) 15,000 20,000 15,000 Anacostia/U street Galleries 15,000 Anacostia Woodworker Residency Print Exhibition 15,000 15,000 15,000 Print residencies 15,000 15,000 ContemporaryPaintings/VisualArts 50,000 50,000 55,000 Exhibition Video installation 7,500 7,500 7,500 Ulster Orchestra Concert Tour 150,000 Inoperable Inoperable Camerata Ireland Concert Tour 50,000 60,000 63,000 Library of Congress Phillips series with 6 NI Musicians 15,000 12,000 15,000 Craft Northern Ireland Exhibition 35,000 35,000 35,000 Drama event 50,000 30,000 10,000 Literary Opening 9,000 10,000 15,000 Poetry Reading (with music content) 9,000 Poetry Evening Nat. Geographic Society 10,000 17,000 Poetry Reading (without music content) 4,500 Poetry Conference 7,500 7,500 Architectural lectures / Symposium 4,500 4,500 DSD Film festival NIFTC 15,000 50,000 50,000 Music and Technology (S A R C) 10,000 10,000 10,000 Visual Art and Heritage (UM) 50,000 50,000 50,000 Titanic Arts and Education 25,000 25,000 20,000 Arts and Health (ArtsCare) 25,000 25,000 30,000 Lombardi/Georgetown University Brian Irvine Ensemble 45,000 50,000 Archives Event 10,000 10,000 Cultural/Traditional Events at LoC 20,000 26,000 Children’s Theatre 15,000 30,000 Popular Music Events 20,000 30,000 Press Photography Exhibition 10,000 Young Critics’ Programme DC/NI 25,000 TOTAL:£589,500 New Total: £641,000

106 “Over there….” A report on a fifth visit to Washington DC 9th September – 17th September 2006 Philip Hammond Introduction This is the sixth paper I have written since November 2005 and the initial “Over here, over there...” paper which contained a preliminary and estimated outline of the cultural aspect for the “Rediscover Northern Ireland” Programme of Smithsonian 2007.

It is essentially a report on an eight day visit to Washington DC 9th -17th September 2006; the previous four visits took place on 4th – 11th December 2005, 29th January – 6th February 2006, 18th –25th March 2006, and 27th June – 6th July 2006. The main purpose of this visit was to confirm partnerships and agreements with the several venues and organisations which will be hosting events from Northern Ireland, and also to explore the remaining possibilities for any other cultural organisation who may yet be engaged in the Rediscover Northern Ireland programme.

I think if we had a limitless budget and a limitless amount of time, it would be quite feasible to programme arts events in nearly every institution in Washington DC, such is the enthusiasm and friendliness of the Washingtonian arts community with whom I have been dealing. However, there are defined limits to both budget and timetable and so, as has become my intention over the past two visits, the end of September/beginning of October has to be the cut-off point for confirmation of events.

With this looming deadline, it was important for me to see as many people as possible; as a result, my schedule was very full on this trip. This whole experience of putting together a programme of cultural events over a protracted period of time has proved again the organic nature of the Arts. Above all, the arts bring people together and that increasingly in my opinion is almost more important than the events themselves which become merely catalysts for longer term relationships.

One example of this “organic dynamic” came at a meeting which Dr. Aideen McGinley asked me to arrange at the Lombardi Comprehensive Cancer Center at Georgetown University. QUB Vice Chancellor Peter Gregson, QUB Professor Paddy Johnston, DEL Permanent Secretary Dr. McGinley and Nancy Morgan, Director of the Arts and Humanities Unit in the hospital, came together and during the meeting, Emily, a cancer patient at the hospital, briefly joined us. She was so life - affirmative and had gained so much from her connection with the Arts and Humanities Unit in Lombardi that it showed all of us what the arts can open up in an environment which is not always somewhere one would really like to be. The human element of this meeting seemed to me to be at the heart of what we are trying to do.

107

Meeting people in DC will be one of the abiding impacts that this whole experience has had on me personally. Sometimes I have been able to reacquaint myself with old friends there – such as Pennie Ojeda, with whom I first had business connections in the early nineties when we set up a US/Ireland Residency Exchange Program. She is now International Director of the NEA and it has been through her that I have been able to reforge our Northern Ireland relationship with the NEA. She has also been immensely helpful in introducing me to other contacts in DC.

Carmel McGill, originally hailing from Northern Ireland, is someone with whom I have been in touch since the nineties too when she worked for the British Council in Washington. It is always reassuring and helpful to be able to run past her all the ideas for the Cultural Programme as she knows the Washington scene so well. Her advice and support is invaluable and I always try to make a point of asking her for some of her time when I am on a DC visit.

My visits to Washington have always included some new key people with whom I have found it personally interesting to cross paths. During this visit, I was privileged to meet with Michael McDowell, whose Northern Irish background in journalism has now turned into international consultancy at the highest levels of the Communications business worldwide. I was put in touch with Michael through the good offices of Brian Garrett here in Belfast.

Amongst the other individuals with whom I have found personal connections is Robert Aubry Davis. He happens to know well two of my best friends – Jacqueline Horner whom I taught at Queen’s many years ago and is now famous for her membership of Anonymous Four, and Ketzel Levine, a renowned NPR reporter whom I have know since the mid eighties. These contacts laid the way for a meeting with Robert at XM Satellite Radio and I have asked if he would do special programmes on Northern Irish classical music as he would be considered Washington’s most popular radio presenter of the genre.

In between the many meetings I managed to squeeze into this week in DC, as always I visited the Northern Ireland Bureau on several occasions in case anyone there wanted specific information on specific events or partnerships. Courtney Patterson, Cultural Affairs Officer at NIB, was able to attend two of the meetings I had arranged.

My original list of reasons for this past trip included several objectives which I was not able to fulfil – namely, meeting with the Smithsonian team at the Folklife Center (due to the fact that all of them were out of town when I was in town!) and look for possible accommodation should I be asked to live in Washington next year during the duration of the Arts & Cultural Programme.

108

As always, before departure on this visit, I prepared a schedule which outlined several specific objectives. These were:

PURPOSE OF VISIT:

1. to initiate work on the Literature events 2. to identify and confirm as far as possible venues for the popular music events 3. to be able to develop my contact with other partners in the DC programme and delve into much more detail now e.g. the Anacostia project with ARCH, the Titanic possibilities, the programme at Imagination Stage, the education projects with SAIL, the print exchange with Pyramid Atlantic etc. 4. to see the NEA Chair, Dana Gioia and persuade him to come to Belfast next February 5. to meet with Jose Dominguez and Dolores Kendrick (DC Poet Laureate) at the DC Commission for the Arts and Humanities 6. to investigate possible events at the National Archives Museum 7. to investigate any other last programming possibilities

Dr. Philip Hammond 07985 111 003

Hotel:

Jury’s Hotel 1500 New Hampshire Avenue, N.W, Washington DC 20036, USA. Tel: +1-202-483 6000

109 WASHINGTON SCHEDULE Saturday 9th September – Saturday 16th September 2006

Saturday 9th September

Continental Airlines – Newark – Washington Arrive. 6 pm.

Sunday 10th September

9.30 Carmel McGill at Jury’s

13.0 Solas Nua Board Meeting (Dan Brick and Dennis Houlihan) The Warehouse, 7th Street NW

Monday 11th September

10am Amy Cavanaugh and Briony Evans ARCH Development Corp. & Training Center 1227 Good Hope Rd. SE Washington DC 20020 202-889-5000 ext.109

14.30 Robert Aubry Davis at XM Satellite Radio Mobile 301 437 4452 XM Satellite Radio 202 380 4300 WETA 703 998 2850 Home 301 587 2844

16.00 Michael H.C. McDowell Trustee and Senior Fellow The Panos Institute Washington D.C. (202)429-0730 (mobile)(202)391-5240 (home)(202)364-5034

110 Tuesday 12th September 10.0 Cara Leah Lanza, Director of Marketing National Press Club 529 14th Street NW Washington DC 20045

12.00 David Furchgott (International Arts and Artists) Cosmos Club, 2121 Massachusetts Avenue Washington DC

14.00 Jose Dominguez (DC Arts & Humanities Commission) Dolores Kendrick (Poet Laureate) DC Commission on the Arts and Humanities 410 8th Street, NW, 5th Floor, Washington, DC 20004 202- 724-5613

15.30 Sam Anthony, National Archives Museum work (202) 357-5206 ;cell phone (703) 407-3748

20.0 Mimi Conway Chair,Theater J and Peace Café organiser

Wednesday 13th September 10.00 Greg McGruder and Lori Dynan National Geographic Society

11.30 Dr. Patrick Tuite at the Shakespeare Folger Library Assistant Professor & Head of MA Program Drama Department The Catholic University of America Washington, D.C. 20064 (202) 319-6870

14.00 Dana Gioia (Chair) Pennie Ojeda National Endowment for the Arts 1100 Pennsylvania Avenue Washington DC 20506 202 682-5562

16.00 Tom Donahue Chair, Department of Drama, The Catholic University of America Tel:202 319 5351 19.00 Gala Dinner and NEA Awards Presentation at the Library of Congress

111 Thursday 14th September 10.00 Dr.Larry Riccio at SAIL 1100 16th St NW Washington, DC 20036 (202) 296-9100

11.30 Ron Newman Operations Manager Duke Ellington School of the Arts Tel: 202 342 7589 Mob: 202 258 7649

14.00 Peggy A. Bulger, Director American Folklife Center Library of Congress 101 Independence Ave, SE Washington, DC 20450 (202) 707-1745

16.0 Diane Dimkoff and Nancy Fortna National Archives Museum

Friday 15th September 9.30 Nancy Morgan, Dr.Aideen McGinley,Prof. Peter Gregson, Prof. Paddy Johnston Georgetown University Hospital

11.00 Prof.George O’Brien and Prof.Mark McMorris Georgetown University English Department

13.00 Janet Stanford, Imagination Stage (Lunch)

15.00 Stephanie Wright, Education Officer Washington National Opera 6925 Willow Street, Takoma Park Washington DC

20.00 Katzen Centre Concert (Jerzy Sapieyevsky)

Saturday 16th September 10am Helen Frederick, Executive Artistic Director Pyramid Atlantic Meeting 8230 Georgia Avenue Silver Spring Maryland 20910 301 608 9101 16.59 Flight to Newark 20.55 Flight to Belfast - Arrive Sunday 17th September

112 Progress on Cultural Programme September 2006

Library of Congress

On my first visit to Washington last December, I identified the Library of Congress as the venue which would probably prove to be the most significant in terms of number of events.

And so it has turned out. On this visit, I met the group of people who will be helping to arrange and administer our partnership programme. The LoC will host two Music events (one Classical one Contemporary) five Traditional Music events and a Place Names Symposium. The first event of the Rediscover Northern Ireland (RNI) programme will take place at LoC and has already been advertised in the venue’s season brochure – thus being the vanguard of our own publication, the production of which will be the next major project upon which we have to embark soon.

The opening reception of RNI will be held in the Great Hall of the LoC and I was invited to attend a dinner and awards ceremony there during my visit. Two things struck me about that event; firstly, the grandeur and opulence of the setting which of course is pertinent to RNI, and secondly, apropos a wider context, the National Endowment for the Arts (NEA) held this dinner to celebrate the lifetime achievements of eleven artists from around the States. The oldest was a 92 year old Navajo story teller. All of the award recipients spoke at some length and I was suffering from jet lag – but despite this, I was impressed by the fact that older age and experience were deemed worthy of celebration and recognition – not a youth in sight which I personally found rather refreshing!

The arrangement for our own events were the subject of my meeting with the American Folklife Center staff, with Tomas Hernandez representing Music Division at LoC. Here it began to dawn on me the scale of RNI’s arts and culture programme – maybe not so much from the point of view of number of events which is nonetheless very satisfactory, but more for the amount of details which will have to be managed for every single event.

For example, the opening concert by Camerata Ireland and Barry Douglas takes place on March 23, 2007. A relatively simple matter of deciding on the programme has hidden complexities because of the size of the orchestra, the idea of linking American music with Northern Irish music, and the need to showcase Barry’s recent recording of the Beethoven Piano Concertos with Camerata Ireland. I wanted a new commission for a Northern Irish based composer and chose Dave Morris because he has not received a commission for some time despite the fact hat he has taught the majority of young composers in Northern Ireland currently bathing in the relative limelight of contemporary music performance. Barry and Dave however have to agree on the size, scope and instrumentation of this new work, it has to be written and rehearsed, parts copied and distributed – all within a short space of time.

113 The recent terrorist threat to air travel was also going to create a major problem. Airlines were not allowing musicians to bring their instruments on board as cabin luggage. This was a major concern for orchestral musicians especially violinist and cellists. If they did not want to commit their valuable instruments to the hold – and who would – the only alternative would be to hire instruments abroad with the concomitant difficulty of musicians not being familiar with the unique qualities of their hired instrument – let alone the added expense of hire and the logistics of actually getting instruments.

Luckily in the last few days, airlines have lifted this particular restriction on cabin luggage and I sincerely hope that no more terrorist threats reoccur to change this return to pre-August normality.

Still to be decided is whether the opening reception at LoC is pre-concert or post-concert. For selfish reasons, I favour the post-concert option because the LoC have asked me to interview Barry in public at 6.15pm on the evening of his appearance – so neither he nor I would be available to go to the reception.

Such are just some of the details which have to be considered. This meeting at LoC began the process and reminded me of the diminishing amount of time left. Without wishing to imitate the annual Christmas countdown scenario, there are only six months remaining before the RNI programme begins – a sobering thought.

Lombardi Comprehensive Cancer Center and the School for the Arts In Learning.

As mentioned in the introduction to this report, I was able to co-ordinate a meeting at LCCC in Georgetown University Hospital between Nancy Morgan (Director Arts and Humanities Unit LCCC) Vice Chancellor Peter Gregson (QUB) Professor Paddy Johnston (City Hospital Cancer Centre/QUB) and Dr.Aideen McGinley (DEL). Everyone saw first hand exactly how people working in and through the arts in healthcare environments can interact with medical staff, hospital administrators and patients. Northern Ireland leads the world in many respects in this field and this type of link between LCCC at Georgetown University Hospital and the new Cancer Centre at City Hospital in partnership with Queen’s University is a significant expansion of the QUB/GU special relationship for the future.

The artists who will spend time at LCCC (Kate Newman, writer; Elaine Agnew, composer; Andrea Spencer, glass artist) have all been connected with ArtsCare, the Northern Ireland partner and administrator of these residencies. Nancy Morgan came to Belfast just after this visit and stayed with me for four days in order to get to know the artists and see for herself the work of art in hospitals in Belfast (her report is attached at the end of this paragraph).

Elaine and Kate will divide their time between LCCC and the School for Arts In Learning (SAIL) This is a school which caters for young people with learning difficulties and again, it is important to highlight the contribution which Northern Irish artists make in this area. This project will last for three weeks in March.

114 Report on Meeting with Northern Ireland Officials and Subsequent Visit to Northern Ireland

Nancy Morgan, MA. Director, Lombardi Arts and Humanities Program September 26, 2006

A promising and productive meeting took place on September 15, 2006 that would potentially expand the collaboration between Queens University Belfast and the Lombardi Cancer Center/Georgetown University to include Arts in Healthcare. Distinguished guests included Dr. Patrick Johnston, Professor of Oncology, Professor Peter Gregson, Vice Chancellor of Queens University, Dr. Aideen McGinley, Permanent Secretary of the Department of Employment and Learning, and Dr. Philip Hammond, Creative Director for the Arts and Culture Programme. Our guests met artist Nevin Bossart and learned from him and other patients how the arts are introduced at Lombardi to help in coping with cancer. Dr. John Marshall greeted the group and spoke briefly about research goals and plans to expand the cancer center. Descriptive materials were distributed to each guest, and the group discussed ways the two universities and cancer centers could collaborate and expand arts programming to benefit both sites.

I subsequently spent a week in Northern Ireland and during that visit toured a number of hospitals with substantial arts programming, much of which was sponsored by ArtsCare and the Arts Council of Northern Ireland. Each hospital took a different approach to the selection of art and artists, creating a spectrum of environments that ranged from museum quality installations by prominent artists to patient-centered images derived from surveys of patients and staff needs and rendered by professional artists.

Most impressive is the 1% for art policy that enables artists to work with architects and staff in new buildings to make art an integral part of the environment. One excellent example is the new renal facility at Ulster Hospital. Though the building is not yet finished the art is in place- a stunning glass embossed overhang, dramatic stained glass windows , exquisite tile wall decoration and floor mosaics- all reflecting the theme of water- a choice voiced by patients who were interviewed. Mater Hospital has a lovely sculpture garden and thoughtful art created by patients, staff, and professional artists. The patient art was expertly composed, framed and arranged to project a professional and appealing effect. City Hospital’s impressive new cancer center is primed and ready for the arts to create a welcoming atmosphere. On the second floor a whimsical series of stained glass kites by Andrea Spencer adds a dash of brilliant color to the serene hues in the waiting area. It was a privilege to lead the first arts workshop in the new center- a writing session with cancer patients, staff and two artists, Andrea Spencer and Kate Newman. The variety of exercises was well received, and patients enthusiastically asked at the conclusion “What’s next?” Andrea suggested some follow up visual art activities and quickly prepared evaluations to properly document response to the first workshop.

I met with the Board of Directors of ArtsCare and congratulated them on the fine work they are doing throughout the country that so contributes to the wellbeing of patients and

115 caregivers at each center. Several venues, including Mater and Royal, are conducting research to investigate the impact of arts programming on patient health. I am especially grateful to Lorna Hastings, for arranging my itinerary for the week, allowing me to attend the board meeting and escorting me to Mater and Knockbracken. She is doing exemplary work and I hope to bring her to America to participate in a Spring symposium about arts in healthcare. The fact that Artscare’s policies, funding and aesthetic vision carry across all of Northern Ireland is an accomplishment worthy of note by the rest of the world.

Meetings with artists selected by Philip Hammond to work in residency at Lombardi in the Spring as part of the events leading up to the Smithsonian Folk Life Festival helped lay the groundwork for the visit. Andrea Spencer, Kate Newman and Elaine Agnew discussed their previous work with patient populations and I spoke about the specific patient needs and physical plant at Lombardi to help them tailor their presentations to the people, spaces and schedules available to us. Additionally, I met with Paul McEneaney of Cahoots NI , a childen’s theatre company. As part of the Rediscover Northern Ireland programme next year in Washington, he will bring his group to the U.S. to work at the Imagination Stage in Bethesda, and spend two days doing Bedside Theater with children at Children’s Hospital and the Lombardi Cancer Center.

I met with Dr. Johnston at City Hospital to further discuss aspects of the Georgetown Queens collaboration.

We clearly have much to learn from each other’s accomplishments and the proposed collaboration, exchange of artists, video-conferencing and other ideas that emerged in our conversations hold great promise.

Nancy Morgan

Imagination Stage

Earlier this year, through the good offices of the British Council, I asked Janet Stanford, Director of the Imagination Stage in Bethesda – a suburb of Washington – to come to Belfast to experience the Young at Art Festival. Amongst the many acts she found of interest was that by Cahoots NI and this resulted in an invitation for them to appear at her brand new Edge Festival for children at Imagination Stage next April. Paul McEneaney, Director of Cahoots, will bring a new production funded by the Arts Council of Northern Ireland to the festival.

But Cahoots will also divide their time with another project – their Flea Circus which Nancy Morgan has arranged for them to bring to the Children’s Hospital in Washington.

116 Catholic University Despite being the “nation’s capital”, Washington is surprisingly not that well served with performance spaces. In particular, drama companies have a hard time finding venues. There are several well established theatre spaces but here are a great many companies in DC which have no consolidated link with those few theatres. This was perhaps the main reason – as well as completed programme plans – that I could not find any willing theatre spaces/venues/companies to undertake productions of Northern Irish plays.

However, one small scale company did agree to help – this was Solas Nua, established by a young “Renaissance woman” from Dublin called Linda Murray and her partner/ American actor Dan Brick. They have agreed to mount a production of Owen McCafferty’s Themes from the Big Picture, a twenty-one hander. It is a major undertaking ofr a relatively new company but in the production I saw of theirs in a previous visit, they remind me of the energy of Northern Irish companies such as Kabosh, Tinderbox or Mad Cow Productions (as it used to be) when thy first started out back in the nineties and I am enthusiastic about Solas Nua’s enterprise.

Partnering with Tinderbox in Northern Ireland, Solas Nua has agreed to use Des Kennedy, a new young director highly recommended by Mick Duke of Tinderbox to direct Owen’s play in DC. Owen has also provisionally agreed to come out for the opening of the play in mid-M a y .

As I wrote above, finding a theatre space is to say the least difficult and expensive. But through a partnership brokered by Dr. Patrick Tuite whom I met on a previous DC visit, I was able to meet Tom Donahue, Chair of the Drama Department at Catholic, and he has generously agreed to let Solas Nua have one of its theatre spaces for the duration of the play’s run. This is a major gift in kind and links us with perhaps the most prestigious of DC’s university drama departments.

So all is set for Solas Nua to stage Own McCafferty’s play with a Northern Irish director for six weeks beginning mid-M a y .

Dr. Patrick Tuite also made it possible for me to negotiate a drama residency at Catholic university for three weeks in March. This partnership will be with the Performing Arts School at the University of Ulster’s Magee Campus and will form the basis of an on- going relationship between UU and Catholic for the years to come.

Katzen Center, American University

There are at least seven universities in the Washington DC area. Our link with American University will be two fold at the Katzen Center in American University. One connection will be through the visual arts – indirectly so far with the University of Ulster’s College of Art. In late April, an exhibition of Northern Irish art will be shown at Katzen; its director, Dr. jack Rasmussen, is coming to Belfast in October to curate the exhibition which will be based possibly on the Arts Council’s collection although not necessarily restricted to that.

117 Also to be featured at Katzen will be a sound installation set up by the Sonic Arts Research Centre at Queen’s. Chris McClelland, a young composer at SARC, will be I charge of this and he and I went to Katzen to make contact with some of the musicians there – significantly Jerzy Sapieyevsky, an intriguing performance by whom we attended during the visit. Interestingly, Dr. Michael Alcorn, founder and director of SARC, is a UU graduate.

The exhibition at Katzen will offer the University of Ulster a major reception opportunity and at that reception, I have placed the last performance in the Washington series given by the Brian Irvine Ensemble. Brian Irvine received his doctorate from UU. These links to UU underline the reason for UU to be represented in a major way at this event.

International Arts and Artists Gallery, Dupont Circle. The reason that I was able to engage with American University was because the Director of International Arts and Artists, David Furchgott, arranged the contact for me. David has proved to be more than a useful friend to our programme and he is also key to touring on a wider basis in the States following the RNI time period.

In particular, David has been key to the Printmaking from Northern Ireland series of projects. He is offering his small gallery space in Dupont Circle for an opening in May and has offered to co-ordinate a future prints tour. He also, by the way, arranged for a major Korean Ceramic Exhibition to come to the Ormeau Baths in Belfast early next year at little cost to the gallery and so already we can see the benefits of the RNI programme even before it has officially started!

David took me to the Cosmos Club in Dupont Circle to see a possible exhibition space for a series of photographs around the theme of the Birth of the Titanic. With his help as a member of Cosmos, it had been my idea to offer Titanic Quarter a special dinner opportunity here at this private club. The dinner would concentrate on the great past of the shipyard which built Titanic and which now will offer the space for the development of the new Titanic Quarter.

Cosmos is a private but hugely influential club in DC and the sort of place which I think would be a good platform for such a business opportunity. This is an area perhaps a little outside my realm of influence but the offer is there if anyone wants to take it up.

Pyramid Atlantic, Silver Spring. David Furchgott also has links with Pyramid Atlantic – a printmakers co-operative in a suburb of DC called Silver Spring. Incidentally, Silver Spring is also the area which houses the American Film Institute where NIFTC will be concentrating its film festival from Northern Ireland. I visited Pyramid Atlantic to meet its Director Helen Fredericks and was shown the amazing facilities which will be offered to the two printmakers from Belfast Printworkshop and Seacourt Printworkshop who will complete residencies in Silver Spring. Pyramid Atlantic have also offered their gallery space for and exhibition of Northern Irish prints beginning late February and continuing to April 2007.

118 Anacostia

During my first visit to DC in December last year, the Northern Ireland Bureau introduced me to Duane Gautier, the CEO of the Anacostia Regeneration Housing Community – ARCH. I was keen to promote a relationship here and we have agreed on three projects which ARCH will manage for a fee in a community which is almost entirely composed of Black Americans who live largely in a deprived and difficult environment within sight, ironically, of the Capitol building.

With Belfast Exposed and the Verbal Arts Centre in Derry, a writer and a photographer from Northern Ireland will spend two weeks in the Anacostia community. Our two artists, yet to be nominated, will compile material for an exhibition of their time in Anacostia and work with three community groups – a women’s group, a men’s group, and a youth “at risk” group. The resultant exhibition will be mounted in ARCH’s Honfleur Gallery space in Anacostia and then transferred to Belfast and Derry.

ARCH will also organise a mural project in the community using an Northern Irish mural artist and facilitate a performance by the Brian Irvine Ensemble at the ARC community center in Anacostia.

The Duke Ellington School of the Arts

Courtney Patterson and I visited Ronal Newman at the Duke Ellington School of the Arts. As a result, I have agreed a short residency there by composer Brian Irvine during the week before his ensemble arrives in DC so that he can create a new piece with a group of young musicians from the school. The will then be able to play with his ensemble in the following week at the school for all the other pupils there. These dates have now been fixed although I would have to say that I think we will have to have regular contact with the school to ensure that all the arrangements actually happen. Still, a connection with this highly regarded school is significant and it will be further enhanced by the school’s request that Brian incorporates music by Duke Ellington in his performances in some fashion. That will be a nice touch!

National Geographic Society

Unfortunately, the National Geographic Society have decided not to pursue an interest in staging a Titanic event. There was nothing new about Titanic which we were offering them and it was only two years since their last big Titanic exhibition - so I suppose it is not a real surprise. I met with Greg McGruder at NGS to discuss our poetry event there in April. Again, we are now delving into detail. One example of this was going into the NGS lecture theatre/400 seater space to discuss how we would stage the six poets (including the American poet Dana Gioia, who is Chair of the NEA0. I favoured an informal semi- circular grouping of easy chairs on the platform with a lectern to stage right. Dana, as “Master of Ceremonies”, would introduce each poet in turn and invite them to the lectern

119 to read for 10-15 minutes each. Projected behind the group as a backdrop would be a series of pictures of Northern Ireland – changing as each poet came up to read. No harm in flaunting the landscape of Northern Ireland landscape especially at the NGS – I will ask the NITB to prepare a disc of their best pictures not just for this event but also as backdrops for the traditional music events at the Library of Congress. These sorts of cross-fertilisations are what the Rediscover Northern Ireland programme is all about.

Georgetown University/ NEA

The NGS poetry event – for which by the way I have asked Ciaran Carson to come up with a poetically appropriate title – is associated with a major two day symposium at Georgetown University entitled "Befitting Emblems of Adversity”: Lyric and Crisis in Northern Irish Poetry 1966-2006

I met with Professors George O’Brien and Mark McMorris to discuss how to shape this symposium although of course the final prerogative belongs entirely to Georgetown and the Lannan Program which supports the event. We agreed however that Professor Edna Longley could highlight the MacNeice Centenary year of 2007 and that Sinead Morrissey and Leontia Flynn would be fine proponents of the new generation of Northern Irish poets now establishing themselves. As QUB is keen to promote its special relationship with GU, I have asked if we could launch the new QUB Anthology during the symposium and bring across Frank Ormsby as the gust launcher as it were. For all these poets we would offer a fee and airfare.

The symposium will also feature a session by the “famous five” on the morning that they are later to be appearing at the NGS. We briefly touch on the logistics of all of this and again the devil will be in the detail. A simple thing like making sure the famous five are transported from hotel to university to lunch to sound check at the NGS to dinner to event to reception to hotel requires careful thought, planning and co-ordination between all the partners involved.

This was one of the topics which I discussed in a meeting with Dana Gioia and Pennie Ojeda at the National Endowment for the Arts. But my main reason for that particular meeting was to try and persuade Dana to come to Belfast next February to be a key speaker in the launch of the Rediscover Northern Ireland programme and our appearance at the Smithsonian Folklife Festival. As a working poet and the presidentially appointed Chair of the NEA, Dana’s diary is to say the least “full”. So no firm commitment has been made yet about our invitation to Belfast – he gave me a promise that he would make his decision by early October.

120 National Archives Museum

I had not been able to meet my contact at the National Archives Museum during the summer because the building had been flooded and it was a matter of all hands to the deck. This time however Sam Anthony, Special Adviser to the Archivist, introduced me to several other members of staff at NAM to discuss possible projects there as part of RNI.

We came up with five: 1. Genealogy Symposium: Elizabeth Kelly Kerstens is appearing at the Archives in March. We would like to send a genealogist from NI to join her and emphasize/consolidate the links between Northern Ireland and the US. We would pay a fee and an airfare and a couple of days accommodation for this person should NAM decide to accept this offer. Maybe this would be Fintan Mullan from the Ulster Historical Foundation.

2. Society of American Archivists: We would subsidize a speaker/lecturer for a special meeting of the Society to talk about archiving or digitalisation or the contrasts/similarities between a small place like NI and the NAM. Maybe this would be Gerry Slater, Head of the Public Records Office of NI.

3. Artist in Residence: We would provide NAM with an artist to paint a special picture based around the different types of calligraphy used in the documents housed in NAM archives. This would be painted over a period of one or two weeks and would happen in the lobby of the NAM fully open to public view. The final product would then be hung in the lobby.

4. Titanic Lecture and Showcase of the original drawings of the Titanic: Michael McCaughan from the Ulster Folk and Transport Museum is regarded here as the leading authority on the building of the Titanic and the society of Belfast surrounding the period at the turn of the last century when Belfast had the biggest shipyard in the world. We would have a series of interesting photographs to show and NAM could bring out its Titanic archives too. Date for this would possibly be Thursday May 31st as this is the anniversary of the launching of the Titanic in Belfast (1911)

5. Education Projects: I am not sure exactly how or what we would do together here but obviously the presidential links or the immigration links from Northern Ireland are immense and there is a lot of scope. If we want to pursue this, I think the best thing is to link in with the Public Records Office of Northern Ireland who have a lot of ready material so this would not require a huge amount of work.

121 National Press Club

Tim Losty some time ago made a suggestion to highlight the work of the Northern Irleand Press Photographers Association in Washington in a photographic exhibition. I went along to the National Press Club during my visit to see the possible space there for such an exhibition. We would have to pay $800 for a two week rental in the foyer of the club and would be given the space of eight panels (back to back) 7’ x 4’, along with a DVD Monitor for a continually changing selection prepared already on disc by NIPPA. I have asked Courtney Patterson to look into the possibilities of an illustrated lecture by John Harrison – the current Chair of NIPPA – at the journalist school at American University, as suggested by Tim Losty.

I have discussed all of this with John and he is keen to proceed with this exhibition and lecture idea. In Belfast, NIPPA through the Arts Council are planning an exhibition at he Ormeau Baths so the Washington exhibition would be an interesting extension of the Belfast show.

Literature

This remains the one area where I have to as yet tied down any specifcics or arrangements for a series of Washington events. However, in partnership with the Verbal Arts Centre in Derry and Solas Nua (the theatre company is also interested in managing our literature events) I have ideas about presenting a number small scale events in mid- May. This would be timed to take advantage of the opening of the Owen McCafferty play at Catholic University. I have approached Glen Patterson to come up with ideas and have talked to James Kerr at the Verbal Arts centre as well for suggested writers. When I was in Washington, I met with Jose Dominguez and Dolores Kendrick at the DC Arts & Humanities Commission for further help. Dolores is Washington’s “Poet Laureate” and I have asked her to act as host for these literature events and introduce each of them in her capacity as Poet Laureate. She has agreed to do this. The possible venues for events would be Chapters Bookshop, Politics and Prose Bookshop, Busboys and Poets performance space and perhaps some outreach venue as well. Time is running out for this but I think I can still manage something before the deadline at the beginning of next month.

Washington National Opera I met with Washington National Opera at the request of Opera Theatre Company. Rosa Solinas who runs OTC’s operation in Northern Ireland made contact with WNO to stage an educational package around their production of Bug Off – a children’s opera by Belfast born composer Stephen Deazley. The team at WNO were very excited at the partnership with OTC and this could be the basis for future collaboration. Imagination Stage are also involved in this partnership which of course gives a wider resonance to our presence there as well.

This educational project would probably take place in April. Details have yet to be defined but the partnership is now confirmed.

122 Summarised Cultural Programme update

Confirmed September 2006

Poetry - a two day academic Conference 17/18 April (The Lannan Literary Symposium & Festival 2007) based around Poetry from Northern Ireland entitled "Befitting Emblems of Adversity": Lyric and Crisis in Northern Irish Poetry 1966- 2006 at Georgetown University. The conference will be associated with the evening event on 18th April.

That evening event will be presented by The National Geographic Society building in partnership with The National Endowment for the Arts. Poets for the evening will feature a “stellar” line-up of Seamus Heaney, Michael Longley, Ciaran Carson, Paul Muldoon and Medbh McGuckian introduced by the Chair of the NEA, Dana Gioia Date: 17th/ 18th April 2007 RECEPTION hosted by Queen’s University NI Partner: Queen’s University Belfast / Seamus Heaney Centre

Jazz/Contemporary Music - The Brian Irvine Ensemble as musicians in residence in DC. Events at Duke Ellington School for the Arts, The ARC Center for the Arts, The Library of Congress and the Katzen Center, American University (t.b.c.). During the previous week, Brian Irvine will do a residency at the Duke Ellington School for the Arts and maybe feature those young musicians as part of the following week’s concerts . (t.b.c.)

Dates: 24th - 27th April 2007. Library of Congress concert confirmed as 27th April. Week beginning 16th April for Brian Irvine project at Duke Ellington School for the Arts. NI Partner: Moving on Music

Print Exhibition – Exchanges with Washington Printmakers’ Gallery, arranged in DC through another print/visual art organisation called Pyramid Atlantic in Silver Spring and print exhibitions at Pyramid Atlantic and at Arts and Artists International at its recently opened space near Dupont Circle Dates: April – July 2007 NI Partners: Belfast Printworkshop and Seacourt Print Workshop

123

Arts & Health – the arts program of the Lombardi Cancer Center at Georgetown University Hospital will do artists residencies including Elaine Agnew (composer) and Kate Newman (writer) and ArtsCare artist in residence at Belfast City Hospital Andrea Spencer (glass artist) Paul McEneaney of Cahoots NI will also do a short performance here. Arts In Healthcare Symposium at LCCC will also be organised here. Date t.b.c. Dates13th – 30th March - Elaine Agnew and Kate Newman May 2007 (exact dates t.b.c.) Andrea Spencer NI Partners: ArtsCare /Belfast City Hospital/QUB

Contemporary Art Exhibition – exhibition from ACNI collection at the Katzen Center, American University, The exhibition will be curated by the Director of Katzen Dr. Jack Rasmussen who will come to Belfast in October 2006 for this purpose. A music dimension featuring SARC will be in the form of an electro- acoustic installation t.b.c. Dates: 29thth April – 29th July 2007 RECEPTION hosted by the University of Ulster t.b.c. NI Partners: Golden Thread Gallery/Arts Council of Northern Ireland/SARC,UU

Traditional/Folk Music –Six events at the Library of Congress involving concert/demonstrations/lectures featuring The McPeake Family et al., Davy Hammond (singer) with Arty McGlynn, John Moulden (collector specialist) Gary Hastings and Brian Mullen(Flute and voice – Ulster Scots/Irish), Robert Watt (piper) Place Names Symposium linked to LoC Maps Exhibit Dates: 2, 9, 16,23, 29 May noontime events NI Partners: Foras na Gaelige and Ulster Scots Agency, Francis McPeake School of Music

Childrens’ Theatre –a programme of events at the Imagination Stage during its first Children’s Festival in Bethesda featuring Cahoots NI. Paul McEneaney will also perform at the Lombardi Cancer Center at Georgetown University Hospital and the Children’s Hospital, DC. Dates: 28th March – 7thApril 2007 NI Partners: Cahoots NI

124 McHale (Mixed programme of solo piano music)David Quigley (Solo Piano music from Northern Ireland) Dates: May 6,13,20,27 2007 NI Partner: None identified as yet

Drama Production of “Themes from the Big Picture” by Owen McCafferty by Solas Nua Theatre Company, a co-production with Tinderbox Theatre Companyand the Catholic University of America Dates: 17th May/June 2007 NI Partner: Tinderbox Theatre Company

Drama Residency for three weeks at Catholic University possibly in association with the Performing Arts School at Magee Campus UU Dates: March 2007 t.b.c. NI Partner: Performing Arts School, UU Magee Campus (t.b.c.)

Projects nearing confirmation:

Arts in the Community Residencies - two artists in the community residencies in Anacostia working with three community groups in photography and creative writing. This will be followed by exhibitions in Honfleur Gallery at ARCH in Anacostia and brought back to Belfast and Derry. Dates: April t.b.c. NI Partner: Belfast Exposed/Verbal Arts Centre Derry

Mural Artist in Anacostia –to be arranged by ARCH Opera Project – Opera Theatre Company in partnership with Washington National Opera staging as an educational project/performance Stephen Deazley’s children’s opera “Bug Off” in Fairfax County Dates: t.b.c. NI Partner: Opera Theatre Company

125

On going projects:

Vi d e o – on-going discussion with the Hirshhorn Museum for Willie Doherty

Film Festival – programme being arranged by NIFTC - a film and documentaries festival at the American Film Institute at Silver Springs

Architectural/Regeneration Events- exploring possibilities with DSD, Arts Council and others

Heritage – limited possibilities in this area. Possible Titanic Exhibition currently being explored by the Ulster Folk and Transport Museum and Belfast City Council. NITB also may be involved.

Genealogy Events – exploring possibilities with the National Archive Museum in Washington with other projects for NAM

Popular/Rock Music – Northern Ireland Music Commission and ACNI are exploring possibilities for presenting venues and showcasing performers/bands.

DR.PHILIP HAMMOND Creative Director, DCAL. 26th September 2006

126

ANCILLARY CULTURAL PROGRAMME: POSSIBLE COSTINGS

EVENT Original August 06 September 06 Individual artist placements (10) 50,000 15,000 15,000 Photographic/WritingExhibition 15,000 50,000 30,000 (Community project) Mural Painter Print Exhibition (2) and tour 15,000 30,000 35,000 Print residencies (2) ContemporaryPaintings/VisualArts 50,000 55,000 55,000 Exhibition (1) Video installation (1) 7,500 7,500 7,500 Camerata Ireland Concert Tour 50,000 63,000 63,000 Library of Congress Solo recital series by 6 young NI Musicians 15,000 15,000 15,000 Craft Northern Ireland Exhibition 35,000 35,000 35,000 Drama event (1) 50,000 10,000 17,000 Literary Opening (6) 9,000 15,000 15,000 Poetry Evening Nat. Geographic Society 9,000 15,000 15,000 Poetry Conference 4,500 5,000 5,000 Architectural lectures (3) Symposium 4,500 DSD DSD Film festival (lost weekend of 4) 15,000 50,000 NIFTC 50,000 Music and Technology (S A R C) 10,000 10,000 10,000 Visual Art and Heritage (UM) 50,000 10,000 Titanic Arts and Education 25,000 5,000 5,000 Arts and Health (ArtsCare) 25,000 25,000 25,000 Lombardi/Georgetown University Brian Irvine Ensemble 50,000 50,000 Archives Event 10,000 25,000 Cultural/Traditional Events at LoC 26,000 26,000 Children’s Theatre 35,000 20,000 Washington Opera Project/OTC 20,000 Popular Music Events 30,000 30,000 Press Photography Exhibition 10,000 10,000 Young Critics Programme DC/NI 20,000 25,000

New Total: £603,500

127 s“Over there….” A report on a sixth visit to Washington DC 6th – 13th January 2007 Philip Hammond

Introduction This is the seventh paper I have written since November 2005 and the initial “Over here, over there...” paper which contained a preliminary and estimated outline of the arts and cultural aspect for the “Rediscover Northern Ireland” Programme of Smithsonian 2007.

It is a report on an eight day visit to Washington DC 6th – 13th January 2007; the previous five visits took place on 4th – 11th December 2005, 29th January – 6th February 2006, 18th – 25th March 2006, and 27th June – 6th July 2006, 9th – 17th September.

I had originally planned to be in Washington in mid-December but, due to ill health, I was forced to abandon that trip and postpone it until January 2007. As it turned out, this particular trip was equally ill-starred and, within two days of arriving in DC, illness took me out of circulation for the best part of the following two days. I did try to carry out some meetings at the hotel and on the telephone. It was Wednesday afternoon before I was well enough to attend a meeting at the Library of Congress, closely followed by a meeting at Susan Davis International and another at Busboys and Poets. The final three days of the visit became pressurised as I tried to catch up.

As it turned out, I was unable to see personally only two of the partners in Washington – Dana Gioia at the National Endowment for the Arts and Greg McGruder at the National Geographic Society. I did however talk on the phone to both organisations and at least managed to answer any questions they had.

One of my priorities on this trip was to locate accommodation for myself for the period of the Rediscover Northern Ireland programme, March through July. This I did with the help of a realtor (a friend of Courtney Patterson, NIB). The proposed accommodation is situated near Dupont Circle and Jury’s Hotel where many of the RNI participants will be staying at a reasonably good rate which I negotiated towards the end of last year. This proximity seemed to me to be a necessity if I am to look after them adequately.

The main preoccupation for me at present and for the PR experts is to get the printed brochure of events actualised before 20th February – when Rediscover Northern Ireland and the Smithsonian Folklife Festival will be launched in Belfast at the Harbour Commissioners’ Offices. Although nearly all the basic information is now up on our website (www.redicoverni.com) I was still working out one or two very last minute details for events in DC during this last trip – and indeed finalising one event which came in only before Christmas.

128

The latter was the provision of an arts content for the increasingly famous “Peace Café” and that event will be a one night performance of Marie Jones’ “A Night in November” at Busboys and Poets on April 30th, given by Belfast-born actor Marty Maguire (now living in LA) and at which Marie Jones herself will be in attendance. Given our particular history, I felt it was appropriate that we should contribute something to the debate at the Peace Café which always centres around the Palestinian/Israeli situation. Again, my premise was that the arts in our society – particularly in Northern Ireland - can provide and have provided a safe context within which to bring people together to discuss differences.

The merest glance at the Rediscover Northern Ireland programme will clearly show that the arts are leading the way in re-profiling the image which Northern Ireland can present to the capital of the United States. The arts events are providing prestigious platforms for other themes of the programme to utilise and are presenting artists of world-wide renown for attracting the attention of the DC public. The arts are demonstrating to the full the message we are all trying to put across to all sorts of audiences– that we are indeed a “creative, confident, outward looking region” .

The arts and cultural programme in Rediscover Northern Ireland reflects every aspect of our society here in Northern Ireland and reaches out to every aspect of society in Washington. Our artists will prove to everyone with whom they come into contact that the future here in Northern Ireland is not predicated on the images of the past which may still linger in the memories of many Americans. Rather, they will convey new personal stories of a constructive creativity which will become I hope the basis of future projects both in Washington and farther a-field in the US in the years to come.

This can be a new beginning and one which must also have repercussions on the way in which the arts can be viewed back here in Northern Ireland. In the United States, a growing recognition of the many and varied societal benefits stemming directly from the arts is well underway and this is the message we in Northern Ireland can learn from the Rediscover Northern Ireland programme and bring back “over here”.

WASHINGTON DC VISIT JANUARY 2007 There were several priorities for this January 2007 visit to DC:

• to arrange accommodation for the period that I will be in Washington during Rediscover Northern Ireland March – July 2007 • to confirm work on the Literature events and Peace Café event if possible • to consolidate and confirm arrangements for the RNI programme and delve into much more detail in association with NIB Cultural Affairs Officer • to accompany PR personnel in their visits to partners in the RNI programme • to see the NEA Chair, Dana Gioia and confirm arrangements for his visit to Belfast next February for the RNI launch

129

WASHINGTON SCHEDULE Saturday 6th January – Sunday 14th January 2007 Dr.Philip Hammond 07985 111 003

Hotel: Jury’s Hotel 1500 New Hampshire Avenue, N.W, Washington DC 20036, USA. Tel: +1-202-483 6000

Saturday 6th January Continental Airlines – Newark – Washington Arrive. 5 pm.

Sunday 7th January

Monday 8th January

10 30 am Meeting with staff at NIB

12.30 pm Janet Stanford, Imagination Stage Lunch at Maggiano’s, 5337 Wisconsin Avenue (at Friendship Heights Metro Red Line) 2.30pm Katzen Center

4.30pm Realtor (David Soda) at Dupont Circle

6pm Nancy Morgan, Lombardi Cancer Unit Dinner at Jury’s

Tuesday 9th January

9.30 am Amy Cavanaugh ARCH Breakfast at Jury’s, Dupont Circle 11am Greg McGruder, National Geographic Society (CANCELLED) 12.15pm Dana Gioia and Pennie Ojeda NEA (CANCELLED

130

2.15 pm Doctor appointment 6.30 pm Dinner with Dr & Mrs Jack Rasmussen (CANCELLED)

Wednesday 10th January 11.30am Doctor appointment 11.30 am PR Video Conference (CANCELLED)

12 – 2.30 Prof. Mark McMorris, Georgetown University

3pm Maggie Kreusi, Library of Congress

5 pm PR Meeting at Susan Davis International

7 pm Mimi Conway, Dennis Houlihan and Andy Shallal Peace Café meeting at Busboys and Poets

Thursday 11th January

10.30 am Murray Horwitz Director, American Film Institute, Silver Spring

11.30 am Helen Frederick Director, Pyramid Atlantic Print Workshop, Silver Spring

1 pm Professor George O’Brien Georgetown University

4 pm Realtor (David Soda) at Dupont Circle

6pm Dinner with Patrick Tuite, Catholic University

Friday 12th January

131 10 am Sarah Frankland, Molly Michal British Council, British Embassy

2.30 pm Terri Merz Chapters Bookshop

5.30 pm David Furchgott International Arts and Artists

7 pm Mark Carrington Phillips Collection

Saturday 13th January

9.30 am Carmel McGill Independent Consultant

1 pm Dan Brick Solas Nua Theatre Company

Depart: Ronald Reagan National Arpt (DCA) 03:35 PM WASHINGTON 13 January 2007 Terminal B

Arrive: Newark Liberty Intl Arpt (EWR) 04:57 PM

Terminal A 13 January 2007

Flight 94 Non-stop Continental Airlines Confirmation Number: BFRCXC Depart: Newark Liberty Intl Arpt (EWR) 08:05 PM

Terminal C 13 January 2007

Sunday 14th January

Return to Belfast/arrive Sunday morning. 7.30 am

132 Progress on Cultural Programme January 2007

Instead of the format I have adopted in previous reports, this time I am providing a preview of the Rediscover Northern Ireland Programme Booklet which will be launched at an event at the Harbour Commissioners building in Belfast on 20th February 2007. Although there may yet be a change to the actual copy used in the eventual booklet, these paragraphs which I have written for the Arts and Cultural theme will provide the basic synopsis of what will happen in Washington between March and June this year.

Press Photography in Northern Ireland Press photography in Northern Ireland has changed dramatically over the last 30 years. Images of ‘The Troubles’ which dominated worldwide newspapers for decades have now been replaced by pictures of the real Northern Ireland. “Out of the darkness-Into the light” 14-28 March is an exhibition which features award winning photography from Northern Ireland looking at life, the arts, concerts, business and sporting events. The exhibition in Washington DC is a unique opportunity to show the work of the Northern Ireland Press Photographers Association to a much wider audience. Visitors to the National Press Club will experience life in Northern Ireland through the lens of some of the most creative photographers in the region. Some of the work is artistic, some tragic, some amusing but all of it will give the viewer a reason to reflect on what is happening today in Northern Ireland.

Music at the Library of Congress In a season which boasts performers such as Steven Isserlis, Joshua Bell, the Orchestra of the Age of Enlightenment and Chanticleer – to name but a few highlights – the Library of Congress Music Division will present two major concerts featuring music and musicians from Northern Ireland at the world famous Coolidge Auditorium. Pianist Barry Douglas founded Camerata Ireland in 1999 and since then has toured his orchestra to international destinations. His program at the Library of Congress will include works by Beethoven, Mozart and Elliott Carter - and a newly commissioned work by Dave Morris, who has taught in Northern Ireland at the University of Ulster for over 25 years and nurtured a whole new generation of composers from Northern Ireland.

Amongst the most exciting of those composers, and certainly the most unique, is Brian Irvine who founded his own ensemble to play his distinctly colourful and often zany music - as one critic put it: “Extraordinarily inventive music of considerable ambition and achievement, that constantly and delightfully wrong footed the audience. Passages of rowdy anarchy were dramatically interrupted by introspective interludes of melancholic beauty, and the range of musical styles included or even momentarily alluded to was dizzying”. During a week’s residency in Washington, The Brian Irvine Ensemble will give several other concerts and workshops – at the Katzen Center, American University. at the Duke Ellington School for the Arts, and at the ARC in Anacostia.

133 Contemporary Popular music in DC Northern Ireland has produced an extraordinary spectrum of internationally renowned contemporary musical talent over the years - from the undisputed genius of Van Morrison to the ground breaking Hollywood soundtracks of David Holmes. As part of Rediscover Northern Ireland, some of our most exciting new artists will be performing in concert at a variety of venues across Washington DC during the weekend of March 23-25. The events have been organised and co-ordinated in partnership with the Northern Ireland Music Industry Commission. Highlights will include, at the Bender Arena, the Grammy nominated Snow Patrol, who are currently storming the US charts; pop hipsters Oppenheimer and the highly acclaimed singer/songwriters Iain Archer and Foy Vance at Iota Club. Club culture in Northern Ireland is booming and in late March, Washington DC’s clubs will also be pulsing to the rhythms of some of Northern Ireland’s hottest and coolest DJs.

Arts in Health Residencies Three artists from Northern Ireland will take up residencies at Georgetown University Hospital. Elaine Agnew (Composer), Kate Newman (Writer) and Andrea Spencer (Glass Artist), will work closely with Nancy Morgan, Director of the Arts and Humanities Unit in the Lombardi Comprehensive Cancer Center during March and May. This partnership with Lombardi is promoted in Northern Ireland by Arts Care, an organization which co-ordinates the development of arts provision in health and social care settings for the benefit of patients, clients, residents and staff. A highlight of this residency program at Lombardi will be a special Symposium on “The Arts and Health”, investigating how the arts may assist with symptom management, enhanced coping skills, motivation to complete treatment and reduced anxiety and depression. The overall program will include activities such as expressive writing workshops, music composition, and glass sculpture.

Arts and Theatre Theatre from Northern Ireland will be hosted at The Catholic University of America, the home of one of Washington’s most successful Drama Departments. In March, Dr. Tom Maguire, a Drama Lecturer at the University of Ulster in Northern Ireland, will complete a teaching residency at Catholic to give American students an insight into new writing for the theatre in Northern Ireland. From May 17 - June 24, Catholic University will be the venue for “Scenes from the big picture”, a play by Owen McCafferty, one of Northern Ireland’s leading playwrights. This co-production brings together the new Washington-based Solas Nua Theatre Company and Tinderbox Theatre Company which is Northern Ireland’s foremost promoter of new Irish drama. Belfast-born Des Kennedy will make his first appearance in the United States as director in this play, which charts a hot summer's day in the lives of twenty one of Belfast’s citizens as their stories interweave and collide.

The Arts Critics Exchange Program The Arts Critics Exchange Program offers an opportunity for three arts writers and journalists from Northern Ireland to connect with three of their counterparts in Washington DC. This program will be designed by Visiting Arts and is led by Linda

134 Christmas, Senior adviser to the Guardian Foundation and Emeritus Fellow, City University, London. Designed on the basis that a community of critical writers makes an essential contribution to democratic societies and a flourishing arts scene, the Arts Critics Exchange Program aims to create links between different cultures as well as contributing to the appreciation and development of arts criticism. During the program, time will be spent in both Belfast and Washington DC, with the participants attending writing workshops, visiting galleries and attending a variety of performances. They will write reviews, discuss their work together and explore the role of the art critic. Established arts critics on both sides of the Atlantic will tutor the workshops.

Prints and Printers in DC Northern Ireland has two organizations dedicated to the art of printmaking. Belfast Print Workshop is situated in the Cathedral Quarter arts district of central Belfast, and Seacourt Print Workshop is an artist print studio located in Bangor, Co. Down. International Arts and Artists in its gallery near Dupont Circle in Washington DC will show an exhibition of prints from Northern Ireland, May 4 – July 20 and curate another small exhibition at the nearby Cosmos Club during that same period. Jill McKeown and Elaine Megahey, two printmakers from Northern Ireland, will spend some weeks as artists-in-residence at Pyramid Atlantic in Silver Spring, Maryland. Pyramid Atlantic, a contemporary visual arts center and gallery dedicated to the creation, exhibition and appreciation of paper, prints and book arts will also stage an exhibition of Northern Ireland prints in its gallery June 18 – August 25.

Children’s Theatre in DC Based in Bethesda, Maryland, since 2003, Imagination Stage nurtures young people of all abilities through participation in professional theatre and arts education experiences. At the inaugural EDGEfest of cutting-edge theatre by and for young people at the beginning of April 2007, Imagination Stage has invited Northern Ireland’s leading children’s theatre company, Cahoots NI, to present “Cuchulain: Hound of Ulster”, a dynamic new theatre production for children aged six and over. Developed by Northern Ireland’s theatre practitioners Paul McEneaney and Zoë Seaton, it will use narrative combined with powerful visuals and music to convey the story of this Irish mythical character. An accompanying school’s workshop will explore the ideas of what makes a mythical character, how people become super heroes, what qualities they would have and how they would use them for the benefit of all. Cahoots NI will also visit the Washington Children’s Hospital with its Bedside Theatre.

Arts in Anacostia Over many years, Northern Ireland has developed a strong relationship between the arts and community activity. Many of our artists make their professional career by interacting with community groups and organisations and have therefore developed a specialised set of skills in bringing the arts to people who may otherwise have felt themselves marginalised from that world. ARCH is a 19 year-old Washington DC not-for-profit, community-based organization, located in the historic Anacostia neighborhood. In partnership with the community photography organisation Belfast Exposed, ARCH will oversee and manage two projects featuring artists from Northern Ireland. In April,

135 photographer Mervyn Smyth and writer Colette Bryce will spend some time in Anacostia compiling work from that local community for a special writing and photography exhibition. In May, two mural artists; Tracey Gallogly from Northern Ireland, and Cheryl Foster who lives in Washington , will devise and paint a mural with and for the people of Anacostia.

Poetry in DC Out of all proportion to its size, Northern Ireland has produced some of the greatest living poets writing in the English language today. On April 17-18, 2007, the Lannan Literary Programs at Georgetown University will host a symposium celebrating and assessing the achievement of forty years of Northern poetry, entitled “Befitting Emblems of Adversity”: Lyric and Crisis in Northern Ireland 1966-2006. Poetry readings, talks, and roundtable discussions will take place over two days and bring to Georgetown not just the stars of Northern Irish poetry but several of the new generation of poets including Sinead Morrisey and Leontia Flynn. Professor Edna Longley will explore the work of Louis MacNeice in this the centenary year of his birth. Professor Ciaran Carson of the Seamus Heaney Centre at Queen’s University, Belfast, has provided the title for the evening event on April 18 at the National Geographic Society, from his collection “Opera et cetera”. In “A Shower of rhyming couplets” the evening’s readings will be introduced by Dana Gioia, the American poet and Chair of the National Endowment for the Arts,. The stellar line up will feature Seamus Heaney, Michael Longley, Medbh McGuckian, Paul Muldoon and Ciaran Carson.

Music and Techonology

The Sonic Arts Research Centre (SARC) at Queen’s University Belfast was officially opened by Karlheinz Stockhausen in April 2004. This unique interdisciplinary centre of excellence, leading the world in its dedication to the research of music technology, has united internationally recognised experts in the areas of musical composition, signal processing, internet technology and digital hardware. At the Katzen Arts Center, American University, Chris McClelland from SARC will create a new audio-visual installation which he entitles ‘Bipolar’. This unusual installation will be experienced from both inside and outside the Katzen Arts Center and will thrive on the shifts in mood and energy provided by its visitors. During the daylight hours, visitors inside the building will help create a sonic and visual experience. By night the installation will be reinterpreted for presentation outside the building. The installation will feed from captured sounds and the movement of visitors causing the projection and soundscape to interact.

Contemporary Visual Art at the Katzen The American University Museum opened its 30,000 square foot exhibition space and sculpture garden in the summer of 2005, a part of the brand new Katzen Arts Center housing all the arts for American University. It is at this beautiful space, April 24 - July 29, where Northern Ireland will exhibit a range of work by some of its leading contemporary visual artists. Entitled; “Resolutions: New Art from Northern Ireland”, and curated by Katzen’s Director, Dr.Jack Rasmussen in association with the Golden Thread Gallery in Belfast, the exhibition will feature a number of recent acquisitions

136 from the Arts Council of Northern Ireland’s Collection. It will include pieces by internationally renowned artists’ works by emerging stars, and recent graduates of the University of Ulster. With the exhibition setting out to feature works by over 20 of Northern Ireland’s artists, it is set to become the most comprehensive insight in recent years into current practices in Northern Ireland as viewed from the outside.

Opera for Children

Jointly funded by the Arts Council of Northern Ireland in Belfast and Dublin, Opera Theatre Company (OTC) is the busiest professional opera company in Ireland. OTC's comprehensive outreach work goes hand in hand with its core programming in challenging preconceptions and removing barriers to participation. Bug Off! was commissioned by OTC to take opera into primary schools and children into their local theatre. It is an opera by Belfast composer Stephen Deazley, setting a libretto by Simon Glass for a children's chorus and a professional singer (baritone). It offers an exciting, multi-disciplinary and child-centred piece of music theatre which is both accessible and engaging. Presented by OTC in partnership with Washington National Opera and children from Fairfax County, Bug Off! will be performed at the Kennedy Center and Imagination Stage on May 4-5.

Traditional Music at the Library of Congress

The American Folklife Center was created by Congress in 1976. It houses, in the Library of Congress, America’s first national archive of traditional life, and it is one of the oldest and largest such repositories in the world. Its collections contain documentation of traditional culture from all fifty states and from around the world. The Center engages in a diverse schedule of programs and projects and as part of these in May 2007, it will partner with Open House Festival in Belfast to present a series of lunchtime talks and concerts based on Northern Ireland’s rich history of traditional music. Dr. John Moulden will talk about the song tradition of Northern Ireland through the collections in particular of Sam Henry; Davy Hammond and Arty McGlynn will sing and play some of those songs; the McPeake family and past pupils from their renowned school in Belfast will play traditional music from Ireland North and South; Robert Watt will perform some of the highland pipe music so popular in the Ulster Scots tradition in Northern Ireland; and Gary Hastings and Brian Mullen will illustrate the shared traditions of the province.

Symposium on Northern Ireland’s Place Names, Folklife, and Landscape In a spirit of exchange between Northern Ireland and the United States, this symposium entitled “All through the North, As I Walked Forth…” at the American Folklife Center in the Library of Congress on May 16 will feature two outstanding speakers. Dr. Kay Muhr is Senior Research Fellow of the Northern Ireland Place-Name Project in Irish and Celtic Studies, Queen’s University. She is the author of several books and has written and lectured on the use of place-names in the Ulster Cycle tales, and on early maps of Ireland. Henry Glassie is the College Professor of Folklore at Indiana University. In 1972, he settled into a community in Co. Fermanagh, Northern Ireland, to learn how country

137 people endure hard times. He worked with them, gathering their stories and five books were the result. Both speakers share a concern for local history and local stories, and for the cultural landscape of Northern Ireland.

Literature in DC The much publicized Hollywood spectacular “The Chronicles of Narnia”, based on “The Lion, the Witch and the Wardrobe” by C.S.Lewis, drew the world’s attention to the fact that literature other than poetry also had a history in Northern Ireland. A more modern generation of fiction writers and playwrights continue this tradition. The Verbal Arts Centre in Londonderry has organized a short series of events in which novelists Glenn Patterson, Lucy Caldwell and playwright Owen McCafferty will give readings from their latest books and plays and talk about their own literary style and output. This evening event on May 16 at Busboys and Poets, one of Washington’s most cool and most literary restaurant-bookshops, will be introduced by Dolores Kendrick, Washington DC’s Poet Laureate. On May 17, Glenn Patterson and Lucy Caldwell will also appear at Chapters Literary Bookstore, “a shop that caters to serious, uncommon readers and inveterate browsers”. The Verbal Arts Centre will also partner with Washington Very Special Arts (WVSA) and the School for Arts In Learning (SAIL) to set up an exchange program for the Northern Ireland comic book artist David Campbell to study pedagogical methods when introducing comic book art into the classroom.

Craft in DC Established in June 2005, Craft Northern Ireland is a catalyst for the development of the design-led craft and applied arts sector in Northern Ireland. It will present “Made in Northern Ireland (MINI): A Dynamic of Change” at the Smithsonian Institution’s S. Dillon Ripley Centre from June 15-August 31. The three sections of the exhibition will have a specific theme: Re-inventing Linen will examine and explore new definitions of our notions of the relationships of fabric over time, social connotations, the process of making and elements of usage. Sublime Design touches on topical questions such as individuality and duplication, memories and histories, the relationship of handmade objects to mass production, identity, and the role of the unique artwork. Contemporary Souvenir will present new academic research as a series of working models and manifestations that challenge the viewer’s notions of souvenir and Irish kitsch.

Music at the Phillips Collection The Phillips Collection, opened in 1921, is America’s first museum of modern art. Its Sunday Afternoon Concerts have been a fixture of Washington's cultural life since 1941 and, for more than 60 years, the concert series has been a showcase for emerging musical talent from around the world. Throughout May 2007, these concerts will feature music and musicians from Northern Ireland and managed by the Ulster Orchestra Society. Jonathan Byers and Richard Sweeney begin the series with a recital for baroque cello and theorbo. Jonathan will give the first US performance of a piece by his father, the Northern Ireland composer David Byers. The violin and piano duo of Darragh Morgan and Mary Dullea continue with a new work specially commissioned by the Phillips Collection from Northern Ireland composer Deirdre Gribbin. The final two

138 concerts are solo piano recitals by Michael McHale and David Quigley, both of whom will play programs which include piano works by composers from Northern Ireland.

Film in DC

The American Film Institute is based at the AFI Silver Theatre and Cultural Center in a newly-restored 49,000 square-foot art deco complex with three theatres - one historic, two new state-of-the-art stadium-style theatres - a café, a film-based retail outlet, office and meeting spaces, and reception and exhibition areas located in downtown Silver Spring, Maryland, just across the street from Discovery World Headquarters. It is in this wonderful venue that the Northern Ireland Film and Television Commission will present in partnership with the AFI a program of films and documentaries from Northern Ireland in June 2007.

Theatre at the Peace Café

The Peace Café in Washington DC was founded in 2000 by three remarkable people – Anas Shallal, Ari Roth and Mimi Conway. The Peace Café offers time for dialogue between Arab and Jewish Americans, not as a political platform but as a safe space to listen to and explore the views of others with respect. On April 30, at Busboys and Poets, the Peace Café will feature as a starting point for debate an arts event from Northern Ireland that has a particular relevance to the peace process which began in Northern Ireland in the 1990’s. Belfast –born actor Marty Maguire will perform the one- man tour de force “ A Night in November” which explores in a moving yet humorous way one man’s rejection of bigotry and hatred. Belfast playwright Marie Jones, who wrote the play, will come to Washington especially for this occasion.

New Generations in Art from Northern Ireland

The Washington-Ireland Program for Service and Leadership selects promising third- level students from Northern Ireland and Ireland and offers them a series placements in Washington DC so that participants can better meet the future challenges of peace and progress on the island of Ireland. The Arts have always played a major role in this program and by way of illustration, WIP will curate an exhibition of New Art from Northern Ireland which will feature young artists at the very beginning of their artistic career.

139 CHAPTER VI PODCASTS Throughout the Rediscover Northern Ireland programme I compiled a number of regular “podcasts” – which in the end turned out to be more like miniature programmes involving observations on Washington society through to commentary and interviews in connection with the events of Rediscover Northern Ireland - the like of which I had done for the BBC on many occasions previously in my career. The more complicated these became, the more difficult it was to send them back to FireIMC and Russell Moore who had to compile them into “broadcast-able” items. Due to my difficulties with internet connections, I ended up posting discs to Belfast onto which I had downloaded my interviews and my spoken script. There were many frustrations connected with doing these podcasts from my point of view but they at least now provide an archived and chronological accompaniment to the RNI programme. Again, there is little point going over again all of what happened here and the scripts of these podcasts are included in this report as Chapter VI. Some of the podcasts themselves are available on the Rediscover Northern Ireland website others downloadable from i-tunes.

PODCAST SYNOPSES PODCAST 1

16th March 2007 Philip Hammond comments about St. Patrick’s Day in Washington DC…Launch of Rediscover Northern Ireland …the Northern Ireland Press Photographers’ Association Exhibition…calendar of upcoming events. (Script unavailable)

PODCAST 2

31st March 2007 Philip Hammond comments on the extremes of contrast in Washington DC…interviews composer Elaine Agnew and writer Kate Newmann about their residencies in the School for Arts In Learning and at Georgetown University Hospital, and Dr.Tom Maguire, Lecturer at University of Ulster Magee Campus about his residency at drama department of the Catholic University of America….calendar and commentary on Camerata Ireland at the Library of Congress and the Northern Ireland contemporary popular music events in DC.

PODCAST 3

14th April 2007 Philip Hammond comments on the control aspect of American society in “conservative” Washington DC…interviews Louise O’Neill of Cahoots NI at their Edgefest appearance in Bethesda…interviews Dr.Nancy Groce, curator of the Northern Ireland exhibition at the Smithsonian Folklife Festival…calendar of upcoming events in Rediscover Northern Ireland.

140 PODCAST 4

1st May 2007 Philip Hammond comments on the cult of celebrity in the United States …reviews the Poetry Event at the National Geographic Society and Georgetown University … interviews Clare Burgoyne, BBC Producer, William Crawley, BBC Presenter and Professor Richard Barnett, V-C of University of Ulster... reviews composer Brian Irvine’s concerts and interviews audience members…interviews Belfast Exposed photographer Mervyn Smyth…calendar of upcoming events..closes with Brian Irvine at the Library of Congress.

PODCAST 5

7th May 2007 Philip Hammond introduces part of Dr.John Moulden’s presentation at the Library of Congress…interviews Dr.Peggy Bulger, Director of the American Folklife Center at the Library of Congress… comments on cultural identity in the US and introduces playwright Marie Jones speraking at the performance of her play “Night in November” … interviews Janet Stanford, Artistic Director of Imagination Stage about Opera Theatre Company’s production of Bug Off at Edgefest …interviews Paula Gallagher, Director of the Belfast Printworkshop at the opening of the joint Belfast and Seacourt Printworkshop exhibition at Arts and Artists International Gallery…and interview the gallery’s director David Furchgott…previews upcoming calendar of events and ends with music from Jonathan Byers at his Sunday afternoon concert at the Phillips Collection.

PODCAST 6

26th May 2007 Philip Hammond concentrates on the production of Owen McCafferty’s play “Scenes from the Big Picture”, staged by Solas Nua in Washington DC at the Catholic University of America…interviews Des Kennedy, the young Belfast-born director of the play in DC…interviews Linda Christmas, critic and journalist and programme director of the Arts Critics Exchange Programme as part of Rediscover Northern Ireland…and reads two favourable reviews of the play in DC

PODCAST 7

7th June 2007 Philip Hammond reviews Rediscover Northern Ireland on Film at the American Film Institute … interviews John T.Davis…introduces part of the presentation b y Pearse Elliott at AFI…and interviews two audience members.

PODCAST 8

16th June 2007 Philip Hammond reviews the series of Sunday Afternoon Concerts at The Phillips Collection…plays extracts from the live performances and interviews pianists David Quigley and Michael McHale…interviews Mark Carrington, Artists Director of the series.

141 PODCAST 9

28th June 2007 Philip Hammond in his final podcast explores the input of the private and public sector in Rediscover Northern Ireland and the Smithsonian Folklife Festival and interviews Dr.Aideen McGinlay, Tim McKane, Alison Offer and Dr.Alan Gillespie.

PODCAST SCRIPTS

March 31st Podcast Report

This is Philip Hammond, Creative Director of the Rediscover Northern Ireland programme, with a second podcast report on events currently taking place here in Washington DC.

Washington is a place of contrasts and extremes. In my last report, I mentioned how the weather went from freezing cold to boiling hot –relatively – in a space of hours. Apparently it’s a feature of the spring here – but once sprung, temperatures continue only to rise, until mid summer when the heat is almost brutal. Those of you coming out here for the Smithsonian Folklife Festival, remember to pack your strongest sunblock!

The weather however is only symbolic of the other extremes which I see here on a daily basis. Washington is the political heart of the United States but ironically it is not politically represented in the Congress and this leads to all sorts of fiscal problems – not the least of which is a deteriorating public education system which needs an injection of government money to bring it back to some sort of adequacy. If you are rich, you can of course pay for a private education – if not, you are at the mercy of the public system.

The contrast of rich and poor is marked here. Homeless people, and I mean people without a roof over their heads rather than the bureaucratic definition of homeless as we would understand it in the UK,..homeless people are abundant and everywhere. At this time of year, the metropolitan authorities and just about everybody else is out attending to the tulips and daffodils and planting pansies and bedding flowers to beautify the city in all of its many parks – but what you notice is not the nice flowers but the plentiful supply of the homeless lying on the grass and on park benches and under any sort of cover they can find.…the heart of the richest country in the world and yet like most other western countries, apparently unable to provide for the most basic needs of its own societies.

Another extreme I have noticed of course is the ethnic contrast between black and white. In Northern Ireland we are no strangers to division and we take major steps to ensure that these divisions are carefully and regularly monitored. Washington is a majority African American city but I would have to say from what I see, that the white population seems to rule the roost. This unspoken division extends to all levels of society. Even in the arts…the arts events I have attended have white audiences predominantly. This is an observation not a criticism but one which it seems to me shows that something needs to be addressed. It shows me how far we have come in our own small way at home in Northern Ireland where using the

142 arts for integrating community divisions is commonplace. It’s something we can be proud of…but in relation to the scale of the problem out here, our little divisions sink into insignificance.

I started along this line of thinking because of an almost chance line in a poem by young black people who had had the benefit of meeting Kate Newmann and Elaine Agnew in the School for Arts in Learning…SAIL for short.

Kate and Elaine were resident at SAIL for three weeks as part of Rediscover Northern Ireland, sharing their time between here and the Arts and Humanities Unit at the Lombardi Comprehensive Cancer Center at Georgetown University. Two nights ago on Thursday 29th March, our two artists staged a short presentation at SAIL giving voice to the children and young people of this school whose mission it is to develop, implement, and support arts-integrated education and employment training programs for children and youth with special needs, special talents and special skills.

There were special challenges here for Kate and Elaine but just how remarkably they coped with these challenges was evident from this short but entertaining and at times moving presentation. Few could believe just how these two had managed to get the young people even to stand up before an audience and perform…Kate produced a small booklet of the poems written by these educationally challenged young people. One of the many themes which Kate had dreamt up as a stimulus to their imagination was “Why is the Whitehouse white?”…there were some funny answers…Because you couldn’t have an orange Whitehouse….because it’s not painted yet- that’s just the primer…even a poetic answer from one young soul…Because the house kissed snow….the one which I thought most telling however was Because it only suits white people.

Yesterday afternoon at Georgetown University Hospital, rounding off their time here in DC, Kate and Elaine were joined by Lorna Hastings, Director of ArtsCare which is the organisation overseeing most of the arts activity in healthcare environments in Northern Ireland. With members of staff from the Lombardi Comprehensive Cancer Center , the two artists gave a performance of the words and music they had been working on and then Lorna explained exactly how the arts have contributed so much to healthcare in Northern Ireland. It’s worth mentioning here that for one of its project publications ArsCare was recently recognised by the American Society for Arts in Health with a very prestigious award.

I spoke to our two artists just before they left Washington for home and I began by asking Kate Newmann how she found the type of work she had done in DC differed from Northern Ireland…

INSERT interview A11 ….

Composer Elaine Agnew and poet writer Kate Newmann. At the same time that these two artists were facing their own particular challenges at SAIL and Georgetown

143 University Hospital, Dr. Tom Maguire , Lecturer in Drama at the School of Creative Arts on the Magee Campus of the University of Ulster, was spending three weeks teaching at the prestigious drama department of Catholic University on the outskirts of DC. This was something of a taster for Catholic University of what is coming in the second half of May when Owen McCafferty’s play Scenes from the Big Picture will be staged in one of their campus theatres. As part of Rediscover Northern Ireland, Tom was bringing his expert knowledge of new Northern Irish drama to the university and I asked him what had been his experience of the American student during his time in Washington…

INSERT A10 …

Dr.Tom Maguire.

“In the evening's final piece, Douglas conducted from the Steinway in a vigorous account of Beethoven's Piano Concerto No. 2…..[his] playing brimmed with wit and tenderness.”

That was how the Washington Post described part of the concert by Barry Douglas and Camerata Ireland when they performed at the world renowned Library of Congress on Friday 23rd March. It was a glittering occasion which was preceded by a reception given by Invest Northern Ireland. They invited some of the top companies in America to be their guests at the concert which linked the business investment opportunities in Northern Ireland with the excellence of its arts and life style.

Situated immediately behind the Senate and House of Representatives on Capital Hill in Washington, the Library of Congress has the world’s largest musical archive with unparalled collections numbering approximately twenty million items. Among these holdings are some 400 volumes of Irish songs and instrumental music in both traditional and popular styles, as well as Irish popular sheet music – approaching 1000 items dating from the early 20th century to the present day. It was in the famous Coolidge Auditorium that Barry and his musicians performed on March 23rd, following in a tradition of distinguished international performers who have played there since the auditorium was built in 1925.

The Music Division had brought out of storage, and had put on show for the audience, the original manuscript of American composer Elliott Carter’s Elegy for Strings which Barry and his musicians performed at the concert.

For me the highlight of the evening was the first performance of a new work especially commissioned for this occasion from Northern Irish based composer Dave Morris. Dave has taught several generations of new composers in Northern Ireland at the University of Ulster until his recent retirement and his new piece for this Library of Congress performance was a beautiful reflection on an Irish folksong called The Magnificent Peak – which is also the title of Dave’s piece. It was written for solo flute and strings and the star of the occasion was the young flautist Eimear McGeown who captivated the audience not just with her playing but with her stunning presence on stage. You will be

144 able to hear this complete concert soon in a recording on line at the website of the Library of Congress as well as an interview I did with Barry just before the performance.

But it wasn’t just the music of classical musicians which resounded through Washington this past week. The Northern Ireland Music Industry Commission organised a series of appearances by some of our leading contemporary popular musicians and it was an amazing coincidence that the same night that Barry Douglas and Camerata Ireland were appearing on the stage of the Coolidge Auditorium, Snow Patrol were playing to an audience of 8000 people on the platform in the Bender Arena at American University. Snow Patrol was the first UK band to break the US top 5 in 13 years and has been shortlisted for both the Brits and Grammy’s. In their wake, as it were, several other pop musicians from Northern Ireland also appeared in a number of venues around Washington and its environs – I was able to get along to the Iota Club in Arlington Virginia to hear Iain Archer and Duke Special. Foy Vance, Claire Sproule, Oppenheimer, Mark Gordon, Alan Simms and Jimmy Stewart also contributed to the line up in other venues displaying the huge range of contemporary music and club culture which comes from present day Northern Ireland.

So the first two weeks of the Rediscover Northern Ireland programme is over – only another three and half months still to come! I’m just about to go out now and take in what I’m told is the most beautiful time of the year in Washington. Washingtonians hold what they call a Cherry Blossom Festival this weekend when all the cherry trees given to the city by Japan just after the end of the second world war have just come into bloom. Like our own cherry trees at home, however, the delicate blooms are subject to the slightest variation in weather conditions. I doubt the scene will last too long so I’d better make the most of it while I can!

This is Philip Hammond in Washington DC on Saturday March 31st 2007.

April 14th Podcast Report

This is Philip Hammond, Creative Director of the Rediscover Northern Ireland programme, with a third podcast report on our events currently taking place here in Washington DC.

INSERT A16

Those were the sounds of the Washington Metro which, in my travelling experience, is one of the most modern, efficient and certainly cleanest systems of mass public transportation anywhere. The carriages are even carpeted. Of course, there’s maybe a reason for that. The metro authorities may feel it inspires a sense of responsibility and respect amongst metro users because it always looks clean and well cared for…you hardly ever see rubbish lying in train carriages here in DC unlike the slovenly sloppiness of say the London Underground.

145

Metro travel in DC is carefully controlled by a whole series of strict rules and regulations…you can’t eat or drink anything on the train or on the platform for example which certainly helps to reduce the trash problem. And there’s a certain sense of conformity which travellers seem to accept without the slightest sense of antipathy or resentment. Nobody seems to mind those annoying dull little glockenspiel-like notes which precede the imperatives from that rather impatient, disembodied voice which tells you to step back and allow customers to exit, or when boarding proceed to the center of the carriage, or just step back, doors closing….it’s all terribly orderly and correct and most everyone is quiet and well behaved maybe as a result.

American society is to some extent surrounded by unspoken rules and regulations at least in polite company. Again, there’s a certain sense of propriety, conventionality and even conformity. Of course all generalisations are suspect, but I don’t doubt that some of this conservatism stems from an underlying fear of social instability, of the threat of the abnormal, of the risk of not being in control. Going back to the metro experience again, if you read the back of your DC metro ticket – and I wonder how many other sad people there are like me who do this sort of thing - you may be surprised to find hints on Preparing for Emergencies. Have a plan. Know where to get where you need to go without using Metrorail. Be prepared to stay where you are for an extended period of time. Know how and where to reunite with your family. Don’t depend on phone service to contact them. Listen to the news for updates. Use all news options (internet, tv, radio) Always keep a battery powered radio nearby (what on the metro??) Follow instructions from Metro. On a train or bus follow instructions from the operator. In a station, follow instructions from the station manager or over the PA system. Locate emergency exits on trains and buses. Know how to use them.

Wow…Talk about the Nanny State in the UK…is it any wonder that the population here may sometimes feel a little insecure and anxious?

Unlike New York, Washington I feel is generally conservative, a “safe” place where there’s an underlying, unquestioning acceptance of convention. It’s a town which is after all populated by civil servants and politicians. Maybe this is reflected in the metro and maybe it’s reflected in the arts to an extent. Nobody really wants to stretch the boundaries too far. Listen to the classical music station WETA and be prepared for a staple diet of Vivaldi, Mozart, Schumann, Beethoven and Bach. The only hint of experimentation is whenever the presenter delves into the repertoire of obscure and little known contemporaries of the those composers just mentioned…as for the exploration of the twentieth or twenty first centuries …forget it.

So when Cahoots Northern Ireland brought its production of Cuchulain,Hound of Ulster to Edgefest, a children’s theatre festival at the Imagination Stage in Bethesda in the first week of April, it could well have raised a few eyebrows. You might wonder how a children’s theatre company could possibly be contentious? Well, as it turned out, it wasn’t but it could have been because Cahoots focused its attention on the tragic fight between Cuchulain and his one time best buddy Ferja. It was very deftly done with a

146 mixture of onstage fight sequences and on screen back projection of staff and sword interplay. But…it’s not normal in Washington to show this type of violence on stage in children’s theatre which I found surprising because of the huge amount of violence which is seen on the TV screens in every American household every day.

Cahoots NI’s production was clever in very many respects…a wonderful combination of stagecraft, magic effects, humour and tragedy. To give you the merest taste, here’s an extract which I recorded on Saturday afternoon April 5th at Imagination Stage…the young Cuchulain is just about to be chosen for the heroic life by lifting a box which nobody else can lift…a box containing we were told all the woes of Ireland…and for this great feat the cast of Cahoots NI chose from the audience one of the smallest boys and brought him up on to the stage to mime the part of the young Cuhulain…to the amusement as you ‘ll hear of all present….

INSERT A14…

So the audience certainly appreciated the many moments of humour in this play written by Paul McEneaney. The saga of Cuchulain however is one of the great Irish legends and I myself wondered how an audience of children could possibly understand the subtleties of the plot. But like children everywhere, the Washington children seemed to have little problem and I know that because there was a question and answer session after the show between audience and actors. They raised questions like “why did he kill his best friend?:” Why did you use television?... to why wasn’t there more magic? Imagination Stage was the best place in DC to stage a play that challenged its youthful audience because it tries to push the boundaries. I asked Louise O’Neil, General Manager of Cahoots NI why she thought Cuchulain, the Hound of Ulster worked in Bethesda?

INSERT: A15….

Louise O’Neil.….

While Louise and the cast of Cuchulain were finishing the week with Cahoots NI at Imagination Stage, Paul McEneaney and Christina McClure earlier in the week had been bringing Cahoots NI’s Flea Circus to Washington Children’s Hospital and Lombardi Cancer Centre at Georgetown University Hospital. Again, this could have been a challenge to Washington because they have never had anything like this in their hospitals here. But it is to the credit of Cahoots that they were hugely successful in both hospitals, because they brought their deep understanding of the conventions of hospital etiquette from their experience in Northern Ireland and won over everyone with whom they came into contact.

The longer I stay here in Washington, the more I see that Northern Ireland has much to offer the people of Washington and especially in terms of its arts and culture. The great climax of our presence here will happen in a little under three months time when the Smithsonian Folklife Festival begins on June 27th. I asked Dr.Nancy Groce, the

147 Smithsonian’s curator for all the Northern Ireland content in the coming festival, how things were shaping up?

INSERT A17

Dr.Nancy Groce…it’s about Americans hearing from people who live in Northern Ireland that’s going to make this a success…how right she is.

Throughout Rediscover Northern Ireland during these months leading up to the Folklife festival, Washington is certainly getting a major opportunity to meet people from Northern Ireland aplenty and especially from the arts community. We’re about to enter the busiest period of Rediscover Northern Ireland before the festival itself….

Des Kennedy, a young director with Tinderbox Theatre Company. is currently rehearsing Washington actors here in DC for Owen McCafferty’s Scenes from the Big Picture,…. In the next week, between April 16 and April 22nd, we have composer Brian Irvine in town, a huge contingency of poets including Michael Longley, Ciaran Carson, Frank Ormsby, Leontia Flynn, Sinead Morrisey…the list goes on…visual artists coming for the Exhibition at the Katzen Arts Center at American University, the vice Chancellor of Queen’s University and the vice-chancellor of the University of Ulster, writer Colette Bryce and photographer Mervyn Smyth who’ll be working in the community of Anacostia…and on top of all this BBC Radio Ulster has arrived with three live shows of Arts Extra taking place here on Wednesday Thursday and Friday on April 18th,19th and 20th…all in all, it’s going to be quite a week.

And you can hear from me Philip Hammond here in Washington DC how it all went in my next podcast report in a couple of weeks time.

Podcast Report May 1st

I’m Philip Hammond, Creative Director of Rediscover Northern Ireland and this is my fourth podcast report from Washington DC.

When you live in a small place like Northern Ireland, you get the feeling that everybody knows everybody else. It’s a tiny population, it’s marginal to mainstream Europe. Nowadays in comparison to the history of the past forty odd years, there’s limited opportunities for worldwide exposure. It’s a small pool and consequently it’s relatively easy to become a big fish. You can be a big shot in Belfast, famous in Fermanagh, a star in Strabane and doted on in Derry but beyond that, maybe it’s not so easy to be a celebrity.

In Washington and the United States in general, celebrity takes on a whole different perspective. The population is huge in the States and people whom we know and may think famous at home are totally insignificant out here. Northern Ireland hasn’t done badly in producing a fair amount of people who have made real names for themselves on

148 the world stage in general and States-side in particular. In the world of the arts, we can boast such celebrated people as Sir James Galway, Seamus Heaney, Barry Douglas, Liam Neeson, we can even claim Kenneth Branagh at a pinch. All these Northern Irish people are stars in the true sense.

Everybody would like a star to be at their event. When you’ve got a star there, you don’t have to look for an audience, the media come chasing after you, people are lining up to come to receptions where there may be just the slightest chance of rubbing shoulders with someone famous. Maybe those sorts of people think some of that stardust rubs off on them or that they can shine briefly in the reflected glory of celebrity.

The cult of celebrity out here is big business. For example, the few times that I’ve flicked through the channels on the TV ….desperately trying to find something worth watching in between the advertisements …I’ve come across a complete station dedicated to exploring the lives and loves of movie stars and pop stars and others who have looks to die for but usually little else. These manufactured celebrities seem to me to be vacuous and lightweight and I just can’t understand why anybody would be interested in who’s dating whom, who’s divorced whom, who’s attending whose parties, or who’s wearing the latest fashion creation of whatever fashionable fashion house.…how sad it is to realise that there must be hundreds of thousands of people who do want to know these things….otherwise the advertisers wouldn’t be interested in paying for the celebrity shows.

However, when I originally started working on the programme for Rediscover Northern Ireland nearly 18 months ago, I wasn’t unaware that what would be the easiest sell here in Washington would be events with a big name attached. I had big ideas of Galway at the Kennedy Center, Neeson and Branagh at the American Film Institute, Heaney at the National Geographic Society, Douglas at the Library of Congress…indeed even Phil Coulter at the Smithsonian. But by their very nature, stars like these are much in demand and unless you ‘re planning years and years in advance, and have a limitless budget, it’s not easy to match up all the calendar dates to coincide. I have to say that every one of those celebrities I mentioned was more than willing to be a part of our program but not every one of them was able to fit it in their diary.

In an earlier podcast, I described the appearance of Barry Douglas at the Library of Congress event back in March. One of the big events in the last two weeks was undoubtedly our poetry evening at the National Geographic Society here in Washington. Originally I’d envisaged a stellar line up... Seamus Heaney, Michael Longley, Paul Muldoon, Ciaran Carson and Medbh McGuckian…..what an occasion that promised to be …five of our greatest poets all on stage at the one time. But of course the best laid plans of mice and men et cetera et cetera…Seamus Heaney had a stroke a few months ago and had to withdraw and then a few days before the event Medbh McGuckian also took ill and couldn’t travel out here. You have to realise sooner or later in this kind of game that I’m involved in out here that no matter how efficient the planning, no matter how good the ideas there is no armour against fate…to quote Alexander Pope.

149

But despite the original fabulous five being reduced to the terrific three,…and despite the extra disappointment that our souvenir programmes specially printed in Northern Ireland and shipped out here got stuck in customs and didn’t arrive until the morning after the event…the event itself at the National Geographic Society here in Washington was a spectacular success. Why was that?

Well, it’s simple really. The calibre of our artists in the Rediscover Northern Ireland programme is outstanding. Put Longley, Muldoon and Carson together on a stage…add on a reading by Heaney specially filmed for the occasion …and get American poet Dana Gioia who also happens to be the Chairman of the National Endowment for the Arts in the whole of the United States to present the event…and you really can’t go far wrong.

The evening event was a culmination of a two day poetry symposium which prestigious Georgetown University had organised to coincide with Rediscover Northern Ireland. Not only were Carson, Muldoon and Longley there, but Edna Longley gave a paper on Louis MacNeice whose centenary it is this year, Frank Ormsby came to launch his edition of the Blackbird’s Nest, and the new generation of poets from Northern Ireland now making names for themselves … Sinead Morrisey, Leontia Flynn and Nick Laird. ...they also added their own very special voices to the poetic mix.

It was little wonder then that BBC Radio Ulster had sent out a small crew for Arts Extra to cover the extravaganza and I managed to catch BBC producer Claire Burgoyne just as she dashed off to catch her plane back to Belfast. I suggested that producing three days of live programmes from Washington must have been just a little hectic…

INSERT…. AO 21 MP3…

Claire Burgoyne….

The guest presenter of Arts Extra for those three programmes from Washington was William Crawley, a voice better known for the excellent Sunday Sequence programme and his political interrogations. I’d just completed an interview for him on Arts Extra and with me in the BBC’s Washington studio was Professor Richard Barnett the vice – chancellor of the University of Ulster. Richard had come out to DC for the opening of an outstanding visual arts exhibition as part of Rediscover Northern Ireland, the connection being that all of the art being seen in Washington’s beautifully contemporary Katzen Arts Center was by artists associated with the University of Ulster’s College of Art in Belfast. As we were all in the studio together, I decided to turn the tables a bit and make the most of the occasion for this podcast. I began by asking William Crawley what it had been like for him doing these arts programmes from Washington.

INSERT A 20 MP3

William Crawley and Professor Richard Barnett.

150 As you heard in that interview, the last two weeks have included many events other than just the poetry evening at the National Geographic Society and the symposium at Georgetown University. At American University, we had a visual arts exhibition in its Katzen Arts Center and as part of the opening event, the Brian Irvine Ensemble had been invited to play.

Composer Brian Irvine is a truly remarkable and unique person. The huge experience he has gleaned from all parts of the world was totally apparent to everyone with whom he came into contact here in Washington and not least during his residency at the School for Arts In Learning. You may recall that Elaine Agnew and Kate Newman had earlier also completed a residency at this unusual and fascinating school right in the centre of DC. Many of the young people at the school have learning differences and would not easily open up to people whom they found unfamiliar. But Brian has a wonderful gift of being able to connect with all sorts of people and SAIL presented not the slightest problem for him. At the end of his residency there he brought his complete ensemble to SAIL and one afternoon played for several of the classes at the school. By the end of the session they were all up dancing and singing and entirely won over by Brian’s musicians and Brian’s music. I have to say that I had never seen anything like it…but to be honest, the reaction was exactly the same at American University, at the ARC Community Center in Anacostia and at the world renowned Coolidge Auditorium in the Library of Congress…all venues where The Brian Irvine Ensemble performed as part of Rediscover Northern Ireland..

I sat there in every one of these concerts, completely enthralled by the eclectic madness of Brian’s music and by the zany lunatic performance art of Brian and his ensemble – it was obvious that this experience was as much visual as it was aural. Every venue had a different type of audience but what was astounding was that Brian could melt even the coldest audience, could manipulate even the stiffest audience, that he could mould even to hardest audience into his totally bizarre and often humorous way of making music.

I wondered who but the anarchistically amusing and benevolent Brian Irvine could have more than just got way with this in the confirmed conservativism of the Coolidge Auditorium at the Library of Congress? Listen to this…

INSERT A 031 MP3…

In Anacostia where Brian had taken a masterclass with young African American children the audience was totally blown away by Brian and his music. Two of the teachers at the Anacostia campus of the Levine School of Music tried to analyse exactly what the music was all about…

INSERT…A 029 MP3

I asked one of the young pupils who’d taken part in the workshops with Brian and then come to his concert what she thought…she was much more succinct than her teachers!….

151

INSERT….. A 028 MP3 ….

Some of the people who came to the Anacostia concert given by the Brian Irvine Ensemble.

Anacostia is generally a very difficult area of Washington, south of the river where few white people ever venture. It’s an area of deprivation and crime but it was into this area that a photographer who normally works with Belfast Exposed in Northern Ireland called Mervyn Smith had come to partner with the ARCH Training Center and work with several community groups whom Amy Cavanaugh and Briony Evans of the ARCH had asked to participate. As part of Rediscover Northern Ireland, they’re going to put together an exhibition of photographs with Mervyn’s help which will later come to Belfast and Derry. It ‘s one of the very many legacy projects which will come out of our time here in DC. I asked Mervyn Smith what was his impression of Anacostia?

INSERT A 030 MP3 …..

The intrepid Mervyn Smith.

So not everything our artists are doing out here in Washington is taking place in prestigious venues before the usual safe audiences. It’ s this willingness on the part of our artists to meet the people of Washington in all areas, to present to them not just the safe art, the safe music or the safe visual images that we know will appeal to a mass of the population which makes Rediscover Northern Ireland so different, so worthwhile and so important. It’s not just the stars, the celebrities who can reprofile our image out here and indeed in the rest of the world. It’s ordinary people like you and me talking to other ordinary people that will make the real difference in perception and I have to say I am immensely proud of the way which our artists and our art are leading the way in Washington.

We’re about to enter an even busier time of the programme this week …Playwright Marie Jones and Belfast born actor Marty Maguire arrive for a one off performance of A Night in November at a Peace Café event on Monday 30th April:…. On Wednesday 2nd May John Moulden will be the first in a series of traditional artists to appear in weekly lunchtime concerts at the Amer ican Folklife Center of the Library of Congress…and every Sunday afternoon at the famous Phillips Collection, young musicians from Northern Ireland will give recitals featuring as part of their programme new music from Northern Ireland – beginning with Jonathan Byers and Richard Sweeney on May 6th……the glass artist Andrea Spencer arrives to take up a residency at the Arts and Humanities Unit of the Lombardi Cancer Center in Georgetown University Hospital…Opera Theatre Company arrives to hold opera workshops in Fairfax County and perform a children’s opera by Belfast born composer Stephen Deazley…and just to round off this next week, as if that wasn’t enough, on Friday May 4th, an exhibition of prints from Belfast and Seacourt Printworkshops opens at the International Arts and Artists Gallery just off Dupont Circle.

152

I’m going to leave you in the meantime with some more of Brian Irvine’s marvellous music which I recorded live at the Library of Congress on Friday 27th April.

This is Philip Hammond signing off from Washington DC….

INSERT….A 032 MP3….

May 7th Podcast Report

This is Philip Hammond, Creative Director of the Rediscover Northern Ireland programme, with a fifth podcast report on our events currently taking place here in Washington DC.

INSERT: A 037 …

That was Dr.John Moulden singing one of the very many emigration songs which aurally illustrate the history of the relationship between Ireland and Americay in the last few centuries. John was in Washington as part of Rediscover Northern Ireland to give a lecture for the American Folklife Center at the much respected Library of Congress. His subject was a collection of songs from Northern Ireland which in the first half of the twentieth century North Antrim man Sam Henry compiled over his lifetime. John however was very precise in his lecture on Wednesday 2nd May as to the exact scope of the Sam Henry collection and I recorded part of what he had to say at his Library of Congress lecture…

INSERT A 043 ….

John Moulden’s study of the Sam Henry Collection was of particular interest to the Library of Congress because there was a history of connection between the collection and the Library which eventually was given a copy to house in its archives. Irish traditional material from all over the island of Ireland forms a huge part of the Library’s storehouse of historical information and I asked Dr.Peggy Bulger, Director of the Amercian Folklife Center in the Library of Congress just how important Irish folk music was to the Library…

INSERT: A 042

Dr.Peggy Bulger.

The Sam Henry Collection - as you heard John Moulden say - was focused on a very small region of North Antrim and yet it displays a huge range of and diversity of content

153 which encapsulates a very broad spectrum of identities. Although nominally a Northern Irish collection, the songs demonstrate very clearly elements of Ulster Scots, Irish, Scottish, Welsh and English influences. In a way they are symbolic of the false notion that one tradition can be independent of another, that one tribe can stick rigidly to the misapprehension that they are singularly different, that they are pure and untainted by any other traditional or tribal influence.

Listening to John’s lecture made me think about how identity within certain contexts can be a creative and constructive force in society. National identity in the United States is something which is hard to define. Although there may perhaps a stereotypical American identity –mistakenly based on the European notion that everyone here is loud, brash, supremely self confident and arrogant, I’ve found in my two months in Washington that it’s actually not like that at all on an individual level.

Of course, there’s also that complicating factor in American society that many of the ethnic groupings here still tend to look to their immigrant origins, their ancestral past for their identity. In many parts of the big American cities, those groupings still tend to live in ethnically centered communities – Boston and New York for example would be centres of the Irish American tradition and Irish Americans are in many ways still very conscious of their past history.

Challenging identity can be a dangerous and difficult path to take. It’s often simpler just to remain firmly in the grip of the tribe, sheltered by the prejudices of the majority, safe within the accepted behaviour of the so-called norm. Standing out from the crowd can be a lonely place to be.

It was just such a thought that was the origin of a play by Marie Jones called “A night in November” and on Monday night last, April 30th, Washington was treated to a very special performance of that play as part of Rediscover Northern Ireland. It was the centrepiece of a movement in DC called the Peace Café which seeks to provide a platform for safe discussion and debate around the differences between Arab and Jew, Israeli and Palestinian in the Middle East and indeed elsewhere.

As part of Rediscover Northern Ireland, The Peace Café thought it may be relevant to explore the ways in which Northern Ireland has been transformed by its own continuing peace process and of course the arts have been right at the heart of this.

Belfast born Marty Maguire gave a stunning performance of this one man play. A night in November is a humorous, at times hard hitting, and starkly challenging drama which follows the repercussions of one man’s moment of epiphany and his realisation of freedom from his own background of bigotry and hatred. The central figure who goes through this enlightenment happens to be from Marie Jones’ own tradition,… but he could have been from any tradition, from any tribe, from any grouping which perceives itself to be in opposition to some other tradition, some other tribe, some other grouping. A night in November is not so much just about Northern Ireland…like all meaningful works of art, it moves from the specific to the universal.

154

Marie Jones herself had flown in from Belfast for this occasion and after the performance she came on to the stage of Busboys and Poets, a venue known in Washington for its liberal and cutting edge approach to art and politics to talk to Mimi Conway who is one of the founding members of the Peace Café and a well known writer. For her American audience, Marie gave an insight into the background of A Night in November and her own close association with the play’s early productions.

INSERT: A034…

Marie Jones talking live in Washington during her appearance at Busboys and Poets on April 30th.

Last week was a particularly busy one as far as the programme of Rediscover Northern Ireland was concerned here in DC. As you’ve heard we had the opening event of our traditional music series at the Library of Congress and the play at Busboys and Poets. Down at Imagination Stage in the Washington suburb of Bethesda, Opera Theatre Company were giving a performance of Bug Off …a childrens’ opera by Belfast born composer Stephen Deazley.

In Northern Ireland, Opera Theatre Company specialises by doing excellent education and outreach work and as part of Rediscover Northern Ireland here in Washington, the company had partnered with Washington National Opera and Fairfax County Community Center to engage with nearly forty young people who took part and sang in Bug Off in two performances – one at the Kennedy Center and one at Imagination Stage. Putting together an opera – even a children’s opera – in a week of intensive rehearsals was quite a challenge but the performance I went to at Imagination Stage once again proved to me how versatile and efficient this company can be – even on foreign territory. Bringing such expertise in the Arts to Washington can lead to all sorts of future relationships and I asked Janet Stanford, the artistic director of Imagination Stage, how the whole Rediscover Northern Ireland programme had fitted in at her venue for young people….first of all, however, here’s a little flavour of Stephen Deazley’s opera as performed by Opera Theatre Company and its young friends from Fairfax County at Imagination Stage on Saturday 4th May…(music fade in under these last few words…).

INSERT A049 …

Janet Stanford.

Meanwhile the night before, on Friday May 4th, the printmakers of Belfast and Seacourt Printworkshops were having an exhibition of their work shown at Hillyer Arts Space, the gallery attached to the International Arts and Artists organization just off Dupont Circle.

155 Paula Gallagher, the Director of the Belfast Printworkshop had come across to Washington to open the show and I caught up with her on the opening night. The planning for this exhibition had started almost a year and a half ago, and I asked her if she thought it had been all worth the huge amount of work?

INSERT: A048 …

Paula Gallagher. One of the best effects of this whole Rediscover Northern Ireland programme here in Washington has been the opportunity many of our artists have had to compare their individual identities with their international contemporaries and indeed for the world at large and the Washington public in particular to see what our artists can do. David Furchgott is Director of International Arts and Artists, an organisation committed to what I might term the globalisation of art through international exchange and touring opportunities. It was in his gallery in Washington that the Belfast and Seacourt Printworkshops were showing their work. David is well placed to pass a critical eye over works from all around the world and it was his suggestion that our exhibition be entitled “Renewal: Prints from the New Northern Ireland”. I asked him what he thought of the exhibition which he himself had curated during a recent trip to Northern Ireland…

INSERT: A053

David Furchgott.

Last Sunday afternoon, we launched our series of concerts featuring young musicians from Northern Ireland at the prestigious Phillips Collection near Dupont Circle. The Phillips Collection was opened in 1921 and is America’s first museum of modern art. However it was only in the 1940’s that the Phillips Collection began its Sunday Concert series and for more than sixty years now, these concerts have been a showcase for emerging musical talent from around the world. The venue is considered to be one of the most respected music venues in the nation’s capital and a number of celebrated performing artists had important early concerts in the museum’s wood paneled Music Room…among them the late Glenn Gould, Jessye Norman, Carmen Balthrop and Emanuel Ax. In their footsteps as it were, Jonathan Byers and Richard Sweeney followed last Sunday 6th May with an intimate and intensely musical programme of Baroque compositions for cello and lute. Here’s just a little taster of their program …a movement from a Sonata by Jean Baptiste Barriere

INSERT: A 051 …

As I sat in the hallowed hall of the Phillips I felt particularly privileged and proud to be listening to these two excellent young musicians – one from Belfast and one from Dublin, crossing all borders and playing music which overrides all destructive notions of identity,

156 tribalism, tradition and division. This was chamber music pure and simple with the audience enjoying the professionalism of the musicians, the beauty of the lines, the subtleties of the phrasing and the harmonious interaction between the two players..

During this next couple of weeks in Washington our Rediscover Northern Ireland programme concentrates largely on individual artists. Writers Glenn Patterson and Lucy Caldwell will be giving readings from their latest novels in the company of Washington DC’s poet Laureate Dolores Kendrick. Playwright Owen McCafferty flies into town for the opening night of his award winning play “Scenes from the Big Picture” directed by young Belfast – born Des Kennedy.

Glass artist Andrea Spencer finishes her residency at the Arts and Humanities Unit of the Lombardi Cancer Center at Georgetown University Hospital. Tracey Gallogly completes her mural in Anacostia, just south of the river and poet Kirsten Kearney also goes down to Anacostia to work with some young writers in that community. The source singer from Fermanagh, Rosie Stewart, gives a concert of folksong at the Library of Congress, followed a week later by the McPeake Family in concert at the Coolidge Auditorium. and on Sunday at the Phillips again, Darragh Morgan and Mary Dullea give a violin and piano duo recital featuring contemporary music from Northern Ireland.

But it’s with Baroque music again and Jonathan Byers playing the Gigue from JS Bach’s third Suite for solo cello…and recorded live at the Phillips last Sunday afternoon… that I’ll leave you with now…. Until my next podcast report, this is Philip Hammond on Tuesday 8th May 2007…signing off from Washington DC

INSERT: A 052…

th May 20 Podcast Report

I’m Philip Hammond, Creative Director for the Arts and Cultural theme of Rediscover Northern Ireland in Washington DC. This is my sixth podcast report on the events which have taken place here in the capital of the United States of America. I’m going to concentrate on just one event this time – the production by Solas Nua of Owen McCafferty’s play “Scenes from the Big Picture”.

I’ve never really been in any doubt as to why we have spent so much time and effort in staging Rediscover Northern Ireland – personally and collectively. For me it was a way in which Northern Ireland could present in the heart of the United States an image of the society we now have, of the new energies, the new creativity, the new constructive future – but, dare I add - warts and all. For me, the best way to do this was through the medium of the Arts…show me where else you can find a creative, confident and outward looking sector more equipped to reflect the way things are in Northern Ireland? So after the play Scenes from the Big Picture, written by Belfast playwright Owen McCafferty, and staged by Solas Nua here in DC as part of Rediscover Northern Ireland I was invited to question my view of what we were doing here in Washington by a stimulating conversation I had with Linda Christmas, one of the most respected

157 journalists and writers working in the UK at the moment. She was directing a professional development course which Visiting Arts in London had set up for us as part of the Rediscover Northern Ireland programme in Washington and as an ex-Guardian writer she is used to looking at every situation from every angle. The best journalists like her are there to question and to enquire.

“Scenes From The Big Picture”, an epic play involving 21 actors and more than 40 scenes, was staged at the Royal National Theatre in London in 2003. The production won the John Whiting Award (given to a play of contemporary importance which is of potential value to British life), the Meyer Whitworth Award (given to a writer whose play exhibits developing talent) and the Evening Standard Charles Wintour Award for New Playwriting. In an eventful piece of staging, McCafferty skillfully brings together all his many characters into one narrative through such diverse situations and locations as the shop, the pub, even the abattoir – all set against the backdrop of twenty four hours in Belfast. The play’s six week run in Washington has been directed by the young Belfast director Des Kennedy. I asked him what sort of an experience this had been for him here in the US of A….

INSERT: A060

Des Kennedy. You’ll have heard him refer at the end there to the difficult and challenging texts of Owen ‘s play Scenes from the big picture. This is a play which faces the darker side of society. In this case it is Belfast but to be honest, I considered it could be a play set with any urban backdrop where vulnerable people are preyed upon by others, where violence of varying degrees is a constant undertone of everyday life. Yes, some of the scenes in this big picture were specific to Northern Ireland – , arms caches, kneecapping, the fate of the those who went missing during the assassinations of the Troubles.

But, as always, the theatre is providing a safe place for those in the audience to reflect upon the issues being raised and in this case, the playwright uses his technical and artistic expertise to raise these issues from the specific to the universal.

What Linda Christmas was understandably questioning with me was whether this was the best play which we could be using to promote the new image of Northern Ireland, the new profile we want to portray. As a journalist, Linda has had the opportunity in the past to know what was happening during the Troubles in Northern Ireland. I asked her what her impression had been back then…

INSERT A 069

Linda Christmas. This was a perfectly valid and indeed pertinent observation – and one which I wondered would be picked up in the reviews of Owen’s play. In the event, I am very glad to report that it wasn’t. I’ll read a couple of passages from some of the

158 published reviews – which by the way were hugely complimentary of both play and production = especially generous in their praise of young Des Kennedy. Here’s part of what Peter Marks the highly respected theatre critic of the Washington Post wrote…

“McCafferty’s Scenes from the big picture is an attempt to portray in realistic fashion life in a city whose ordinary struggles had long been overshadowed by one big set of Troubles….it splices together the bittersweet stories of a clutch of average Belfast residents on a day of little epiphanies…stories like these could unfold on any tough patch of ground anywhere…what the play is about , in a sense, is the normalcy of sadness and stress and recrimination, the idea that pain and suffering need not be grounded in extreme forms of hatred and violence. Even in Belfast, such feelings can spring out of the routine of the everyday. The dramatist’s characters pulsate with authenticity – a quality underlined in Director Des Kennedy’s superlative staging….”

Peter Marks writing in the Washington Post – only part of a rave review. And in the DC Theatre Review site, here’s part of what Tim Treanor posted in his review:

“ A theatrical company could easily plan a full season staged around examinations of the Troubles and how they have robbed life of value in that benighted land…Scenes from the big picture is something else entirely. More scenes than big picture, the play is a cross section of the life of the city, and of its inhabitants. Belfast is a hard town, and hard lives are lived there,…but the scenes do not touch upon the troubles…instead they are about the small dramas and epiphanies any one of us might have, even in a place as odd as Washington DC….these are the ordinary events which befall ordinary people, even ourselves, in an ordinary town, even our own. And yet they achieve a sort of nobility, as the human endeavour itself is noble in its ordinariness. What emerges is huge, diffuse and impressionistic. And Belfast wunderkind director Des Kennedy makes this twenty one member production fly.

So, another success in our Rediscover Northern Ireland programme and one that has made Washington sit up and think about itself.

I’m Philip Hammond signing off from Washington on May 26th.

June 7th 2007 PODCAST REPORT

This is Philip Hammond, Creative Director of the arts and cultural theme of Rediscover Northern Ireland in Washington DC with a seventh podcast report on our events currently happening in the heart of the United States.

If there’s one artform more than any other which could be associated with the US it would have to be film and in most people’s minds Hollywood would have to be the center of the world’s cinema industry. The American Film Institute was founded forty years ago in 1967 to bring together leading artists of the film industry, outstanding educators, and young men and women who wished to pursue the art form as their life’s

159 work. Since then, AFI has founded two important centers in the States– one in LA and one in Silver Spring on the outskirts of Washington DC.

It was therefore quite an honour for Rediscover Northern Ireland to have been invited by the AFI to stage a mini film festival at its venue in Silver Spring. AFI has restored to its former glory an old 1930’s movie house but added all the most up to date technology which a modern cinema multiplex would expect. For four days between Thursday May 31st and Sunday June 3rd, the cinema at AFI Silver reflected and alluded to the nascent Northern Irish film industry in its screening of eleven shorts, documentaries and full length feature films.

I asked Cian Smyth of the recently renamed Northern Ireland Film and Television Commission – now known as Northern Ireland Screen – why it was good for Rediscover Northern Ireland to be seen on film at the AFI?

INSERT: 089 MP3

Cian Smyth of Northern Ireland Screen talking just before the opening of the Northern Ireland film festival at the AFI in Silver Spring. He mentioned several of the actors and film makers who came across to Washington for these screenings. One of them was the legendary John T Davis whose early work in the seventies charting the explosion of punk rock in Belfast has made him into something of a cult figure all around the world. I asked John if he was happy with the audience reaction to his film out here in DC…

INSERT: 093 MP3

John T Davis making a good point about how some of the people of the Troubles generation have turned out in the end. Of course, like a lot of drama to come out of Northern Ireland over the past few decades, many films have concentrated on or at least used the context of The Troubles as a starting point. AFI had chosen to present several such movies– Neil Jordan’s The Crying Game filmed in 1992, Roger Mitchell’s Titanic Town, filmed in 1998, and Terry Loane’s Mickeybo and Me filmed in 2004. For those of us brought up in Northern Ireland over the period of the last forty years and more, such films can be judged as historical and placed in perspective…. but as I sat there in Silver Spring I wondered if an American audience wasn’t still a little too fascinated by the darker side of Northern Ireland’s past.

In a question and answer session after the screening of Pearse Elliott’s The Mighty Celt, it was clear that several audience members were certainly intrigued by the politics of Northern Ireland’s films. Pearse had been asked how he first got into screen writing and this was his answer:

INSERT: 091 MP3…

160 I personally found this openness in Pearse Elliott very refreshing and what I saw in his film the Mighty Celt reflected the straightforward candour of his own personality. The Mighty Celt is a story which grows out of the Troubles history but moves on and deals more with individual emotional resolutions and looks to a future in the character of the central figure - teenager Donal - played in a very realistic way by rising star Tyrone McKenna. In another one of his answers during this question and answer session after his film at AFI, Pearse Elliott tactfully but candidly put the point across that perhaps some of the Hollywood versions of Northern Ireland’s past were not particularly factual and certainly not the way that he had experienced it. Listen to this:

INSERT: 091 MP3 …

Pearse Elliott. The four day film festival as part of Rediscover Northern Ireland at the American Film Institute ended on Sunday 3rd June with two major releases– Brian Kirk’s “Middletown” filmed in 2006 and Pete Tavis’s Omagh filmed in 2004. These were not movies for the casual watcher nor for people easily upset. I have to say that I found both of them extremely powerful but more than a little depressing.

However I want to finish this podcast on a hopeful and more optimistic note with a vox pop interview I did with two American ladies I met on the Saturday afternoon following the showing of The Mighty Celt” - I’d overheard them discussing their views with each other on the film they’d just seen and it turned out that one of them had also attended the Peace Café event at the end of April when Marty Maguire had given his superlative performance of Marie Jone’s Night in November as part of Rediscover Northern Ireland. I asked them if from an American point of view they thought it had been worth their while coming along.

INSERT: 092 MP3

June 16th Podcast Report

I’m Philip Hammond, Creative Director of the Arts and Cultural theme of Rediscover Northern Ireland and this is the eighth podcast report which I’ve recorded since I came out to DC way back in February this year and it takes a look at the series of concerts we did at the Phillips Collection during May.

161

If you managed to listen to my fifth podcast report which I recorded at the beginning of May, you’ll have heard some Baroque music played by cellist Jonathan Byers and lutenist Richard Sweeney. They were the two young musicians who kicked off our four concert series at the Phillips Collection on May 6th. Well, that seems quite a while ago now and since then the series has come and gone. In my mind at least however the music and the memories linger on .

The Phillips Collection is one of those places that once you’ve been there, you know you’ll go back again and again. A stunningly individual collection of art largely from the turn of the nineteenth and twentieth centuries bought by one Duncan Phillips and now open to the public in his original private house just off Dupont Circle, sets the backdrop for a long running programme of Sunday Afternoon concerts. The music room of this late nineteenth century mansion is dark and wood panelled, the ceiling is decorated with ornamental plasterwork tastefully lit. On the walls are masterpieces by the likes of El Greco, Picasso, Mondrian and a host of other iconic names from the modernist movement. A huge mock baronial fireplace dominates the music room … and in front of that, a large Steinway grand piano sits before serried ranks of chairs – the music room has a capacity of about 120. It’s a perfectly intimate setting for solo and chamber music, with an atmosphere of quiet reflection.

INSERT: 084 MP3

A moment of reflection and perhaps even melancholy in a piano piece by Northern Irish born composer Alan Mills as recorded live at the Phillips Collection here in Washington DC by pianist David Quigley in the recent series of Sunday Afternoon recitals which were part of Rediscover Northern Ireland.

David Quigley is now based in Birmingham but he was born in Northern Ireland and he has done much to promote the music of Northern Irish composers. His programme at the Phillips included not just standard classics like Liszt and Chopin but also pieces by Eilish Farrell and, as you’ve just heard, by Alan Mills. After his recital, I asked him what it had been like to play at the Phillips?

INSERT: 082 MP3 INSERT 083 MP3…

David Quigley.

One of the main programming ideas for the whole series of Rediscover Northern Ireland concerts at the Phillips was to mix contemporary music from Northern Ireland with other standard repertoire pieces and indeed as you’ve heard even match this with a piece by an American composer. A special feature of the concert given by violinist Darragh Morgan with his wife, pianist Mary Dullea, was a first performance of “Seeking the Whirlwind’s Secrets” - a new piece especially written for the duo by Northern Irish composer Deirdre Gribbin and in fact commissioned by the Phillips Collection for our series. Darragh and

162 Mary also played a piece by American composer John Adams which Darragh had premiered in the UK some years ago…here’s a snippet of Road Movies as recorded live at the Phillips Collection on May 13th…

INSERT: 062 MP3….

Just a hint of Road Movies by American composer John Adams as recorded live at the Phillips Collection in a performance by Darragh Morgan and Mary Dullea. Of course Darragh and Mary have already got quite a well established international reputation especially for the performance of contemporary music. For the young Northern Irish born pianist Michael McHale, an international concert career is something to which he still aspires. Judging by his playing at his Phillips Collection recital, I’d say he’s well on the way. Before that concert on May 20 here in Washington, I asked him just how important was it for him to get engagements abroad in venues like the Phillips Collection?

INSERT: 075 MP3…

Michael McHale giving an interesting insight into the way young musicians can embark upon their career. Michael’s recital at the Phillips included a really super performance of the Dante Sonata by Liszt which is one of the most difficult pieces to bring off technically and musically. It was probably this which prompted the Washington Post music critic to write…. “Bravura playing drew extended ovations at Michael McHale’s Sunday afternoon recital at the Phillips Collection - a smart, restrained and fastidious display” …high praise indeed. Here’s Michael in a less extrovert moment from his recital on May 20th…it’s his very sensitive performance of a beautifully evocative musical portrait by Northern Irish composer Ian Wilson and entitled simply “For Eileen, after rain…”

INSERT: 078 MP3

Michael McHale playing “For Eileen after rain” by Ian Wilson….

I have to admit that I was extremely pleased with the whole series of concerts at the Phillips Collection. It spoke to Washington at many different creative levels. It brought new music from Northern Ireland – it brought new and exciting young performers from Northern Ireland – it paid tribute to American composers – and it was all staged at one of the most prestigious and indeed beautiful music venues in the capital to creditable audience numbers.

Mark Carrington is the Music Director and programmer of the Phillips Collection Sunday Afternoon concert series. He’s an ex-pat Yorkshire man – a composer himself in his early days although now alas making his career as a high powered tax consultant in DC for his day job…Like most Yorkshire men – even those transposed to foreign fields - Mark isn’t

163 one given to flattery for the sake of it. So it was with just a little bit of apprehension that, after the final Sunday afternoon concert on May 27, I asked him if he thought it had all been worth it getting involved with the Rediscover Northern Ireland programme…

INSERT: 081 MP3

Mark Carrington. That look to the future is all to be welcomed as part of the legacy from our Rediscover Northern Ireland Programme out here in Washington. But I’m going to leave you with a look to the past with some music by the French Baroque Composer Jean Baptiste Barriere as played by Jonathan Byers and Richard Sweeney and recorded live during their concert at the Phillips Collection at the beginning of May this year.. This is Philip Hammond signing off from Washington DC on June 16th 2007.

INSERT: 051 MP3….

PODCAST No.9

I’m Philip Hammond, Creative Director of the Rediscover Northern Ireland arts and cultural programme in Washington. When Northern Ireland accepted the invitation to appear in the Smithsonian Institution’s 2007 Folklife Festival, there was one overriding principle, one basic message – one mission statement if you like – which underpinned and directed the focus of all our work both in the folklife festival itself and in the four month Rediscover Northern Ireland programme which led up to it.

That principle was “to present Northern Ireland as a confident, creative, outward looking region and develop a relationship with the United States that will be mutually beneficial”.

A s I watched the unfolding of the Rediscover Northern Ireland programme and worked with the many partners in Washington without whom we could never have hoped to even mount a single event… let alone sixty six events over a period of four months…, I knew in my own mind that our artists were making a huge impression on their American audiences. I had read the reviews in the papers, I’d talked to the individual promoters – indeed I’d interviewed many of them for these podcast reports and always there was total support and enthusiasm for all we were doing.

So in this ninth and final podcast, I thought I would explore how some of the other partners in this whole enterprise regarded our efforts . In particular, I was keen to record the views of our partners from Northern Ireland who were not artists and arts organisations but nonetheless people who had been intimately involved in the massive undertaking that was Rediscover Northern Ireland and Northern Ireland at the Smithsonian Folklife Festival.

164 For me, the obvious place to start was with the person who had initially responded to the challenge of the folklife invitation way back in 2004. That was Dr.Aideen McGinley who at that time had been Permanent Secretary at the Department of Culture, Arts and Leisure.

I caught up with Aideen at the Katzen Arts Center in American University just a day or two before the opening of the Smithsonian Folklife Festival in late June. She’d come to see the exhibition of contemporary Northern Irish art which had been open to the Washington public since April as part of Rediscover Northern Ireland. I asked her if she had ever imagined just how extensive Northern Ireland’s response to the original invitation would become?

INSERT: A104

Dr.Aideen McGinley who must be credited with the foresight to have seen the potential in Northern Ireland’s participation in the Smithsonian Folklife Festival and convinced many others of her vision.

As I said earlier, it wasn’t just artists and arts organisations who were involved in this massive undertaking. Without the public sector’s initial drive and continuing organisation, nothing could have been put in place.

But it was the involvement of the private sector which especially caught my attention. The opportunities in Northern Ireland for securing business sponsorship in the arts are not extensive and consequently arts organisations rely heavily upon governmental funding.

It became one of the prime considerations of the whole Washington experience to point up to the private sector the profile which can be gained through the arts on an international platform. As a result, and largely through the efforts of Dr.Alan Gillespie, Chairman of the Ulster Bank, and of Ryan Williams, seconded from Business in the Community Northern Ireland, a sizeable sum of sponsorship money was raised to add to the public sector’s financial investment as well as a considerable amount of in-kind support.

Many of the business sponsors made the effort to travel in person to Washington to experience Northern Ireland’s input right at the start of the Smithsonian Folklife Festival and reap the benefits of their sponsorship. I spoke to representatives of two businesses which had contributed in several ways to mounting Rediscover Northern Ireland and the Smithsonian Folklife Festival.

Tim McKane is a Director of FireIMC, a design company offering integrated marketing communications. Amongst other things, FireIMC sponsored these podcast reports as an

165 in kind deal and I asked him if he thought his company’s association with Rediscover Northern Ireland had been worthwhile…

INSERT: A100

Tim McKane. Another company closely involved with several of the events and also offering in kind support was Bushmills which is owned by Diageo. Alison Offer is head of their corporate communications and she was particularly cognizant of the political opportunities which the series of arts events provided in the heart of Washington…

INSERT: A102

Allison Offer.

The importance of engaging the private sector in the whole process that became Rediscover Northern Ireland and the Smithsonian Folklife Festival was clearly seen right from the outset. For that reason, it was a major coup to attract the attention of Dr.Alan Gillespie, currently Chairman of the Ulster Bank, and undoubtedly a leader in the business community here. His wholehearted support and enthusiasm, and the amount of his personal time which he devoted to the Washington project in a myriad of different ways, were a clear signal of encouragement to the rest of the private sector.

I managed to commandeer a few minutes of his time in Washington’s famous Union Station. We were at the opening of the Titanic Exhibition which had been organized by National Museums Northern Ireland and began just before the start of the Folklife Festival at the end of June..

INSERT: A101

Dr.Alan Gillespie.

His emphasis there on the importance of the cultural profile of a country brings me back to the reason why we all put so much work into Rediscover Northern Ireland and our presence in the Smithsonian Folklife Festival. We did prove that Northern Ireland is a confident, creative, outward looking region, willing and able to do business with the United States – and we showed this right in the political heart of the nation and we showed it through the arts and the culture of Northern Ireland.

This is my very last podcast. The experience for me living and working in Washington over the past few months has been at times challenging, rewarding, enjoyable and fulfilling. If there are two things which I will remember more than anything else, they’ll be the warmth and generosity of the American public and, perhaps with more than a touch of pride, the overwhelming creative talent of our artists from Northern Ireland.

This is Philip Hammond signing off from Washington DC.

166 CHAPTER VII RNI EVENT ANALYSES

Although there were over 66 individual events connected with the Arts and Cultural theme in the overall Rediscover Northern Ireland programme, most of these events were managed by a Northern Ireland Partner and a Washington DC Partner as explained in the earlier part of this report.

To give a full and detailed account of these partnership and their outworkings in the shape of the events which resulted from them, I have compiled a series of RNI EVENT ANALYSIS reports which include contributions from both sides of the Atlantic and involve many lf the individual artists who took part in the programme.

In the collation of these reports – which, I have to say, was a considerable undertaking in its own right – I sent out a document which outlined the sort of input I required. The basis for the questions I asked and the specific information I sought was drawn from suggestions made by the Statistical Branch of the Civil Service. It therefore included a variety of quantitative and qualitative reports which will be useful in future reports by others. The following was the document which accompanied the formatted “template” I designed for these reports. In most cases, the reporting body or individual used it as a basis although it will also be noted that with the artistic license of the sector, the strictures of templates and accompanying documents are often considered to be flexible – this leads to a certain, unavoidable lack of uniformity!

RNI EVENT ANALYSIS

Original Strategic Message:

“to present Northern Ireland as a confident, creative, outward looking region and develop a relationship with the United States that will be mutually beneficial”.

Strategic Aims:

• To demonstrate that Northern Ireland is a creative, confident, outward looking region capable of partnering and doing business with US organisations and companies

• To alter outdated perceptions by presenting a variety of positive images and showing that a transformation has taken place and is continuing

• To create a future legacy of linkages and relationships that will be mutually beneficial

167 As part of the follow up to Rediscover Northern Ireland, a number of reports are being compiled to analyse and document events and projects which took place in Washington DC during the period March to June 2007.

Specifically in relation to the original strategic message and aims, I have devised a template which will capture a lot of information for future analysts. I’ve already written in aspects of it and I would be grateful if you could also contribute in the following w a y s :

NORTHERN IRELAND PARTNERS 1. Please check the data which I have headed up at the beginning of the analysis.

2. If you can add/ correct detail, please do so in terms of numbers of people taking part or attending events.

3. If you have specific detail of media coverage ( here and in the DC ), please add that as well.

4. Budgetary outcomes need only be filled in by NI partners.

5. Qualitative reporting should also be related as far as possible to the original strategic aims as quoted above. However, you can also use any qualitative reportage you will have already written for your return to ACNI. Just copy and paste. My aim is to get everything as far as possible in one place!

Further Input If anyone has received written or anecdotal feedback from US organisations/audience members/fellow artists etc. which will broaden the overall perception of how Rediscover Northern Ireland impacted Washington/US, please add this in as well under Further Input.

WASHINGTON PARTNERS The questions I need answered in particular are:

1. Do you think the event/project promoted a positive image of Northern Ireland in the US and how?

2. Did the event/project improve understanding in the US of developments in Northern Ireland and how?

3. Will the event/project encourage further artistic/ cultural/educational development in the future and how? ( e.g. any specific follow ups or legacy project planned or envisaged? )

4. Has the event/project helped to foster relationships between Northern Ireland and the United States and how?

168

ARTISTS 1. How did you feel you impacted on the audiences?

2. How did the event/project impact on you as an artist?

3. What was your experience of the logistical and administrative processes associated with the event/project – both in Washington and in Northern Ireland? Were there any lessons to be learnt?

The responses I received are attached in the following 29 reports.

169

ARTS AND CULTURAL EVENTS IN REDISCOVER NORTHERN IRELAND

DATE 5 – 20 May 2007 EVENT Community Mural Project TARGET AUDIENCE Community of Anacostia LOCATION Anacostia PRINTED PROGRAMME No PUBLICITY/MEDIA COVERAGE Channel 9 News Washington D.C. (CBS Affiliate) live coverage of the project was aired. The project was also publicized in print format in The Washington City Paper and The East of the River Community Publication. NUMBER OF PARTICIPATING ARTISTS 2 NUMBER OF PEOPLE ATTENDING 15 young people as participants DEMOGRAPHIC PROFILE OF AUDIENCE Young black residents of Anacostia US IN KIND SUPPORT BUDGET: included as part of the Anacostia residency budget see Anacostia Community Writing and PhotographyProject EVENT REPORT

Belfast is unfortunately to my mind very much associated in the eyes of the world with mural painting. Susan Davis International, the PR company engaged by DCAL and the NIB to handle the public image of our RNI/Smithsonian Folklife Festival presence, initially laid in my opinion disproportionate emphasis on the murals as a reflection of how things are in Northern Ireland. I inwardly and outwardly groaned, and felt that it was not an entirely positive way for people to approach arts and culture as we were presenting it in the Rediscover Northern Ireland programme.

That is still my opinion. However, the mural project which I set up in Anacostia was conceived on an entirely different basis. Its concept was community oriented, and was there to engage Northern Ireland with young members of the Anacostia community. As a further enhancement of this interaction, it was agreed that the Northern Irish mural artist should work with a mural artist from Washington.

With the help and advice of the New Belfast Community Arts Initiative, Tracey Gallogly was asked to undertake the “construction” of a mural in Anacostia. ARCH was the DC

170 partner again (see Community Photography and Writing Project) and they selected Cheryl Foster to be the DC mural artist.

Both artists quickly built up an excellent working relationship and overcame the immediate problem of subject matter and design for the mural. Working with a group of young black children, they completed a vibrant and colourful mural which was attached to a wall near the ARCH headquarters in Anacostia. I attended its unveiling on Saturday 19th May. I think the impact that this project had on the area was way beyond the mural itself and the personalities of the two artists had made a real difference to the young people whom I met and talked to at the opening

REPORTS FROM

Artists Tracey Gallogly, Mural artist from Northern Ireland

1. How did you feel you impacted on the audiences? I think Cheryl and I were able to help these young people to take a pride in the area they live in and in themselves through working on a project that they designed and they worked on. In these sorts of community projects, it’s not the final product that is the real focus – it’s the people taking part in that project and how they express themselves. For me it was a very personal experience. I was able to be there for these young people, answer their questions about Northern Ireland, have a laugh with them, work with them very closely and get to know them in an intense and very short period of time. They wanted to know so much about what it was like where I lived, what sorts of games children over here played, find out about the music here. Some of them were surprised to hear that children everywhere have the same sorts of challenges, the same thoughts and dreams. It was good for them to realize that, although they lived in such a different culture, there is such little difference between children wherever they are. Just by being able to listen to them and give them my time was something meaningful for these young people.

2. How did the event/project impact on you as an artist? It was great to be able to work in an area like Anacostia. Everybody accepted me totally, was interested in me and what Cheryl and I were doing – I felt famous for a wee while and it was a lovely experience – a world away from where I come and yet we all have the same issues in different degrees. I had a great time working with Cheryl Foster – she takes everything in her stride and is a real “Mother Earth” person!

These children and young people were very open with their affections. Their way of life, their backgrounds, their experiences, some parts of all of this touched my heart. It was difficult for me to see them going through their difficulties and it was very hard for me to leave them and know what they must still be going through. You worry about them.

171

3. What was your experience of the logistical and administrative processes associated with the event/project – both in Washington and in Northern Ireland? Were there any lessons to be learnt? The project could have done with a larger budget for materials and two weeks was really too short for the type of work we were doing. It’s so far to go for just two weeks!

Cheryl Foster, Mural artist from Washington DC

How did you feel you impacted on the audiences? The mural site was just two inches away from a public sidewalk on a main transportation artery in Anacostia. Pedestrian flow was constant and the stakeholders were able to ask questions and participate immediately or since the site was in their community come back and work on the project on the weekend and often as a family outing. Vehicular traffic could chose to pull over and observe quietly or honk their horns and give the thumbs up sign. Daycare centers and camp goers came to help along side "our" boys from the formal community group involved in the project " Lifepieces to Masterpieces". During workshops with me, they came to grips with their feelings about family and peer relationships and their community, translated these thoughts into black and white sketches, used these images to develop their design, fabricated the design with help from members of the community and assisted with the installation.

The older students in the Arch Program were able to take advantage of an opportunity that they ordinarily would miss as part of the Arch Vocational Program. They learned the lesson of the necessity for focus in executing a mural and the intensely, physically taxing labor involved in fabricating and installing a public art piece. We learned many lessons far beyond the visual arts. Tracey patiently shared information about Ireland with the boys. We learned to work until we couldn't make another move and then moved some more. We learned secrets about each other. We learned secrets about ourselves. We integrated math, social studies, geography and life skill development. Many lessons would not be found in a formal classroom.

Just like any public art, our work is physically complete, but will keep on telling a story for years to come. The kids will bring back their kids and their kids will bring back their kids and like stories handed down thru a griot the message will be told and retold.

How did the event/project impact on you as an artist? I would often tell Tracey " Girl if they sent me a frilly Irish lass with manicured nails and a Paris Hilton attitude I would have been stuck and two weeks would have seemed like two years. Thank God they sent me a farm girl with a long stride, strong arms and a work ethic that matches my own”. I very rarely work in collaboration with another artist. When you are partnered with someone you don't know, it's like a blind date, only you can't ask for the bill after the appetizer you have to stick it out for until the entree. Tracey and I didn't have time to court and get to know each other. Thank goodness she got off of the

172 plane running. I didn't know anything about Ireland and never cared to learn. After working our fingers to the bone, we spent many nights browsing over the "cocktail table" picture books that she brought with her. The pictures of the clean, rolling hills and rustic architecture of the countryside made me pause and reflect on the contrast between Ireland and most of America. Beyond the pictures in the book, Tracey painted visual pictures with her words and answered all of my questions and I was happy to answer hers. Some of her questions made me think deeply about war and the future of young people and farm life and the importance of family. We talked about the vast differences between the themes of Irish murals versus our non-political public art here. I found it interesting that her source of income comes mostly from organizations and the system of securing public artist is so different. An artist, like everyone else in the world, is a sum of his or her experiences. I think I got more out of our after hours conversations and socializing then I did while physically on the job, because while working we are on task. The mural was a humbling experience and between working with the boys and standing side by side at the mural wall with Tracey, this was a time I will never forget.

What was your experience of the logistical and administrative processes associated with the event/project – both in Washington and in Northern Ireland? Were there any lessons to be learnt? It is hard for me to respond to this question. Things went so smoothly you almost forget all of the people who worked so hard to secure the site for the mural, make sure we had supplies at the drop of a hat, provided transportation, links with the community. It seemed so effortless I hope I didn't forget to thank everyone profusely.

Thanks, Cheryl Foster

DC Partner ARCH This mural project was a huge community success through the eyes of ARCH. While people didn’t head to it’s unveiling in droves, those who did attend were clearly there in support of the youth. African American boys ranging in ages of 6 -12 came up with the design of the mural prior to its actual creation. The boys came from ARCH and the ARCH partner organization, Life Pieces to Masterpieces or LPTM. Lifepieces is the brain child of Executive Director, Mary Brown. The mission of LPTM is to nurture, embrace, encourage, and elevate African American boys and young men. D a i l y participation in LPTM’s artistic, academic, spiritual, and mentoring activities help turn the many challenges in the lives of these boys into opportunities for success, self- reliance, and resiliency. For ARCH, incorporating youth of Lifepieces program along with ARCH youth was a no brainer.

Both Cheryl and Tracey worked well together to help these young boys realize their vision for the piece. The mural turned out to be a positive spin on the sometimes daunting daily life for many of the youth involved. Kids eating ice cream and walking their dogs.

173 Over the past 40 years Anacostia has been a hot bed of controversy and neglect. The youth involved generally come from unstable circumstances and abuse. The use of arts and culture have been an undeniably positive experience for youth both of ARCH and LPTM. The kids now understand what and where Northern Ireland is. They understand that there are trials wherever you are from. This was a great lesson.

As the Associate Director of Arts and Culture, I would like to say that N.I. muralist Tracey Gallogly did a superb job melding in with the dynamic of the neighborhood and population. Since the mural project area emerging artists have contacted ARCH to meet Cheryl Foster to try and learn from her work within the field of “Community Arts.” She is truly a leader in her field.

Amy Cavanaugh

THE MURAL:

*Images in this exhibit of a mural project on MLK are also included. This mural was also a collaborative effort between N.I. and Anacostia facilitated by ARCH:

Mural Instructors: Cheryl Foster (DC) and Tracey Gallogly (NI)

Mural Project Participants: Life Pieces to Masterpieces students, FAN students, ARCH youth build students & The Covenant House Washington students.

Photography by: Andrea Hope

Tracey Gallogly and Cheryl Foster, Mural Artists

174

The Rediscover Northern Ireland Mural in Anacostia

The unveiling in Anacostia, May 19th 2007

175

The artists and some of the young people who did the mural.

176

ARTS AND CULTURAL EVENTS IN REDISCOVER NORTHERN IRELAND

DATE 16-27 April EVENT Community Photography and Community Poetry Project TARGET AUDIENCE Community of Anacostia LOCATION ARCH, Anacostia PRINTED PROGRAMME No - but Publicity Material was involved Attached you will find and image of the postcard created for the opening of Anacostia Exposed. The image was taken by Mervyn Smith of Belfast Exposed PUBLICITY/PRESS COVERAGE Bob Madigan is a reporter for the radio station WTOP. This news station’s audience is largely middle class white and black Washingtonians. His coverage focused mainly on the youth portion of the exhibit who were reading their poetry aloud the evening of the opening (June 30th, 2007) Press releases were sent out to a list including the Washington Post, The City Paper and ads were placed in local publications. NUMBER OF PARTICIPATING ARTISTS 3 artists from Northern Ireland, 9 poets, 3 youth photography instructors and 6 youth. NUMBER OF PEOPLE ATTENDING Estimate Photographic Involvement - 20 Estimate Poetry Involvement - 25 Estimate Exhibition attendance - 160 DEMOGRAPHIC PROFILE OF AUDIENCE - Primarily African American youth and young adults with a sprinkling of elders. BUDGET: £27,560 OUTTURN £25,381 (this budget includes the Mural Project) EVENT REPORTS In the summer of 2005, Duane Gautier came to Belfast and a number of us, including Joe Kelly Director of Craft NI and Colin Jack DCAL, met with him at the Europa Hotel in order to establish what sort of projects could be undertaken in Anacostia in partnership with Northern Ireland. At that time, Duane suggested mainly training residencies in practical craft work and visual art exhibitions.

In the end, we did not go down that route but chose a number of other projects which would be less costly and more easily managed. These projects turned out to be this Community Photography and Community Poetry project, a visit by the Brian Irvine Ensemble of part of their wider tour (see Brian Irvine Ensemble Report) and a Community Mural Project (see Community Mural Project Report).

177 Belfast Exposed and the Verbal Arts Centre became the two managing organizations in Northern Ireland with Belfast Exposed being the leader in this project. ARCH managed all day to day administration etc in Anacostia, headed up by Amy Cavanaugh and Briony Evans. A management fee was paid to ARCH as part of the RNI budget and I regarded the job they did for us as being handled with total professionalism and going beyond the strict reading of the contract.. It was always a pleasure to deal with Amy and Briony throughout my time in Washington and with the other projects in Anacostia, I saw a lot of them over the four months of the programme. I would hope that something tangible can be worked out for a continuation of future relations with Anacostia through ARCH.

The Community Photographer from Belfast Exposed was Mervyn Smyth, an artist well versed and experienced in community work of this sort. He made an important impact in Anacostia and took real efforts to become part of that community. As a result, his photography was inspirational in eliciting a whole series of poems written by people from Anacostia. At a final exhibition held in the Honfleur Gallery at ARCH on 30th June 2007, many of these poems were read by the writers and poets of the community of Anacostia. Each poem was linked to the photograph by Mervyn and displayed in an excellent exhibition at the gallery.

ARCH generously paid for Mervyn to come back to Anacostia in June for this opening and at the opening night I was impressed by the high esteem in which Mervyn was held by the large group of people who attended. It was an excellent and involving occasion.

The writing side of this project however was dogged by trouble right from the inception of the project. The first person we approached to do this project decided not to accept the invitation of the Verbal Arts Centre and as a result Colette Bryce, originally from Derry and now resident in Newcastle upon Tyne, agreed at James Kerr’s invitation to take on the project. As Director of the VAC, James thought highly of Colette’s abilities and experience in outreach work..

However, Colette felt somewhat isolated from the project during the early months of 2007 although planning the detail had not being envisaged as being done until March by Belfast Exposed, the leader on the project. For that process, Colette was flown to Belfast for a day’s planning by Belfast Exposed and all seemed to have been agreed satisfactorily. Sometime later I received a ‘phone-call in Washington, a couple of weeks before the start of the project, informing me that Colette had decided to pull out. She was eventually persuaded to re-enter the project but she was given the advice that this was not an easy area nor would this be an easy project and that if she still had any doubts whatsoever she should not undertake it. However, she still decided to go ahead.

Unfortunately, Colette did pull out again - four days into the project and, without reference to anyone or indeed without advising anyone of her departure, left for home on Wednesday 18th April. I have documented this incident fully but the upshot was that the poetry aspect of the project became managed by a poet from Anacostia, Fred Joiner.

178 In order to keep our involvement in this side of the project, however, I approached Kirsten Kearney, a Belfast poet who works with Culture Northern Ireland. She was due to come out to Washington DC in any case in connection with a poem she had written which had been chosen to be part of a MetroRail series of poems to be shown around Washington and involving The British Council.

On a fee basis, Kirsten undertook some workshops in Anacostia during her visit and very successfully reintroduced a Northern Irish dimension to this part of the project.

As I mentioned above, the final outcome of this project was an Exhibition of Mervyn’s photographs and poems by young writers in Anacostia at the Honfleur Gallery 30th June 2007.

REPORTS FROM:

Artists: Mervyn Smyth Photographer “The Anacostia River creates a kind of ‘natural’ barrier separating Anacostia from the main capital, in the same way that neighbourhoods in Belfast are cut off from the city centre by roads like the Westlink or separated from each other by ‘peacelines’. On the one hand differences are exaggerated and people are being kept apart, alienated and segregated, yet on the other hand, communities like Anacostia and Shankill, Falls, Tigers Bay and New Lodge share a great warmth- almost a sense of family- where the people are generous, kind and friendly and family, church and togetherness create a unique bond. In Anacostia, even as an ‘outsider’, the warm friendly hug you get from Mama Cole, who owns the local café makes you feel that you are a part of the community. Yes there are problems and through my images I have highlighted some, and yes, many of these problems are connected to the physical fact of separation, but there is also much that is positive and I hope my photographs capture this. Maybe that’s something people in Belfast will recognise and appreciate. Anacostia is similar to many neighbourhoods across Northern Ireland as it is also an area in transition. It is taking part in the reSTORE DC programme, a successful regeneration initiative that is set to provide the framework for a similar programme in Northern Ireland.

Mervyn enjoyed a very positive experience very much hopes to continue the collaboration into the future. His residency was supported by the Arts Council of NI, and Mervyn and Belfast Exposed also wish to extend a thank you to Philip Hammond, Creative Director of Rediscover Northern Ireland, for supporting the development of this project.

179

Fred Joiner and Mervyn Smyth

180 Fred Joiner – poet in Anacostia 1. How did you feel you impacted on the audiences? While at the “opening”, I circulated around before, during, and after the poetry reading. I got the general feeling that the audience was very impressed by the entire exhibit. The poetry and photography perfectly complemented one another without one dominating the other.

2. How did the event/project impact on you as an artist? This project further confirmed my already strong belief that art can build bridges, heal and educate. While the opening event and the exhibit was a great experience, the part that was the most meaningful was the cultural exchange in the poetry workshop where Mervyn and I talked about the similarities and the struggles of the human condition. For me (and the other artists/poets involved) the experience helped me understand how many ways our joys and sufferings are the same. Having Mervyn on hand, to provide us primary source information on the complexities of life in Northern Ireland and how similar it was to some of the complexities that of life in Anacostia, was absolutely vital to charting a trajectory for the poems we created in the workshop. I was pleased to hear that during the workshop process Mervyn was determined to show a side of Anacostia that goes against what has become the normal dismal discussion about Anacostia. The fact that he was able to identify what the folk of Anacostia were going through, because it was so similar the types of disparaging things that are said about Belfast, Northern Ireland. 3. What was your experience of the logistical and administrative processes associated with the event/project both in Washington and in Northern Ireland? Were there any lessons to be learnt?

I had a very pleasant experience with the back office processes during the event. Amy and Briony made it very easy for me (and the other poets involved), to create a body of work that was in dialogue with Mervyn images. I believe we were successful at doing this, and while that speaks to the virtuosity of the poets involved, it also speaks in great measure to the support of Amy, Briony and the rest of the Honfleur team. Thanks a lot!

Fred Joiner

Kirsten Kearney - Anacostia Report My involvement with the Anacostia project came about due to the sudden departure of Collette Bryce from the project. My poem, ‘Belfast, The North of the City’ was being profiled on the MetroRail as part of the European Poetry in Motion project so I was going to be in Washington over the period of the planned Anacostia project already. (See http://www.europeanpoetryinmotion.eu/ for further details).

I was asked to come to Anacostia, meet the local arts workers and become involved with as much as I could during the week I was there, in order to create some material for poems which would then be included in the exhibition along with Mervyn Smyth’s photography and poems from the group headed up by Fred Joiner.

181 I found my experience in Anacostia a hugely positive one. The staff at ARCH, in particular Briony Evans, with whom I dealt the most, were highly committed, creative and passionate individuals, all of whom were completely dedicated to their work in the community of Anacostia. I spent much of the week in Anacostia working alongside NI mural artist Tracey Gallogly and DC artist Cheryl Foster, as they incorporated groups of young people, primarily boys, into a large-scale mural project.

This gave me a useful insight into the community – which enabled me to write two poems based on my awareness of the issues and history surrounding the area. One, ‘From Belfast to Anacostia’ was based closely on the mural project and the other, ‘On Cedar Hill’, stemmed from the rich cultural history of the area, primarily the influence of Frederick Douglass, the famous abolitionist. I also met with Fred Johnston to discuss the progress of the project – his entire group was meant to meet me for a workshop, but were not able to make it. I liaised on an ongoing basis with Fred and with Briony, as she was able to respond to my specific requests as to how my poems should be printed and displayed.

I had the pleasure of building up a good connection with ARCH, and subsequently met up with Briony during her visit to Belfast and indeed even commissioned her to make an individual artwork for my wedding.

My involvement with Rediscover NI, in a professional and personal capacity, both through my poetry and my coverage and web content production with CultureNorthernIreland convinced me of the strength of the NI cultural offer and I was privileged to witness at first hand the uptake of this offer in Washington during the programme.

I look forward to seeing Mervyn’s work and the poetry in situ when the ARCH exhibition comes to Belfast Exposed. As I was not present at the launch of the exhibition in Washington, I was not able to experience first hand the impact of my poetry, but I had ve r y positive feedback from the ARCH staff and the other artists involved in the project, as well as the children, who were pleased that their lives had been documented in textual as well as visual form.

In artistic terms the experience was a very positive one for me. The exposure to a completely different community than my own was very inspiring as was observing first-hand the impact that the arts can make on an area of complicated social deprivation. Also, to realise the similarities rather than the differences between Belfast and Anacostia was a good lesson. The experience would encourage me to further develop my interest in using the arts to promote community and social cohesion and to address social need.

My own experience of the administrative and logistical side of things was very straightforward as I had most of my plans in place before being engaged on the project, but in terms of dealing with the Verbal Arts Centre and Belfast Exposed, they were very helpful and supportive at all times. KK

182

M e r v y n Smyth, Briony Evans and Amy Cavanaugh

DC Partner Amy Cavanaugh/Briony Evans On behalf of ARCH, we felt that this project was a major success. The project itself stayed very true to one of the goals at ARCH - to always incorporate the neighborhood into programming throughout the year. Mervyn was an absolute delight to have here and is missed. He was a wonderful mentor to the youth of the ARCH photography program, Working with the instructors of each class, Vige Middleton, Imani Brown and Andrea Hope, Anacostia youth set out to create their own mini version of Mervyns more professional, Anacostia Exposed. The youth displayed their work on the second level of the Honfleur Gallery. On the evening of June 30th each youth photographer read one of their own original poems to accompany each of their photographs. This was by far one of the most touching experiences of all the projects. The poetry was raw and real. It seemed this was a great exercise on how the arts are a great way to communicate troubling times.

Sadly, for the poetry portion of this exhibit, we had the aforementioned Colette Bryce crisis. I feel Philip is one target with his view of the situation and do not have much to add to this. Fred Joiner did take over Colette’s scheduled workshops and they went off without a hitch. We had 9 contributing poets including Fred, all responding to Mervyn’s photography. These poets are: Marlene Hawthrone Thomas, Derrick Weston Brown, Katy Richey, Abdul Ali, Kyle Dargan, Alan King, Rosetta Thurman, Tony Medina. Some of these poets are published and some are emerging. Regardless, the exhibit produced was comprehensive, cohesive and had a huge impact on the community at large.

183 Kirsten’s time with us was brief, but she was a lovely addition to the program and her poetr y was on target with the issues surrounding this area. ARCH is looking forward to showing this exhibit in Belfast next year.

Lastly, Pauline Hadaway of Belfast Exposed was also very professional and easy to communicate with. We look forward to working with Belfast Exposed again in the future.

1. Do you think the event/project promoted a positive image of Northern Ireland in the US and how? Absolutely! The projects implemented in Anacostia created a real synergy between the African American populations of Wards 7 & 8 in Washington D.C. and the struggles of Northern Ireland. From ARCH’s stand point this was a “hands on” experience. Each artist who visited Anacostia spent a lot of one on one or “face time” with the community of Anacostia. This has had long standing effects. Today, we have people from the neighbourhood asking, “Where is that photographer? Is he coming back?” Mervyn Smith is the photographer from Belfast Exposed they are referring to. Mr. Smith had a huge effect on this community. He was friendly, unobtrusive and gained a real sense for the culture, struggles and identity. This insight really spoke both in his images and with the people he encountered.

2. Did the event/project improve understanding in the US of developments in Northern Ireland and how? I truly believe that RNI’s presence in the Folk Life Festival gave N.I. a real sense of identity to Washingtonians. I think there has been a great disconnect between Ireland and Northern Ireland within the U.S. Stereotypically, not too many people differentiated between the two. Northern Ireland was the hot topic of the summer, especially East of the Anacostia River where so many similarities can be drawn between areas in N.I. and Anacostia.

3. Will the event/project encourage further artistic/ cultural/educational development in the future and how? ( e.g. any specific follow ups or legacy project planned or envisaged? ) I would hope so. In Anacostia the projects produced were The Brian Irvine Ensemble at the ARC Performance Hall, A Youth Mural Project and a Community Photography Project. ARCH is currently working with the organization Belfast Exposed to send back the exhibit created by Mervyn Smith and Washington D.C. poet, Fred Joiner for exhibition. This exhibit was titled, “Anacostia Exposed,” a play on words between this community and Mervyn’s organization. ARCH would love to send a few of the individuals who participated in this exhibition to Northern Ireland to experience the Anacostia Exposed Exhibit in its fullest capacity. ARCH would further love to send Cheryl Foster to NI to create a Mural with youth of Belfast. In ARCH’s opinion, it would be fantastic to see a full exchange of all of these projects in similar communities throughout NI. ARCH would certainly work towards funding these exchanges and more in the future.

184 4. Has the event/project helped to foster relationships between Northern Ireland and the United States and how? Politically, I am not the person to answer these types of questions; however I will say that Northern Ireland’s relationship & identity with the Anacostia Community is positive and strong.

5. What impression do you think was conveyed to the audiences who attended and to those involved with the NI artists? What was the impact? What type of people attended? Any influential people that you know of? Friendly, Sincere, Professional and Caring. These would be the words that I feel were translated to the audiences of the ARCH projects. Each artist/participant from N.I. was obviously proficient in their field. For instance Brian Irvine was just incredible in his workshop with youth & adults of the Levine School of Music. His approach to music was fun and engaging while still remaining educational. Not one person from this workshop came out without one excellent piece of knowledge they could implement into their daily practice routine. I say this as a professional musician and witness to that particular workshop. Most of the people who attended ARCH/RNI Projects were African American and spanned the economic bracket. No noticeably famous people attended any of these projects, but ARCH did receive support from the Deputy Mayor’s Office of Planning and Economic Development for both the photography and mural projects through their Neighbourhood Grants Program.

6. What was your overall impression of the Northern Ireland component of the event/project? Were you content with the NI management of the event / project? Were you impressed by the artistic standard of the NI artists? I was impressed with each artist sent to us with the exception of Colette Bryce who left at the beginning of the poetry/photography project. Colette up and left without informing us of her whereabouts. She had scheduled workshops on the table with the American Poetry Museum. Her behaviour was strange and irresponsible; however ARCH does not hold her actions in the hands of RNI/NI. This was a bump in the road and would never dissuade further exchanges and partnerships with Northern Irish artists. Overall, the experiences were quite professional and intelligent. ARCH feels the events went smoothly across the board.

Amy Cavanaugh Royce Director of the Honfleur Gallery Associate Director of, ARCH Development Corporation for Arts and Culture

185

Notes from the Director

On behalf of the Honfleur Gallery we are so please to have this opportunity to work in partnership with Northern Ireland to make this exhibit a reality. The exhibition title, “Anacostia Exposed,” is a play on words between, “Anacostia,” and the Northern Ireland photographic organization, “Belfast Exposed” which sent its talented artist, Mervyn Smyth to photograph this area.

Mervyn spent two weeks in April of 2007, primarily in the historic sector of Anacostia, documenting the neighborhood through the lens of his camera. Anacostia was targeted by the Department of Culture, Arts and Leisure, N.I. because of it’s similarities with the Northern Ireland city, Belfast. While the root of Belfast’s struggles may be different than that of Anacostia, the outcomes have been compellingly similar.

The exhibition is accompanied by a poetic component led by Washington D.C.’s Fred Joiner. Mr. Joiner has spent the past two months holding workshops with other area poets to create a body of work that would compliment Mervyn’s photography. Mervyn’s images were sent to Fred to use as inspiration for these poetry workshops.

The second floor of this exhibition holds a youth component. The ARCH Training Center has implemented a new Traditional After-School Photography Program. With the use of ARCH’s new darkroom facility on Martin Luther King Ave., both youth from ARCH and Finhankra Akoma Ntoaso (otherwise known as FAN) created a photography exhibit called “Discovering Anacostia” through the eyes of our youth.

What has been uncovered by this exhibition is a sense of positive and promising change, pride in ones neighborhood and openness to new and different cultures. Upon the close of this show the exhibition will travel to Northern Ireland. Anacostia will now reach well beyond the river banks, across the ocean and become part of someone else’s community. It is the hopes of the gallery to continue its relationship with Northern Ireland, teach photography to area community members and youth & to eventually send its poets and young artists abroad to communities in Northern Ireland.

This project is part of “Re-Discover NI” in Washington, D.C. and was funded by the Dept. of Culture Arts and Leisure (DCAL) in N.I. and the Deputy Mayor’s Office for Planning and Economic Development in Washington D.C.

The Honfleur Gallery and ARCH would like to thank: DCAL’s Philip Hammond, the Northern Ireland Bureau in Washington, D.C., Mervyn Smyth & Fred Joiner for their overall dedication to the project, The American Poetry Museum for it’s support, FAN, the instructors for both photography programs; Andrea Hope, Imani Brown, Virginia Millington for their hard work with the youth and Chris Heaney (NI) for helping with the installation of this exhibit.

In conclusion, please make sure to fill out a postcard upstairs to send back to Northern Ireland!

Thank You,Amy Cavanaugh Royce Director of the Honfleur Gallery & Ass. Director of ARCH for Art & Culture

*All of the images in this exhibit were taken under verbal consent by the models between April 14th a nd 2 8 th , 2007.

186

ABOUT MERVYN SMYTH: Mr. Smyth is a larger than life photographer for Belfast Exposed which was founded in 1983 as a community photography initiative. He is known for getting behind the scenes in Northern Ireland and is often granted access into otherwise inaccessible areas & neighborhoods. Mr. Smyth carries an uncanny ability to capture life as it is. Here are his thoughts on the similarities between Belfast and Anacostia.

“The Anacostia River creates a kind of ‘natural’ barrier separating Anacostia from the main capital, in the same way that neighbourhoods like St Peter’s and Shankill are cut off from the city centre by roads like the Westlink or separated from each other by ‘peacelines’. On the one hand differences are exaggerated and people are being kept apart, alienated and segregated, yet on the other hand, communities like Anacostia, St Peters and Shankill share a great warmth- almost a sense of family- where the people are generous, kind and friendly and family, church and togetherness create a unique bond.” -Mervyn Smyth

MEET THE POETS:

FRED JOINER is a poet living in Washington, DC's Historic Anacostia neighborhood. He has given poetry readings at Busboys and Poets, Grace Church, and Howard University, among other places. His poems have appeared in Callaloo, Beltway Poetry Quarterly, Fingernails Across the Chalkboard: Poetry and Prose on HIV/AIDS from the Black Diaspora, Mosaic Literary Magazine, and Warpland: A Journal of Black Literature and Ideas.

Kirsten Kearney, (Northern Ireland) is a writer in residence and has been tracking the whole Rediscover NI project through her work with CulturalNorthernIreland. She was booked to attend the launch of her poem on the Washington Metro when she was invited to contribute to the poetry angle of the Anacostia Project. Kirsten has specifically written for the Anacostia Mural Project on the second floor of this exhibition.

Marlene Hawthrone Thomas is a poet, freelance photographer, and recent Howard University graduate residing in Northern Virginia. Her poetry has been published in Drumvoices Revue, and she has been blessed with the opportunity to photograph for: Dr. Tony Medina, Furious Flower, Moore Black Press, numerous Cave Canem fellows, DC poets and most recently, the National Council of La Raza. She continues to work hard at documenting poets and everyday people residing in the Washington D.C. area and abroad, and hopes to one day earn her MFA in Photography.

Derrick Weston Brown has studied poetry under Dr. Tony Medina at Howard University and Cornelius Eady at American University, and holds an MFA in Creative Writing from American University. He is the author of a chapbook, The Unscene (published in 2006), and his work has appeared in DrumVoices Review, T h e N e w Orleans Times-Picayune , Black Issues & Book Reviews, and the Cave Canem Poetry Anthologies of 2002 and 2003. He is a native of Charlotte, NC and currently resides in Mount Rainier, MD. He is a Cave Canem fellow and the poet-in-residence at Busboys & Poets bookstore and restaurant.

Katy Richey is a poet and teacher living the Washington Metro Area. She is a 2007 Callaloo fellow and her work has been published in Beltway Poetry Quarterly and upcoming in Gargoyle Magazine. She has been a featured reader at the 2006 Capital Book Festival, Arlington Public Libraries Reading Series, and WPFW 89.3 FM "On the Margin." She writes curriculum and teaches English to second language learners in Montgomery County, Maryland.

Abdul Ali is a native of New York City studying English and Playwriting at Howard University and is the Managing Editor of Howard University's online literary journal, The Amistad. He is the 2007 winner of the Margaret Walker Creative Writing Contest in for poetry sponsored by the College Language Association; a Zora Neale Hurston/ Richard Wright Writer's Week alumnus. He recently read some of his poems at the Smithsonian National Museum of African American History and Culture, an event sponsored by the French Embassy in November ('06) commemorating the centennial of Josephine Baker's birth. His work has been published in the Washington Post, Amistad and the forthcoming anthology All That I Am: Black Writers on Finding, Keeping, and Creating Love In Their Lives , edited by Marita Golden and the Fall issue of the Beltway Poetry Quarterly, Black Issues Book Review, and he is the author of the column "Pause and Affect" for the online magazine, Scheme.

187 Kyle Dargan is Managing Editor of Callaloo and Distinguished Adjunct-in-Residence at American University. His debut collection of poems, The Listening, was awarded the 2003 Cave Canem Prize, and his forthcoming book, Bouquet of Hungers, will be published in October 2007 by the University of Georgia Press. His poems and non- fiction have appeared in such publications as Denver Quarterly, The Newark Star-Ledger, Ploughshares, and Shenandoah.

Alan King has been published in Warpland: A Journal of Black Literature & Ideas, When Words Become Flesh: An Anthology of New Generation Poetry, Taboo Haiku, and The Hurricane Katrina Haiku Anthology among others. He is the author of his self-published books "Transfer" and "The Music We Are," which is also the title of his full-length manuscript.

Rosetta Thurman was born in Painesville, Ohio, and firmly believes that change is possible, no matter what the situation. She works at a nonprofit in DC and is the author of Perspectives >From the Pipeline, a blog about nonprofit issues. Rosetta earned a BA in English from Virginia Commonwealth University (VCU) and recently completed a Master's in Nonprofit Management from Trinity University in DC. In her spare time, besides raising money for her nonprofit and writing poetry, you can find Rosetta shimmying to jazz and neo- soul music, looking in awe at contemporary art, or cooking up a batch of fried chicken in her tiny studio kitchen.

Tony Medina is a poet, professor, activist, and author of twelve books for adults and children, including DeShawn Days, Love to Langston, No Noose Is Good Noose, Committed to Breathing, Follow-up Letters to Santa From Kids Who Never Got a Response and Role Call: A Generational Anthology of Social and Political Black Literature & Art. Medina's poetry, fiction and essays appear in over thirty anthologies and two CD compilations. He is currently Assistant Professor of Creative Writing at Howard University in Washington, DC.

MEET THE INSTRUCTORS:

Andrea Hope currently overseas the ARCH darkroom facility on Martin Luther King Ave. SE and is a part time manager and jack of all trades for both ARCH and the Honfleur Gallery. Ms Hope has been a freelance photographer both film and digital for over 10 years and enjoys experimental photography. She has been working closely with the instructors and youth of this project for the past three months and is considered a talented asset to the ARCH team!

Imani Brown was the instructor for the inaugural ARCH After School Photography Program. Ms. Brown is a graduate of Clark University with a concentration in photography and has worked with programs in D.C. such as Investigating Where We Live at the National Building Museum. In addition to her many talents, Ms. Brown is currently a tattoo artist at the PInz – n- Needlez Tattoo shop in the U Street corridor of D.C.

Virginia Millington or “Vige” currently teaches the after-school photography class at FAN. She is a member of the DC Listening Lounge, a local group of audio producers dedicated to sound exploration and storytelling. This group was recently invited to be part of Art Radio WPS1's broadcast at the Venice Biennale. Vige is particularly interested in locating, documenting, and displaying what meanings can be found in the transient, the ordinary, and the hidden. During the day, Vige is the Exhibition’s Coordinator at the Folger Shakespeare Library.

188 MEET THE YOUTH: ARCH Instructor: Imani Brown & FAN Instructor: Virginia Millington ARCH Darkroom Tech: Andrea Hope Darkroom Tech: Andrea Hope FAN Executive Director: Nia West-Bey Advanced students: FAN photo students: Stephanie Hood Doneisha Owensby Eunika Jones Destiny Traynham Simone Simmons Walter Gibbs Meche Kondo Taneka Thomas Iesha Washington Terrance Thomas Part-time students: Donnell Owensby Willie Williams Deon Thomas Marcus Jackson Hownisha Reed Mr. Willimas Bey Andre Thomas Derwin Broadus DeAngelo Traynham Javon Yarborough Mensa Kondo

NI Partner:

Pauline Hadaway, Belfast Exposed Belfast Exposed acted as the central administrative point for three projects which took place in Anacostia, Washington DC between April and August 2007. The key US partner was ARCH, a community organisation based in the Anacostia area in SE Washington. All three projects involved Northern Irish artists with members of the Anacostia Community and the projects were managed on a day-to-day basis by our partner ARCH. The project involving Brian Irvine Ensemble was part of a larger tour by the Brian Irvine Ensemble and was separately managed by Moving on Music.

1. Photography and Writing Residency Photography and writing exchange between Belfast Exposed, the Verbal Arts Centre & Anacostia Community, Washington DC:

Dates: 14 April – 24 June 2007 A 14 day residency undertaken by BX photographer Mervyn Smyth initially alongside Colette Bryce, a writer selected by the Verbal Arts Centre, Derry. Both NI artists were to work alongside locally based artists and community leaders, based at the Anacostia Community Centre Washington DC. The project to be delivered in the context of the Rediscover Northern Ireland programme.

2. Music Brian Irvine’s Ensemble to deliver a concert at the ARCH Community Centre in Anacostia, with ARCH is facilitating the public relations aspect of this event and Belfast Exposed for convenience is acting as the Belfast point of contact.

189 3. Mural project Dates: 5-20 May 2007 To create a mural in Anacostia using local community participants and through a collaboration of two mural artists – Tracey Gallogly from Northern Ireland (selected by the New Belfast Community Arts Initiative) and a Washington based artist. A 14-day residency to end with an unveiling of the new mural in Anacostia. Project Aims • Create an on-going and sustainable relationship between the Northern Ireland & Washington, D.C. Arts Communities through the implementation of Anacostia based programming leading up to the Folklife Festival on the National Mall in 2007. • Link with the Anacostia Community in Southeast Washington, D.C. as part of the "Rediscover Northern Ireland" Programme • Support Northern Ireland artists by connecting them to their professional counterparts stateside thus aiding in career advancement • Implement a Photography/Creative Writing Project about Anacostia, which will lead to an exhibition/ showcase in Anacostia and later in Belfast and Derry. • Implement a Mural Project in Anacostia using both a Northern Irish Artist and a Washington DC Artist • Build working partnership between Belfast Exposed and Verbal Arts Centre, Derry Project objectives

• Planning & delivery of a series of creative arts & training workshops focused on photography & creative writing- which may involve any/ some or all of the following formats: digital/ mobile phone / disposable 35mm cameras/ photographic prints/ image & text messaging and /or on line design and publication. • Editing and exhibition planning workshops • Exhibition/ Publication/ showcasing in Washington DC, Derry and Belfast and on line through the BX website Blog facility • Support public relations aspect of the Brian Irvine Ensemble event in Anacostia through ARCH • Planning and delivery of a mural project through ARCH in Anacostia

190

Project outputs

1. Photography Residency M a y – August 2007 Participants: Mervyn Smyth, Photographer Belfast Exposed Kirsten Kearney, poet, Culture NI Collette Bryce, poet, Verbal Arts Centre

As part of Belfast Exposed’s involvement in the Rediscover Northern Ireland programme, community photographer Mervyn Smyth travelled to Anacostia, Washington DC to take part in a visual arts and creative writing residency, The residency involved a partnership between Belfast Exposed Photography and the ARCH Development Corporation and Training Centre, a community development organization located in the historic Anacostia neighbourhood in south east Washington DC.

Mervyn collaborated with local poets lead by Fred Joiner assisted by Jon West- Bey from The American Poetry Museum and Kirsten Kearney from Culture NI to create an exhibition of photography and poetry informed by the experience of meeting and working with members of the Anacostia community. The Belfast Exposed Photography of Anacostia exhibition opened at the end of June in the Honfleur Gallery www.honfleurgallery.com, an impressive visual arts space, part of the ARCH community project and the first main street gallery in Anacostia in 40 years. The photography exhibition consists of B&W portraits of people and places, made through a collaboration between Mervyn Smyth and participating communities and individuals in Anacostia, including the ARCH After School Traditional Photography Program and The FAN Program. The poetry was presented on acrylic panels hanging from the ceiling alongside the photography. Additional photographic material generated by three community groups based in Belfast, St Peters Imaculata Youth Club, Greater Shankill Alternatives and The Blackie Centre in Beechmount has also been printed in postcard format to be posted from Belfast with written messages from the groups, and exhibited in the gallery alongside the Anacostia work. Mervyn decided to include work from his community practice in Belfast because he has been struck by visual parallels between Anacostia district and

191 neighbourhoods like St Peters and Shankill.

Participating Groups – from Belfast. Greater Shankill Alternatives Beechmount Youth Club St Peters Youth Club

Public presentation Mervyn’s personal visual record of his time in Anacostia can be seen at the new Groundwork NI Regeneration Resource Centre on Duncairn gardens from Wednesday 12 September 2007. The series consists of B&W portraits of people and places, made through collaboration between Mervyn Smyth and participating communities and individuals in Anacostia. The work will also be seen in the Belfast Exposed gallery during March 2008 and on the Belfast Exposed web site (city as archive themed packages) from January 2008.

EVALUATION

Belfast Exposed agreed a project plan and evaluation plan with participating organisations and facilitators to measure successful delivery against agreed targets, based on criteria of Effective delivery of schedule & targets Projects delivered on time Delivery within budget Favourable exchange rate allowed delivery of project in budget, in spite of additional flights required when one of the participating artists was unable to c o m p lete residency. Enjoyment of participants See project reports Quality of work produced See accompanying images Work currently installed at Groundwork Progression routes identified Photography made by Mervyn Smyth to be shown in Belfast in March alongside performance by Washington based poet Belfast Exposed photographer Mervyn Smyth is currently designing a residency project which will develop his association with ARCH

Levels of participation Participation included 3 Belfast based community groups, taking part in postcard making exchange.

192 ANACOST

EXPOSED SATURDAY

6 .30.2 007

Part of the Photography and Poetry Exhibition at ARCH Anacostiao'clo

Mervyn Smyth in Anacostia

193

ARTS AND CULTURAL EVENTS IN REDISCOVER NORTHERN IRELAND

DATE 5 - 20 May 2007 EVENT Arts Critics’ Exchange Programme TARGET AUDIENCE Young journalists with arts interest in DC and NI LOCATION Belfast and Washington PRINTED PROGRAMME No PUBLICITY/PRESS COVERAGE Articles written by the journalists on the course in both Washington and Belfast NUMBER OF PARTICIPATING ARTISTS 6 critics plus Linda Christmas plus the 6 “tutors” Professor Declan McGonagle, Dr. Tom Maguire, Carlo Gebler, Glenn Harper, Trey Graham and Scott McLemee. NUMBER OF PEOPLE ATTENDING N/A DEMOGRAPHIC PROFILE OF AUDIENCE N/A BUDGET: £30,000 RNI grant and Visiting Arts input OUTTURN £30,000 EVENT REPORTS It was at the suggestion of Visiting Arts that this programme was initiated. ACNI had long been looking for a way in which to raise the profile of arts criticism and with the help of Jill Heron of the EIS at DCAL, the Belfast Telegraph and Culture Northern Ireland, three young journalists from Northern Ireland were identified who would fit the profile necessary for a focused course on arts criticism. Three Washington based journalists were also found although that process was more difficult and drawn out.

Sioned Hughes of Visiting Arts undertook the complete planning process, modeling the “course” on a previous Arts Criticism programme which Visiting Arts had also organized. She selected Linda Christmas, a prominent UK journalist and teacher of journalism, as the Course Director. Eventually, a two week programme – one week in Belfast and one week in Washington DC, was put in place with several “tutors” engaged to talk to the six arts critics about specific artform considerations.

The most interesting of interactions took place between the six young journalists and I expect that the intensity and focus of the two week programme will have formed between them all a strong friendship for the future. One of the immediate benefits however for Northern Ireland has been the heightened interest of the two young Belfast Telegraph journalists in arts reporting – Matthew McCreary and Linda McKee. It is very important to increase arts coverage in Northern Ireland and so the Arts Critics Exchange

194 Programme has achieved this already to a degree.

This programme would be categorized as a “professional development opportunity” and was not an inexpensive option. However, I was especially pleased with the total professionalism of the planning. I would have no hesitation in partnering with VA as a result and further linkages with the London-based Visiting Arts will prove useful in the future particularly in relation to further international work for Northern Ireland. PH.

REPORTS FROM

UK Partner: Visiting Arts which includes commentary and input from the Arts Critics on this course.

Arts Critics’ Exchange Programme 2007

Northern Ireland and Washington DC

5 -19 May 2007

Final Report

Written by Sioned Hughes, Professional Development Manager Visiting Arts

195

196 Thank you very much for such a wonderful opportunity. I learnt an awful lot from the experience – the opportunity to meet so many top arts critics was very special. It has inspired me to take on more criticism. David Lewis

The fact is that every one of us has left this course smiling, happy and in an extremely positive frame of mind about becoming arts critics. I feel we have gained a much greater understanding of the role of the arts critic and the do’s and don’ts of establishing this niche in our future careers. Matthew McCreary

I feel the course has been very enlightening and revived my interest in areas of the arts that I have neglected for a long time. Linda McKee

I have heard of no other programs for young and aspiring critics, and this course has given me the courage and tools to pursue criticism. Alison MacAdam

If the course is meant to foster friendships between young writers and to help young critics gain confidence in their criticism, then I think the course was a huge success. Drew Bratcher

This has been a wholly rewarding experience, one I know I’ll never forget. I am grateful to have been chosen, and more grateful still to have been the beneficiary of so much time and attention from so many accomplished people. Chris Klimek

197

Contents Page

1. Executive Summary 4

2. Arts Critics’ Exchange Programme 5

Background 5 Aims of Programme 5 Management and Delivery 6 Participant Recruitment and Selection in Northern Ireland and 6 Washington DC Participants 7 Critic Mentors 8 Overall Programme Structure 10

3. Evaluation 16 How Feedback was Collected 16 Participants 16 Timing and a Sense of Place 17 Structure and Content 18 Recruitment 21 Accommodation 22 Critic Mentors 22 Suggestions for Future Course Content 22

4. Outcomes 23

5. Recommendations 24

6. Conclusion 25

7. Acknowledgements 26

198 1. Executive Summary

The Arts Critics’ Exchange Programme was run by Visiting Arts as one of over 40 arts and cultural events showcasing Northern Ireland as part of the Rediscover Northern Ireland programme. Designed to encourage an increase in arts criticism coverage in the Northern Ireland press; it brought together three writers and journalists from Northern Ireland with three of their counterparts from Washington DC. This programme of professional development sought to demystify arts criticism by enabling participants to develop their critical faculties thereby assisting them in establishing themselves as arts critics; create a network of contacts within Northern Ireland and Washington DC; as well as providing an opportunity to get to know a country by immersion in its arts and culture.

The two-week programme was spent in Northern Ireland and Washington DC, with both weeks following a similar format of structured teaching and discussion, exploring the role of the arts critic today. Writing reviews to deadline was a major feature, replicating the pressure faced by practicing arts critics, and also allowing for structured feedback on submissions, to improve skills and confidence. A packed programme included classroom sessions with leading arts critics during the day and performances in the evening. The art form focus for both weeks was literature, theatre and visual arts thereby generating a deeper understanding and exploration of themes and issues. In order to explore the physical landscape as well as the cultural one, contextualisation was arranged during both weeks with a 2-day tour of the Northern Ireland included in the first week, and a city centre tour and trip to Anacostia whilst in Washington DC.

Feedback from participants and critic mentors was uniformly positive at the end of the course, and 3-months later, participants were still feeling the benefit of having participated namely

• A renewed sense of enthusiasm, interest and most importantly commitment to the arts • A greater confidence in their critical faculties • Improved writing skills having benefited from the critical thinking and attention to detail that the course provided • A greater understanding of how to structure critical pieces and the different approaches a critic can take • An understanding of the importance of arts criticism to the development of the art form • Good friendships were developed, and excellent networking opportunities were provided • The US participants came away with a better understanding of the cultural context in Belfast and Northern Ireland. Additionally two participants are actively seeking to return to Belfast in the next 6-months to report on topics encountered during the programme

199 2. Arts Critics’ Exchange Programme

Background

During 2005/6, Visiting Arts piloted a new project model aimed at aspiring young arts critics. The Young Critics Programme was run in partnership with British Council as part of Connecting Futures that aimed to build understanding, learning and respect between young people with different cultural backgrounds in the UK and other countries. Many social critics and thinkers in the countries involved acknowledge that arts criticism (as opposed to journalism) either does not exist or is (in many instances) at a basic stage of development. The existence of a healthy critical community of writers is an essential ingredient of a democratic society and of a flourishing arts/cultural scene; this programme aimed not only to develop links between young people in the UK and the relevant countries but also to contribute to the appreciation and development of arts criticism practice in the participating countries. The programme also sought to involve older practising critics and writers in all the countries involved by inviting them to interact with the participants, both in the UK and overseas. Linda Christmas was instrumental in the design and development of the Young Critics model and was programme co-ordinator for the pilot programme. The Young Critics Programme partnered 6 young writers from the UK with a further 6 young writers from Lebanon, Palestinian Territories and Pakistan.

Information about the Young Critics Programme was sent to Dr Philip Hammond, Creative Director at the Department of Culture, Arts and Leisure, responsible for curating the Rediscover Northern Ireland Programme. This 4-month programme aimed to raise US awareness of Northern Ireland as a place to study, live, work visit and invest by showcasing the diversity of Northern Ireland’s arts, heritage, food and drink, crafts, sports and the beauty of its landscape. Rediscover Northern Ireland ran from St Patrick’s Day and culminated at the Smithsonian Institution’s Folklife Festival in July. Philip Hammond hoped that as Northern Ireland emerges from its troubled past, that the arts and culture would receive more prominence in the National press. In order to encourage and facilitate this, the Arts Critics’ Exchange Programme was developed as one of the 40 arts and cultural events taking place within Rediscover Northern Ireland.

Aims of the programme

The Arts Critics’ Exchange Programme was designed to encourage an increase in arts criticism coverage in the Northern Ireland press. It was hoped to achieve this through

• Bringing together young writers from Northern Ireland with their counterparts from Washington DC in order to provide an understanding and knowledge of these countries and regions through active immersion in their arts and culture.

200 • To demystify arts criticism by enabling participants to develop their critical faculties thereby assisting them in establishing themselves as arts critics.

• To demonstrate the importance of arts criticism in the development of various art forms.

• To highlight the link between arts and identity and how the arts can engender regional and national pride and be used as a unifying force.

• To provide professional development for young writers in Northern Ireland and Washington DC and to establish a network of contacts for young writers.

The programme was therefore aimed at writers and journalists in Northern Ireland with an interest in arts and culture and a platform to be able to publish their work, together with their counterparts in Washington DC.

Management and Delivery

Management of the programme was undertaken by Sioned Hughes, Professional Development Manager at Visiting Arts. Linda Christmas was once again recruited as programme co-ordinator at the programme development stage and was integral to the design and development of the Arts Critics’ Exchange Programme. Philip Hammond, Creative Director for Rediscover Northern Ireland at the Department for Culture Arts and Leisure in Northern Ireland was involved in all discussions as the programme developed and proved very important in the recruitment of participants and critic mentors in both Northern Ireland and Washington DC. Courtney Patterson Cultural Affairs Officer at the Northern Ireland Bureau in Washington DC provided advice and assistance in Washington DC.

Participant Recruitment and Selection

Due to the limited number of places available, potential participants were sought by actively seeking nominations from knowledgeable local sources rather than advertising the programme widely. This worked well in Northern Ireland but proved more challenging in Washington DC. Nominees were asked to provide a CV. The selection panel for the programme were Philip Hammond, Linda Christmas and Sioned Hughes, representing the major sponsor, course co-ordinator and programme manager respectively. Selection was made on the basis of the nomination, together with a specific journalistic background and a demonstrable interest in arts criticism evident in the CV. Potential participants’ areas of interest were also a factor, to ensure that their interest was covered by the course content. In the US, location also proved to be a factor, with many potential candidates not based in DC but living in other States.

201 Northern Ireland Nominations were sought for potential participants through the Arts Council of Northern Ireland and additionally through seeking nominations from the Critic Mentors themselves. Nominations were also actively sought from the Northern Ireland press, as their buy-in was seen as critical to the overall success of the programme, providing, it was hoped, opportunities for arts criticism in the public domain. Philip Hammond was key here in making initial contact with potential candidates. Once contact had been established, Visiting Arts then supplied further information about the programme and collated CVs.

Washington DC Advice for recruiting the Washington DC participants was sought and provided by Courtney Patterson, Cultural Affairs Officer at the Northern Ireland Cultural Bureau. Further advice was also obtained from Sarah Frankland, Deputy Director at British Council USA and based in Washington DC.

Course Directors at USC Annenberg/Getty Arts Journalism Program and Goldring Arts Journalism M.A. program at Syracuse University were contacted directly about the programme, as were all Universities in Washington DC offering postgraduate journalism courses. Howard University was also contacted directly in an attempt to ensure applications reflected the ethnic mix of Washington DC. Applications were additionally sought through nominations by Critic Mentors. New Media and the web is recognised as a major forum for Arts Criticism in Washington DC, and for that reason some applications were received from critics active in multi-media by advertising via Trey Graham’s blog Theatre Boy. All regular Washington DC publications – newspapers and monthly magazines were also contacted directly to seek nominations.

Participants

The participants in the programme were:

202 David Lewis – who heads up the arts and cultural website www.culturenorthernireland.org, as well as other new media projects and a literary festival.

Matthew McCreary - a reporter on Northern Ireland's principal daily newspaper, the Belfast Telegraph, who covers arts and culture, as well as general news stories.

Linda McKee – a reporter on the Belfast Telegraph, who covers heritage as well as agriculture and the environment.

Alison MacAdam - a writer and producer on National Public Radio’s All Things Considered in Washington DC.

Chris Klimek – who currently covers pop music for the Washington Post and theatre & film for the website DCist.

Drew Bratcher - an editorial intern at The Washingtonian magazine where he writes feature articles and a weekly online book column.

Critic Mentors

Linda Christmas Linda Christmas' career as a journalist spans regional newspapers, national newspapers (The Guardian) radio and television (BBC's Newsnight). For 15 years she was director of the post-graduate course in newspaper journalism at City Unversity, London. She is now senior advisor to the Guardian Foundation, a post that involves training journalists around the world. Most recently she has spent three months in Muscat, Oman.

The arts have been a major interest all her life. During her 11 years with the Guardian she wrote endlessly about various art forms - but rarely as a critic. However, she had 23 years of private tuition in the role and the skills of a critic: she was married to John Higgins, Arts Editor of Financial Times and The Times.

203 Declan McGonagle Declan McGonagle graduated from the College of Art and Design (Belfast) in the mid 1970’s, worked and exhibited as an artist in Ireland from 1977 to 1980.

He was the first Organiser of the Orchard Gallery, Derry, (1978), then Exhibitions Director at the Institute of Contemporary Art London, (1984), and the founding Director of ‘A New Necessity’, the First Tyne International in Gateshead/Newcastle-Upon-Tyne, (1990). He was also first Director of Irish Museum in Modern Art, Dublin (1990 – 2001) and has been a contributing Editor of Artforum International (New York) since 1991. He was shortlisted for the Tate Gallery’s Turner Prize in 1987 and served on the Jury in 1993. He has also served on the Juries of the Jerwood Painting Prize and the John Moores Prize.

From 2001 to 2004 he worked with the City Arts Centre, Dublin, directing its Civil Arts Inquiry, to create a new vision, identity and programme for the organisation and for participatory arts practice. In the same period he prepared a report for Derry City Council on a Cultural Strategy (2002) for the City.

He has recently taken up a new post of Chair of Art & Design and Director of ‘INTERFACE’ – a new research centre at the University of Ulster, in Belfast, which will explore and programme around issues of art and context. He has joined the Board of City Arts Centre (Dublin) and will continue working on various projects.

He is also the Chair of the Board of the Liverpool Biennial and writes and lectures nationally and internationally on the role of art in society.

Tom Maguire Originally from Belfast, Tom Maguire was educated at the universities of Edinburgh and Glasgow. As well as reviewing theatre and sport for Edinburgh University’s Student newspaper, he worked for The List as a theatre critic and on the script reading panel for 7:84 (Scotland) Theatre Company. Since 1992, he has worked as a university lecturer, firstly at Liverpool Hope and for the last eight years at the University of Ulster. He reviews theatre for Irish Theatre Magazine and BBC Radio Ulster’s Arts Extra and has been a regular contributor to BBC Radio Foyle’s The Nine Line. He is Chair of the Board of Big Telly Theatre Company. In his day job he teaches on the BA Drama programme within the School of Creative Arts at the University of Ulster in the areas of acting, theatre history and criticism, interventionist drama and storytelling. He has research interests in British and Irish theatre, post-colonial theatre and storytelling. His book Making Theatre in Northern Ireland: Through and Beyond the Troubles was published in 2006 by the University of Exeter Press.

Carlo Gébler Carlo Gébler was born in Dublin in 1954 and brought up in London. He studied English at the University of York and the practice of film-making at the National Film and Television School, Beaconsfield. He is the son of novelist Edna O'Brien.

204 He is the author of a range of books, his novels including The Eleventh Summer (1985); Work and Play (1987); Life of a Drum (1991); The Cure (1994); and How to Murder a Man (1998). His collection of short stories, W9 and Other Lives, was published in 1996. He also writes for children and young adults, his latest books being August '44 (2003) and The Bull Raid (2005). His non-fiction books are two travel books: Driving through Cuba: an east-west journey (1988); and The Glass Curtain: Inside an Ulster community (1991). He has also written a book of history, The Siege of Derry (2005), which gives an account of Derry's 105-day struggle against the Jacobite army in 1689.

Carlo Gébler has written two plays: Dance of Death (2000), a version of August Strinberg's work of the same name; and 10 Rounds (2002), an adaptation of Arthur Schnitzler's La Ronde, relocated to Belfast. He contributes reviews, articles and short stories to many national publications, has written a libretto for opera, and is a film-maker, and producer and director of television documentaries. In 2000 he published an autobiography, Father and I: a memoir. He lives outside Enniskillen in Northern Ireland and teaches creative writing at HMP Maghaberry, where he is writer-in-residence.

Glenn Harper Glenn Harper, editor of Sculpture since April 1, 1996, was formerly editor of Art Papers magazine, a regionally based, nationally distributed contemporary arts magazine. Harper has written for Aperture, Artforum, Public Art Review, On View, Afterimage, and for books and catalogues on the works of artists John Van Alstine, Athena Tacha, and others. He is the editor of Interventions and Provocations: Conversations on Art, Culture, and Resistance, a collection of interviews with contemporary artists published by the State University of New York Press in 1998. He earned a PhD in the interdisciplinary Humanities Program of Florida State University and has served on peer review panels for the National Endowment for the Arts and other public agencies.

Trey Graham Theaterboy (http://theaterboy.typepad.com/) is Trey Graham, one of two lead theater critics at the Washington City Paper, where he's been a contributing writer since 1995. He began his career as a writer and editor at the Washington Blade, and spent nearly five years in the Life section at USA Today, where for a while he was the music and theater editor. He was a 2002 critic-fellow at the O'Neill Critics Institute and a fellow at the inaugural NEA Arts Journalism Institute in Theater and Musical Theater in February 2005. In December 2004 he received the George Jean Nathan Award for distinguished drama criticism.

Scott McLemee Scott McLemee writes "Intellectual Affairs," a weekly column on books and ideas, for the online news publication InsideHigherEd.com. He contributes frequently to The New York Times, The Washington Post, Newsday, Bookforum, The Boston Globe, and other newspapers and magazines. In 2004, he received the National Book Critics Circle award for excellence in reviewing.

205 Overall Programme Structure

The Arts Critics’ Exchange Programme’s aim was to provide the opportunity to get to know Northern Ireland and Washington DC through its arts and culture, and simultaneously through structured teaching and discussion to explore the role of the arts critic today. Writing reviews to deadline was the other major feature, replicating the pressure faced by practicing arts critics, and also allowing for structured feedback on submissions, to improve skills and confidence. For this reason, both weeks tried to maintain a packed programme with classroom sessions during the day and performances in the evening. However, feedback from the 2006 Young Critics Programme highlighted the need for some less structured time, to enable participants to discover their environment more fully. Contextualisation was therefore recognised from the start as being very important and consequently a 2-day tour of the Northern Ireland was included from the beginning as part of the workshop. At the project planning stage a decision had to be made regarding art form focus of the programme, and the three specialities chosen were Literature, Theatre and Visual Arts. By essentially replicating the Northern Ireland programme in Washington DC, the added benefits of a deeper understanding and exploration of themes and issues was anticipated.

Prior to the programme commencing participants received two books to review and submit: Glenn Patterson’s Number 5 and Dean Bakopoulos’ Please Don’t Come Back from the Moon. These books were chosen to represent contemporary fiction by both Northern Irish and American authors. The submitted reviews enabled a base line to be set for participants’ work at the start of the course, for comparison with work at the end of the course.

The time in Belfast began with an open-top bus tour of Belfast, providing an opportunity to get to know the city a little, as well as signposting the major redevelopment of the city centre currently underway. A welcome dinner allowed the group to get to know one another further, and was additionally attended by Nóirín McKinney, Director of Arts Development at the Arts Council of Northern Ireland.

The first day of tuition was led solely by Linda Christmas, who provided an introductory session on arts criticism, as well as an observational exercise to get participants writing from day one. In the evening, the group attended a promenade performance of Henry and Harriet by Carlo Gébler, part of the Cathedral Quarter Arts Festival.

The second day’s focus was visual arts criticism – with a special emphasis on socially engaged practice. Having undertaken a black cab taxi tour of the murals of Belfast, the group reconvened at the University of Ulster for a roundtable discussion led by Declan McGonagle. There was wide ranging discussion about art and contested spaces, as this is a particular concern in Belfast at the moment with much post-conflict regeneration occurring at present. Declan McGonagle advocated re-thinking public space as civil space, and suggested that this provided a huge opportunity for artists. In the afternoon, writing time was provided with a choice of topics to cover – a Henry & Harriet review, a critique of the black cab mural tour, or a response to the roundtable discussion.

206

A visit to the gtGallery was undertaken at the end of the day, with Director and Curator Peter Richards leading the group around the things we may have missed exhibition, showcasing aspects of gtGallery’s history to date, prior to its move to the new premises.

Black Cab Mural Tour, Belfast © Chris Klimek

This was also the day that devolved power was returned to the Northern Ireland Assembly at Stormont – it was a huge privilege to be in Northern Ireland on such an historic day.

The third day’s focus was theatre, with Tom Maguire leading a highly interactive session with many creative exercises. One of these had the group sampling and describing everyday items such as chocolate, cheese, tomatoes and cornflakes, demonstrating the difficulty the critic faces in describing what they are experiencing. Tom Maguire also outlined the various roles a critic could embrace from the highly personal reviews of A.A. Gill to the more detached, less egocentric, writing suitable for young critics. The group attended Owen McCafferty’s Days of Wine and Roses at the Lyric Theatre Belfast that evening, and had to file their review to Tom Maguire by 10am the next morning.

The fourth day set out to contextualise the visit to Northern Ireland, with an overnight visit to Derry, via Giant’s Causeway. While circumstances conspired to reduce the time available at Giant’s Causeway, the trip still allowed an appreciation of the changing landscape of Northern Ireland, and its market towns. A full feedback session on work submitted was provided by Tom Maguire that afternoon, held at the Verbal Arts Centre Derry. Unfortunately, there was no performance on in Derry that evening, therefore the group walked the city walls and attended a traditional music session at a pub in the evening.

207

L-R, Drew Bratcher, Linda Christmas, Alison MacAdam and David Lewis on the Derry City Wall © Chris Klimek

The final full day in Northern Ireland saw the group travelling to Enniskillen for a session on book reviewing led by Carlo Gébler. This provided a welcome change of pace and provided an insight into life as a critic. As well as providing some very practical advice regarding ways of reading for review purposes, Carlo also shared his personal list of do’s and don’ts to assist with good review writing.

L-R, Alison MacAdam, Carlo Gébler, Drew Bratcher, Linda McKee, Sioned Hughes, Matt McCreary, Linda Christmas & David Lewis in Enniskillen. © Chris Klimek

208

On return to Belfast, some of the group attended C21’s The Indian, part of the Cathedral Quarter Arts Festival, while others attended Schlomo and the Ulster Youth Beatbox Choir at the Black Box. Later on, Miriam Gamble, a 2006 Young Critics participant and accomplished poet, met the group.

The group next met in Washington DC. Once again, to provide a city context, a trolley bus tour of downtown Washington DC was undertaken, and visits made to the Lincoln Memorial and the Vietnam War Memorial (of particular interest following discussion about contested spaces/memorial in Belfast). The Phillips Collection was later visited, and the group attended a chamber concert in the Music Room there, by Darragh Morgan and Mary Dullea. This series of chamber concerts formed part of the Rediscover Northern Ireland programme. Alison MacAdam and her fiancé Simon Rodberg hosted the group for dinner that evening.

Formal teaching began again the following day with a visual arts criticism session led by Glenn Harper, who advocated a different set of criteria be applied according to your audience, word count, and nature of exhibition. Glenn Harper escorted the group to the Hirchhorn Museum to review the installation Directions by Virgil Marti and Pae White. That evening the group went to the Kennedy Center to see DC Opera’s production of Verdi’s Macbeth, for which the participants had to write an introduction to a review.

L-R, Alison MacAdam, Matt McCreary & David Lewis at Directions installation, Hirchhorn Museum © Chris Klimek

Book reviewing was the topic the next day, with Scott McLemee leading the day. Discussions ranged around good and bad reviews, with certain reviews being deconstructed. Scott McLemee also led a discussion about what the participants had learnt up until now.

209 That evening, the group attended Mabou Mines’s production of J M Barrie’s Peter and Wendy at Arena Stage’s Kreeger theater. Writing time was provided the next morning, before Trey Graham’s afternoon session on theatre reviewing. During this session, the group read their pieces aloud before Trey and the whole group provided feedback. This different method of reading the work aloud worked very well. A Rediscover Northern Ireland literature event was attended in the evening, with Glenn Patterson, Owen McCafferty and Lucy Caldwell reading from their work at Poets and Busboys.

L-R, Matt McCreary interviewing Owen McCafferty at Busboys and Poets © Chris Klimek

The fourth teaching day in Washington provided the opportunity for a feedback session with Glenn Harper on the installation viewed earlier in the week. No activities were scheduled that afternoon to provide some free time for participants. During the evening the group attended the US Premiere of Songs from the Big Picture at Catholic University. The group attended the reception afterwards and once again had the opportunity to speak to Owen McCafferty, Glenn Patterson and Lucy Caldwell, in addition to members of the cast and crew. This event was also part of Rediscover Northern Ireland.

The final day saw the group travelling to Anacostia. As part of the context setting in Washington DC, it was important to look beyond the National Mall to other parts of the city. The Anacostia Community Museum was visited, with director Robert Hall accompanying the group around the galleries. Next a visit to ARCH was made – a not- for-profit training organisation aimed at providing skills in the community. Briony Evans provided an overview of ARCH’s aims and objectives, and then took the group on a guided tour of the Honfleur Gallery. Finally the group met Tracey Gallogly and Cheryl Foster who were undertaking a community mural project, as part of the Rediscover Northern Ireland Programme, to be unveiled the next day.

210

L-R, Cheryl Foster, Sioned Hughes, Matt McCreary, Linda McKee, Alison MacAdam & Drew Bratcher, Anacostia © Chris Klimek

A final closing dinner was held that evening, attended by Philip Hammond, Courtney Patterson of Northern Ireland Bureau and Colin Jack of the Department of Culture, Arts and Leisure.

3. Evaluation

How feedback was collected

At the end of the course, all participants were asked to supply a bullet point summary of the key things they had learnt about arts criticism. Participants were also requested to submit a critique of the course itself – a final opportunity to write critically. Critic mentors were also approached to provide feedback on the course.

Participants

The choice of running the programme with six participants was uniformly praised, as opposed to the dozen participants in the earlier Young Critics Programme. The previous programme had also targeted young writers and consequently had an age cut-off of 25 years. Feedback from the first programme indicated that this cut off age was too restrictive – and that the programme would benefit more mature journalists, consequently no age restrictions were imposed. The age range of this programme was early twenties to mid thirties. A benefit of the older age range was that participants exhibited a deeper commitment to becoming arts critics.

211 The choice of six candidates rather than 12 has been crucial – I feel our experience would have been very different had the group been larger and younger in overall age. Matt McCreary

Timing and a Sense of Place

The timing of the two-week course was originally determined by the programme of work that would happen in Washington DC as part of Rediscover Northern Ireland. This would enable the participants to engage with the work and meet some of Northern Ireland’s foremost playwrights and authors. Whilst this proved a very good choice, events transpired to make the week in Northern Ireland unforgettable, with the reconvening of the Stormont power-sharing assembly occurring during the visit. It was a privilege to be in Northern Ireland at such a historic moment, with direct rule from London ending, hopefully for the last time.

The other aspect of the course decided upon from the start, was that context setting would be integral to both weeks. With this in mind, bus tours were undertaken in Belfast and Washington DC, as well as visits to Derry and Enniskillen in Northern Ireland, and Anacostia in Washington DC.

…it was an amazing experience to be in Northern Ireland at such a historic time. Drew Bratcher

The week in Washington was chock-filled with charms. I loved meeting the authors and playwrights and seeing some great performances. Drew Bratcher

I found the focus on getting to know the cities (Belfast, Derry and Washington) to be critical to my experience. Having toured Belfast allowed me to better view its art in context. Alison MacAdam

Everybody who comes to DC should visit Anacostia. David Lewis

…the highlight for me might have been the morning in Anacostia because it opened up my eyes to a side of the city I have neglected to realize exists. Drew Bratcher

212 Structure & Content

There was uniform praise for the overall structure and content of the course. Participants noted an increase in confidence in their critical writing.

Overall I think my sense of what it takes to be a reviewer has been greatly developed. I now have a better idea of the role of a critic and their role in the media. I have also learnt that being a critic is not the same as being a straightforward journalist. I have made some very enlightening discoveries about my own abilities as a writer and some very solid contacts, which will help me in my career. More importantly I have also made some great new friends and I look forward to seeing them again in the future. Matt McCreary

Participants valued the structure of the taught sessions with an emphasis on open discussion – starting with the first day’s introduction to arts criticism, lead solely by Linda Christmas.

Our group sessions were thoroughly enjoyable and enlightening. Linda’s initiation day was a good way of breaking the ice between us all. The observation exercise was fun and effective in encompassing what the next two weeks were about. Matt McCreary

The first day’s sessions also helped to engender a good team spirit that was supportive and encouraging of each other’s work.

A feature of the fortnight was that our work was discussed in a constructive and positive atmosphere. I liked the fact that group members were very willing to express their views and if necessary stick to them. Equally they were prepared to take on board advice and criticism. It made for stimulating group discussions. David Lewis

In particular, participants welcomed the opportunity to share their work by reading it aloud. Once again, the confidence to do this was facilitated by both the group size, and their ages.

…reading our reviews aloud provided an extremely different experience for us all. Being able to express our words in our own voices gave us greater confidence in our writing and our abilities.

213 Matt McCreary

I enjoyed Glenn Harper's and Trey Graham's workshops with us in Washington for the way in which we were able to read our reviews aloud and get immediate feedback from the our colleagues and the critics. Drew Bratcher

I was surprised that reading out reviews and discussing them worked so well, as I normally like to have copy in front of me. An effective change of the dynamic. David Lewis

The programme schedule was deliberately intense, so as to entirely immerse the participants in arts culture & criticism for the fortnight. While most feedback on this approach was positive

…overall I thought the balance between training and cultural exchange was good. David Lewis some feedback suggested that some slack should be built into the schedule, to allow for further one-to-one time with Linda Christmas, or to further polish reviews. Limited time for review writing was a deliberate policy however, as it reflects the nature of a jobbing critic.

Obviously, our schedule was packed, and it was such a pleasure to see all those plays, meet all those people, etc. But I do wonder if a bit less would be more – creating additional time for the course leader to guide us and further time for writing assignments. Alison MacAdam

Linda’s guidance was good and steady, but I felt we could have had a bit more one-on-one time with her. Matt McCreary

I wish we could have had another day in both places to polish a review or two. Drew Bratcher

The demanding schedule was burdened further by Northern Ireland participants’ need to file reports from Washington DC in addition to their course work. This was excellent experience for them but the commitment should have been made known to the course director before hand. The work could then have been scheduled into the course and time provided for the course director to help with the reviews. As it was such guidance was offered over breakfast or late at night!

…I had been burning the candle at both ends rather too much, trying to get copy filed for my paper in addition to the coursework… Linda McKee

214

I would urge that participants be freed of all work assignments while on the course. Not only will this allow them to focus entirely on the program, but it will remove any potential conflicts of interest (i.e. the Telegraph provides participants but demands coverage from Washington in exchange). Alison MacAdam

The only controversial aspect of the course proved to be the Black Cab mural tour undertaken in Belfast as part of the visual arts criticism content. The aim here had been to undertake a taxi tour of the murals (known to be highly opinionated), discuss reactions to the tour followed by a roundtable discussion that would locate the visual arts debate within its Belfast context and the global context of conflict. The debate would then be widened to discuss the role of the critic and socially engaged practice. The strong reactions to the tour by the Northern Ireland participants were not expressed at the start of the roundtable discussion and only came to light at the end of the week in Washington DC and in feedback provided:

This was interesting and infuriating in equal manner. David Lewis

Tuesday's activities were more challenging. I feel that the mural tour changed the nature of the whole first week because of the extreme political content presented from a Sinn Fein perspective. I feel that I spent most of that week explaining the political situation of the Troubles to the visitors, which was exhausting. I feel that if the murals had to be covered, it should either have been by a more politically neutral guide Tuesday's activities were more challenging. I feel that the mural tour changed the nature of the whole first week because of the extreme political content presented from a Sinn Fein perspective. I feel that I spent most of that week explaining the political situation of the Troubles to the visitors, which was exhausting. I feel that if the murals had to be covered, it should either have been by a more politically neutral guide – I understand the city centre taxis can do this – or a balancing contribution should have been included, possibly someone like Plum Smith, who was mentioned by Declan McGonagle. Linda McKee

On the whole, the group had the least confidence with visual arts criticism with the result that the roundtable discussion did not progress as anticipated, and instead provided an overview of ideas around regeneration in Belfast, focussing on the creation of new civil spaces and also highlighted a series of case studies of community based projects in which the panel members had been involved with.

A scheduling change the course co-ordinator recommends is that in future, the session on ‘So what is Arts Criticism’ should be moved to the very last day, and that the afternoon is provided to participants to write their critiques of the course, whilst remaining in the class room.

215

Recruitment

Whilst the decision not to advertise widely for participants was taken due to the limited number of places available and the limited resources at Visiting Arts to process a great number of applicants, a positive suggestion was received regarding a dedicated section of Visiting Arts’ website. This programme and the earlier Young Critics Programme now feature on a dedicated page on the Visiting Arts website: Our Work. When a future Critics Programme is run however, it will be further expanded to provide fuller details of new and previous programmes.

Here lies my first piece of advice for the future: Increase the appearance of rigor and legitimacy in your application process. Note I say appearance; I don’t doubt you rigorously searched for the best. But I was surprised to not be asked for writing samples; how could you know I wasn’t a complete huckster? It would have been helpful for this year’s program to have a website where potential applicants could learn more, since in this day and age – for better or for worse – one’s existence is confirmed by a website. And I was a bit nervous that the program wasn’t advertised, that it seemed to be searching for applicants at the last minute. Alison MacAdam

I’d like to seen writing samples from each of the participants prior to the start of the program. Chris Klimek

The delivery team had wanted to ensure that participants from Northern Ireland and Washington DC reflected the population demographics of their respective populations, however all the Northern Ireland participants were of a protestant background. Similarly, with a 57% black population in the District of Colombia1, it was hoped that this would also be reflected in the participants. Despite targeted recruitment this was not achieved. Gender balance was not achieved either – in the participants or indeed the critic mentors. It must be emphasised however, that the delivery team were very satisfied with the final participants chosen!

Accommodation

Although not commented on by participants, it was felt advantageous to any future programme that all participants are accommodated together for the duration of the programme – i.e. including when they are in their home cities. This would ease logistical arrangements and ensure inclusion for all informal activities as well as scheduled evening activities. This would impact on the project budget, and will therefore need to be addressed at the planning stage for a future programme.

1 http://quickfacts.census.gov/qfd/states/11000.html 22 August 2007

216

Critic Mentors

All critic mentors were praised by participants, who all noted the value of their time with established critic mentors. Their approaches were all different and those differences helped to change the dynamic of the course.

Every one of them was insightful and thought-provoking in their own ways. Most effective were the mentors who engaged the group, who involved us in exercises and pushed us to articulate our approaches to criticism. Less successful were the mentors who talked at us. While I appreciated the expertise they shared, I learn best through doing, not listening. Alison MacAdam

To a large extent, the success of a programme such as this depends on the time spent with the critic mentors, and the level of individual feedback that participants receive on their written work. For future programmes, it is recommended that the honorariums paid to critic mentors are increased, to reflect the time spent in preparation for the course as well as the time spent with the group, and in providing feedback.

Suggestions for future course content

Suggestions put forward by the group for consideration in future courses were as follows:

I think there is room within the course for a session on advanced writing skills – tips to improve copy, leit motifs, intros and pay-offs, stylistic devices, choosing a style suitable for the piece, developing your own voice, unusual approaches. I think such a session should concentrate on trying to develop flair and individuality, the reasoning being that the more striking and original the writer, the more likely they are to be employed. David Lewis

I wish we would have incorporated an element of film into the course. Drew Bratcher

Next time, film! Chris Klimek

In terms of content, it might have been good to include a review of popular music, if only because there are probably more outlets for this type of criticism than any other. David Lewis

217 4. Outcomes

Discussions with the participants 3-months after the conclusion of the Arts Critics’ Exchange Programme, have confirmed the positive impact the course had on all participants. Whilst the overarching aim of the programme was to increase arts criticism coverage in the Northern Ireland press, this was recognised as a goal that would only be achieved in the longer term. Individual benefits have included the following:

David Lewis at CultureNorthernIreland.org has provided training for all his reviewing staff based upon what he learnt during the programme. Additionally he has recruited new staff to review classical music and visual arts on the website. He has undertaken more regular reviewing himself and writes more thoughtful pieces with greater confidence.

Matthew McCreary has become a more regular theatre goer with a greater appreciation of what makes a good theatrical production and performance, and he is better able to incorporate this into his arts news stories. He now covers cinema reviews for the Belfast Telegraph’s entertainment supplement and these have directly benefited from insights gained during the programme. He also has a renewed sense of the importance of research to fully understand and appreciate work seen. Participation in the course has underlined his commitment to the arts and their reporting.

Linda McKee feels that her writing has benefited from the opportunity provided by the programme to critically appraise your own work. Since the course Linda has written features on the Clandeboye Festival and plans to cover Queen’s Festival this autumn.

Alison MacAdam’s work has also benefited from the programme’s focus on critical thinking and attention to detail. Alison has also contributed material for CultureNorthernIrelnad.org – a podcast from the Smithsonian Folklife Festival and a theatre review. Alison also plans to return to Belfast in April 2008 to cover festivities related to the 10th Anniversary of the Good Friday Accords and hopes to report on topics raised during the session led by Declan McGonagle.

Chris Klimek’s participation in the programme enabled him to get a new job shortly after it. He now writes a regular art column in the Examiner.

Drew Bratcher has been appointed Assistant Editor at The Washingtonian since the programme and is now writing longer features. Drew is also editing a page of short music, DVD and book reviews for incorporation into The Washingtonian later this year. Drew also hopes to accompany Briony Evans from the Honfleur Gallery and a group of Anacostia students to Belfast in the future, and will write about the transforming power of art in the lives of the students.

218 5. Recommendations

Recommendations for future Art Critics’ Exchange Programmes are as follows

• Keep the group size to between 6-8 participants • The ideal participant age range is 25-30 years • Context setting is essential in all cities visited • Maintain the strength and variety of work seen during the programme. Some of the most challenging work seen produced the strongest reviews by the participants. • Ensure that the whole group always stays in hotels – even whilst at ‘home’. • Ensure the honorariums paid to critic mentors are commensurate with the the time spent in preparation for the course as well as the time spent with the group, and in providing feedback. • Running the course for a fortnight with no break in-between worked very well, and added to the coherence of the whole programme. • Provide formal time in the programme schedule to allow participants to rewrite reviews once feedback has been given. • Move the session on ‘So what is arts criticism?’ to the final day, wit the afternoon provided to participants to formally evaluate the programme.

219 6. Conclusion

Thank you very much for such a wonderful opportunity. I learnt an awful lot from the experience – the opportunity to meet so many top arts critics was very special. It has inspired me to take on more criticism. David Lewis

I feel the course has been very enlightening and revived my interest in areas of the arts that I have neglected for a long time. Linda McKee

I have heard of no other programs for young and aspiring critics, and this course has given me the courage and tools to pursue criticism. Alison MacAdam

If the course is meant to foster friendships between young writers and to help young critics gain confidence in their criticism, then I think the course was a huge success. Drew Bratcher

L-R Linda McKee, David Lewis, Matt McCreary, Chris Klimek, Alison MacAdam & Drew Bratcher © David Lewis

220 7. Acknowledgements

The Arts Critics’ Exchange Programme was developed by Visiting Arts and run in partnership with Arts Council Northern Ireland and the Department of Culture Arts and Leisure, as part of the Rediscover Northern Ireland Programme. Visiting Arts thanks all the partners of this programme.

Support for the programme was provided in a variety of ways by Interface Research in Art Technologies and Design of University of Ulster, CultureNorthernIreland.org and the Linen Hall Library, Verbal Arts Centre Derry, Carlo Gébler, Lyric Theatre Belfast, gtGallery Belfast, Northern Ireland Bureau Washington DC and British Council Washington DC. Visiting Arts thanks all the supporters of this programme.

Visiting Arts would also like to thank all the participants and critic mentors who took part in the programme, as their generosity and energy ensured its success: David Lewis, Matthew McCreary, Linda McKee, Alison MacAdam (also for dinner at home), Christopher Klimek (also for use of photos in the report), Drew Bratcher, Declan McGonagle, Tom Maguire, Carlo Gébler, Glenn Harper, Trey Graham and Scott McLemee.

Visiting Arts would like to thank all of the organisations and individuals who in a variety of ways supported the Programme. While thanks go to all the people and organisations that spent time with the participants, particular thanks are extended to the following: Nóirín McKinney of Arts Council of Northern Ireland; Anthony Haughey, Mick O’Kelly, Ailbhe, and Katrina Newell for their participation in discussions at Ulster University; Peter Richards of gtGallery; Simon Rodberg; Courtney Patterson, Heather Price and Tim Losty of Northern Ireland Bureau in Washington DC; Sarah Frankland of British Council Washington DC; Briony Evans of Honfleur Gallery; Robert Hall of the Smithsonian Anacostia Community Museum. It was wonderful to engage with the larger Rediscover Northern Ireland Programme in Washington DC in particular the opportunity to meet Nancy Groce of the Smithsonian Institution and many of the artists involved directly in activities in Washington DC notably Glenn Patterson, Owen McCafferty, Lucy Caldwell, David Campbell, Tracey Galloghy & Cheryl Foster. Thanks also to Mama Cole for sublime fried chicken and greens – an Anacostia institution.

221

ARTS AND CULTURAL EVENTS IN REDISCOVER NORTHERN IRELAND

DATE 20 – 28 April 2007 EVENT Brian Irvine Ensemble Tour TARGET AUDIENCE Cross section of DC public including University, school, community and general public LOCATION American University, Levine School of Music Anacostia / ARC Anacostia, School for the Arts In Learning, Library of Congress PRINTED PROGRAMME Yes PUBLICITY/ MEDIA COVERAGE Washington Post Review NUMBER OF PARTICIPATING ARTISTS 14 NUMBER OF PEOPLE ATTENDING 680 DEMOGRAPHIC PROFILE OF AUDIENCE 8 to 80 yrs; male 60% female 40%; white 75% black 25% US IN KIND SUPPORT Venue, technical support, administration and management, printing and publicity BUDGET: £46,000 OUTTURN £45,228 EVENT REPORTS Brian Irvine is a remarkable, hugely talented, creative individual. If his music may sometimes leave certain listeners a little perplexed, his unique personality, his quirky sense of humour, his open and friendly disposition wins over even the most conservative of audiences. His warmth is infectious, his communicative powers unparalleled. He is without doubt the most singular composer Northern Ireland has ever produced.

With the zany group of musicians who together form the Brian Irvine Ensemble, Brian Irvine provides a presentation, an entertainment, which goes beyond a mere “concert”. It is an event something akin to “performance art”.

I could not and would not have predicted just how the Brian Irvine Ensemble would have gone down with the audiences of conservative Washington - in the austere environment of the world-famous Coolidge Auditorium in particular. That was the first engagement which I was able to confirm and it was to be the highlight of a week-long Washington residency by composer and ensemble in late April. Other venues later scheduled were the Katzen Arts Center at American University, The Levine School of Music and the ARC Community Center in Anacostia, and the School for Arts In Learning (after the withdrawal of the Duke Ellington School for the Arts).

222 The Ensemble’s first engagement was to play at the reception organized by the University of Ulster at American University. This was before an invited audience on a Sunday evening – that was the only date we could schedule which suited everyone. I was sorry that more AU students did not come to the concert. At the ARC Community Center, the audience was disappointingly small despite the fact that Brian and one of the ensemble members, Scott Heron, had given a workshop at the Levine School of Music connected to the ARC in Anacostia. Not all of those people came along either. Despite that, Brian and the Ensemble were truly professional in their presentation and gave every ounce of energy they had as if the auditorium had been full.

At SAIL, I have rarely seen a group of young people become so enthused by music – these young people had specific learning difficulties but they had already established a rapport with Brian through his residency in the school during the previous week. By the end of the concert, Brian had the complete audience up and dancing! It was quite remarkable I thought.

Finally, at the Library of Congress, it took maybe ten or fifteen minutes for Brian to break down the rather conservative atmosphere of an audience who would be more used to listening to standard repertoire from the world of dyed in the wool “classical” chamber music. However, I soon started noticing the smiling faces, the willingness to enter into mild “audience participation” and again, by the end of the concert, there was foot stamping, cheers, standing ovations, whistles, the complete gamut of audience reaction which signifies total acceptance and enjoyment. This was, to my mind again, quite remarkable.

I was asked again but the Library of Congress to interview Brian for their archives and their website at a public event before the concert began.

The Washington Post music critic was equally enthralled and published a stunning review of Brian’s concert – a much deserved recognition of the quality of the event and the performers. It’s attached at the end of this report under Further Input.

I must make special mention of Brian Carson and Moving on Music, the NI organization who handled with total efficiency all the complicated and detailed management of this tour. It is not an easy job to look after fourteen musicians – and especially of the sort of “creative individuals” who work with Brian Irvine.

223

BIE in Anacostia

REPORTS FROM NI Partner: Moving on Music

Moving on Music has represented the Brian Irvine Ensemble since its inception some 7 years ago. Working with Brian Irvine and the ensemble (12-piece) in a local, national and international context has brought experience, opportunity and profile to the company, the city of Belfast and Northern Ireland. When we were approached in late 2006 by Rediscover NI with the proposal to organise a tour in the Washington DC area including a performance at the prestigious Library of Congress, we were only too pleased to be involved, as were the BIE.

The difference between this and other international engagements undertaken on behalf of the BIE was that there was not a specific promoter(s) of the proposed events: we had been invited by our government as representatives of NI art and we would have to partner with possible receiving venues, sourced by NI representatives in Washington to perform at little or no cost to them for an invited or non-paying audience.

We realised that this represented various challenges, as a large amount of logistics would have to be arranged in advance from Belfast, normally the responsibility of a promoter on the ground in the receiving city. This included all transportation: local, international and internal; the hire and transportation of all backline equipment (amplifiers, drums, keyboards, music stands, drapes, etc.), booking of accommodation, visa considerations, etc. plus a major amount of time co-operating and corresponding with a myriad of partners and suppliers. Also, it would be necessary to raise the finances locally by an application to the Arts Council.

All of the above undertaken, here is a report on the events which took place in Washington DC, between 20 and 28 April 2007

224

• DAY1 (20 April): Travel to the US All went according to plan and we meet the four London based members at Newark Airport on the way through to Reagan National, Washington DC.

Our first bus transfer picked us up at the airport and we arrived at the hotel at 8pm local time where we meet up with Brian Irvine who had arrived 5 days earlier to present an education residency.

The hotel turned out to be of a good standard, centrally located at Dupont Circle, about half an hours walk to the White House and many of the city’s major museums.

• DAY 2: Rehearsal As the band had not meet since October 2006, it was necessary to schedule a rehearsal prior to the performances.

In the morning we travelled to the rehearsal studio of Drums Unlimited who would also be supplying the hire of backline equipment for the duration of the visit.

Although the venue was an hour out of the city, it was well worth it as the facilities and staff were excellent; the band had a very productive four-hour rehearsal.

• DAY 3: Performance at the Katzen Arts Centre, American University The band performed an ecstatic hour-long set following the reception at the opening of a visual art exhibition featuring NI artists. Many of the key players in the Rediscover NI programme were present, including Philip Hammond (Artistic Director Rediscover NI), Rosemary Kelly (ACNI Chair), various NI Bureau representatives, UU staff, business sponsors and various interested parties from the American University.

There were about 120 people in the audience for the concert, which finished with a standing ovation – a good start to the performances!

• DAY 4: Day off

• DAY 5: Rehearsal & workshop at the Levine School There was further rehearsal time in the morning to polish things up for the important LOC concert on Friday.

In the late afternoon, Brian Irvine, Scott Heron (BIE cellist) and I travelled by taxi to Anacostia, one of the most under privileged areas of the city, for a workshop with string players at the Levine School. This had been organised by Amy Cavanaugh, a community arts worker in the area; she had been so helpful in the run up to our visit, so it was good to meet her in person for the first time. The visit also gave me the opportunity to look at the venue where the BIE would play the following evening. The workshop was very well received; please refer to Brian Irvine’s residency report.

225

• DAY 6: Performance at the ARC Theatre, Anacostia Despite the best efforts of Amy Cavanaugh this turned out to be a difficult gig due to the incompetence of the venue sound crew, who just didn’t seem to know what they were doing! Patience was tried and held, and in the end they gave a good performance to a small audience of c50 people, many of whom were from the workshop the night before. Another standing ovation; it’s amazing how this band can turn a situation and an audience. The feedback after was very enthusiastic and positive.

Belfast Exposed photographer Mervyn Smyth, who was doing a photo residency in the Anacostia area made it along to the concert and some of his photos from the concert are included on the disk (Appendix 3).

• DAY 7: Performance at the School for Arts in Learning This full ensemble performance followed on from the residency workshops that Brian Irvine had conducted here the previous week. The atmosphere was very charged and excited, the students (c100 with various learning differences and ranging in age from c8 to 18 years) really seemed to enjoy the spectacle; it was a fun event with lots of interaction and dancing.

• DAY 8: Performance at the Library of Congress Brian Irvine and I travelled to the venue in the morning to check over the Coolidge Theatre venue at the Library of Congress; although an afterthought, this turned out to be a good decision as the room was very ‘live’ and would require a different stage set up to combat the acoustic.

We arrived at the wrong building, but had the pleasure of checking out music desks used by Rachmaninov and Gershwin while we waited for directions to the right place.

At the venue we met Michele Glymph, the producer of the event together with the sound and recording engineers who would video and record the event for the LOC archives.

The venue itself was an old-style hall with steeply raked seating and a capacity of c400 and good back stage facilities.

The band spent the afternoon rehearsing and sound checking. Prior to the concert Brian Irvine gave a “meet the composer” interview with Philip Hammond to an audience of about 25 people. We were surprised on returning to the main hall that it was about three quarters full! This was another good performance by the ensemble, marred slightly by the natural acoustic of the room; it will be interesting to hear the recording when it is eventually uploaded to the LOC website. This was the longest concert on the tour with the band and audience negotiating the musical twists and turns admirably. Yet another standing ovation and the first person backstage to congratulate Brian and the band being the critic from the Washington Post. His review is enclosed as Appendix 2.

226

DAY 9/10: Travel from US

CONCLUSION I am pleased to report that all the arrangements put in place prior to the visit worked out, the budget was enough to cover the extended trip and the tour a resounding success for all concerned.

I believe that we presented art from Northern Ireland which was totally unexpected by those who witnessed it. Feedback was unanimously positive and I hope that it will bring rewards to Brian Irvine, the members of the ensemble, together with new opportunities for NI arts and business in general.

The trip would not have been such a success without the help and assistance of various people, especially Philip Hammond (Creative Director, Rediscover NI) whose support throughout was unstinting, also Matt Weiner (Katzen Arts Centre), Amy Cavanaugh (ARCH), James Lafferty-Furphy (SAIL), Michele Glymph (LOC) and Mike of Drums Unlimited.

Washington Partners Anne McLean, Music Division, Library of Congress

The Music Division staff can attest to the creativity, brilliance and energy of Brian Irvine and the members of his ensemble. We have a strong commitment to new music and enjoy presenting composers, artists and ensembles at the leading edge of new composition. This concert was especially fun, unusual, and a bit provocative, with a hefty element of performance art. The composer’s craft was obvious throughout and we are delighted that this concert will be available on the Library’s website. One aspect of this partnership with the Rediscover Northern Ireland project that is particularly satisfying is that we are able to offer many views of music in Northern Ireland, classical, avant garde, and with our colleagues in the American Folklife Center, traditional Irish music as well.

SAIL (see also Brian Irvine Residency report) Brian asked us if he could bring his ensemble of 13 musicians back to the school on Thursday 26th April for one final concert/workshop as they had a free day; he enjoyed the workshops so much he wanted his band play for all of the students he had worked with previously.

This time, we involved more students from SAIL Upper/ Lower schools. Our ARTiculate apprentices, 9th grade, 6th grade and 5th grade classes along with their teachers (approximately 70 people) were involved in this workshop/concert where Brian’s ensemble played for us. Using the songs, lyrics and dance moves learned in the previous workshops, Brian was again able to get everyone moving and singing, and having great fun!

227

BIE at Anacostia

228 ARCH (See also Anacostia projects reports)

What impression do you think was conveyed to the audiences who attended and to those involved with the NI artists? What was the impact? What type of people attended? Any influential people that you know of? Friendly, Sincere, Professional and Caring. These would be the words that I feel were translated to the audiences of the ARCH projects. Each artist/participant from N.I. was obviously proficient in their field. For instance Brian Irvine was just incredible in his workshop with youth & adults of the Levine School of Music. His approach to music was fun and engaging while still remaining educational. Not one person from this workshop came out without one excellent piece of knowledge they could implement into their daily practice routine. I say this as a professional musician and witness to that particular workshop. Most of the people who attended ARCH/RNI Projects were African American and spanned the economic bracket. No noticeably famous people attended any of these projects, but ARCH did receive support from the Deputy Mayor’s Office of Planning and Economic Development for both the photography and mural projects through their Neighbourhood Grants Program.

WASHINGTON POST REVIEW Monday 30th April 2007

The Brian Irvine isn’t an orchestra really. It’s more of a traveling explosion – a kinetic, freewheeling circus where the musicians dance, blow bubbles, cluck at one another like chickens, fall over “drunk” and watch imaginary notes float through the air, all while making some of the most exhilarating and imaginative music you’ll ever hope to hear. The force behind this engaging madness is Irvine himself, a free-spirited composer from Northern Ireland who brought his 12 piece ensemble to the Library of Congress on Friday night. Irvine is a serious musician.. .but fortunately he hasn’t let that cramp his style. His music draws on anything that crosses his ears – free, jazz, punk, the stately icons of the classical repertoire – and reinvents it all with cheerful abandon. A Dixieland blues will morph into a firestorm of hard bop, then melt into a delicate Satie-esque piano melody while snatches of absurdist dialogue are passed back and forth among the musicians.

Anarchic? Not to these ears. The music is tightly written and superbly paced, and it moves like a piece of theater (which it largely is). Tedious clowning? Not at all. Irvine may leap around comically in his ill-fitting suit, conducting with fingers and elbows, and the musicians may be bursting out in smiles the entire time – but it all comes across as musical play in the highest sense: exuberant, spontaneous and irresistibly alive.

229

The Brian Irvine Ensemble in DC Katzen Arts Center

BIE at Anacostia

230

BIE at Anacostia

BIE at SAIL

231

The audience at SAIL

BIE at SAIL

232

ARTS AND CULTURAL EVENTS IN REDISCOVER NORTHERN IRELAND

DATE 16 – 20 April 2007 EVENT Brian Irvine Residency at WVSA/SAIL (School for the Arts In Learning) TARGET AUDIENCE Children with Learning Difficulties LOCATION School for the Arts In Learning PRINTED PROGRAMME No PUBLICITY/MEDIA COVERAGE Local DC Radio interview of Brian Irvine during one of the morning sessions. NUMBER OF PARTICIPATING ARTISTS - 1 NUMBER OF PEOPLE ATTENDING – 10 - 15 students from SAIL daily with 70 students from SAIL attending the ensemble performance. DEMOGRAPHIC PROFILE OF AUDIENCE – African American, Hispanic, White. US IN KIND SUPPORT Administration and management support at SAIL BUDGET: £3,775 OUTTURN £3,676 EVENT REPORTS

I had originally planned for composer Brian Irvine to undertake a residency at the Duke Ellington School for the Arts in Georgetown on the outskirts of DC. Quite an amount of planning went into this, including several visits to the school to agree and schedule a week long programme. From the outset, I was concerned that the managerial capabilities of Duke Ellington were not totally reliable – and although total interest was expressed on every occasion, I received no comeback whatsoever after any of the meetings despite my own follow-ups.

As I almost predicted, the Duke Ellington School pulled out of all the agreed arrangements a couple of days before Brian Irvine arrived in Washington DC. However, I had already established a very good relationship with the School for Arts In Leaning where Elaine Agnew and Kate Newman had completed a residency in March and I asked the Principal, Dr. Larry Riccio, if he would like Brian to work with his pupils. He was as always completely enthusiastic and delegated one of the teachers, James Lafferty-Furphy, to organize Brian’s timetable. Even at such short notice, SAIL proved committed and reliable and Brian worked four days there with wonderful results.

Brian’s Ensemble also did a concert for the pupils of SAIL a week later as part of their tour in DC because an engagement at Duke Ellington had also become a casualty of that school’s less than perfect management.

233

I brought several people, including the Chairman of the Arts Council, Rosemary Kelly, to SAIL to see the work they do with young people with disabilities – SAIL is part of the Washington Very Special Arts organization – and everyone was impressed with the way the school provides the opportunity for art to include and engage children with learning difficulties. The school is particularly noted for its visual arts and the pupils run a gallery attached to the school, which attract a lot of attention and an amount of money as well.

One of the direct results of Brian’s residency at SAIL – and the other projects we did at SAIL – is that Dr. Larry Riccio has been invited to be a keynote speaker at the Arts Council’s Annual Conference later this year.

REPORTS FROM NI Partner Moving on Music

Artist: Brian Irvine

Moving on Music applied to SIAP on behalf of Brian Irvine in order that he be able to conduct outreach music workshops in Washington DC during April 2007. When the application was made these workshops were to take place in the Duke Ellington School, however one week prior to the visit they withdrew from the project. Luckily, at very short notice the School of Arts in Learning (SAIL), DC offered to accommodate the resource and the Levine School based at the ARC Theatre, Anacostia also fitted in an evening workshop.

Here is Brian Irvine’s report:

During the first week in Washington I delivered and led workshops at both the Washington Very Special Arts (WVSA) / School for Arts and Learning (SAIL) and the Levine School of Music. The workshops for WVSA/SAIL school took place from 24 April – 27 April each morning from 10am-12.30pm. The school caters for a wide range of students with various learning differences and delivers general education to this group but focuses heavily on the practical use of visual art. The school has is a music facilitator but music is not a core activity. The students that I worked with were aged mainly between 16-25.

During the workshops we focused on music performance and improvisation through singing, playing various instruments, percussion, guitar, words, and some dance. Each morning I would work with a regular group of about 10 and on several mornings was joined by a number of students from another school. On Friday 20 April I led a workshop in the upper room for the rest of the school including my regular group (approx 70 people in total).

234 James Lafferty-Furphy from WVSA (ARTiculate) played a vital role in facilitating my workshops and was also an active participant. He commented a number of times on how he was surprised at the levels of communication and concentration some of the students were showing during these workshops. He felt that it was an indication of real progress and that the workshops had been extremely helpful. During the week BBC Arts Extra did a feature on my residency in the SAIL school and interviewed a number of the students as well as a number of the staff.

Having enjoyed my workshops with the SAIL students I suggested to James that my entire ensemble come into the school and perform at lunchtime on Thursday 26 April. James set this up and the entire ensemble performed in the upper room in SAIL to all the students and teachers of the school including those from the junior school (approx 70 students/7 staff). This concert involved not only a performance by the ensemble but also participation from the students/ teachers and even some dancing. I think we all found it a very enjoyable experience.

The workshop for the Levine School of Music took place on Wed 25 April. The group consisted of approx 18 participants from both the junior and senior group. All were string players; all violins. Scott Heron the cello player from the ensemble also took part in the workshop and was a valuable contributor. The age of the participants ranged from 5-50+ and all players were at very different levels on their instruments. The workshop explored ways of composing, improvising and conducting in a very hands on manner. It examined the idea of thinking about your instrument as a toy that needs to be explored. Reaction to the workshop was very positive and a number of the participants came to the ensemble’s concert at the ARC Theatre the following evening.

Both Amy Cavanaugh and Phyllis Fleming were extraordinarily helpful and went to great lengths to ensure that the workshops at the Levine School ran smoothly and that Scott, Brian Carson and myself were well looked after. We enjoyed ourselves immensely.

235

SAIL SCHOOL 26 April 2007 BRIAN IRVINE

DC Partner - WVSA/SAIL Report

Following from the hugely successful 3 week artist-in-residence collaboration between Elaine Agnew and Kate Newmann from N. Ireland where they worked with the students on SAIL Upper and Lower, Philip Hammond asked if we would be able to do another collaboration with music composer Brian Irvine for 1 week during 16th – 20th April.

These workshops involved our core group of ARTiculate apprentices each morning and, with an extra group of day class students (Woodrow Wilson High School) on Tuesday. Each day, Brian worked with 9 – 16 students along with 3 teaching staff.

Using various instruments including some of the following school instruments, djembe drum, conga drum, upright piano, rainsticks, trumpet, trombone, tambourine, kalimba, shakers, penny whistle, zylodrum and bongo drums, Brian started off by introducing the students to the various ways we can make music and sounds using basic instruments, words and phrases.

236 Brian’s energy and enthusiasm rubbed off onto all of our students, and, through his music and song he was able to involve everyone; even those in the program who do not easily interact with strangers or indeed their peers in our program.

On the last day of the week, we organized a concert workshop in our gym hall (Great Room) where we invited another class (9th grade) to join us playing music and singing in a larger group. This concert involved approximately 30 people where we used the songs and lyrics learned during the week (“I can’t sing that song” and “boiled eggs”, for example). Each student also had an instrument and Brian used his compositional skills to involve everyone in some “free form” music and dance.

Brian asked us if he could bring his ensemble of 13 musicians back to the school on Thursday 26th April for one final concert/workshop as they had a free day; he enjoyed the workshops so much he wanted his band play for all of the students he had worked with previously.

We can honestly say that it was amazing to watch Brian work with all of our students, even the most shy and reticent ones amongst them were joining in with the group activities. We took photographs and video footage of all of the workshops for use in future classes and promotional materials.

WVSA/SAIL

1. Do you think the event/project promoted a positive image of Northern Ireland in the US and how?

All of the staff and pupils here at WVSA/SAIL were infected with the drive, enthusiasm and energy that Brian, Elaine and Kate brought with them from overseas.

Kate and Elaine’s residency focused on the music and literary traditions of Northern Ireland, whilst Brian brought his unique talents as a composer to school. The culmination of both residences was public performances in our gallery and gymnasium. Students, staff and the public had a chance to hear the work that Brian, Kate and Elaine had developed with our students and apprentices, thus expanding the limited numbers that they had worked with in the classroom setting.

237 2. Did the event/project improve understanding in the US of developments in Northern Ireland and how?

During the follow-up to their arrival, and after they had left, we discussed Northern Ireland in our class lessons. I also asked our students to do some online research on Northern Ireland and Britain, and we also listened to some Irish folk music in class, which we found on the World Wide Web.

3. Will the event/project encourage further artistic/ cultural/educational development in the future and how? ( e.g. any specific follow ups or legacy project planned or envisaged? ).

Yes, following the hugely successful visits by both Brian Irvine and Elaine Agnew/Kate Newmann, we mentioned to Philip Hammond that we would be happy to look into regular teacher exchanges with Northern Ireland educational agencies. Philip put us in touch with Chris Ledger, Arts Development Officer of the Arts Council of Northern Ireland where we have started a dialogue with Chris to look into this exciting prospect.

4. Has the event/project helped to foster relationships between Northern Ireland and the United States and how?

From an educational point of view, we interact with various agencies and students in Washington DC throughout our working week here at WVSA/SAIL. We managed to incorporate the workshops and classes led by Elaine, Kate and Brian seamlessly into our dynamic curriculum. Working at WVSA allowed these artists to use our premises as a base for participants to come to them as opposed to them moving around a busy city, which would have cut down on the time that they would have been able to spend teaching their workshops. Many of our partnering agencies have asked when the artists-in-residence will return again from Northern Ireland!

We were able to speak to many parents of students at WVSA/SAIL before, during and after the residences to explain our exciting partnership with ReDiscover Northern Ireland, and also to hand them a copy of the Program of Events which set out the city- wide events.

Many of our parents and staff attended the Smithsonian’s Folklife Festival, most of whom specifically visited the Northern Ireland stands and exhibits as a direct consequence of their brief but colorful introduction to your culture whilst your artists- in-residence were here at WVSA/SAIL.

238 5. What impression do you think was conveyed to the audiences who attended and to those involved with the NI artists? What was the impact? What type of people attended? Any influential people that you know of?

The audiences that attended classes and public performances responded well to the energy and enthusiasm of your artists, which ultimately rubbed off onto our staff and students. Through literacy, music and song they were able to involve everyone, even those in our program who do not easily interact with strangers or indeed their peers within our program.

The lasting impression of all three artists was one of energy, enthusiasm, hard working and extremely patient, especially as they were working primarily with students with special needs, special skills and special abilities.

Most of those enrolled in our programs come from under-funded, under-resourced and minority areas within Washington DC, many of whom have limited opportunities to become involved in the arts. As a partner with ReDiscover Northern Ireland, we were able to facilitate a small-scale cultural exchange in a classroom setting in the lead up to the main events in Washington DC.

Senator Edward Kennedy is an active supporter of our program. His daughter commissioned two dog portraits for him for a previous gallery show, early in 2007, and he attended the gallery show on the opening night to pick them up. The Senator, his family and other supporters are regularly emailed a WVSA community newsletter to keep them up-to-date with future events in our spaces.

It is our belief that this project was run efficiently and smoothly by everyone from Northern Ireland. Before, during and throughout, communication via email and cell phone by all parties (Philip Hammond, Brian Irvine, Elaine Agnew and Kate Newmann) was very effective to ensure everything ran as smoothly as possible.

239

The incomparable Brian Irvine (with some friends)

240

The audience at SAIL

241

Brian Carson, Brian Irvine and James Laverty-Furphy at SAIL

242

ARTS AND CULTURAL EVENTS IN REDISCOVER NORTHERN IRELAND

DATE 30th March – 7th April 2007 EVENT Residency at Edge Fest TARGET AUDIENCE Festival audiences of children and parents LOCATION Imagination Stage, Bethesda PRINTED PROGRAMME Yes PUBLICITY/MEDIA COVERAGE Washington Post The Gazette American Theatre Magazine Family Magazine Bethesda Magazine Village of Martin’s Additions to Chevy Chase Newsletter Village of Chevy Chase News & Views Bethesda Urban Partnership Events Calendar Washingtonpost.com Dcmom.com Idigbig.com Festivals.com Gaelcast .com (review & feature interview with cast member Andrew Porter) NUMBER OF PARTICIPATING ARTISTS 9 NUMBER OF PEOPLE ATTENDING Friday, April 6 at 12:30 and 3:30 PM, Saturday, April 7 at 12:30 PM

Attendance at 3 performances: 582

Attendance at 2 Super Hero Workshops: 24

DEMOGRAPHIC PROFILE OF AUDIENCE Ethnically diverse

US IN KIND SUPPORT Venue, administration, management and technical support, print and publicity BUDGET: £20,000 OUTTURN £19,981

243 EVENT REPORT Early in 2006, through the British Council in Belfast, I invited Janet Stanford to come to Belfast and attend the Young at Art Festival. As artistic director of Imagination Stage, she was about to plan her first Youth Arts festival at her venue - Imagination Stage – in Bethesda. I had met Janet through the good offices of Rosa Solinas – the person who would be organizing Opera Theatre Company’s production of “Bug Off” in DC as part of Rediscover Northern Ireland. (The connection was through family marriages)

Janet came to Belfast and was impressed by the performances of Cahoots NI - Northern Ireland’s premier children’s theatre group - and subsequently invited them to take part in her “Edgefest” which would be taking place in DC during the period of Rediscover Northern Ireland.

Both performances by Cahoots of “Cuchulain : Hound of Ulster” had outreach events associated with them and the performance I attended on the Saturday afternoon was reasonably well attended. Janet herself had expressed a disappointment that her audiences for the whole week of events had not been as large as she would have hoped and thought it might have something to do with the fact that the schools were off on holiday for the Easter period. Instead of bringing audiences in, this she thought had mitigated against her.

The Saturday afternoon audience I saw however was enthusiastic and involved with Cuchulain. There was lots of visual imagery which was appealing and also aspects of magic which caught the attention of the young watchers. One of the interesting points about the production was the interaction of live stage action and video projection. This was cleverly handled and worked well. A question and answer session at the end allowed the young audience to express their opinions on what they had seen and this was quite insightful. One of the things which this production had pushed boundaries on was the use of “live violence” – the violence in comparison to what every child sees on television on a regular basis was extremely mild – it amounted to no more than choreographed fight scenes – nonetheless, this is unusual for children’s stage productions in the States. On this occasion, no-one seemed to notice!

Cahoots NI managed their residency in Bethesda with skill and efficiency and left a good impression on their audiences as far as I could tell. It is obvious that they are very capable indeed of doing international work – and indeed have been doing so for sometime even before Washington.

244 REPORTS FROM

NI Partner Cahoots NI

Cahoots NI presented four shows of Cuchulain: Hound of Ulster at the first children’s arts festival – EDGEfest - at the Imagination Stage, Bethesda, Maryland on April 6th and 7th as a run up to the to the Smithsonian Folklife Festival in Washington DC. This performance reached a total audience of 582 children, their families and school groups.

This dynamic new theatre production for children aged six and over used narrative with powerful visuals and current day footage of N. Ireland combined with music to convey the story of this Irish mythical character. Despite not being familiar with this story the American audiences could relate to the issues of honour and heroism.

One child was so enthralled he came back to see the show a second time and requested reading lists for the Cuchulain tales.

Other audience members were astonished to see the beauty of the Northern Irish coastline and pledged to visit.

An accompanying children’s workshop Create a Super Hero explored the ideas of what makes people become super heroes, what qualities would they have and how would they use them for the benefit of all. An illustrator – provided by the Imagination Stage – worked with the Cahoots NI drama facilitator to bring the children’s ideas to life. The characters created were ‘Super Jumping Funky Monkey’, ‘Super White Snake’, Super Combo Girl’ and ‘Aqua Boy’. These will now be collated into a book bringing the characters from the Northern Ireland school’s tour together with the Washington DC children - some of which had remarkable similarities.

This workshop ran four times preceding the shows with a total of 35 children taking part with some involved in the workshop then taking the opportunity to participate on stage during one of the magic tricks in the show.

The invitation Cahoots NI received to present work on this international stage in the USA was an immense benefit to the profile, reputation and artistic programming for the company. Having being founded just over five years ago, touring to the USA and presenting three aspects of the company’s work was a tremendous achievement.

This also gave the company the opportunity to compare artistic standards and gauge how a modern day adaptation of a Northern Irish myth was received by USA audiences. Each show was followed by a post-show discussion with the actors which also provided a valuable insight into the thoughts of both children and adults as audience members with many children wanting to know the ‘secrets’ of the illusions together with how the fight scenes were practised and why the particular costumes were chosen.

245 The company also took the opportunity to network with the host organisers – The Imagination Stage - to discuss funding and in particular raising funds from individual givers through gala style presentations. This is something that will be discussed at Board level with a view to implementing fundraising events as part of the company’s future programming.

Cahoots NI benefited as advocates for Northern Ireland artists and in particular representing youth arts, throughout the duration of the visit, which it is hoped, will result in future visits and collaboration.

DC Partner

Imagination Stage/Janet Stanford

Imagination Stage was delighted to have had the opportunity through the Rediscover Northern Ireland program to become acquainted with the arts programming for young people and its practitioners in Northern Ireland.

As a result of my visit to Belfast for the Young at art Festival in May 06, I made contact with artists and administrators with whom I know I will continue to share an exchange of ideas in the future. I was impressed by the quality and innovation of all the work that I saw in Northern Ireland and had no hesitation in inviting two companies to perform at my regional youth theatre in the metro Washington, D.C. area under the auspices of the program.

I believe that the program was successful on many levels. The Northern Irish artists won the hearts of everyone they encountered with their friendliness and out-going personalities. We also found them a joy to work with; very well organized and professional in their preparation for the challenges of mounting shows on a trans-Atlantic tour. They had been creative about what to bring along and were willing to compromise and make adjustments, once here, in order to make their productions work successfully in our space and for our audience.

Cahoots NI presented CUCHULAIN: Hound of Ulster as part of Imagination Stage’s spring festival of international work for three performances in our 400-seat house. The company provided a summary of the story and some background on the Irish legendary hero who is largely unfamiliar to American audiences. Still, the show was very well received and audiences enjoyed the clever mix of live and video elements, the cameo appearance of a live dog, and the hand-to-hand combat at the climax of the piece.

246 Post-show discussions involved a lot of questions from audiences about the magical effects and about the character of Cuchulain. Many children were able to take advantage of a pre-show workshop, led by one of the Cahoots NI company members, in which the children were able to invent their own super-hero or heroine and see the character, with all his special abilities, brought to life by a cartoonist. This was a great educational add-on that helped children to place Cuchulain within the context of the heroes they are already familiar with.

It is always difficult to assess the impact on audiences of a theatrical event. The reactions we had from those who attended were all positive. We had a Response Wall in our lobby outside the theatre where children were able to write or draw their reactions to the play and this was enthusiastically covered after each show. In addition to those who attended, many thousands of others will have noticed the participation of Cahoots NI in EDGEfest through our advertisting in the Washington Post, our brochures and website.

The one-on-one work that Artistic Director Paul McEneany did with his bedside flea circus in area hospitals may not have touched a huge number of children but those it did reach were touched deeply. Live arts cannot be expected to reach the masses in the same way that a film or television program might but it is my belief that it is the more immediate and live connections which prove most lasting a significant over time.

We at Imagination Stage were pleased that the Cahoots NI company was inspired, in turn, by their visit to our new space and wrote to let us know that they plan to attempt a public- private partnership in Belfast, modeled on the one we have here, in order to fund-raise and build a theatre and arts education space for their company and its community. I look forward to visiting Belfast in five years or so and to seeing Paul’s dream realized, a very tangible legacy of his company’s visit to Washington, and an unanticipated bonus for Rediscover Northern Ireland!

247 Artists Andrew Porter : Cuchulain: Hound of Ulster

1. How did you feel you impacted on the audiences?

With having discussions with the audience afterwards, I felt I had more of a true feel of how they enjoyed and indeed learnt from the piece. Sharing a story of Irish folklore is an enjoyable experience and even more so to a different culture.

I feel from comments made by audience members, that they enjoyed the story, which was enhanced by the way we told it, i.e. using magic, lighting, music and video.

Having members of the audience stop me on the street after shows and ask me what literature they could read for themselves and their children made me feel we left a lasting impression of our wonderful culture with some American people for some time to come.

2. How did the event/project impact on you as an artist?

As an artist, this was something I’d never been involved in before. It really opened my eyes to the warmth and love of another culture. Bringing this story far away from ‘home’ wasn’t something we had in our heads while rehearsing. This meant that the piece for me, seemed a true reflection of the story. We didn’t adapt it or make it simpler for another culture to understand. This was important. I also felt proud of bringing a story from my culture and sharing it Northern Ireland in a positive way. I would jump at the chance to do this again and now I have fond memories of a different place, its people and the love they showed.

3. What was your experience of the logistical and administrative processes associated with the event/project – both in Washington and in Northern Ireland? Were there any lessons to be learnt?

This surprisingly didn’t seem to affect me very much. In what we were doing, i.e. bringing and entire show across the Atlantic, props and all, seems a daunting task. I have nothing but praise for the people who organised this as it was very smooth. The only trouble I encountered was with a prop, a giant wheel, and it’s battery, which had to be explained at airports. This could possibly have been sent over or hired.

In Washington DC or Bethesda, we stayed within walking distance of the theatre. And there were so many people there to answer any questions or queries about anything that I felt at home.

The support we received from Louise at Cahoots NI was there at every stage of our journey, even before we left. We had a great team of people around that knew exactly what they were doing. It could easily (with so much to organise) have been a disaster, if we didn’t have these people and a sound management team.

248 FURTHER INPUT Gaelcast – radio broadcast April 23, 2007

An uair sin, tha sinn a’ dol gu Maryland, air an ard-urlar aig imaginationstage.org, far an do choinnich Liam ri buidheann a th’air dealbh-chluich a stÃ¨idheachadh, mu dheidhinn a’ ghaisgich Cuchulainn. Ged a ’s e sgeulachd nas freagarraich, ’s dÃ²cha, dhan inbhich seach dhan chloinn a th’ann bho thÃ¹s, tha a’ bhuidheann seo air obair ionmhalta a dheanamh airson cuspairean math a tharruing a-mach dhan fheadhainn bheaga a tha a’ coimhead air an dealbh-chluich. Tha seo a’ sealltainn cho math agus cho beÃ²thail fhathast ’s a tha sgeulachdan agus cultar nan Gaidheal. Faodaidh sibh barrachd fios fhaighinn bho http://www.cahootsni.com/.

Then, we go to Maryland, on the stage at imaginationstage.org, where Liam met with a group that has established a play about the hero Cuchulainn. Though this story is perhaps better suited for adults than children, this group has done a laudable effort in bringing out themes that are good for the young ones watching the play. This shows how alive the stories and culture of the Gaels still are! You can get more information about the play from http://www.cahootsni.com/

Liam O’Caiside Virginia based broadcaster from Gaelcast stated:

“I did thoroughly enjoy the show. I was impressed by the way you staged the story and the way you told it and interpreted it. Cuchulain's legend has undergone many changes over the past 2,000 years or so and meant different things to different people at different times.

Your production, with its emphasis on the disastrous battle between two friends, offers a very modern and very human version of the legend, and the humour and magic did wonders to introduce the story to the audience - especially an audience largely unfamiliar with the legend and its background. I also enjoyed the actors' discussion with the audience following the play - it was very interesting to hear the children's questions and views on the story and the play. They got right to the point!”

249

Cahoots NI at Imagination Stage

250

Janet Stanford, Artistic Director, Imagination Stage

251

ARTS AND CULTURAL EVENTS IN REDISCOVER NORTHERN IRELAND

DATE 3rd - 4th April 2007 EVENT Healthcare Work TARGET AUDIENCE The audience consisted primarily of children with cancer, their parents and medical and support staff. (20 oncologists) and children receiving treatment in hospital LOCATION Georgetown University Hospital, Washington Children’s Hospital PRINTED PROGRAMME No PUBLICITY/MEDIA COVERAGE The event was covered by the Georgetown University communications office and featured on the Lombardi Website: lombardi.georgetown.edu. NUMBER OF PARTICIPATING ARTISTS 2 NUMBER OF PEOPLE ATTENDING 300 DEMOGRAPHIC PROFILE OF AUDIENCE Ethnically diverse US IN KIND SUPPORT Venues, administration and management, printing and publicity. BUDGET: this aspect was included as part of the Cahoots NI tour budget EVENT REPORT

During its residency at Imagination Stage, Cahoots NI fielded another set of actors who undertook visits to two hospitals in Washington. Nancy Morgan, Director of the Arts and Humanities Program of the Lombardi Comprehensive Cancer Unit in Georgetown University – who had also set up healthcare residencies for Rediscover Northern Ireland as part of her own program – contacted the Washington Children’s Hospital and set up a visit for Cahoots and of course also invited them to come to Georgetown.

Cahoots used their Flea Circus programme for these two visits and their training in Northern Ireland as clown doctors was much in evidence. Northern Ireland is very advanced in using the arts in a healthcare environment and this is an area which should be explored more fully in an international context in the future.

252 REPORTS FROM

NI Partner Cahoots NI

Cahoots NI presented a second major project Bedside Theatre at the Lombardi Cancer Centre – Georgetown University Hospital and the Children’s Hospital in Washington DC on April 3rd and 4th.

This was performed by Paul Mc Eneaney and Christina Nelson and offered a unique opportunity for Cahoots NI to present the very best of children’s arts from Belfast at an international level.

Bedside Theatre is a one-to-one theatre show, which brings light relief and enjoyment to children in hospital wards, creating a diversion from their illness. The performers used a variety of music, magic and a mysterious Flea Circus to create an imaginary world for the young patients through short ten-minute performances.

The invitation Cahoots NI received to present work on this international stage in the USA was an immense benefit to the profile, reputation and artistic programming for the company. Having being founded just over five years ago, touring to the USA and presenting three aspects of the company’s work was a tremendous achievement.

1.Do you think the event/project promoted a positive image of Northern Ireland in the US and how? Yes, the artists were talented, personable, gracious and well-trained to interact effectively in a cancer center

2. Did the event/project improve understanding in the US of developments in Northern Ireland and how? The sharing of talent is proof of Northern Ireland’s thriving culture.

3. Will the event/project encourage further artistic/ cultural/educational development in the future and how? (e.g. any specific follow-ups or legacy project planned or envisaged?) We have an ongoing relationship with Artscare and the Arts Council of Northern Ireland which will certainly continue in the form of artist exchanges.

253 4. Has the event/project helped to foster relationships between Northern Ireland and the United States and how? Northern Ireland was very visible in our community during this and other events. Everyone was impressed with the talent demonstrated.

5. What impression do you think was conveyed to the audiences who attended and to those involved with the NI artists? What was the impact? What type of people attended? Any influential people that you know of? Our audience was cancer patients, their families and medical staff. Everyone’s spirits were lifted by the Cahoots performance. It was effective, successful and memorable.

6.What was your overall impression of the Northern Ireland component of the event/project? Were you content with the NI management of the event / project? Were you impressed by the artistic standard of the NI artists? Very positive impression of Cahoots sense of responsibility, sensitivity and talent. They brought smiles to all faces encountered, and that’s a talent in a cancer center.

Nancy P. Morgan, Director, Arts and Humanities of Lombardi Comprehensive Cancer

Center stated:

“ Paul and Christina brought many faces to light and life with their gentle antics and meandering through the pediatric cancer clinic, general hallways, and inpatient pediatric unit. Staff indicated many children smiled for the first time since they have been in clinic. The individual attention, praise and enthusiasm that distinguishes their performance creates an atmosphere of trust and anticipation that causes children and parents to move closer and join the fun. I saw a dad taking a picture of his very sick son with his cell phone, as the boy participated in the magic card trick. I'm sure that photo was sent to friends and family near and far to assure them all is well and that at least this was a very good day.

One of my favorite moments, though, happened when we entered the elevator and encountered three very business-like people who quickly stepped to the back wall of the elevator when they saw our merry band of musicians. After Paul's ukulele performance and a rendition of their theme song /dee de li li lo./.Christina held up tambourines and maracas and to my shock, the three took them and entered in to the performance. By the time we reached the top floor, we were a band of six, ready to take it on the road.

254

Christina Nelson, Bedside Theatre.. Cahoots NI

1. How did you feel you impacted on the audiences?

We created memories using the medium of theatre, a flea circus, some music and lovable characters. We strive to change the atmosphere for the individual, if only for that moment. A new focus to break reality. A smile, some sillyness, some hope. I feel we achieved this.

2. How did the event/project impact on you as an artist?

As an artist my confidence has grown, I feel valued and proud and lucky. It was an amazing opportunity to create and present this unique Northern Irish project- performance in an American cancer centre.

3. What was your experience of the logistical and administrative processes associated with the event/project – both in Washington and in Northern Ireland? Were there any lessons to be learnt?

As an artist I was extremely well informed and supported by Cahoots NI. Receiving a schedule for travel arrangements, accommodation, insurance, maps of the area, tourist info. etc and a breakdown of the hospitals and their work.

Washington D.C’s hospitality was over-whelming, we were welcomed with open arms and treated with respect and appreciation.

A full verbal brief was given upon arrival (re. patient and staff expectations and history) ward info etc. All our work was monitored and accessed by Cahoots NI and hospital staff at all times.

I was delighted to meet and be greeted by Philip Hammond. I loved his passion for the Project and Northern Ireland and would like to thank him for his encouragement and inspiring words.

DC Partner Nancy Morgan, Lombardi Comprehensive Cancer Center writes: Cahoots delighted Lombardi audiences of all ages, engaging children in carrying out the flea circus show, accosting unsuspecting staff in elevators with their music and antics, giving parents a welcome respite from the concerns of cancer. They did an impromptu serenade for a large group of very surprised physicians, and commandeered my boss to join in the fun. They were sensitive to the needs of our community and brought much-needed smiles all around.

255

Cahoots NI in a Washington hospital

256

257

ARTS AND CULTURAL EVENTS IN REDISCOVER NORTHERN IRELAND

DATE 23rd March 2007 EVENT Barry Douglas and Camerata Ireland Concert and Education Outreach TARGET AUDIENCE Informed Classical Music Audience/ Business investors LOCATION Coolidge Auditorium in the Library of Congress PRINTED PROGRAMME Yes NUMBER OF PARICIPATING ARTISTS 32 NUMBER OF PEOPLE ATTENDING 400 DEMOGRAPHIC PROFILE OF AUDIENCE White middle class US IN KIND SUPPORT Venue, technical support, administration, management, printing and publicity RNI BUDGET: £63,000 (contribution to total cost of tour and music commission fee)

OUTTURN £63,000 EVENT REPORT

Camerata Ireland has established itself as a flexible group of musicians from all over Ireland – now based on this island and elsewhere in the UK – which concentrates on providing a platform for young professional musicians at the beginning of or about to launch their musical careers. Barry Douglas has done much to further the prospects of many young Irish musicians and his own international standing has more than helped to gain his chamber orchestra both international attention and private business support.

When I first visited the classical music division of the Library of Congress in early 2006, it was Anne McLean who suggested that she would be interested in a concert by Barry as part of the Library’s music series in the Coolidge Auditorium. This is a highly prestigious series and I was very keen to have Rediscover northern Ireland represented in it. It was also Anne McLean who agreed to take a risk on the Brian Irvine Ensemble – that was one which I think paid off for both of us!

258 Camerata Ireland agreed to do outreach work during their short stay in Washington and Barry was persuaded to commission a new work for the programme at LoC from Northern Irish based composer Dave Morris. Dave had not composed anything for several years and was just about to retire from his position at the University of Ulster. However, the prospect of a new commission from Camerata Ireland – in the end, for flute and strings – allowed Dave to create a short piece which was accessible at the same time as being challenging. On the night, it was brilliantly played by the young Clandeboye Prize winner (another of Barry’s enterprises) Eimear McGeown. The audience warmly received both performance and piece – although I thought the Washington Post critic was rather snooty about it!

I had wanted an American angle to the program as well as a specifically Northern Irish flavour, so with Mozart and Beethoven, Barry included the Elegy by Elliott Carter. All in all, it was a fine evening of music and greatly appreciated by the audience.

As part of the whole event, INI had sponsored and organized a reception before the concert which added much to the glamour and prestige of the occasion.

The Library of Congress recorded the whole event for inclusion on their website. They further asked me to record a public interview – again for the website - with Barry before the concert which I duly did – and greatly enjoyed. PH

REPORTS FROM NI Partner Camerata Ireland

Camerata Ireland was invited by Rediscover Northern Ireland to give a concert in the Library of Congress on the 23rd of March 2007 as part of the Rediscover Northern Ireland programme.

In addition to the concert, six players arrived in Washington on the 19th of March and undertook education and masterclass work in State schools in the Washington area. The musicians performed and gave classes to local students. One school, the Ellington School for the performing Arts is the foremost arts establishment in the public school sector of Washington.

The award was spent on performers fees, travel, per diems hotels and educational activity. Camerata Ireland is forever setting higher standards for itself. The opportunity to rehearse and perform in such a venue increased the morale and creative skills of the orchestra which is already planning the next major tour of the U.S. in March 2008.

The audience at the concert was very high profile - from business, government and the arts. The concert having been so well received from all attendees allowed the orchestra to show its potential as an arts organisation of the highest quality and to show its value to government, business and the Arts Council.

259

A new commission by David Morris was commissioned for the concert. The Library of Congress has expressed an interest in a return visit from Barry Douglas and Camerata Ireland.

Several contacts were made from arts organisations in the U.S. along with businesses from the U.S. and Northern Ireland.

The opportunity to rehearse and perform in such a venue increased the morale and creative skills of the orchestra.

The educational activity was very well received as was the concert in the Library of Congress which received a standing ovation. The commission by David Morris for Flute and strings was a great success for performers and audience alike.

Camerata Ireland is continually increasing its presence in the U.S.. To perform in such a prestigious venue as the Library of Congress combined with the audience reception was a great boost to the morale and international standing of the organisation.

Camerata Ireland will undertake a major 24 concert tour of the U.S. in March 2008. This concert served to increase awareness in the U.S. of the orchestra’s reputation and helped to raise its continuing international profile

Artists

Eimear McGeown, Solo Flautist

1. How did you feel you impacted on the audiences?

The piece that I played had an influence of Irish traditional music which really appealed to the audience and the composer also got a standing ovation for the piece so I think the audience really loved Dave Morris’ composition. After the performance I spoke to a few people in the audience and they were complimentary about the performance so I think it was a success overall.

2. How did the event/project impact on you as an artist?

This event/project had a huge impact on my career. To perform in Washington DC, especially in the Library of Congress was such a privilege and an amazing opportunity. I had never been to America before so it was such an exciting experience for me. Also to be part of the Smithsonian festival and represent Northern Ireland was really special and to perform a premier concerto written for me was incredible. I feel very lucky to have had the chance to do all this and to add it to my CV. Also to have the recording on the Library of Congress website is really helpful for me to have as a link if anyone needs to hear me play.

260

Dave Morris, Composer

“The Friday evening concert at the Library of Congress was a great success and the audience reaction to my composition was amazing (it could not happen in Belfast!). As a result I am expecting further performances of the piece, and possibly more commissions in the future.”

261 DC Partner Anne McLean, Library of Congress

We feel it was a stroke of great good fortune that Philip Hammond approached the Library’s Music Division and American Folklife Center to propose a collaboration in the Rediscover Northern Ireland Programme. As the nation’s oldest federal cultural institution, the Library of Congress often participates in substantive cultural exchanges of this nature, cooperating directly with embassies and ministries. The contacts with the Northern Ireland Department of Culture, Arts and Leisure made this a notable program for the Music Division in this regard.

We were delighted to have the excellent Camerata Ireland with Barry Douglas, wonderful artists whose terrific performance in our concert hall has now an ongoing life, in two special nationwide radio programs.

This is especially important to the Music Division as we must be seen to be a national presenting institution. I am happy to say that National Public Radio broadcast an excerpt of this performance in spring 07, and beginning November 5, Camerata Ireland and Barry Douglas will be heard nationwide in the U.S. via our new radio series, Concerts from the Library of Congress, hosted by Bill McGlaughlin. We expect carriage by 175 stations across the country over the next six months. We interviewed Mr. Douglas for this project, and that interview will be heard as part of the broadcast. In addition, we have a major Internet presence, on the Library’s website, at www.loc.gov. Presently the complete concert by Camerata Ireland is now available as a webcast, and during the run of the radio series, we will offer a podcast excerpt as well, and video clips of an interview between Mr. Douglas and Philip Hammond. The media life of the project has been very successful, and should bring considerable national attention to the performers in the U.S.

Thanks to Philip Hammond, whose promotion and coordination of the entire project has been extremely deft, we were also able to benefit from the educational runouts that the artists arranged while in Washington. His offering to the Library, a range of important artists --folk, classical and contemporary/pop, with the Brian Irvine Ensemble-made this a comprehensive experience of music from Northern Ireland. Offered in the context of the major Smithsonian Folklife Festival presentation this past summer, the entire project has been enormously valuable in making a powerful cultural statement on behalf of both nations. A McL

1. Do you think the event/project promoted a positive image of Northern Ireland in the US and how? Yes, I think the entire programme made a tremendously positive statement, first in the idea of making a confident, vibrant offer of such a project, realized in such a complex partnership with so many organizations and individuals, and second in the extremely high calibre of performers—and also administrators.

262 2. Did the event/project improve understanding in the US of developments in Northern Ireland and how? Yes, the very fact of the project’s being conceived and offered, essentially fully funded,is impressive, speaking to the flourishing state of musical culture in Northern Ireland, both vernacular and classical, and to the strong support of the Northern Irish government. The existence of Camerata Ireland is a signpost to the current political environment of course. And the scope of the whole project is a testament to the strength and vitality of the Department of Culture, Arts and Leisure.

3. Will the event/project encourage further artistic/ cultural/educational development in the future and how? ( e.g. any specific follow ups or legacy project planned or envisaged? In fact we have already engaged for the current season a group called Camerata Pacifica, which will present a concert in May 2008 featuring a substantial work by a composer from Northern Ireland, Ian Wilson. This concert will also be presented in the Morgan Library in New York, at Wigmore Hall in London, and in Derry and Belfast, over the coming year.

4. Has the event/project helped to foster relationships between Northern Ireland and the United States and how? I think people in the US, while aware of recent history in Northern Ireland, are still vague as to the capital city, the government and cultural administration, and the idea of a separate cultural identity. It seems to me that this project has been enormously useful in clearing up some of these confusions, and offering a very attractive and impressive view of cultural development in Northern Ireland.

5. What impression do you think was conveyed to the audiences who attended and to those involved with the NI artists? What was the impact? What type of people attended? Any influential people that you know of? Excellent impression, for a mixed audience that included a number of business and cultural leaders, music community figures, educators, journalists and other media figures et al.

AMcL

263

ARTS AND CULTURAL EVENTS IN REDISCOVER NORTHERN IRELAND

DATE 13th – 19th May 2007 EVENT David Campbell, Comic Book Artist in residence at SAIL TARGET AUDIENCE SAIL students LOCATION School for Arts In Learning PRINTED PROGRAMME No PUBLICITY/MEDIA COVERAGE No NUMBER OF PARTICIPATING ARTISTS 1 NUMBER OF PEOPLE ATTENDING 40 DEMOGRAPHIC PROFILE OF AUDIENCE Black American youth US IN KIND SUPPORT Venue, administration, management, BUDGET: This was included as part of the Literary Event Budget EVENT REPORT This “event” – the residency by David Campbell – was the idea of James Kerr at the Verbal Arts Centre in Derry where David is a resident artist. I made the contact with Dr.Larry Riccio at SAIL and he, as always, was only too happy to bring artists into his school to have contact with the pupils. David was entirely at ease with the situation in SAIL and he found it a very worthwhile experience. His attitude was entirely conducive to the way in which SAIL works and he made a real impact on the children and the other teachers at SAIL. As an ambassador for Northern Ireland, David was always friendly and accommodating and he made a real effort to attend other events in Rediscover Northern Ireland during the week of his residency at SAIL. It was a particularly full week with the literature events at Busboys and the opening of Owen McCafferty’s play at Catholic University. I have nothing but praise for David’s contribution to Rediscover Northern Ireland. PH

(See also Lombardi Sail Residencies report)

264

David Campbell, Comic Book Artist

QUB Washington Trip: Workshops at SAIL and Articulate

1. How did you feel you impacted on the audience?

The feedback I received from the students of all ages was overwhelmingly positive. I broke the ice by introducing myself, showing them examples of my artwork and explaining some of the work we do in the Verbal Arts Centre.

Fortunately my accent did not present too much of a problem as long as I spoke more slowly than usual and the children enjoyed copying some of the Irish pronunciation of words.

265

I worked with all classes in the school ranging from Kindergarten to 6th Grade and also with the older students from the Articulate project. It was interesting to try some of our existing Verbal Arts Centre workshop sessions in a new environment and the teaching staff from SAIL got heavily involved in their delivery, which was very encouraging.

I had the opportunity to work with some of the classes from three to four times and it was within these classes that we were able to work on the Irish Mythology themed workshops. I explained the story of how Finn MacCool became head of the Fianna, using three main characters; Finn MacCool, Conn of the Hundred Battles and Aillen of the Flaming Breath and one location, Tara. We then broke the story into 4 scenes, which would represent the key points. I drew a rough of how each scene could be laid out and then let the students interpret them visually themselves. Once we had finished we had a series of scenes, which formed a coherent narrative and give a general understanding of this particular story. These Irish mythology themed workshops seemed to capture the imagination of the children and they asked a lot of questions about the characters before they drew them.

The workshops with the Articulate project, older students with learning difficulties, were very good as they allowed us to do a bit of life drawing which everyone enjoyed. I was especially impressed with some of the art produced by the students, which was of a very high quality. The Articulate class was really successful despite the challenge of working with a range of skill levels. We managed to overcome this by drawing faces from the class, using a revised form of our Face It workshop.

In general I felt that the students really enjoyed meeting someone from Ireland, learning about Irish Mythology, and picking up some useful hints and tips along the way.

266

2. How did the event/project impact on you as an artist?

Working in a new environment can be very daunting but my apprehension soon disappeared thanks to the warm response of the students. It was very encouraging to use a workshop like Face It and realise that many artistic themes are universal and translate well despite the distance. The children were great and their enthusiasm was infectious. The older students from Articulate were initially a little hesitant which made their artistic contributions all the more rewarding. One of their art tutors asked me to lead a life drawing session, in front of the students, something that I haven’t done for quite some time. It was quite possibly the most enjoyable of all the sessions in Washington. The work undertaken at SAIL and Articulate helped underline the value of our workshops and focused my thoughts when returning to work at the Verbal Arts Centre.

3. What was your experience of the logistical and administrative processes associated with the event/project – both in Washington and in Northern Ireland? Were there any lessons to be learnt?

I was taken to the school in Washington by one of the event team and introduced to the principal, Reem Labib. This all went without a problem. The quantity and content of the series of sessions was confirmed after an introductory meeting at SAIL on the first day. This went very smoothly and I had a large range of artistic resources with me in order to organise the most suitable workshops for the various classes. Definite proof that good preparation is key.

My journey, accommodation and evening schedule was well planned in advance and this was of great benefit, allowing me to concentrate on the workshop content.

267

Washington SAIL art workshops

268

ARTS AND CULTURAL EVENTS IN REDISCOVER NORTHERN IRELAND

DATE 23rd- 31st March 2007 EVENT Contemporary Popular Music Series TARGET AUDIENCE Popular Music /Clubbing sector LOCATIONS Various in DC (with additional venues in New York as part of the programme) PRINTED PROGRAMME No PUBLICITY/MEDIA COVERAGE Belfast Telegraph’s 24/7 Magazine featuring all of the artists and a 2 page feature article on NIMIC’s Rediscover NI Music programme. Broadcast media including BBC Radio Ulster, U105 and GMTV NUMBER OF PARTICIPATING ARTISTS 15 NUMBER OF PEOPLE ATTENDING 6200 approx DEMOGRAPHIC PROFILE OF AUDIENCE Young ethnically diverse US IN KIND SUPPORT BUDGET: £30,000 OUTTURN £30,000 EVENT REPORT Contemporary popular music culture is not something which I would consider myself qualified to judge but I was very keen to have Northern Ireland’s important contribution to the worldwide scene represented in Rediscover Northern Ireland. The Northern Ireland Music Industry Commission is the lead government sponsored agency here in NI for the promotion of popular music and I left it entirely up to NIMIC how it wished to create a presence in DC. As it turned out, Snow Patrol were doing a concert on 23rd March – the same night as the Barry Douglas/Camerata Ireland concert at the Library of Congress – so the basis of something eye-catching was already there.

I did get along to two events which were part of the popular music programme. One was a shared evening “concert” by Duke Special at the Iota Club, a venue in Arlington Virginia – and a special viewing of a BBC production covering the last forty years of popular music culture in Northern Ireland and compiled by Steward Baillie.

There is a lot of mileage in using the popular music connections for profiling Northern Ireland’s new image although I think the commercial aspect of the business is something which has to be carefully managed vis-à-vis government imaging. PH

269 REPORTS FROM NI Partner Ross Graham, Chief Executive NIMIC

In Late March the Northern Ireland Music Industry Commission (NIMIC) presented an extensive contemporary and popular music programme as part of the ‘Rediscover Northern Ireland’ Arts and Culture Programme in Washington DC.

From Friday 23rd March until Saturday 31st March, the programme included some of Northern Ireland’s finest acts performing in a series of concerts including Snow Patrol, Duke Special and Oppenheimer.

The programme took place in a variety of venues in the Washington DC area including: • Snow Patrol at the Bender Arena, Friday 23rd March

• Duke Special and Iain Archer at the Iota Club, Sunday 25th March

• Foy Vance and Claire Sproule at Jammin’ Java, Tuesday 27th March

• Oppenheimer and Mark Gordon (Skibunny DJ) at DC9, Wednesday 28th March

• DJs Alan Simms and Timmy Stewart represented Northern Ireland club culture at BeBar, Saturday 31st March. As part of the NIMIC programme, BBC Northern Ireland also presented a talk and screening on Saturday 24th March at the Warehouse Arts Theatre in downtown DC. This event highlighted the history of contemporary music in Northern Ireland.

In addition to the concert programme, NIMIC also produced and extensively promoted an interactive promotional CD compilation entitled: ‘New Music from Northern Ireland’ which features 28 new recordings, artist information, a history of contemporary music in Northern Ireland and a music hall of fame. This compilation album was promoted to Washington DC media and was well received by a range of radio stations which featured tracks from the album and announced details of the concert programme.

The New Music CD has been very well received and has also been used extensively by the Department of Culture, Arts and Leisure as a cultural gift to many US associates and event guests.

The Snow Patrol concert at the Bender Arena was attended by an audience of approximately 6000. The majority of those attending were students of the American University. The lower profile ‘emerging songwriter’ events attracted audience numbers of approximately 50 for each event and the Club Culture event attracted an audience of approximately 150.

270 Each of the artist’s performances were creatively excellent and the response by each of the audiences was very positive. Many audience members at each show requested the opportunity to meet the artists to pass on their personal thanks and congratulations.

PR for the initiative in Northern Ireland was handled in house by NIMIC staff and appreciable coverage was achieved in the regional media. Highlights of the regional media coverage included a full front page of the Belfast Telegraph’s 24/7 Magazine featuring all of the artists and a 2 page feature article on NIMIC’s Rediscover NI Music programme. Broadcast media including BBC Radio Ulster, U105 and GMTV also carried features on the initiative.

A comprehensive Electronic Press Kit was developed and made available on the nimusic.com website and on the NIMIC my space site. The full ‘EPK’ is still at this web address. www.nimusic.com/us-epk.asp. This press kit and all its contents were delivered to the contracted PR firm Magnum PR and the Rediscover NI PR firm Susan Davis PR with a full list of artist interview availability schedules etc. Unfortunately very little proactive media engagement seems to have been undertaken by the firm in relation to our programme.

The staff of the Northern Ireland Bureau in DC were however very accommodating and helpful throughout the planning and delivery period. Dr Nancy Groce of the Smithsonian was also very supportive of the programme and attended the majority of the shows. She has since corresponded to congratulate us on the success of the programme.

A series of meetings also took place with National Geographic Television in relation to featuring a range of Northern Ireland artists during the Smithsonian Folklife Festival in early July.

The overall project succeeded in its aims and objectives to present a positive, creative and confident image of Northern Ireland through the medium of popular music to Washington DC audiences and through the media – to broader United States audiences.

Project-related Initiatives Smithsonian Folkways Compilation CD

As part of the overall Smithsonian partnership, our organisation also delivered substantial research and production support to the production of the Smithsonian Folkways Compilation CD that has been created to showcase and promote folk and traditional musicians from Northern Ireland. This work was chiefly in relation to the management of the copyright and intellectual property of the included recordings on behalf of the artists – so that the label was able to account to and credit the writers, composers and copyright holders appropriately.

271 New York City Showcase Event

In association with British Council and as an ancillary initiative to the Rediscover Programme, NIMIC organised and promoted a high profile artist showcasing event at New York’s prestigious Knitting Factory venue in the Tribeca district of Manhattan.

The artists who performed at the event included: Duke Special, Iain Archer, Foy Vance, Claire Sproule, Oppenheimer, Alloy Mental, Cashier No.9, In Case of Fire, Ben Glover, Robyn G Shiels, Lafaro and Mark Gordon (Skibunny DJ).

In order to maximise public, industry and media awareness of the event, NIMIC engaged the services of Magnum PR in New York to publicise the event. NIMIC and each of the artists were also proactive in generating music industry awareness and attendance.

The event schedule was planned to incorporate 2 performances by each of the artists, one during the early part of the evening to the invited audience of music industry and media guests, and a later performance to the full audience including the general public.

Audience numbers exceeded 400 in all with approx 200 of these being invited media and music industry guests. The audience response to the artist’s performances were very positive.

Key music industry outcomes of the initiative would include:

Duke Special continuing to develop industry and media interest in the US and their manager entering negotiations with major US record labels Columbia Music, Capitol Records and Epic Records on their behalf.

Oppenheimer’s New York based publisher Bernstein Music has decided to prioritise the artist’s repertoire in synchronization for TV and film media as a result of the band’s performance. As a result, the artist’s music has now been featured on prime time TV show ‘Ugly Betty’. Oppenheimer have also entered into talks to license their album for release in Korea, after the label caught the performance in New York City. Oppenheimer’s performances also received good press in the US, helping to secure more live dates both in the States and in the UK.

All in all we believe the Rediscover NI Music programme has achieved its objective to enhance the perception of Northern Ireland as an imaginative, creative, contemporary and outward looking society. We also believe that it will help to further the careers of an appreciable number of our creative artists and businesses.

272

ARTS AND CULTURAL EVENTS IN REDISCOVER NORTHERN IRELAND

DATE 15 June – 10 September 2007 EVENT Craft Exhibition “Made in Northern Ireland” TARGET AUDIENCE general public, arts community, craft retailers LOCATION S Dillon Ripley Center, Smithsonian Institution PRINTED PROGRAMME Yes PUBLICITY/MEDIA COVERAGE NI: Cool FM / Downtown Radio / Good Morning Ulster; Belfast Telegraph / Irish News / Newsletter. US: local Washington print media / Smithsonian Associates magazine. NUMBER OF PARTICIPATING ARTISTS 30 NUMBER OF PEOPLE ATTENDING 186,953 Figures supplied by the Dillon Ripley Center DEMOGRAPHIC PROFILE OF AUDIENCE not known US IN KIND SUPPORT Yes – ‘in kind’ via staffing / overheads (approx £10,000) BUDGET: £35,000 OUTTURN £35,000 EVENT REPORT

Despite being at an early stage in its development, Craft Northern Ireland has proven itself to be a leader of substance and importance in the sector of Craft. Not always an easy place to be positioned, Craft NI has had to establish a specific focus for its promotion and that focus has become the top end of the craft market – involving high quality production values, and the influence of and interaction with modern technology.

Craft NI’s exhibition as part of Rediscover Northern Ireland presented works which very clearly reflected the above focus. This was an arresting, attractive and elegant expose of where Craft is at the moment in Northern Ireland and where it can go – not a hint of the lowest common denominator, MINI (Made In Northern Ireland) showed the Washington public the very best of what is available here.

273

REPORTS FROM NI Partner Craft NI

To demonstrate that Northern Ireland is a creative, confident, outward looking region capable of partnering and doing business with US organisations and companies Craft NI’s partnership with the S Dillon Ripley Center was mutually beneficial. The Center houses the Smithsonian Institution’s International Gallery and also serves as an education / outreach center and home to the Smithsonian Associates (TSA). In and of itself, the endorsement of the exhibition by the Smithsonian Institution confirmed the international quality of makers and artists from Northern Ireland. The very positive reception for the exhibition confirmed Craft NI’s core objective of focusing its resources on the development of high-end craft.

The Center’s location next to the Smithsonian Castle on the National Mall was of considerable benefit to Craft NI enabling easy access to the exhibition by the general public and by visitors to the Smithsonian Folk Life Festival. This helped create a profile for the exhibition during the festival and provided a link to NI craft in the Marketplace and the craft demonstrators on the Mall.

Craft NI employed an NI curator / coordinator to liaise with the Dillon Ripley Center and to make and secure the complex logistical arrangements both in NI and the US.

Both practical and programmatical aspects of this transatlantic partnership worked extremely well.

274 To alter outdated perceptions by presenting a variety of positive images and showing that a transformation has taken place and is continuing The exhibition was entitled; Made in Northern Ireland; A Dynamic of Change which aimed to illustrate how traditional designs and processes can be contemporized and also to demonstrate that Northern Ireland has the creative talent, resources and drive to renew itself from within its history and build towards a successful future.

The exhibition profiled both individual and collective work by Northern Irish artists and explored high quality individual craftsmanship and contemporary design and manufacture. In doing so, the exhibition showed how traditional images / design and cutting-edge technology can be harnessed to express contemporary culture.

Statements from the exhibition Comment Book included:‘Not what I expected from Northern Ireland’; ‘..a contemporary yet elegant exhibition..’ ‘…craft that coveys both exemplary- quality and a sense of Northern Irish internationalism’ These, and other comments, confirmed the exhibition’s subtitle ‘Á Dynamic of Change’ and conveyed positive images of a reinvigorated Northern Ireland.

To create a future legacy of linkages and relationships that will be mutually beneficial In the course of both the planning and implementation of the project Craft NI has acquired a body of expertise in relation to the logistics of organizing similar events in the future. The opportunity also introduced the organisation to a range of potential US partners with whom we established credibility both for quality of artistic product and as a reliable partner. These contacts included Smithsonian staff, arts and cultural, organizations, craft shops and retail outlets in Washington DC and arts and craft press and will be used to discuss the possibility of future projects.

DC Partner S Dillon Ripley Center, Smithsonian Institution 1. Do you think the event/project promoted a positive image of Northern Ireland in the US and how? The Made in Northern Ireland exhibition offered new images of Northern Ireland over and above those which most US Americans understand as stereotypical. This is something which the Ripley Center and the SI is keen to encourage.

275 2. Did the event/project improve understanding in the US of developments in Northern Ireland and how? The exhibition and Smithsonian Associates talk by Joe Kelly highlighted current artistic trends but also the advanced research facilities and technological approaches that are available and practiced at the University of Ulster. The exhibition enabled us to open up new conversations about Northern Ireland that would previously not have been possible.

3. Will the event/project encourage further artistic/ cultural/educational development in the future and how? ( e.g. any specific follow ups or legacy project planned or envisaged? ) We have nothing specific in our schedule but we certainly feel more disposed towards developing projects with organizations in Northern Ireland.

4. Has the event/project helped to foster relationships between Northern Ireland and the United States and how? We found the quality of the work to be first class and were delighted to be working with Craft NI. We will certainly want to explore the possibility of future projects.

5. What impression do you think was conveyed to the audiences who attended and to those involved with the NI artists? What was the impact? What type of people attended? Any influential people that you know of? The exhibition was very well received. Many of the audience commented on how the exhibition gave them a greater understanding of the Scots- Irish influences in Northern Irish culture that make it different from what US Americans generally understand as traditional Irish culture.

6. What was your overall impression of the Northern Ireland component of the event/project? Were you content with the NI management of the event / project? Were you impressed by the artistic standard of the NI artists? The Dillon Ripley Center and other associated Smithsonian staff were extremely impressed by all aspects of the project. On the basis of our experience with Craft NI 8 of us have organized a trip to Northern Ireland in October 07 when we expect to see more of the same!

276

277

ARTS AND CULTURAL EVENTS IN REDISCOVER NORTHERN IRELAND

DATE 9 – 28 March 2007 EVENT Drama Residency TARGET AUDIENCE University Students LOCATION Catholic University PRINTED PROGRAMME No PUBLICITY/MEDIA COVERAGE No NUMBER OF PARTICIPATING ARTISTS 1 NUMBER OF PEOPLE ATTENDING 115 DEMOGRAPHIC PROFILE OF AUDIENCE undergraduate and postgraduate students and Faculty from CUA US IN KIND SUPPORT Accommodation, administration. BUDGET: £770 OUTTURN £770 EVENT REPORT

Dr.Tom Maguire is an expert on current day Irish and Northern Irish theatre and a Senior Lecturer at the School of Performing Arts at Magee Campus of the University of Ulster. His residency at Catholic University as part of Rediscover Northern Ireland came about through my friendship with Dr.Patrick Tuite, an associate professor working in the drama department of The Catholic University of America. That department is the most highly regarded drama department of all the DC universities and Patrick used his influence to set up a number of drama related projects at Catholic on behalf of Rediscover Northern Ireland (see also Solas Nua report).

278 REPORTS FROM

Dr Tom Maguire Residency at Catholic University of America, 9-28 March 2007

This residency provided the opportunity for me to deliver a public lecture on contemporary Northern Irish theatre; a master class on storytelling performance with undergraduate and postgraduate students; to be involved in a number of scheduled classes on the BA and MFA programmes; and to work with students and Faculty members on a number of student practical projects. I also attended a number of functions as part of the launch of the Rediscover Northern Ireland campaign.

These activities allowed me to develop the understanding of Northern Ireland’s theatre and wider culture, in particular by focusing on the wide range of concerns, styles and forms of Northern Irish dramatists and to connect these to the work of students and staff at CUA. This enabled a dialogue which promoted the creativity of Northern Irish theatre artists and located their work within a wider international context.

This residency was facilitated by the work of Dr Patrick Tuite who acted as a host, scheduling classes with students, a visit to the Folger Library, meetings with Faculty and meetings with theatre professionals within the Washington DC area. A core part of the residency was to discuss with Faculty, in particular the Chair of Drama and the Dean of Arts and Sciences, the possibilities for student and staff exchange and a number of possible research opportunities and projects. The aim is to create an ongoing series of links that build on this initial visit and there have been a number of follow-up contacts since my return.

DC Partner The Catholic University of America

279

Elaine Agnew, Kate Newmann, Tom Maguire and Nancy Morgan

280

Dr.Patrick Tuite (and youngest son) Catholic University

281

ARTS AND CULTURAL EVENTS IN REDISCOVER NORTHERN IRELAND

DATE 17 May – 24 June 2007 EVENT “ Scenes from the big picture” Play by Owen McCafferty TARGET AUDIENCE Drama enthusiasts LOCATION Callan Theatre, Catholic University PRINTED PROGRAMME Yes PUBLICITY/MEDIA COVERAGE Washington Post Review NUMBER OF PARTICIPATING ARTISTS 1 NI , 21 US Actors, plus US technical staff NUMBER OF PEOPLE ATTENDING 2400 DEMOGRAPHIC PROFILE OF AUDIENCE Ethnically Diverse US IN KIND SUPPORT Venue for rehearsal and production BUDGET: £31,620 OUTTURN £31,620 (estimated 24th October) EVENT REPORT

Through a series of coincidences and friendship connections, I met Linda Murray, the artistic brain behind a relatively new theatre company formed in Washington specifically to explore in a practical manner contemporary arts from Ireland. Linda is herself Irish and about to complete her doctorate in Dublin – she was dividing her time between Washington and Dublin when I first met her but due to a series of family difficulties and immigration problems, she was not able to be in DC for the period of Rediscover Northern Ireland. This was very unfortunate because it was she who helped to set up the close relationship I developed with Solas Nua. Her partner however, Dan Brick, and one of the Board members in particular, Dennis Houlihan, were hugely helpful to me and the programme and without their help I would not have been able to stage several events in DC including this play.

To mount a production of Scenes from the big picture was a huge undertaking. And we did not take an easy way out because we decided right from the beginning to offer the directorship to someone from Northern Ireland. With the help of Mick Duke from Tinderbox – the NI partner in this venture – Des Kennedy was selected to director Owen’s play – and we also decided to ask Owen to come out for the opening night.

282 The real difficulties of producing Scenes stem from the size of the cast – twenty one in all. So it could be a very expensive undertaking. Add to that the difficulty of finding a venue in DC – this is where my friend Dr.Patrick Tuite proved so immensely helpful to RNI because he negotiated with Catholic University and acquired for Solas Nua a theatre space and at no cost. This was huge saving.

The other problems – and they were many - were small in comparison but included accents and images. However, Des Kennedy proved himself a remarkably gifted director and the play’s production by Solas Nua was given a fantastic review in the Washington Post.

I saw the play two times and was greatly impressed by the acting, the scale of the production, the set and the direction. Certainly Solas Nua are a real find for drama advocates of Northern Irish drama and this connection must not be allowed to falter.

REPORTS FROM

NI Partner Mick Duke, Artistic Director,Tinderbox

The co-production with Solas Nua of Scenes from the Big Picture was an excellent opportunity for Tinderbox in general and emerging director Des Kennedy in particular. The project enabled several new outcomes: Tinderbox Theatre Company was introduced to the Washington theatre scene; audiences were able to sample high class theatre writing and production by artists from Northern Ireland; the play itself was introduced to a wider public; a more complex view of contemporary life in Northern Ireland was presented in the United States of America; and a young and very talented director, currently being mentored by Tinderbox artistic staff, had the opportunity to work on a play he has long wished to direct, in an environment where he was free to take production responsibility and artistic decisions. I recently met one of Des's cast members who was attending the Prime Cut production of Scenes from the Big Picture in Belfast. His obvious respect and affection for Des was a pleasant way to elaborate on the top rate reports about Des's work from Solas Nua and the excellent reviews he had received in the Washington press. Des himself grew in confidence and conviction through the experience, and will bring much from it into his future work.

DC Partner Solas Nua

Linda Murray, Artisitc Director, Solas Nua

The opportunity to work with Tinderbox was a wonderful experience for all involved in Solas Nua with both Mick and Kerry offering assistance at every turn, and the discovery of Des Kennedy who was previously unknown to me, was particularly satisfying.

283 We became involved with the Rediscover Northern Ireland Festival through Philip Hammond, an exceedingly dedicated and competent man, who was instrumental in brokering the partnership between Tinderbox and Solas Nua, and in contracting Des as our director. Our board member, Dennis Houlihan, worked closely with Philip in my absence and had nothing but complimentary things to say, and the producing director, Dan Brick, was extremely impressed with the support he received from Philip in mounting the production.

When Philip asked me to produce a play from Northern Ireland, I immediately knew that I wanted to stage Owen McCafferty’s Scenes From The Big Picture. A play that is Joycean in scope I felt it was the perfect piece to encapsulate the heart and spirit of Belfast.

Uusually I am very involved in all of our work, believing that an Irish voice in the room helps to bring authenticity to the production. As Philip explained, due to a death in my family in Dublin and consequent change in my US visa status I was unable to be in DC for the rehearsal and production period of Scenes. However, with Des at the helm I feel that the actors and audience truly understood the text and were able to unlock the beautiful nuances and poetry inherent in the Belfast dialect.

I am once again resident in the US and since my return the actors have had nothing but praise for Des and his methods, particularly his ability to unite the cast in a single purpose. Des had to interweave three generations of extremely different personalities and pulled it off with flair. That every actor in a cast of 21 had something positive to say about him goes a long way to highlighting Des’s unique gifts and we would be honoured to have him back to direct for us if he so chose.

It was my great sadness that I did not get to see a live show of Scenes From The Big Picture, but through the DVD and testimonials of cast, crew and community I know that we touched many hearts and in a few instances changed lives. I can think of no greater achievement in theatre. It is my hope that the relationships begun with Rediscover Northern Ireland will continue for many years to come and I am forever grateful to Philip Hammond for letting Solas Nua be a part of his rollercoaster.

Artists Des Kennedy, Director

This year I directed Scenes from the Big Picture by Owen McCafferty as part of the Rediscover Northern Ireland Festival in Washington D.C. This was a co-production between Tinderbox Theatre Company (Belfast) and Solas Nua (Washington D.C). Almost by accident I was asked to be part of a festival alongside artist such as The Brian Irvine Ensemble, Foy Vance and Marie Jones. The festival organisers decided that they would produce ‘Scenes from the Big Picture’ with DC theatre company Solas Nua, a cast of American actors, and send a Northern Irish director to DC to direct the piece. The first choice for the job was Mick Duke, artistic director of Tinderbox Theatre Company. Mick

284 was unable to take 2 months out of running his company to direct a show in the U.S, so out of a combination of generosity, stupidity and confidence in my ability, Mick passed the job on to me. Mick had seen work I had directed and I was also a reader for his company and somehow he thought that I would be capable of delivering a good production. To be asked to be a participant of the festival alongside artists who I respected and greatly admired was an honour, a privilege but most importantly a challenge. To say that this responsibility was terrifying would be an understatement. I am 25 years of age and although I have directed professionally since graduating, the majority of my work, with a few exceptions, has mostly involved assisting on professional productions or directing youth theatre. To be given the opportunity and challenge of directing a professional production of a difficult play with 21 actors, most of whom were much older than me, in a foreign country, at a high profile festival, was awesome and mind-blowing. I was dreading it. That said, I pretty much feel that way before every show I direct. I have this fear and mild panic days before I go into rehearsal. It’s a mixture of passion, excitement and the realisation that I will have to rise to yet another challenge and come up with the goods. Perhaps every artist feels that way. For some reason though, when I go into rehearsal, I am poised, ready and able. And it’s easy. And I love it.

After major sleepless nights and minor prayers that I would fall ill or get stopped at immigration and deported and therefore have to forfeit the job through no fault of my own, I reached D.C and met with the cast whom I had auditioned a few months previous. It quickly became apparent that these people were doing this play because they were passionate and they cared about the play. It was also a chance for me to help tell Owen’s story, the story of my city, my home. I went about rehearsing the play the way I would rehearse any other play, a student production with my peers, or a youth theatre musical or even a children’s play with a group of children with special needs. My process, If you could call it that – one of the most difficult things for a director to do is describe their process – goes some thing like this: start every rehearsal in a circle, it creates democracy. Never bully. Always laugh. Be the first to make fun of yourself. Be open. Communicate vision. Be organised. Listen more than you speak. Self-deprecate, but always be in control. Ask more questions than you answer.

Scenes from the Big Picture very quickly became a dream job. With the help of a few stolen games that involved throwing balls around a room, and lots of bottles of iced-tea, we quickly became an ensemble. All that was left was for me to do my job and enjoy the luxury of interrogating a brilliant text with brilliant actors.

The overriding memory I have from the experience is the fact that I always felt supported. Tinderbox Theatre Company in Belfast and Phillip Hammond in Washington kept in regular contact with me to see if I needed anything, to be a sounding board or just to say hello. I was on my own in the USA directing a bunch of Americans but I never felt truly alone. Phillip took me to dinner on numerous occasions to ask how things were going. It never felt like there was any pressure for the show to go well, even though for him there might have been. He was consistently generous, engaged and nurturing.

285 My artistic ambition for the piece was to serve the intentions of the writer, tell a truthful account of my city and produce and production that the actors could feel comfortable in and be proud of. I feel I achieved this with added bonuses. For what it’s worth the production got rave reviews from the Washington Post, Variety magazine and the Washington Examiner, to name a few. Scenes was critic’s pick by the head critic of the Washington Post for it’s entire run. Does this make me happy? Probably. Is it the best thing to come out of my experience? No.

Great reviews are wonderful, but If bad reviews mean nothing then surely good reviews mean nothing too. The thing that will stay with me from my experience is the fact that I did something I was terrified of yet managed to do it anyway. I met a company of wonderful people, each one infinitely talented, special, diligent, sexy and bright, and all of whom will be my friends for the rest of my life. And I was able to do what I do, what I know I can do and do well. And that I didn’t have to compromise myself and be some hot young tyrant of a director form Europe. I didn’t have to be anyone else. I didn’t have to be the autocratic dictator to get results.

The actors I worked with found this somewhat revolutionary. Some of them called me a genius, not realising that It was probably simply a case of Northern Irish pragmatism and desire for everyone to get along and have a laugh.

I now know that I can put the well being of my company, the integrity of my vision and the desire to do a job well at the forefront of a process and the results can still be magnificent. That’s what I strive for, to create and be part of something that is bigger than I am. That’s my achievement from Scenes, and quite possibly of the year.

Des Kennedy

Washington Post Review by Peter Marks Monday May 21st 2007

It isn’t every day that a small local theatre company has the nerve to try to tell a gritty, multi faceted story by maneovering 21 actors around a tiny stage. And it’s rarer still for an entire teeming world to be evoked as superbly as the crew at Solas Nua does with Owen McCafferty’s Belfast chtrinicle “Scenes from the Big Picture”.

With this absorbing, exquisitely acted production, two year old Solas Nua affirms its status as the most vital new troupe in town. The company, whose name is Gaelic for “new light”, has found in its area of speciality – contemporary Irish Drama – a wonderful, fertile focus. The bracingly original perspectives of Dublin playwrights such as Mark O’ Rawe and Enda Walsh have added a level of fresh invention to the offerings on the city’s smaller stages.

McCafferty’s “Scenes from the Big Picture” is another fascinating entry. The play, originally produced at the the Royal National Theatre in London, is a departure for Solas Nua in that it is rooted in naturalism: its previous offerings, like Walsh’s “Bedbound” and

286 “The Small Things” have tended to be more challenging, language driven works.

“Scenes from the Big Picture” is, on the other hand, an attempt to portray in realistic fashion life in a city whose ordinary struggles had long been overshadowed by one big set of Troubles. Borrowing equally from Thorton Wilder’s “Our Town”, James Joyce’s “Dubliners” and the TV series “East Enders” – a long running British serial set in London’s working class east end – “Scenes from the big Picture” splices together the bittersweet stories of a clutch of average Belfast residents on a day of little epiphanies.

Stories like these could unfold on any tough patch of ground anywhere; a husband cheating on a wife desperate to bear children; an old shopkeeper trying to soldier on in a tumbledown neighbourhood. The pranks of wayward teenagers and the brutality of drug dealers cast “Scenes” in darker urban shades. And McCafferty gives us a whiff of the Belfast of the evening news, in the circumstances of a grieving couple waiting to see if the police locate the body of their long-missing murdered son.

Is the boy a victim of random violence or the more targeted kind, for which the city was once notorious? An audience is never sure, and that is in keeping with the point of the evening. No-one is ever described in the present-day “Scenes” as being Catholic or Protestant , a blurring of identity that can almost be disorienting for any outsider who has followed the events in Northern Ireland over the last few decades and has come to expect everything to be defined in religious terms.

What the play is about, in a sense, is the normalcy of sadness and stress and recrimination, the idea that pain and suffering need not be grounded in extreme forms of hatred and violence. Even in Belfast, such feelings can spring out of the routine of the everyday.

McCafferty’s strength is akin to that of a short story writer, and though some of the stories of “Scenes” twist in interesting ways – the squabbling brothers, for instance, uncover a disurbing facet of their father’s life while digging in his garden plot – some others unravel in predictably soapy ways. This is of little concern. The dramatist’s characters pulsate with authenticity, a quality underlined in director Des Kennedy’s superlative staging.

Working in a basic black-box space, the Callan Theatre on the campus of Catholic University, Kennedy brings out the absolute best in an eclectic cast of local actors. It is almost unfair to single out any one, because the production bats 21 for 21 – no one comes close to striking out. Many of the actors are recognizable from work on other stages around town. Few of them, however, have been used to better advantage, which tells you something about the splendid touch of Kennedy, who has worked extensively in Britain and Ireland.

From the senior citizens… to the teenagers …, there is an appealing genuineness, in accent as well as affect. Kennedy places them all on a bare stage with props so rudimentary they look like holdovers from the earliest rehearsals.Designer Robbie Hayes

287 adds a pair of primitive metal doorways, from which hangs strips of yellow plastic. As if to comment on the director’s style, the doors are engagingly transparent.

The sense of finely tuned ensemble extends even to the frequent scene transitions ; one of the blessings of “Scenes” is that it moves. …

I could go on. Or better yet: you should just go. PM

Des Kennedy and Dan Brick on opening night

288

David Campbell, Comic Book Artist in Resdience at SAIL and Owen McCafferty, playwright

Actors and audience at Scenes…Catholic University

289

ARTS AND CULTURAL EVENTS IN REDISCOVER NORTHERN IRELAND

DATE 31 May – 3 June 2007 EVENT Rediscover Northern Ireland on Film TARGET AUDIENCE LOCATION American Film Institute Silver Spring PRINTED PROGRAMME Yes PUBLICITY/MEDIA COVERAGE Posters, AFI magazines and Newsletters NUMBER OF PARTICIPATING ARTISTS 4 NUMBER OF PEOPLE ATTENDING 750 DEMOGRAPHIC PROFILE OF AUDIENCE US IN KIND SUPPORT Venue, administration, publicity and printing BUDGET: £25,000 OUTTURN £15,000 estimated at 24th October EVENT REPORT Northern Ireland Film and Television Commission (now entitled Northern Ireland Screen) took the lead on programming and liaising all the film input to Rediscover Northern Ireland. I made the initial contact with the American Film Institute whose base in Silver Spring is centred around an 1930’s cinema beautifully remodeled in the original décor but with all the modern facilities and technological updates expected by the present –day cinema goer.

Working in the film industry involves different timescales from what I would be used to in other artforms. Consequently, it was not until late May that the programme for the four days of Northern Ireland films at AFI began to crystallize. Several film-makers and screen actors were engaged but again, it was a last minute decision as to whether these people were able to come along or not. Those who did – like John T Davis, in particular – received very warm and enthusiastic welcomes from those who attended the several films present at AFI.

It was AFI who actually selected which films they wanted to be shown at this mini- festival and to some extent I was interested to note that so many of them involved conflict and post-conflict themes or subthemes. I was not sure if the filmmakers in Northern Ireland are too obsessed by this - or that AFI was too obsessed!

290 Whatever, by the end of the four days – and especially the last Sunday when I sat in the theatre from mid-afternoon to mid-evening, having seen Bye Child, Middletown, Tell it to the Fishes and finally Omagh – I cannot say that I left for the Metro and the journey home in anything other than a very dark mood indeed. I did speak to several of the audience during the days of the film fest at AFI and there was a consensus that these films certainly were powerful. If I had been in charge of the selection, I may have gone for a slightly lighter fare – but then I am not sure that such is available!

The contribution from AFI which was made in setting up this whole film festival was absolutely invaluable and without it we could not have hoped to have had a presence in DC in terms of film. PH

REPORTS FROM NI Partner Moyra Locke, NORTHERN IRELAND SCREEN

Let’s start off this report by emphasising that we were asked by DCAL to participate in this and actually were initially rather sceptical about it fitting in with our proscribed objectives at Northern Ireland Screen at the time. We do not have a particular remit to influence US cinema-going audiences – we have enough difficulty persuading domestic audiences to screen home-made product! There was also no question of this initiative fitting into our economic paradigm. We did not at the time court the US screen industry (we didn’t have anything to offer, the infrastructure of a studio etc etc – and Washington most certainly would not be targeted since neither the studio system nor the independent sector is there!! This has now changed due to the inclusion of the Paint Hall in our facilities – but it would be LA, not Washington, to which we would turn for business).

In the light of that background, however, we do appreciate that it was about presenting a more positive image of Northern Ireland – but unfortunately this is really not always the case with our film-makers because for the most part, their history and culture is one of war – therefore this is of course going to be reflected in the artistic output. I personally struggled with this for some time, but that’s just how it is – and it has to be accepted… film-making is certainly not only about content – the competence of the film-maker and the techniques employed to tell the story on screen are of equal or even more importance.

Coupled with that, is that we could not in any way proscribe to the American Film Institute what they could and could not screen. Of course we tried to steer them towards certain films – but in all honestly, a lot of the product coming out of NI in the past 10 years has got some kind of “troubles” content – it’s just unavoidable. You must also remember that the AFI was offering everything free – all their facilities and staff – which could normally be thousands of dollars – so there was no question of us going in heavy- handed and saying what they could and could not screen. After all, they are much more used to festival programming than we are – and they know their audience!

291

1. Do you think the event/project promoted a positive image of Northern Ireland in the US and how?

Yes. It showed that we have in spite of – or perhaps because of (!) our recent history, a vibrant, creative community of film-makers has blossomed – producing quality features and documentaries – entertaining and enlightening product – that audiences want to see!

2. Did the event/project improve understanding in the US of developments in Northern Ireland and how?

Yes. Very positively. We cemented an excellent relationship with the American Film Institute and brought them up to date regarding developments in the screen industries here; made some great contacts for future collaborations.

3. Will the event/project encourage further artistic/ cultural/educational development in the future and how? ( e.g. any specific follow ups or legacy project planned or envisaged? )

Too early to say at the moment, but as mentioned in Q2 above, relationships will now be built on. Meeting members of the AFI face to face can only impact positively in the future e.g. if we wanted to run something with Silver Docs (huge documentary festival), we know that we could call upon them for support. It has also given us more confidence to know that outside audiences appreciate the NI film product – and it can find a wider audience. It also gave us good experience in hosting a mini film festival! We are now working with a Japanese festival to do something similar in Tokyo early next year.

4. Has the event/project helped to foster relationships between Northern Ireland and the United States and how?

Yes – again as above. But bear in mind that this has been a CULTURAL exchange and from our point of view – with regards to the core business of Northern Ireland Screen bringing in investment through inward production – it will have minimal impact.

The film audiences were pretty sophisticated and mature. They appreciated both the films they watched and the fact that the film-makers made what they saw was a huge effort to fly over from NI to attend what was, in relative terms, a small arthouse festival. They loved the Q&A sessions after the screenings. These people were real cineastes – not your average punter. The films screened had some pretty serious themes – as well as some entertainment value – and they loved being able to question the film-makers on the whys and hows of the creative process.

292

6. What was your overall impression of the Northern Ireland component of the event/project? Were you content with the NI management of the event / project? Were you impressed by the artistic standard of the NI artists? We were let down at the very last minute by some talent who could not attend – due to other work coming in, or family issues – so we didn’t take any many artists to DC as we had at first envisaged. However, those we did take assured us they enjoyed it very much and felt it had been worthwhile. The overall co-ordinator Philip Hammond was absolutely fantastic – a rock – and a great supporter of our little mini-fest. ML

DC Partner Todd Hitchcock, American Film Institute, Silver Spring.

1. Do you think the event/project promoted a positive image of Northern Ireland in the US and how?

I think our film series promoted a positive image of Northern Ireland here in the US in that it raised the profile of films produced in Northern Ireland, by talent from Northern Ireland. This distinction between the UK and Ireland, and where Northern Ireland fits into the picture, is usually lost on American audiences, or highly confused.

The films that dealt specifically with the history of Northern Ireland were of interest to our audiences, many of whom were the exception to the rule in that they had a high level of familiarity with Irish and Northern Irish history and culture. And films like Omagh and Mickybo & Me are of very high quality, which of course helps the case.

The Undertones and Shellshock Rock documentaries brought out a somewhat different audience of music fans, and happily, a mix of older and younger fans.

All of these people could be characterized as specialist audiences, but I would say that our theatre typically does well by these groups, and they responded to the Rediscover Northern Ireland film series in a highly motivated fashion.

2. Did the event/project improve understanding in the US of developments in Northern Ireland and how?

Yes. I think that the confident presentation of the film series, including several films with difficult historical subject matter, in conjunction with the larger Smithsonian Folk Life Festival, indicated that Northern Ireland had recently entered a new, forward-looking and optimistic phase. And the promotional materials effectively promoted tourism.

293 3. Will the event/project encourage further artistic/ cultural/educational development in the future and how? ( e.g. any specific follow ups or legacy project planned or envisaged? )

It could. In addition to the film series we presented, there was extensive discussion about possible events that involved appearances by prominent film talents from Northern Ireland, namely Kenneth Branagh and Liam Neeson. Neither worked out for June 2007, but if the possibility arose in the future around either of these gentelmen’s upcoming projects, a collaboration between our organizations would be most welcome.

4. Has the event/project helped to foster relationships between Northern Ireland and the United States and how?

Perhaps not at the government level, but certainly on the cultural level. Personally, I learned more about the Northern Ireland economy and some leading businesses there than I knew before. I hope some other useful contacts were made in the business sector.

See my answers to 1 and 2. As to whether anyone was “influential,” I can’t cite anyone with a government title, but I’m fairly sure, judging from the Q&A sessions we had following several screenings, that we had a knowledgeable audience who were opinion- makers within their own communities.

It was a pleasure to work with the NI project team and I would enjoy collaborating in the future, should the opportunity arise. The same goes for the directors and actors who visited us.

294

The queue at AFI before the Rediscover NI Film events

Cian Smith NIS at AFI

295

John T Davis at his post screening talk-in and Todd Hithcock to the right

The stars relax with a pizza after Mickeybo and Me at AFI

296

Pearse Elliott taking questions after his showing of his Mighty Celt film

297

The restored movie theatre at AFI Silver Spring

298

ARTS AND CULTURAL EVENTS IN REDISCOVER NORTHERN IRELAND

DATE 17-18 April 2007 EVENT Lannan Symposium Festival: “Befitting emblems of adversity” TARGET AUDIENCE Academics and students LOCATION Georgetown University PRINTED PROGRAMME Yes PUBLICITY/MEDIA COVERAGE Local Georgetown awareness, esp. University, through posters and leaflets NUMBER OF PARTICIPATING ARTISTS 10 (NI and other RoI participants in addition) NUMBER OF PEOPLE ATTENDING 500 DEMOGRAPHIC PROFILE OF AUDIENCE Ethnically diverse but largely specialist literary academics and students US IN KIND SUPPORT Venues, administration, management, fees to poets and speakers, printing and publicity BUDGET: included as part of the National Geographic event budget EVENT REPORT

The Lannan Symposium at Georgetown University is an annual event. In 2007, Professor George O’Brien decided that Northern Ireland could be the specific focus of the symposium and that his Georgetown events could be associated with the poetry event at the National Geographic Society which was being organized by Queen’s University for Rediscover Northern Ireland. I met George through the good offices of Carmel McGill whose work at the British Council many years ago had first brought us together in the early nineties in Washington.

George O’Brien and Mark McMorris of the English Department at Georgetown compiled an impressive series of readings and lectures for the two-day symposium. Rediscover Northern Ireland offered to ask the poets taking part in the NGS event to participate in some way at the symposium and further offered to pay the flights of some of the younger poets being brought to the Lannan events. In the end, RNI paid for the travel of Leontia Flynn and Sinead Morrisey and also paid the flight for Professor Edna Longley who was a keynote speaker about one of her particular studies – the works of Louis MacNiece, the 100th anniversary of whose birth falls this year of RNI.

299 Rediscover Northern Ireland’s association with the Lannan Symposium was a very prestigious addition to our programme. If one of our very strongest artforms in Northern Ireland is poetry, then the symposium helped to consolidate this perception in Washington to an audience which is well versed in the genre.

REPORTS FROM

NI Partner QUB not submitted

300

ARTS AND CULTURAL EVENTS IN REDISCOVER NORTHERN IRELAND

DATE 24 April – 29 July 2007 EVENT Resolutions: New Art from Northern Ireland TARGET AUDIENCE Visual Art experts/general public LOCATION American University Museum at the Katzen PRINTED PROGRAMME Yes PUBLICITY/MEDIA COVERAGE Besides the numerous calendar listings in local publications, there were five articles about the show, including substantial coverage with colour reproductions in The Washington Times. UU Artists Shine At Washington Exhibition 04/25/2007 Ulster News Article

HERE & NOW 05/12/2007 Washington Post Gopnik, Blake News Brief

New day for Irish 'Resolutions' 05/28/2007 Washington Times Shaw-Eagle, Joanna Article

Weekend Pass 06/21/2007 Express Brief Mention

ARTS & CRAFTS: 07/01/2007 The Agenda News, Bob Joiner

301 NUMBER OF PARTICIPATING ARTISTS 21 NUMBER OF PEOPLE ATTENDING Exhibition-Related Events:

Sunday, April 22, 2007 200 Brian Irvine Ensemble and Reception

Saturday, May 5, 2007 450 Artists’ Reception

Museum Attendance:

April 24 – July 29, 2007 5,472

Total Attendance: 6, 122

DEMOGRAPHIC PROFILE OF AUDIENCE Ethnically diverse, many largely academic or connected to the University US IN KIND SUPPORT Venue, administration and management support, curation of exhibition, printing and publicity BUDGET: £50,000 OUTTURN £42,100 EVENT REPORT It was through a chance meeting with David Furchgott of Arts and Artists International that I first spoke with Dr. Jack Rasmussen, Director/Curator of the Katzen. Finding exhibition space in DC was proving very difficult indeed when David Furchgott suggested the new Katzen Arts Center at American University. He facilitated the meeting and after a series of meetings and a process of convincing Jack that we meant business and that we could produce the goods, the exhibition began to take shape.

The content was in my mind always going to involve the Arts Council’s excellent collection as the basis. Working with Dr. Suzanne Lyle and Iain Davidson, then bringing in Peter Richards of the Golden Thread Gallery, Jack Rasmussen was persuaded to visit Belfast and see for himself the work of our visual artists and meet some of them in person. He subsequently curated the exhibition which opened in DC in late April. The Golden Thread Gallery was particularly key in the setting up of this exhibition and obviously it will be key in any future international exhibitions of visual arts from Northern Ireland on its showing in this project.

The University of Ulster was invited to organize a reception for this opening and use it as a platform for the University’s profile in DC, making possible partnerships with AU and generally advertising the fact that nearly all the visual artists working in Northern Ireland have a connection with the Belfast Art College which is of course part of UU. Ian Charlesworth and Paul Seawright, both represented in the exhibition, come out for the opening. Brian Irvine, himself a doctoral graduate of UU, and his Ensemble provided a concert for the reception as part of his residency/tour in DC. PH

302 REPORTS FROM NIPartners Dr.Suzanne Lyle, Arts Council of Northern Ireland The exhibition of new acquisitions from the Arts Council Collection that took place at the American University Museum at the Katzen Arts Center gave us an invaluable opportunity to promote the work of Northern Ireland based artists on the international stage. The work that was chosen showed a selection of up-and-coming as well as career artists. Several of the artists travelled to Washington to see the show and they hope to build on the interest in their work there as a result. Many of the artists valued the opportunity to have their work shown in a high level gallery because it may otherwise have been more difficult for them to break into showing their work in the USA. This can be for a number of reasons including the difficulty of the cost of transporting their work there. Feedback from the artists and from the gallery has also been very positive in terms of the critical reception of the work. The fact that the Katzen show ran at the same time as the craft and print work shows also added to the impact and demonstrated the quality and diversity of the work of our visual artists to an international audience. The exhibition enabled us to accurately reflect the quality of contemporary art in Northern Ireland and as such the resulting opportunities for the individual artists as well as the visual arts in Northern Ireland should be extremely valuable.

Peter Richards, Director, Golden Thread Gallery I was asked by the Arts Council (Suzanne Lyle and Iain Davidson) to liaise with Jack Rasmussen, the Director of the Katzen Centre at the American University, Washington, on his first visit to Belfast. I facilitated a series of meetings with various Northern Irish artists, with the intention of showing Jack the breadth of talent available within Northern Ireland. Having met many of the artists himself, and having seen a wide variety of studios and practices, Jack was able to curate an exhibition featuring twenty-one of Northern Ireland’s most exciting artists. In addition to working with Jack to familiarize him with Northern Irish art, I also dealt with him in the compilation of information and images for the catalogue to accompany the exhibition. Organising the collection, crating and transportation of the works to Washington and back was also my responsibility.

Overall, the project involved facilitating the research and development of the exhibition including the curator study visit; liasing with selected participating artists; arranging exhibition contract with the artist; realising the transportation to and from Washington and arranging the customs and excise requirements, dealing with art form production (were applicable), travel-accommodation, publicity materials; and the production of a high quality, substantially illustrated publication.

The list of selected artists included :Ian Charlesworth; Willie Doherty; Cian Donnelly; Sara Greavu; Michael Hogg; Brendan Jamison; Sharon Kelly; Susan MacWilliams; Paddy McCann; Marc McGreevy; Mary McIntyre; Maria McKinney; Simon McWilliams; Darren Murray; Aisling O’Beirn; Gail Ritchie; Paul Seawright; Gary Shaw; Dan Shipsides and Jennifer Trouton, representing a diverse range of the wealth and breadth of current visual arts practises in Northern Ireland and included young emerging

303 artists alongside those who have become established in the international arena.

The aim of the exhibition was to provide an opportunity where all the residents of and visitors to Washington, can experience, engage with, and evaluate a survey of the highest quality contemporary Northern Irish Visual Art.

I was lucky enough to get to travel to Washington along with a number of the artists showing in the exhibition for the opening reception. The exhibition was a great success and the catalogue is testament to the longevity of this great collaboration between Northern Ireland and Washington.

Peter Richards

The speakers at the opening (L-R) Chair ACNI, Vice Chancellor UU, President American University and Dr.Jack Rasmussen, Director Katzen Arts Center and Curator of the exhibition for Rediscover Northern Ireland

UNIVERSITY OF ULSTER Reception host at the Katzen Arts Center AU The event

The University of Ulster organised a reception on Sunday 22 April 2007, at the Katzen Arts Center, American University, on the occasion of a preview of an exhibition of contemporary Northern Irish art selected from the Arts Council for Northern Ireland’s collection. This was one of the events supported under the Rediscover Northern Ireland Programme.

304 Resolutions: New Art from NI, featured work from over 20 NI artists, all of whom have strong links with the University’s prestigious School of Art and Design. The exhibition, hosted by the Katzen Arts Center in association with the Golden Thread Gallery, Belfast, was curated by Katzen Center Director Dr Jack Rasmussen.

Those whose work was featured included UU members of staff Professor Willie Doherty, twice nominated for the Turner Prize, and Professor Paul Seawright, a leading figure in development of photography in the UK, as well as emerging stars who had recently graduated from the University.

The reception organized by the University of Ulster allowed the University to extend invitations to about 300 guests, including alumni and honorary graduates as well as academic and other partners and potential partners in the world of higher education, the arts and business and public life. Assistance in the compilation of the guest list was given by the NI Bureau and Susan Davis International.

The reception was followed by an innovative jazz concert by the Brian Irvine Ensemble. Brian holds a PhD in Music from the University of Ulster and was selected as the First Trust/ University of Ulster Distinguished Graduate in 2006. The concert was very well received by those who attended it and many expressed their intention to see the Ensemble play at one of the other scheduled venues.

Comments on outcomes

The occasion was attended by 70-80 guests. It allowed the University to emphasise the wealth of talent emerging from the School of Art and Design, continuing the long tradition of excellence from the School and its predecessor institutions since it was founded in 1849. Overall it was a successful and useful event which allowed the University to maintain relationships with alumni and other contacts in the DC area, and further afield in some cases. Some new relationships were built including with the NI sponsor (Grafton Recruitment) introduced through the Rediscover NI Programme, albeit that the sponsorship relationship was between government and Grafton and not between the University and the sponsor.

305

Richard Barnett (V-C University of Ulster) and Cyrus Katzen at the opening reception for the exhibition

In terms of ‘what could have been better’ the following comments are offered:

• Because of the juxtapositioning of the event alongside the exhibition (the exhibition was not organized by the University), there were restrictions placed on aspects of the organization of the reception, and also some initial confusion about the University’s role, which took a good deal of communication to clarify. • The event was organised to take place on a Sunday evening and it is felt that in the DC area a weekday evening would have been a better choice. This echoes advice from the PR company. There was however no flexibility in this because of the timescales for the exhibition.

• While the University was very pleased to participate, and appreciated the support from all parties involved, the organization of the event did require a substantial amount of work in dealing with all parties at a distance. It was always going to be the case that there would be limited outcomes from a reception, and the University and other parties worked hard to maximize those outcomes. However it was disappointing, given the University’s significant contribution to cultural and creative life throughout Northern Ireland, and the University’s readiness to be involved from an early stage in the Rediscover NI Programme, that none of the early suggestions made for involvement in a more substantial event, providing the University with greater opportunities to promote its brand, were able to be followed through.

306

Conclusion The University of Ulster was very pleased to play a role in the Rediscover NI Programme and took advantage of the events in which it was involved as far as possible to maintain and establish relationships with alumni and partners as well as highlighting the excellence in Art and Design, and the opportunities available for study at the University.

The University would like to place on record its appreciation for the support and contributions made by Philip Hammond, the Northern Ireland Bureau in Washington and Susan Davis International. Noreen Taggart Director of Communication and Development University of Ulster

DC Partner Dr.Jack Rasmussen, Curator and Director, Katzen Arts Center RESOLUTIONS: NEW ART FROM NORTHERN IRELAND

It has been over two years since Philip Hammond and Colette Norwood first came to visit me at the American University Museum in the Katzen Arts Center. They proposed a collaboration that would showcase the work of contemporary artists from Northern Ireland in our Nation’s Capitol, and I thought it was a brilliant idea. Succeeding events proved this first impression correct. The professionalism and good humor of Philip and his team made the overwhelming success of this project an inevitability.

307

Initially, working with Dr. Suzanne Lyle, I used the collection of the Arts Council of Northern Ireland to become familiar with the artists of the region and to start conceptualizing a strategy for adequately representing the talent and innovation of a country I had never even visited. Then, I was introduced to Peter Richards, Gallery Director at the Golden Thread Gallery, Belfast, who took me around to literally dozens of studios and galleries and introduced me to the most exciting artists in the country.

This combination of access to an excellent collection and the help of an accomplice intimately familiar with the ground level art scene in Northern Ireland was largely responsible for the artistic success of our project. Together, we fashioned a show of twenty-one artists that told a story about the history of Northern Ireland and demonstrated the present ascendant state of its culture.

Peter Richards helped in other ways, as well. He was invaluable in compiling images and information for the catalogue that documented the exhibition. I believe the catalogue will continue to serve as a resource for the artists and public long after the exhibition left Washington. Most importantly, Peter handled all the logistics connected with travelling a major show, including the collection, crating, and transportation, and return of almost 50 works of art.

308

Paul Seawright beside one of his works at the opening Report from Dr.Paul Seawright, Exhibiting Artist

It was important that the strength of the visual arts in Northern Ireland was represented as part of the Washington series of events. The exhibition was professionally curated and beautifully hung in a very prestigious University Museum. The catalogue was equally important as it ensured that the exhibition had prolonged impact, particularly given the length of the ‘festival’ and the breadth of cultural events.

Personally I benefited from both inclusion and attending the event. I have since organised a future research project with the National Archives Photographic Collection in Washington and will visit the city again for 3 weeks in April 2008.

309 The Arts Council’s mission is to bring art and culture to the heart of local communities but it is also important that Northern Ireland is recognised internationally as a serious producer of critical and creative practice. International exhibitions like this make good use of the council’s collection and provide opportunities for younger and established artists. It would be great to see a structured international strategy for the visual arts that could build on this and the success of Venice 05 and 07. PS

Ian Charlesworth in between two of his works at the opening

Ian Charlesworth, Exhibiting Artist I visited Washington, for ‘Resolutions’, an exhibition of Northern Irish art at the American University Museum. I was exhibiting work in the exhibition and this was an opportunity to meet the curator of the exhibition, as well as other gallerists and curators in North America. It was important that visitors to the opening of the exhibition were able to discuss the work with one of the artists, and it was interesting seeing how an American audience received the exhibition as a whole, particularly in relation to the wider Smithsonian project. There was specific interest in my work and opportunities that arose out of this visit have been developed upon my return. I met with curators from the Hirsshorn Museum, who are to include my work in ‘The Cinema Effect’, an important exhibition of video art at the in June 2008. I also spoke with Efron art consultants who are recommending my work to collectors and collections in North America. This was also an opportunity to visit many of the galleries and museums in Washington, and to see many important works that will influence my practice in many interesting ways. Taken together with the opportunity to develop contacts in North America this trip has been beneficial to my art practice and career. IC

310

Rosemary Kelly(Chair ACNI) in front of Darren Murray piece at the opening

Reception for the opening – (bright green) Mimi Conway (brown) Dr. Nancy Groce

311

Michael McDowell, Susan Flanigan and Richard Barnett at the opening

Chase Rynde, Director of the National Buildings Museum at the Katzen reception

312

Aideen McGinley (DEL) and Noirin McKinney (ACNI) on a visit to Katzen in June

Street Monkey covers the Katzen exhibition (Dr.Jack Rasmussen far right)

313

ARTS AND CULTURAL EVENTS IN REDISCOVER NORTHERN IRELAND

DATE 18-19 May 2007 EVENT Literature Evening TARGET AUDIENCE Literary aficionados LOCATION Busboys and Poets PRINTED PROGRAMME No PUBLICITY/MEDIA COVERAGE Through Solas Nua fliers Internet / Website, and through Busboys and Poets website. NUMBER OF PARTICIPATING ARTISTS 8 NUMBER OF PEOPLE ATTENDING 70 DEMOGRAPHIC PROFILE OF AUDIENCE Middle class white/black US IN KIND SUPPORT Administration and management support, printing and publicity BUDGET: £17,500 OUTTURN £17,500 (inclusive of the Comic Book Artist Residency) EVENT REPORT I found this event one of the most difficult to arrange because there were no obvious partners in DC to approach to take on the organization. I did partner in Northern Ireland with the Verbal Arts Center to handle the administrative arrangements and this worked well. The problems were always going to be in DC. With no DC partner, I approached Solas Nua, the theatre company who were already producing Owen McCafferty’s “Scenes from the big picture”. That company has a much wider brief than just drama and it also organizes literary projects – for example, they asked the Verbal Arts Center in Derry to send them several thousand books which were then distributed around Washington DC on St. Patrick’s Day and considerably raised the arts profile of Northern Ireland/Ireland at a time when most Americans are more attracted by the “plastic shamrock” image of our culture.

Solas Nua proved to be an excellent choice of company in terms of providing me with very practical and much needed help. Although not a “partner” in the sense that other events had “partners” , it was through that company that I was able to use one of the coolest and trendiest small performance venues in DC – Busboys and Poets – the owner, Andy Shallal is a personal friend of Solas Nua through diverse connections. (See also Peace Café Report) . Solas Nua also got me out of a financial hole when I had to pay Dolores Kendrick with a cheque rather than through a Bank Draft from NI (this was her choice). I had no facilities for such a transaction but Solas Nua looked after it for me and thereby allowed me to avoid a very embarrassing situation with the DC Poet Laureate!

314

The literature event there was a bit too loose for my controlling tendencies but as I was in charge I had no-one to blame but myself. Glenn Patterson, Lucy Caldwell and Owen McCafferty gave readings of their works and the evening began with an interview which I conducted with Dolores Kendrick, the DC Poet Laureate. Her presence added a flavour to the event which was additionally enhanced by the playing of the Francis McPeake School of Music. The four members of that group representing the school (see also Library of Congress Traditional Music Events) played at intervals during the event and so all in all, it lasted about two hours. The audience was not large but the venue itself was small and I had never envisaged a large crowd for this event.

The next day, Glenn and Lucy gave a reading of their works in Chapters Literary Bookstore just off Pennsylvania Avenue. Again, it was a small audience of interested individuals.

(see also Comic Book Artist Residency report) PH

RNI at Busboys and Poets

REPORTS FROM NI Partner Aisleain McGill, Verbal Arts Centre The Verbal Arts Centre’s contribution towards the literature events consisted of:

Sourcing book titles for the Irish Book Day giveaway, in association with Solas Nua, on Saturday March 17th.

Contacting local publishers: Guildhall Press, Lagan Press, Blackstaff and Summer Palace, which all agreed to donate hundreds of titles. In addition, the Verbal Arts Centre provided copies of their anthology, Magnetic North.

315 The Northern Irish publishing companies all took part in the project enthusiastically, with books delivered from warehouses in Dublin and Belfast on time and in a spirit of cooperation. Press releases in local and national press highlighted the event.

All coordination of the freight and flight details was undertaken, with Northern Irish company, Campbell McCleave, in charge of the cargo.

A press pack with details of DC-based publicity of the event was forwarded by Dan Brick, of Solas Nua.

All parties agreed that it would be a great opportunity for the visiting artists: Glenn Patterson, Lucy Caldwell and Owen McCafferty, to have books for sale at the reading events organised for May 16th and 17th.

The artists’ publishers were contacted initially by the Verbal Arts Centre in January 2007, with a view to arranging for multiple copies of their work to be made available for sale. The publishers (Nick Hern Books for Owen McCafferty, and Penguin for both Caldwell and Patterson), required a degree of detail about handling the sale of books which the Verbal Arts Centre was unable to provide, so Linda Murray from Solas Nua agreed in February to handle this element of the coordination, and the publishers were given her details in order to make that happen.

Some difficulty remained with regards to the US $ and GBP equivalence with regards to sales, and the attempts to secure copies of each writers’ work were not successful on this occasion.

The efficiency of all other aspects of the coordination of the project was a tremendous example of what is possible in relation to international partnerships: two arts organisations (Verbal Arts Centre, Solas Nua), four Northern Irish publishing companies, and a Northern Irish freighting company combined their energies to make sure that the book giveaway was a huge success on St. Patrick’s Day, while the excellent working relationship with Jury’s Hotel initiated by Philip Hammond, ensured that hotel bookings and administration all went smoothly.

The book giveaway and the later book readings garnered very positive feedback from our American partner Solas Nua. A residency by the Verbal Arts Centre’s artist-in-residence, David Campbell, in the Anacostia area of Washington DC coincided with the visit by Caldwell, Patterson and McCafferty, and David was able to meet up with his fellow guests during his stay. The Verbal Arts Centre was referred to in all Solas Nua’s promotional materials, and anyone participating in the book giveaway would have been aware of the Northern Irish administrative contribution.

316

Lucy Caldwell and Glenn Patterson at Chapters Bookstore event

Artists Glenn Patterson, Writer

1. How did you feel you impacted on the audience?

It seemed to me to be a very good and positive response from the audiences – especially at the Busboys and Poets event. While introducing the other writers, I was able to see the good reaction to this exceptionally good line up of artists – different ages, different, backgrounds, all with a different focus. Our individually interesting voices helped in combination to fulfill the remit of Rediscover Northern Ireland.

The combination of poetry, prose, play and music became “an entertainment” and the relaxed, informal atmosphere of Busboys and Poets – a really excellent venue – allowed people the opportunity to stay around afterwards, meet the artists and talk to them personally and find out more about individuals and indeed the society of Northern Ireland. This was what Rediscover Northern Ireland was all about. The artists were very pleased with the audience and, in terms of literary readings anywhere, the numbers were quite normal. You have to take into account that none of the writers were particularly well known in Washington. For example, it was the first time in DC for Owen McCafferty’s and Lucy Caldwell as “performers”.

2. How did the event/project impact on you as an artist?

I found the experience really pleasing to do and I was very appreciative of the fact that I was involved with the Rediscover Northern Ireland programme. But it was much more than just that. The opportunity to read, perform and present your work in a place where it is not known is important to an artist. As a prose writer, I understand the justifiable attention that is given to the poetry of Northern Ireland but to have prose and fiction in particular given representation in the Rediscover Northern Ireland programme was especially appreciated as it brought into focus the other aspects of literary excellence which we have here in Northern Ireland. This can only be good for the artform and for the artists involved in that artform.

317

3. What was your experience of the logistical and administrative processes associated with the event/project – both in Washington and in Northern Ireland? Were there any lessons to be learnt?

The logistical side of things was absolutely fine. Given the scale of the whole Rediscover Northern Ireland programme, it was incredibly impressive. I measure the success of such ventures by the personal conversations one has with other artists who took part and everyone seems to have had a really good experience. This is a very positive response indeed.

I think the main lesson to be learnt from Rediscover Northern Ireland is that such a programme works and that we should do it again. Yes, logistically it is a huge drain in terms of finance and personal energies. But Rediscover Northern Ireland had a huge impact not just in Washington but here in Northern Ireland and it reminded all of us of the vast amount of “culture” we have in all the art forms at our disposal. Mounting such a programme three thousand miles away is a real achievement and a measure of the strength of our arts and the creativity of our artists. What about England or Europe next, using the Rediscover Northern Ireland as a brand?

Lucy Caldwell and Glenn Patterson

318 Lucy Caldwell, Writer and Playwright

1. How did you feel you impacted on the audience?

The evening event at Busboys & Poets was great fun. Glenn Patterson, as well as reading from his own work, acted as informal compere, introducing myself and Owen McCafferty; we each read for quarter of an hour or so before taking questions from the audience. The atmosphere was convivial and the mid-sized venue was pretty full, the audience warm and engaged: listening attentively, applauding and asking questions both during and (more informally) after the reading.

It was the first reading I have ever given in The United States, and it was fantastic to be appearing alongside Glenn and Owen, both of whom are such eminent and respected literary figures. Afterwards, the three of us agreed that it had been one of the most enjoyable events we had taken part in.

The following day’s reading at the Chapters Bookstore was a smaller, quieter event: but with a no less responsive audience. Glenn and I each read for twenty minutes or so, and then had an open discussion with the audience, about our individual books and also about what it means, or is perceived to mean, to be a Northern Irish writer. This dialogue eventually had to be curtailed because we’d run far too far over our allocated time – which says a lot about the involvement of the audience!

2. How did the event/project impact on you as an artist?

It was a real honour to have been invited to take part in the Rediscover Northern Ireland festival, and I think the fact of taking part, and the associated press and publicity, really helped to raise my profile back home. As I mentioned, the event was my first professional US engagement, and it was great to be appearing not just as one writer but under the aegis of something much larger and multidisciplinary; with other artists and with a real sense of national and cultural identity. It was also fun – and, more than fun, I think very important – for me, at the outset of my career, to spend extended time with other Northern Irish writers. The three of us have stayed in close contact since returning from Washington, and have talked about the possibility of future ventures together. A sense of artistic community and camaraderie is one of the most intangible, but most important benefits that I personally have gained from the Washington visit.

3. What was your experience of the logistical and administrative processes associated with the event/project – both in Washington and in Northern Ireland? Were there any lessons to be learnt?

The logistical and administrative processes associated with the visit were incredibly smooth: in terms of travel, accommodation, hospitality etc. the trip couldn’t have been better organised or more enjoyable. Philip Hammond was an excellent host, ever solicitous of our every comfort, and it was largely his indefatigable attention and concern that made the time in Washington so delightful.

319 The one disappointment was that none of our books or play texts were available for sale, either on the night of the Busboys & Poets event, or at the Chapters bookshop the following afternoon. As I do not have US publishers or distribution, this was frustrating: in my experience, a lot of people will buy a book after attending a reading or talk, and it felt very much like a missed opportunity (although, of course, in commercial terms the amount of books sold would have been negligible). I understand there was a mix-up or misunderstanding in the arrangements for shipping books out to Washington: Philip Hammond did phone me two days before I left for Washington to tell me to bring as many copies as I could, but it was difficult to get hold of more than a dozen or so at such short notice. This, however, was the only minor instance in which the logistical and administrative processes were not admirable.

The coordination of such an event is no mean feat: and the Busboys & Poets evening and the Chapters Bookstore reading were just two events in a packed schedule. The anecdotal evidence I heard from other participants and audience members was overwhelmingly and universally enthusiastic.

I would be glad and privileged to take part in any similar or follow-up events.

Dolores Kendrick, DC Poet Laureate

320

Lucy Caldwell

321

ARTS AND CULTURAL EVENTS IN REDISCOVER NORTHERN IRELAND

DATE 30th April – 11th May 2007 EVENT Glass artist residency (For related report, see also Lombardi Residencies Newmann and Agnew) TARGET AUDIENCE Healthcare constituency LOCATION Arts and Humanities Unit, Lombardi Comprehensive Cancer Center, Georgetown University Hospital PRINTED PROGRAMME No PUBLICITY/MEDIA COVERAGE Yes, Washington Post article NUMBER OF PARTICIPATING ARTISTS 1 plus 30 NUMBER OF PEOPLE ATTENDING Approx 3,500 DEMOGRAPHIC PROFILE OF AUDIENCE Ethnically diverse US IN KIND SUPPORT Hospitality, administration and management support, printing and publicity BUDGET: included as part of the Lombardi residencies Newmann and Agnew EVENT REPORT

Andrea Spencer was the second residency organized at the Lombardi Comprehensive Cancer Center at Georgetown University Hospital through the good offices of Nancy Morgan. (see also Lombardi Residencies Agnew and Newmann).

Andrea is an Arts Care Artist in Residence at the City Hospital in Belfast so she is well used to hospital settings and aware of the particular sensitivities surrounding hospital environments.

Her work with glass at Lombardi was unusual for that venue and there will be a lasting legacy there in that some of the work Andrea did will be remain on show in the Center. PH

322 REPORTS FROM

NI Partner Lorna Hastings, Director, ArtsCare

Following my visit to Washington to give a key note paper at the Lombardi Healthcare Symposium (see Lombardi /Sail Residencies), our Artist in Residence at the Belfast City Hospital, Andrea Spencer, visited Lombardi and carried out workshops with staff and patients over a two week period. This was a great opportunity for an artist-in-residence to gain experience working in an arts and health context in a different country. Following her visit Andrea was able to feed back to the rest of the team her experiences and any areas of difference in our practices from the artist’s viewpoint.

Andrea created work with the staff which is on permanent display in Lombardi hospital and the residency proved to her that the work she creates in Belfast can ‘stand-up’ on an international stage. Following this residency she will feel a great deal more confident in working anywhere in the world.

The Belfast City Hospital and Lombardi Cancer Hospitals have forged a partnership medically and as a result of this residency we now have developed an arts and health partnership. We hope in the future to create links between cancer patients in Belfast and Washington and with the use of electronic communications encourage dialogue, experiences and art work to be shared.

I feel that the workshops and the presentation helped enormously to put Northern Ireland ‘on the map’ in the arts and health field. Participants at workshops and delegates at the symposium were pleasantly surprised to see how ‘creatively’ advanced Northern Ireland is and said that they realise that their perceptions of a ‘war torn’ Northern Ireland are no longer correct. Since the visits, an artist from Lombardi has been to visit the Belfast Cancer Hospital and carry out a workshop with staff and patients.

323

Andrea Spencer in the lobby of the Lombardi Cancer Center

Artists ANDREA SPENCER

ART S CARE ARTIST-IN-RESIDENCE, BELFAST CITY HOSPITAL

The Venue

My location in the lobby of the Lombardi Cancer Hospital was very visible and accessible, effectively I set up an artist’s studio in the lobby and everyone could view all aspects of work in progress and talk about the project. Sessions were ad hoc, only a few were scheduled it was very much an evolving project due to the nature of the medium, the facilities I could identify, and in response to the abilities of the participants.

Who took part?

Staff patients and visitors

How many took part?

Approx 30 ‘hands-on’ participants, plus the daily footfall over two weeks, approx. 3500. PR - Washington post and an article in the Lombardi in-house publication

324

Introductory Session

Found’ resources from the hospital grounds were made into a table top tree sculpture beside which basket of strips of hand made paper and pens was placed - a wish tree. People were asked to write, from their heart, aspirations/meditations centred on the imagery of the maple wing seed pods, spring, re-growth and nurture. They then tied the paper strips to the tree branches. The point of this was to create interest, draw attention to my working space in the front lobby and to provide a way in to the project for passers-by or people who wanted to participate casually or informally in the project.

Examples of following sessions

The tree was carried up to the nurses’ station, the concept of the project was introduced to the nursing staff and I then encouraged them to participate in a mark making session. They were given acetates with the basic outline of a maple wing seed pod and shown how to paint and scribe marks to create their own image. These images were then sent off to be made into stencils using a photo resit technique and sand blasted on to glass to create a suspended panel for the reception of ward 5 North.

In between working with staff and patients I was set up in the lobby demonstrating glass making techniques and talking with people about the project, showing the work in progress and involving people in general.

I held a lunch time session with care givers. Participants were invited to observe and discuss the maple leaf as a symbol of healing and care. Participants were then shown how to create their own glass tile with a copper inclusion. Each person created his/her own leaf and contributed a written quote on to the tile. The 12 tiles were then fabricated into a wall panel for the entrance foyer of the Lombardi centre.

In between working with staff and patients in specific locations, people passing through the lobby were invited to participate and patients waiting for appointments and relatives of patients made their own tile, which they kept.

325

Glass piece for Lombardi

What I learned from the experience

The existing program in the cancer centre is focused on introducing participants to the arts with a view to them continuing on in their own times. Almost always the participants got to take their work away; it was a different approach for them to create work specifically for the hospital, but successful in that the participants were very satisfied to see their contribution made into a permanent artwork. I also learned about new ways of approaching projects when working in the area of cancer - this will help with my next project in the The Belfast City Cancer Hospital. I was able to contrast strongly my experience of working with patients with mental health difficulties with patients with cancer.

Future partnerships

The table top tree sculpture was going to continue its life at Lombardi and be used as a prop for further projects. The idea of the possibility of future exchanges of artist's was discussed - I feel very strongly that I could learn a lot from returning to Lombardi as could their artists, from us.

326

I have developed strong links with glass facilities and suppliers in the DC area which could be capitalised on if I were given the opportunity to go out again.

I also discussed the possibility of collaborating on a project that would directly link Lombardi to BCH in an exchange/sharing of art works and dialogue.

Table top tree sculpture

DC Partner Lombardi CCC Andrea’s long term experience in a hospital and cancer center groomed her for this residency. She is talented, creative and resourceful, engaging members of our community in creating a variety of glass art projects. She worked with nurses, support staff and patients, helping them create group projects and individual works of art to take home. Throughout the residency, Andrea was present and accessible in her “studio” she created by transforming our lobby day by day into her own shop. This gave everyone a chance to see works in progress evolve and come to fruition and talk to Andrea about everything from art to the best towns to tour in Ireland. Andrea worked very well with artists on staff, engaging their help with the use of our kiln, even calling on the workmen building a new building next door to help her convert electrical outlets for use in the U.S. She was good-natured throughout and ambitious! Lombardi is graced with a number of lovely glass art works thanks to Andrea.

327

A session with patients

328

ARTS AND CULTURAL EVENTS IN REDISCOVER NORTHERN IRELAND

DATE 12 – 30 March 2007 EVENT Music and Writing residency TARGET AUDIENCE Healthcare constituency, Arts and Disability sector LOCATION Arts and Humanities Unit, Lombardi Comprehensive Cancer Center, Georgetown University Hospital, School for the Arts In Learning (SAIL) PRINTED PROGRAMME No PUBLICITY/MEDIA COVERAGE SAIL Residency: Washington Post, WVSA community newsletter, WVSA website. NUMBER OF PARTICIPATING ARTISTS Lombardi/SAIL Residency:2 NUMBER OF PEOPLE ATTENDING Lombardi Residency:100 patients and staff and approximately 60 at final presentation SAIL Residency: 20 daily with approximately 200 at the opening night show. DEMOGRAPHIC PROFILE OF AUDIENCE Lombardi/SAIL Residency: African American, Hispanic, White. US IN KIND SUPPORT Hospitality, accommodation for both artists, symposium costs, management and administration support, printing and publicity BUDGET: £27,134 OUTTURN £18,350 EVENT REPORT

I first worked with Nancy Morgan in the ‘ nineties on an education residency project in Alexandria, Virginia. When I started putting together the programme for Rediscover Northern Ireland I approached her again at the outset to see if she would be interested in partnering some projects at her new place of work – the Arts & Humanities Unit at the Lombardi Comprehensive Cancer Center in Georgetown University Hospital.

This connection had a number of pluses. First of all, I knew Nancy to be an excellent administrator and writer in her own right. Secondly, she was now director of one of the most interesting healthcare projects in Washington; thirdly, that center was funded by Lombardi who had recently set up a connection with the City hospital in Belfast; fourthly, several Northern Irish cancer specialists had specific links with Georgetown University Hospital’; and finally, Georgetown University was closely allied with Queen’s University and this connection could be an expansion of that connection.

329 After several visits to Lombardi – one of which involved the Vice-Chancellor of QUB and the Permanent Secretary of DEL - Nancy agreed to set up two residency projects – one with Elaine Agnew (Composer) and Kate Newmann (Writer) in March and one with glass artist Andrea Spencer in April/May (see separate report).

Elaine had worked with Nancy in the nineties project to which I referred earlier so there was already the basis of a good rapport. The residency of the two artists was interlinked and lasted two weeks. ArtsCare in Belfast set up the management arrangements and these went very smoothly. Nancy had offered to provide accommodation for the two artists which was a considerable saving in terms of funding.

This residency also involved a sharing of time with the School for Arts In Learning . The latter residency was set up through the good offices of Dr.Larry Riccio, the inspirational director of a school aimed at supporting the artistic endeavours in a very practical way of young people with learning differences.

At the end of the residencies at Lombardi and SAIL, Kate and Elaine organized public presentations involving several of the people and young people with whom they had been working during their two weeks in Washington. I attended both events which were well supported and produced a combination of improvised and prepared musical items and the reading of poems written by the participants under Kate’s guidance.

One of the considerations highlighted by this residency project was that of working in a healthcare environment in a different country with different expectations and hospital “rules and regulations”. Future such residencies need to be sensitive to these considerations and carefully work through any possible areas of difference before the residency begins –we already learnt that lesson by the time Andrea Spencer arrived at Lombardi.

There is no doubt that both Kate and Elaine made an impact in both venues during their residencies and there is every intention of carrying on the relationship with both SAIL and Lombardi in the future.

330

Elaine Agnew and drummer REPORTS FROM NI Partner

LORNA HASTINGS – A R T S C A R E

Following the hosting of a visit to Belfast by Nancy Morgan, Director of the Arts Project at Lombardi Cancer Hospital, Georgetown University, Washington DC, I was invited, as part of the Smithsonian Festival, to address a symposium on Arts & Health at Lombardi Cancer Hospital at the end of April 2007.

My visit coincided with the end of the creative writing and music residencies facilitated by Kate Newmann and Elaine Agnew.

A performance of the words and music, which had been created during the residencies, was performed in the front lobby of the Hospital and was beautiful. The participants were thrilled with what they had achieved and this resulted in a great atmosphere in which to make my presentation.

The room was full and the presentation was attended by artists, patients, medics and interested parties. I talked about all aspects of Arts Care’s structures and practices and the audience was very receptive.

331 I invited questions as we went along which made for an informal session. The main differences, which surfaced in our two approaches, were: . Arts Care engages professionally qualified artists, i.e. artists who have a third level, to degree standard, qualification in the relevant art form . Lombardi does not require artists to be professionally qualified and frequently invites past patients, who are arts enthusiasts, to facilitate workshops

. Arts Care is clear that we do not practice art therapy, we practice a social model of health, i.e. Arts Care artists are not part of a therapeutic team, and therefore not part of the diagnostic team. . At Lombardi there seemed to be no clear delineation between the social and medical models of health. It appeared to us that their approach was therapeutic although the artists are not trained therapists, it was not always clear if the difference was one of semantics or if some of the artists considered themselves to be therapists. They were very interested to hear our definitions and a discussion followed. I was approached afterwards by several artists who were eager to hear more about our practices but who commented that they realised that they would not be able to work for Arts Care if they came to Ireland because they had no formal training in their particular art form.

. At Lombardi the patients tend to make work for themselves which they take home. . While we do encourage patients and clients to take work home from some workshops, we also invite patients to take part in the creation of high quality pieces of art which will be displayed/performed in their hospital, day centre or residential home. This work must be of a very high standard

This visit to Washington DC was incredibly beneficial to me. I realised that we have a very sophisticated system of Arts & Health in N. Ireland and now feel very much more confident in raising our profile internationally. It was encouraging to hear so many people say that they could only aspire to producing the quality of work I had shown them in my presentation. This confirmed that while we can always learn form other practices I don’t feel that we need to make drastic changes to our structures and practices.

I feel that the workshops and the presentation helped enormously to put Northern Ireland ‘on the map’ in the arts and health field.

332

Elaine Agnew with participants

Kate Newmann

333

Artist Kate Newmann Poet and Writer LOMBARDI Under the auspices of Nancy Morgan, Director, Arts and Humanities Unit, Lombardi Cancer Center, Georgetown University Hospital, Washington DC, Elaine Agnew (composer) and myself as writer were given access to patients and staff in order to generate words and music which reflected their emotional and psychological state. In fact, in the final analysis, it encompassed much much more – their pasts, their relationships, their regrets, their triumphs, their contemplations, their understanding and their perpetual conflict with a disease that kills. There was in existence an Arts and Crafts programme which offered quilting, beading, painting, knitting, collage and writing, but I felt that the musical energy which Elaine provided, and the insistence on the unpredictable and unconfinable power of the word was something quite new, innovatory and dynamic. We facilitated formal creative writing and music workshops and many of the lines in the book were also taken from conversations with people who were in bed very ill, or who were waiting for chemotherapy, or waiting for transport. We tried very hard, and I think we succeeded, in making it an all-embracing experience. I attach the publication: OUT OF THE CRADLE (see end of this report), which grew out of this project: the exercises were inspired by poet Walt Whitman who had worked in Washington, both in the Civil Service and as a nurse in the Civil War. Be a Bold Swimmer A Song Our bones know every rise and fall, Our pulsing memory, our feral dreams. Our mouths sing the paleness of us. A lullaby as skin dreams skin.

River leaves me at the door of infinity, For I know it will take me Down time’s road Even if I try to swim back.

Time dances like it’s never going to stop. A slow waltz in and out of knowing. Time leaves us naked, an echo in our voice. Time loves us, loves us not, loves us, loves us not.

I feel privileged, and I know Elaine does as well, to have met people who, in their courage and their forthrightness, and their desire to communicate, were humbling and who will always claim a place in our memory. I personally felt proud to be able to [and of its nature the work had to be tentative] elicit poignant and powerful responses.

334 Demographic Profile/ Number of Participants etc: At a Forum, where Arts Care Director from Belfast, Lorna Hastings, gave a seminar, there was a public performance of the words and the music and people and their relatives were invited, but it is a cancer unit so naturally it couldn’t be a full-blown public event because of the delicate and vulnerable state of the patients. It was well attended and generated a great interest and excitement. A booklet of the patients’ work was launched on the same occasion, and this to me seems imperative, since it is a lasting thing and the lives of those who contributed most generously and graciously are so transient. It was also a revelation as to the wide demographic, class, nationality and ethnic mix in the hospital.

In terms of the workshops, in the course of six days (our three weeks being split between the hospital and the School for Arts in Learning, with a day each week given to composing, typing script and preparation), Elaine and I had meaningful contact with over one hundred patients and staff and some of these patients and relatives were among the 63 who attended the celebratory performance. Some of the people we worked with were too unwell to attend.

Nancy Morgan, Director, Arts Unit LCCC

335 SAIL RESIDENCY IN WASHINGTON DC 12 – 30 MARCH 2007 School for Arts in Learning

The WVSA School for Arts in Learning was a very difficult school environment in which to work. Ostensibly it was a school which educated children with learning disability, but it became apparent that it was also containing many pupils who had severe behavioural problems. We were assigned four classes to work with: Sixth Class and Fifth Class in the Lower School, and Grade Seven Boys and Grade Seven Girls in the Upper School (on a different site). It very soon became evident that the children were unused to class work which demanded co operation. We chose RISING as a theme and this encapsulated anything that rose – bubbles/spirits/smoke/arms/voices/wings/balloons/pulse rates/kites. I had visions of flying the two kites I had brought, because it was the annual kite festival in Washington DC, but there was no play area outside the school, and the children had never heard of the kite festival.

Fifth Class were very responsive and wrote exquisitely about Pigeon Song and Bubbles, and co-operated with Elaine in making the music to their words. Despite the school feeling that none of these children would wish to, or be able to, participate, or have their families present for a final public performance, this was proved untrue. Fifth Class came and sang in unison.

Sixth Class were beginning to become fragmented, but they wrote impressively about memories rising, and experiences of smoke, and Elaine and I choreographed a dramatic reading for the performance.

Class Seven Boys were remarkably creative during the first session, but we realised that this was partly the element of surprise. They did enjoy writing though it was a struggle (with which we persevered) to have each piece heard. Ultimately they produced a rap and an improvised song about promises and voices, but on the day of the performance, the main singer was suspended and barred from participating. That the boys conceded to perform, itself felt like a great victory.

Grade Seven Girls were difficult to be with (two girls asleep, one on the floor)…and the level of anarchy was an education to Elaine and I. The students revealed a frightening mixture of immaturity and sexual awareness. In the end four girls came to read some collective poems, and one child who had just returned to school after a suicide attempt performed a spirited rap of a poem about fear:

Where Does Fear Go?

It goes to your head. To your brain. In the air. To the back of your mind.

336 In a mental way. It goes to your fantasy. It goes in one ear and out the other. To your head and your heart. To your heart and your feet. It stays in your heart. It goes down into your toes and makes you unstable. Fear goes into the way we love. Fear goes to hell.

ALL the students had a named piece in the final booklet RISING (attached), which was launched at the performance and Art Exhibition, and this made the experience as complete as it could be for everyone.

CONCLUSION

Ultimately, both experiences were very challenging and exhausting, but they did prove to me that the methods used by Elaine and I do work, and the time in Washington reinforced my belief that EVERYONE can say themselves, ANYONE can be empowered with the word. By its definition a residency needs to serve the artist as well as the artist serving the community in which they are placed. I am delighted to say that the two poems enclosed (published in BELONGINGS, Arlen Press 2007) were written in Washington DC and I am grateful to have been included in the Smithsonian Festival, otherwise this place would have remained outside my experience and outside my poetic consciousness:

Alexandria Old Town, Washington DC, Friday 4am

Where are they now? The man lying in the doorway near the wan magnolias straggling into random bloom like a school choir taking an unrehearsed bow?

He seemed so still in that bleak street so close to Zero Mile Stone, watching the squirrel slink beneath the cars stopped at the lights.

337 And the child in the cancer unit with a patch on one eye s a y i n g Bye bye, Bye bye to the nurses, though he was about to be admitted?

And the boys in the school who wrote Black looks like the alley and My name is from my Dad. I do know my dad…?

And you, whose shifting love shuffles like someone in the next room turning pages in the night, loud with trying to be quiet.

Where are the wild geese who woke me yesterday, calling to the heart’s tundra?

Now that this vast sky is dropping vast rain onto the long-suffering Potomac, onto this historic wooden house, its damp ghosts wheezing into my sleeplessness.

Not a Word

Peter Ustinov released an imaginary bird from his cupped hands and three hundred children followed its flight path with their eyes.

I am walking from the bookshop. A man pushes past me, urgent, clutching a pigeon with a gash on its back. He carries it so tenderly, but I cannot be sure

338 he does not mean it harm.

III

The class have written Pigeon Song - sorrow with a sapphire sound, - calling into our fears, close to us, and I want them to release the imaginary bird.

The first time, Aysha is unconvinced, embarrassed to cup her hands around nothing. No one watches its flight. My voice is becoming crow-like.

She tries again – throwing air up into the air. For a sapphire moment the children’s eyes follow, until Taj reaches to the ground, picks up an invisible sling-shot and takes perfect aim. No one lifts the wounded bird.

339

Staff writing session with Kate Newmann

DC Partner Lombardi CCC Report

Kate Newmann and Elaine Agnew Residency: Kate and Elaine had a knack for drawing people into their writing and music projects, and as a result collected a sizeable body of work from a variety of departments- chaplains, nurse case managers, inpatient oncology nurses and administrators. They worked one-on- one with patients receiving chemotherapy and those who were hospitalized. All enthusiastically participated and contributed their thoughts and feelings to the final project. The two presented a reading and musical performance for members of the Alexandria community, which delighted those in attendance. The final performance was very meaningful for those who participated- a combination of artists, patients, and staff members. The final work was personal and compelling. Elaine and Kate worked tirelessly to produce a fine performance of music and expressions that depicted experiences related to cancer and life. This residency reached staff members who have not participated in the arts previously, and spawned follow up writing sessions with the chaplains’ group.

340 1. Do you think the event/project promoted a positive image of Northern Ireland in the US and how? Absolutely-the calibre of the artists was very high in every case, and each person offered lively and positive insight into N. Ireland culture.

2. Did the event/project improve understanding in the US of developments in Northern Ireland and how? Certainly the timing of the peace accord bolstered by all the arts put N. Ireland history in a positive and hopeful context.

3. Will the event/project encourage further artistic/ cultural/educational development in the future and how? ( e.g. any specific follow ups or legacy project planned or envisaged? ) Though indirectly related we sent an artist to Belfast to work in the new cancer centre and he was well-received and had a positive experience painting with cancer patients.

4. Has the event/project helped to foster relationships between Northern Ireland and the United States and how? Certainly awareness of the arts in N. Ireland has inspired a number of people to travel to N. Ireland to experience the culture firsthand.

6. What was your overall impression of the Northern Ireland component of the event/project? Were you content with the NI management of the event / project? Were you impressed by the artistic standard of the NI artists? I think the RNI event was absolutely amazing. The events I attended at the Smithsonian and during the spring were extraordinary. Northern Ireland presented itself as country rich with culture and vitality.

341

Staff participants at LCCC

342 SAIL Report

Elaine Agnew and Kate Newmann from Northern Ireland worked with the students of SAIL Upper/ High and Lower schools during their 3-week residency. Philip Hammond organized this music and writing residency with us.

These music and writing workshops involved Elaine and Kate working closely with small groups of students aged between 8-15. Our music themed gallery show was timed to coincide with the end of this 3-week residency where literary works with accompanying music were showcased on the opening night on Thursday March 29th 2007.

As their work involved moving between two locations and various classrooms within each location, we were able to provide Elaine and Kate with various musical instruments to use in their workshops. The instruments they used included, djembe drum, conga drum, upright piano, rainsticks, trumpet, trombone, tambourine, kalimba, shakers, penny whistle, zylodrum and bongo drums, which we also use during Brian Irvine’s residency.

Although rewarding, Kate and Elaine found this residency somewhat challenging. They had little experience of working with children with special needs. That said, they were able to draw many of our students into their workshops by involving them using the instruments listed above.

During the opening night of the music show, both Elaine and Kate worked extremely hard to coax their stars into giving us great performances. Many of the students who worked with Kate and Elaine had never performed in public before, and they were nervous. However, with Elaine and Kate’s direction, the performances were a joy to see and hear.

We look forward to duplicating this type of residency at WVSA/SAIL in future months and years.

343 1. Do you think the event/project promoted a positive image of Northern Ireland in the US and how?

All of the staff and pupils here at WVSA/SAIL were infected with the drive, enthusiasm and energy that Brian, Elaine and Kate brought with them from overseas.

2. Did the event/project improve understanding in the US of developments in Northern Ireland and how?

3. Will the event/project encourage further artistic/ cultural/educational development in the future and how? ( e.g. any specific follow ups or legacy project planned or envisaged? ).

4. Has the event/project helped to foster relationships between Northern Ireland and the United States and how?

344

345

ARTS AND CULTURAL EVENTS IN REDISCOVER NORTHERN IRELAND

DATES 6,13,20,27 May 2007 EVENTS Four Sunday Afternoon Concerts TARGET AUDIENCE General Musical Public LOCATION The Phillips Collection PRINTED PROGRAMME/MEDIA COVERAGE Printed Programme and a Washington Post review NUMBER OF PARTICIPATING ARTISTS 6 NUMBER OF PEOPLE ATTENDING 350 DEMOGRAPHIC PROFILE OF AUDIENCE Largely middle class Washingtonians, white but with some ethnic diversity …also tourists US IN KIND SUPPORT Administration and management support, hospitality and accommodation, printing and publicity, music commission fee of $2000. BUDGET: £17,000 OUTTURN £ 12,800 EVENT REPORT Mark Carrington is a Yorkshire man who has lived in the States for many years. His own background is musical although his career has revolved around tax and accountancy. He is Artistic Director of the Sunday Afternoon Concerts at The Phillips Collection and when I contacted him nearly two years ago, he was very open to the idea of a complete month-long series of young musicians from Northern Ireland. In the end, a selection of four concerts in May brought to The Phillips Collection –

1. Baroque Cellist Jonathan Byers and Archlute player Richard Sweeney 2. Violinist Darragh Morgan and pianist Mary Dullea 3. Pianist Michael McHale 4. Pianist David Quigley.

The broad range of repertoire presented to Washington audiences through these four concerts was exceptional – from Baroque to Contemporary and everything in between. Mark Carrington and The Phillips Collection even commissioned a new work from Belfast – born composer Deirdre Gribbin. In fact, every concert included a contemporary work from Northern Ireland and three included American works – a rather nice musical linkage between the two countries.

346 Standards of performance were exceptionally high and it was no exaggeration to say that the four Rediscover Northern Ireland concerts were amongst the best of the season – and this was echoed by Mark Carrington! It is an indication of the abilities of our artists that they are more than capable of appearing on the most prestigious of international platforms – a theme which has been proven over and over again during Rediscover Northern Ireland.

One interesting point about every artist who took part in this Phillips Collection series. Not one of those born in Northern Ireland now lives in Northern Ireland. This is a reflection of two points: first of all, the scope for classical music in particular is very limited in Northern Ireland and most classical musicians have to make their career elsewhere; secondly, the place of the arts in Northern Ireland is not held in high esteem and this is reflected in the very low public funding figures.

The Ulster Orchestra acted very efficiently and effectively as the Northern Ireland management partner for this series. The Phillips Collection provided venue and indeed hospitality and accommodation for all the artists – thanks to the personal generosity of Mark Carrington.

The Phillips Collection may be interested to follow up on future concerts of Northern Irish artists and this has to be explored further.

REPORTS FROM DC Partner Mark Carrington, Artistic Director, The Phillips Collection Music Series

1. Do you think the event/project promoted a positive image of Northern Ireland in the US and how?

Absolutely. Philip Hammond and his team picked some outstanding musical representatives whose collective musical standards raised the aesthetic bar of The Phillips Collection series – not only for the month of May but for the entire season. Regular attendees of the Series noticed the elevation, and as a promoter and presenter I discovered newfound admiration for the energy, talent and above all enthusiasm of these young players

2. Did the event/project improve understanding in the US of developments in Northern Ireland and how?

In the context of the four Phillips’ performances, I think you could certainly say that audiences gained a wider appreciation for the solid stream of young talent now emerging from NI. An audience may eventually draw a conclusion from this and other Rediscover Northern Ireland events that NI itself is a caring cradle of artistic and humanistic talent, outward-looking and eager to play a wider role on the world’s artistic stage. Improving understanding takes time. Congratulate yourselves on taking sure-footed first steps on a long road.

347

3. Will the event/project encourage further artistic/ cultural/educational development in the future and how? (e.g. any specific follow ups or legacy project planned or envisaged )

I’m already talking to two of the four groups about coming back to The Phillips in the immediate future – and I imagine (and hope!) that all will return in the next three/four years.

Would welcome ways to showcase more NI talent down the road and think that the miniseries concept that Philip and I decided on is probably the best showcase. It would be nice to interlace any showcase with more composer representation from NI – adjunct to US university residencies and future TPC commissions?

Philip and I have talked about investigating a showing at The Phillips of the works of Lavery (possibly as an exchange?) and I think that is well worth investigating.

4. Has the event/project helped to foster relationships between Northern Ireland and the United States and how?

See my answer to Question #2. I think someone with a broader perspective on the events would be able to answer that better.

5. What impression do you think was conveyed to the audiences who attended and to those involved with the NI artists? What was the impact? What type of people attended? Any influential people that you know of? I’ve addressed the first two points elsewhere. Our audience typically comprised of educated, middleclass professionals and their families age 16 to 60. On any day you might find Prince Michael of Kent, Pete Townsend, or the Chair of the National Endowment for the Arts in the audience. None such noted.

I was tremendously impressed by the management of the entire project – from initial “feeler” discussions to programming to artist A&R to execution. Marketing materials, printed programs, etc., were of the highest order, conveying in turn a sense of thorough professionalism.

348 NI Partner Ulster Orchestra

The Ulster Orchestra Society Ltd. acted as the NI management partner for the Phillips Collection Series in May 2007. Its involvement covered submitting the application to the Arts Council of Northern Ireland for the Support for Individual Artists programme; drafting and issuing contracts to all the artists; booking all the necessary flights and accommodation for the artists; collecting receipts and reimbursing artists; paying fees and subsistence; managing the budget. The administrators found that everything ran smoothly and that the artists and other partners co-operated efficiently. The original budget for the project estimated a total cost of £17,080. With effective management the administrators saved over £4,250 from the original cost projections with final actual costs totalling £12,808.86.

Paula Armstrong-Smith Concerts Secretary Ulster Orchestra

Artists JONATHAN BYERS – Baroque cello

1. How did you feel you impacted on the audiences?

The audience at the Philips Collection seemed to be generally well informed in terms of the world of classical (or in our case – baroque) music. Therefore it felt as if we were playing to people that would appreciate the level at which we were performing. There was also a section of the audience who were simply tourists visiting the Collection and happened upon the recital. I think they were very impressed by the standard of artistry from both Richard and myself. We received a warm reception and the audience will have undoubtedly gained a better insight into the artistic integrity of Northern Ireland both through the music performed and through the informal chat that was part of the performance.

349

Jonathan Byers tuning up at The Phillips

2. How did the event/project impact on you as an artist? As a busy freelance musician, I mostly make a living from playing in orchestras and in my string quartet. Playing a solo recital is in many ways a lot more challenging, but also very rewarding as an artist. To be given the opportunity to perform this programme as far a field as somewhere like DC was really exciting. Being known as a performer who is capable of performing a solo recital is very beneficial to one’s stature as a performer and taking part in the event will have undoubtedly raised my profile both on a local and international level.

350 3. What was your experience of the logistical and administrative processes associated with the event/project – both in Washington and in Northern Ireland? Were there any lessons to be learnt?

Logistically the whole event was completely flawless. All travel arrangements were very well worked out in advance and I was kept informed at each stage of the booking process. The Ulster Orchestra Society looked after some of the administration involved with the event and were very professional and organised at all times. I really couldn’t fault anything! We were very well looked after during the home-stay in DC.

Richard shows off his lute

351 DARRAGH MORGAN, Violinist

1. How did you feel you impacted on the audiences?

By careful programming of a solely contemporary programme, not only for violin and piano but also a large work for violin and tape we feel that we introduced an american audience, most of whom would generally be accustomed to more mainstream classical music, to a broader concert-going experience. On top of this 5 out of 6 composers were from Northern Ireland and their pieces stood beside the work by John Adams (the American in the programme) more than comfortably. We feel that the impact was positive, educative and the audience certainly appreciated the musicianship and skill with which we performed as well as took part in this introduction to this repertoire.

We had people come to Washington especially for our concert from New York, Philadelphia and also parents of friends in London. Some of these people had not been to the Phillips Collection for quite some time so it was a good re-introduction to the series.

Darragh and Mary about to go on platform at The Phillips

2. How did the event/project impact on you as an artist?

It was a great opportunity to perform at the Phillips Collection for us. A beautiful and historic venue for chamber music. Not only was it an ideal venue, it was also a great series for us to be featured in. It was also a very informative experience to play to an American audience and we had a great time getting to know the director of the series and we have kept in touch with an open invitation to come and perform there in the future.

352 3. What was your experience of the logistical and administrative processes associated with the event/project – both in Washington and in Northern Ireland? Were there any lessons to be learnt?

Everything was very well organised, from travel and payment issues through to accommodation. In a particularly unusual position (having a 10 week old baby at the time!) we were very well supported and the whole experience was made as stress free as possible.

MICHAEL McHALE solo piano recitalist

1. How did you feel you impacted on the audiences? The recital was very well attended and I was able to spend some time afterwards talking to many members of the audience. There was huge diversity in those that I got the chance to converse with: young and old, from near and far, aficionados and casual observers. The feedback I received was extremely positive, in terms of the programme, presentation and organisation of the event, as well as the actual musical performance. I felt that the inclusion of works by US and NI composers gave the concert an identifiable theme which many of the audience members found both interesting and enjoyable – and this also helped to reflect the wider message and aim of Rediscover Northern Ireland. The fact that I introduced each of the works during the recital seems to have been much appreciated, and contributed to a more relaxed and informal occasion. Although a small point, the image of a classical pianist discussing the music of a Belfast-born composer in a Belfast accent could not fail to have an impact on the Washington DC audience and might be helpful in presenting the positive message of Northern Ireland’s successfully evolving society.

Michael McHale and Mark Carrington

353

2. How did the event/project impact on you as an artist?

It was a fantastic experience from beginning to end. To perform a solo piano recital in a prestigious international venue such as The Phillips Collection (following in the footsteps of artists such as Glenn Gould and Emanuel Ax) was a real privilege and honour. A high- profile performing engagement of this nature will inevitably enhance my musical experience and development, and I found the warmth and appreciation of the audience both encouraging and inspiring. In terms of how the event will impact on my future, the positive critique of the concert in The Washington Post has already opened a few doors and helped raise my profile – something that is of paramount importance to a young artist in the early stages of a performing career. In addition to this, I have already been in contact with Mark Carrington to arrange a return visit to The Phillips Collection with Ensemble Avalon (the cross-border piano trio of which I am a founding member) in March 2009. This will hopefully help contribute to a future legacy of linkages and relationships between Washington DC and Northern Ireland.

Michael during his recital at The Phillips

3. What was your experience of the logistical and administrative processes associated with the event/project – both in Washington and in Northern Ireland? Were there any lessons to be learnt?

All dealings I have had with those associated with the project, in both Washington and Northern Ireland, have been straightforward, uncomplicated and helpful. I experienced no problems with the booking of flights, contract, payment of per diems/fee etc which Paula Armstrong-Smith arranged for me on behalf of the Ulster Orchestra. Philip Hammond in Washington DC was always extremely helpful in terms of co-ordinating transport, accommodation, meals, practice facilities etc for me, and overall everything ran smoothly and efficiently from my perspective.

354 DAVID QUIGLEY solo piano recitalist 1. How did I feel I impacted on the audience? I certainly had a very positive response from the audience! I was particularly pleased that so many of them enjoyed the works by Northern Irish composers in my programme and I'm happy I played a small part in giving this music an international platform.

2. How did the event impact on me as an artist? I was delighted to be asked to be involved in the Rediscover Northern Ireland festival. The Phillips Collection concert series has an established reputation and, as a venue, is a wonderful place to perform in. I was particularly impressed with the warmth and enthusiasm of the audience who seemed to really appreciate my recital.

3. Logistical and administrative processes. I found the logistical and administrative processes in both Washington and Belfast to be very clear and straight forward. There were no problems regarding my travel and accommodation. Rehearsal time at the venue was well organised and ample.

David Quigley talks to the audience at The Phillips Collection

355 DEIRDRE GRIBBIN Composer commissioned by the Phillips Collection 1. How did you feel you impacted on the audiences? As the only composer to have a newly commissioned work for this series from The Phillips Collection I felt extremely honoured. As a Fulbright Scholar, Princeton 2000, I am aware fully of the benefits in having this kind of exposure from another culture in the United States. A focus on Northern Ireland in this arena presented the new face of the emerging culture in the 21st century in such a positive light. My new work “Seeking the whirlwind’s secrets” was part of a concert of all relatively new work and was performed by Darragh Morgan and Mary Dullea. The audience were intrigued by the music and enthusiastic responses followed.

Patricia and Deirdre Gribbin (composer) talk to Frank Lyons (composer) at The Phillips

2. How did the event/project impact on you as an artist? Having exposure of my work outside of the UK and Northern Ireland is vital to me as a composer. I have lived and worked in the United States and have developed contacts there. I have had many performances in New York including with The Ulster Orchestra in their concert at UK with New York in October 2001 a month after 9/11 with a work called “Unity of Being” so it is good to continue this connection with the US and being able to communicate my thoughts through music to an audience. My work was written after a period of great soul searching and challenge and it is a work which exudes exuberance and joy. I think that it would be wonderfully appropriate to have the whole series performed in Belfast and called The Phillips Collection Series.

3. What was your experience of the logistical and administrative processes associated with the event/project – both in Washington and in Northern Ireland? Were there any lessons to be learnt? The administrative experience was smooth. My travel was handled well by The Ulster Orchestra and my well being in Washington by Philip Hammond and Mark Carrington. I would have been happy to do a pre concert talk and a university or college visit.

356

ARTS AND CULTURAL EVENTS IN REDISCOVER NORTHERN IRELAND

DATE 16 -22 April EVENT Music and Technology Residency TARGET AUDIENCE Students and General Public LOCATION American University/Katzen Center PRINTED PROGRAMME No PUBLICITY/MEDIA COVERAGE No NUMBER OF PARTICIPATING ARTISTS 2 NUMBER OF PEOPLE ATTENDING DEMOGRAPHIC PROFILE OF AUDIENCE Largely student population, ethnically diverse US IN KIND SUPPORT Management and administration support, venue BUDGET: £9,980 OUTTURN £9,980 EVENT REPORT

At the suggestion of Professor Michael Alcorn, Chris McClelland was selected to undertake a Music Technology Residency at American University. This was centred around an installation which Chris was to present as part of the Visual Art Exhibition at the Katzen Center during Rediscover Northern Ireland.

That installation became an eye-catching and ear-catching part of the exhibition and it used sound technology to give the viewer/listener an interactive experience. The residency served to highlight the technological achievements of the Sonic Arts Research Centre at Queen’s which leads the world in this type of cutting edge interface between music/sound and technology.

REPORTS FROM

357 Artist Chris McClelland Composer and Artist in Residence

1. How did you feel you impacted on the audiences?

Anybody who walked past biPolar had their attention drawn to it by the sounds and visuals produced by the installation. biPolar was a interactive work that used computer vision to track a visitor’s movements through a space within the Katzen Art Gallery and generate musical and visual material based on colour and motion tracking – it was this mapping in particular that captured the imagination of the visiting audience. During the night, the installation was projected onto the window, so that it could be viewed from outside the building, providing a different form of artistic engagement for those who may not otherwise have visited the work.

As part of my residency in Washington I gave a talk to the Composing with Media class at American University, promoting the ongoing research at the Sonic Arts Research Centre and explaining the advancements in technology and software used in the piece. The students were asked as part of their course assessment to provide a critical analysis of the piece, one of which is attached. Furthermore, I provided feedback on students’ projects and discussed with them their future aspirations for further study in this areas. This included the possibility of graduate study at SARC. In addition to meeting students, I was introduced to members of American University faculty in areas related to those at SARC, resulting in one member of their staff applying for a position at SARC, and another intending to pursue PhD study in Northern Ireland.

2. How did the event/project impact on you as an artist?

This project was an exceptional part of my professional development, providing me with a unique set of contacts in the US, a wealth of experience in my artistic area and also in project management. biPolar was a very adventurous and large-scale project, presenting many different technological and compositional issues. It required the development of a custom piece of software, the skills from doing so will contribute to many future projects and teaching. As a composer I had to think about sound that would last for days even months, and visuals that could evolve autonomously.

3. What was your experience of the logistical and administrative processes associated with the event/project – both in Washington and in Northern Ireland? Were there any lessons to be learnt?

Whilst in Northern Ireland everything went very smoothly, thanks to help from Dr Philip Hammond, Professor Michael Alcorn, the Sonic Arts Research Centre and Queens University. Whilst in Washington, the Katzen provided a very helpful team of people, in particular Bruce Wick and Matt Weiner who did everything to accommodate my requests. Issues arose from the import and export of goods to and from the US but these were all resolved in due course.

358 FURTHER INPUT

Critical Report by Ian Hamilton, Student at American University http://ianmmdd.blogspot.com/2007/05/bipolar.html

Thursday, May 3, 2007 biPolar

Chris McClelland’s piece, “biPolar,” is an extremely interesting use of new multimedia techniques. This piece, which is projected on a huge window on the second floor of the Katzen Museum, shows dozens of floating dots that move and change color depending on the actions and clothing of those who walk in front of it. During the day, the dots respond to these people and bounce about in a frantic manner when stimulated, or sit still and “pulse,” when they are left alone. At night, the shades on the window are drawn up and the dots are projected onto the window itself, allowing people who are driving by on the road outside to see them.

This piece is amazing in its use of live media. By using the program, “Processing,” McClelland has created little snippets of code that appear almost alive. When someone approaches them, they jump around excitedly like a puppy. When left alone, they sulk and attempt to draw attention to themselves through other means. McClelland has, for all practical purposes, created a simple-minded life form in his piece. What difference is there between McClelland’s dots and a baby, for instance? A baby will do the same thing when interacting with a person. They will mimic facial gestures and, when left alone, make attempts to regain an adult’s attention.

Is this McClelland’s intent? I’m not entirely sure. After speaking with him, it seems he was much more interested in color and interaction with the viewer and with polar opposites (an idea expressed by the title of this piece and the dual day and night nature of it). However, the idea of the creation of life with multimedia is still important. While it is impossible to say that McClelland has created an intelligent being with this piece, he has created something that pretends to be intelligent… fairly convincingly so. It will be interesting to see how McClelland expands on this in future pieces.

359

Professor Michael Alcorn of SARC planning another project at the National Buildings Museum

360 Chris McClelland in set up mode at the Katzen

361

A confident Chris McClelland

362

ARTS AND CULTURAL EVENTS IN REDISCOVER NORTHERN IRELAND

DATE 18th April 2007 EVENT A Shower of Rhyming Couplets Poetry Evening TARGET AUDIENCE LOCATION National Geographic Society PRINTED PROGRAMME Yes (Two in faqct. Original one printed in Belfast arrived late after being caught in US Customs!) PUBLICITY/MEDIA COVERAGE Yes. Program was mentioned in calendar listings or local media, but this sort of program is not typically covered by the Washington press. NUMBER OF PARTICIPATING ARTISTS 3 NUMBER OF PEOPLE ATTENDING Auditorium capacity is 400. 359 tickets were in circulation. 347 people attended this event. Capacity percentage: 87% DEMOGRAPHIC PROFILE OF AUDIENCE AUDIENCE Fairly diverse. Age range from 30s and up, well-educated, well-traveled, and well read. US IN KIND SUPPORT Management and administrative support, venue, printing and publicity BUDGET: £17,450 OUTTURN estimated at £17,450 EVENT REPORT

Linked to the Lannan Symposium, this poetry evening at the National Geographic Society was a very large partnership undertaking involving the National Endowment for the Arts, the National Geographic Society, Queen’s University Belfast and Georgetown University. Costs were high but considerably defrayed by the financial and in-kind input from the American partners – the National Endowment not only gave a grant to a US organization to help with transportation on the day but also produced CD’s of Northern Irish poets reading their own works, produced a printed programme on the day when our own programme was stuck in customs, and of course Dana Gioia gave his time as the presenter of the evening as well.

In fact, Dana also made the trip to Belfast in February to help launch the Rediscover Northern Ireland programme here in Northern Ireland – which was well beyond the bounds of expectation and indicative of his personal commitment to NI poets in particular and our programme in general.

363 I chose the title for the evening from a poem by Ciaran Carson with his permission. It was a real pleasure dealing with people like Paul Muldoon, Ciaran Carson and Michael Longley although there were several disappointments in the process of putting this evening event together. Seamus Heaney had to pull out in early 2007 due to ill health and Medbh McGuckian was unable to come to Washington at the very last moment.

One of the greatest pleasures however was working in partnership with the NEA, the National Geographic Society and in particular getting to know the leader in the Northern Ireland partnership at Queen’s University – Shan McAnena. Although I had known Shan for several years in her capacity of Director of the Naughten Gallery at Queen’s, I was constantly impressed by her administrative abilities and her total commitment to the project. On top of everything else, she was able to pull together the filming of Seamus Heaney for two separate interviews – a lasting legacy of this event and one which will surely become important archival material. Dealing with the NEA and the NGS was also hugely enjoyable. I had known Pennie Ojeda since the early nineties when I worked on other Washington projects back then – her help, advice and friendship were always a mainstay of my residency in Washington. Greg McGruder at the National Geographic was also a pleasure to work with – he always knew what would work and his patience was limitless!

I think the poetry evening had to be one of the highlights of the RNI programme and the added benefit of a reception organized by Queen’s University to highlight the educational achievements of Northern Ireland made this a very special evening indeed. The evening has been recorded on video for the future…the BBC have already used and broadcast sound extracts with permission.

There will be a follow up on this poetic liaison – the NEA has partnered with Irish Pages in Belfast (through the Arts Council) to produce two new anthologies of American and Northern Irish poetry to be launched next year – maybe at the National Geographic.

REPORTS FROM

NI Partner QUB not submitted by October 24th 2007 DC Partners Greg McGruder, Director, National Geographic Live!

From my point of view the RNI campaign was very impressive. Programs highlighting other countries and cultures happen on a pretty regular basis in Washington, D.C. This program, RNI, did an outstanding job of sharing the story of Northern Ireland through the full spectrum of Washington’s many communities. Finding and working with these communities whose differences are economic, artistic, social, and geographic is quite a feat, but it appears to me that RNI, in the personage of Philip Hammond, did this with much success.

364

I think National Geographic’s presentation, “A Shower of Rhyming Couplets,” did an outstanding job of apprising audience members of Northern Ireland’s past, present, and its rich culture of poetry

The audience clearly consisted of people who had an interest in poetry. I’m not aware if any obviously “influential people” were in attendance.

Audience Feedback These comments are from people who bought tickets for this program via Goldstar Events, (www.goldstarevents.com) a well-respected service through which leading venues in D.C. and around the country sell half-price tickets. We typically offer them 10 tickets to each program and consider this wonderfully inexpensive marketing expense.

COMMENTS - Super poets who read their work well—a double treat. Good introductions from Dana Gioia. Not a good audience, though. The audience clapped after poems they liked & not after others (first time I've ever heard of clapping at a poetry reading). The clapping also seemed to be for political reasons, too—self-congratulatory "Oh, aren't we wonderful, we're against war!" clapping. Walked out during the Q&A session because the Q's were inane. My impression is that the audience was there out of N. Ireland boosterism, not because they are interested in poetry. The poets were being promoted by the N. Ireland tourist board as if they were cheeses!

-To have heard some of the most highly acclaimed Northern Irish poets recite their works was quite moving. To paraphrase Michael Longley, the poems change as soon as the words travel from mouth to ear. A fantastic event! Thanks!

-The National Georgraphic Society consistently puts on top-quality events, and this one was no exception. An enjoyable evening with fantastic poetry and entertaining poets.

-The event was well organized and great poets. Would like to see more of this in Washington in the future.

GMcG

365

ARTS AND CULTURAL EVENTS IN REDISCOVER NORTHERN IRELAND

DATE 13th March - 28th March 2007 EVENT Northern Ireland Press Photographers’Association Exhibition TARGET AUDIENCE Press and General Public LOCATION National Press Club Washington PRINTED PROGRAMME: Yes NUMBER OF PARTICIPATING ARTISTS Alan Lewis and John Harrison attending in Washington. Exhibition involved the showing of the work of 58 photographers NUMBER OF PEOPLE ATTENDING Reception:250 On-going throughout two week period: 700 DEMOGRAPHIC PROFILE OF AUDIENCE Ethnically diverse RNI BUDGET: £7,500 OUTTURN £7,500 US IN-KIND SUPPORT EVENT REPORT The Washington exhibition, entitled “Out of the darkness – into the light” was curated by Peter Richards of the Golden Thread Gallery by invitation of the Northern Ireland Press Photographers’ Association. The driving forces behind the exhibition were John Harrison (Chair) and Alan Lewis (Vice-Chair). This exhibition was intended from the start to be an appendix, a traveling component if you like, to a much bigger exhibition of similar content presented in the Ormeau Baths Gallery in Belfast. This latter exhibition was funded by the Arts Council of Northern Ireland. The specific content of the Washington Exhibition was chosen carefully so as to present as far as possible an image of Northern Ireland which honestly portrayed the past forty years but which showed clearly the transformation which had taken place.

366

A high-quality catalogue accompanied this exhibition. Its distribution may reflect the minimum numbers of people who attended the exhibition.

A high profile Reception opened this exhibition at the National Press Club, organized and paid for by the Northern Ireland Bureau.

There have already been a number of follow ups to this exhibition. Through the Golden Thread Gallery, a US tour is being planned – and in Belfast the exhibition was re-opened – brought back by popular demand if you like – to the Golden Thread Gallery at its new premises in Great Patrick Street.

Further exhibitions in the US are being explored.

367 REPORTS FROM Artists John Harrison

John and Alan pre-reception March 13th 2007

1. How did you feel you impacted on the audiences?

We felt we had a great impact on the audience with lots of feedback and requests for the exhibition pictures etc. are still coming in, months after the exhibition closed.

2. How did the event/project impact on you as an artist?

We as an association felt we benefitted greatly from it as the response and awareness of ourselves as a body was heightened and gave us a good platform in the US, with press coverage, magazines etc.

3. What was your experience of the logistical and administrative processes associated with the event/project - both in Washington and in Northern Ireland? Were there any lessons to be learnt?

With US, we didn't have any major problems except that unlike being at home where you can walk around the corner and sort things out, you have to deal with problems in a different manner, and you had to be careful as everyone wants money!

On the home side, we had a professional team working with us to help us through the funding, publicity and logistics of moving and presenting our exhibition.

368 Lessons learned would be to sort out as much as you can before you get there.

US Partner Northern Ireland Bureau

The Northern Ireland press photography events - which were part of the Rediscover Northern Ireland programme - included an opening reception held on the evening of March 13th, and an exhibition held in the Press Club’s foyer from March 13th to 28th. The reception, exhibition space, and display panels were paid for by NIB and the costs of curating and producing the exhibition and shipping it to the US were paid for by DCAL/ACNI.

As Cultural Affairs Officer, I was the project manager in DC responsible for these events.

BACKGROUND This project originally came about through discussions between John Harrison and Tim Losty in March 2006 and a proposal was subsequently supported by DCAL/ACNI under the Rediscover Northern Ireland Programme. During the development stages I liaised between NIPPA, the Press Club and the NIB to secure the venue and the involvement of the National Press Club Initial concerns about the venue for an exhibition were quickly dispelled when I met with members of the Press Club and was made aware of other important events and exhibitions held there. NIB was sensitive to the message behind the exhibition and were aware of the risk of showing images of the Troubles; however, after their consultations with important US decision makers and EIS their advice was that this exhibition was important to show the US audience how far Northern Ireland had come from its past, that we were not airbrushing out our past by portraying non-evocative cultural events and that Northern Ireland also had experience that would be of use to the US and the international Community

369 Launch Event The opening reception was held on the evening of March 13th. As this date fell in the middle of a very busy St. Patrick’s week, I was unsure of what kind of attendance to expect at the event. These concerns were mitigated by the fact that the target audience for this event, which included those from the press, university, and peace and reconciliation sectors, as well as cultural organisations, was going beyond NIBs usual audience. In excess of 1,000 invitations were issued, including over 400 to the membership of the White House News Photographers Association.

Additionally, I reached out to the Foreign Correspondents Committee of the National Press Club. The committee agreed to reschedule the time of their monthly meeting so that they could attend the opening reception. . My target for the evening was for over 100 guests to attend this reception. Not only was this goal, met, but it was far exceeded. The large ballroom was crowded with guests, and I estimate that in excess of 250 guests attended the reception throughout the evening. Photographs attached to this report will show guests at the reception.

With assistance from Bureau, EIS, and NIPPA staff, the room was arranged with large copies of the photographs on easels throughout the room, and a large television screen was set up, playing a DVD of over 400 images from NIPPA members This area was crowded all evening, with many people pulling up chairs to sit and watch the DVD. A minor problem during the set up was that easels sourced by the curator proved more cumbersome to put together than expected, but the Press Club were able to assist us by providing easels at no additional cost.

370 The speaking programme, consisting of Tim Losty, Director of the Bureau; John Harrison, Chairman of NIPPA; and Dean Pittman, US Consul General in Belfast, was well-received by the guests.

As a result of careful project management on my part and the part of the Bureau, none of the risks included in my previous memo materialized. The reception paid for by NIB was under budget, the images arrived on time, and attendance was high. The exhibition was extremely well received by all in attendance. In fact, attendees were so engrossed by the exhibition that there were crowds around the exhibition in the lobby at all times.

John Harrison and Alan Lewis of NIPPA spent a lot of time talking to various people and a number of offers were made to purchase photographs from the exhibition. To some extent also we are now the victims of our success here as we have had requests from organizations in New York, Boston, Milwaukee and San Francisco to bring the exhibit to those cities.

E xh ib i ti on The exhibition ran from March 13th to the 28th, the Press Club generously allowed us to hang the exhibition for an extra day at no additional cost, ensuring the images were in place for the opening reception.

While it is difficult to gauge actual attendance throughout the exhibition, as evidenced by the fact that the exhibition catalogs were refreshed on a near daily basis, attendance was high.

The exhibition was extremely well-received by members of the Press Club and other attendees. Comments in the guest book left at the exhibition include: “Wonderful!” “Bravo! Well done.” “Very good – sobering yet hopeful.” “Terrific,” and “Excellent display.” When I was striking the exhibition, a Press Club member walked by and remarked that it was shame the exhibition was coming down, as it was excellent.

The exhibition was also featured in the Washington Post on Saturday, March 24, including a large picture of the exhibition’s iconic image, “Time for Peace.” (Ulster: The Emerald's Hidden Facets by Lavanya Ramanathan; http://www.washingtonpost.com/wp- dyn/content/article/2007/03/23/AR2007032301514.html)

F o l l o w -U p

The impact of this event has gone beyond my initial expectations. Attendees confirmed to Tim Losty, Maeve Walls, the photographers and Dean Pittman that Northern Ireland’s emergence as a post conflict society could be seen through the photographs. Other comments from staffers and some media also picked up on possible lessons in areas like Iraq, Afghanistan, and Cyprus. Those attending from the corporate sector, including board members of the American Ireland Fund were also able to say that they could see where they had made a difference in Northern Ireland through the photographs.

371

It was agreed with NIPPA that the Bureau would retain the exhibition and could use and display the images in the future. I have sent Jane Anderson, director of the Milwaukee IrishFest, information about the exhibition, with the goal of showing the images at this year’s IrishFest.

Additionally, as part of my work on the legacy of the Rediscover Northern Ireland programme, I will investigate the feasibility of showing the exhibition at organizations and institutions in the Bureau’s target areas. Organizations such as the Irish Arts Center in New York, the Irish Cultural Centre of New England, and various universities may well be interested in the exhibition, giving it longevity and resonance well beyond the Rediscover Northern Ireland programme.

L e s s o n s

As this event was the first one I have planned and executed, it provided valuable lessons which will assist me in future programmatic efforts. Most importantly, it exhibited that successful events can be held which complement the cultural and diplomatic objectives. While ostensibly a culture event, the photographs also served to illuminate and educate the audience in a subtle way. It was a powerful example of what cultural diplomacy is: a powerful instrument used to foster intercultural understanding and meaningful dialogue.

The exhibition also demonstrated that American audiences will respond strongly and positively to programs and events which are future looking, but acknowledge the past history and struggles in Northern Ireland. We received several compliments for not whitewashing Northern Ireland’s history, for being honest about where Northern Ireland was, and celebrating where it is now. This feedback will be an important consideration in future programmatic efforts.

Courtney Patterson Cultural Affairs Officer NIB

372

Set up mode, carefully planned by the NIB half an hour before the exhibition opening

373

ARTS AND CULTURAL EVENTS IN REDISCOVER NORTHERN IRELAND

DATE 27 April – 5th May 2007 EVENT Bug Off – a children’s opera by Stephen Deazley TARGET AUDIENCE Young people and community LOCATION Fairfax County, Imagination Stage Bethesda, Millennium Stage Kennedy Center. PRINTED PROGRAMME/ MEDIA COVERAGE Programmes at Kennedy Center and Imagination Stage Previews and reviews in local papers in addition to coordinated PR campaign. NUMBER OF PARTICIPATING ARTISTS 10 professionals and 40 children NUMBER OF PEOPLE ATTENDING Date: Friday, May 4 at 6 PM Venue: Kennedy Center, Millennium Stage 270

Date: Saturday, May 5 at 2 PM Venue: Imagination Stage 150 DEMOGRAPHIC PROFILE OF AUDIENCE Ethnically diverse BUDGET: £20,470 OUTTURN £20,470 US IN-KIND SUPPORT Management and administrative support, venue, technical support, printing and publicity EVENT REPORT It was through Rosa Solinas, at that time the Northern Ireland manager of Opera Theatre Company’s programme, that the idea for putting on Belfast –born composer Stephen Deazley’s children’s opera Bug Off was first mooted. Opera Theatre Company was an excellent company to involve as it not only allowed for the inclusion of opera but also brought to bear the broader perspective of all-island arts – OTC is based in Dublin.

Rosa used her connections with Janet Stanford at Imagination Stage to provide a venue for the performance of the opera and later on she booked a performance at the Millennium Stage in the Kennedy Center. As the opera demanded considerable input from a young cast sourced at community level, she contacted the education department of Washington Opera and through them was able to work with children in Fairfax County in Virginia. This turned out to be an excellent partnership and the majority of

374 the rehearsal took place at a community centre on the outskirts of Washington in Fairfax County as a result.

There are considerable logistical difficulties to be work through with even with a small scale opera but Rosa and OTC managed to overcome every awkward detail and produced performances which were well received in the two main venues.

The Kennedy Center performance was broadcast on the web.

Bug Off at Imagination Stage with Brendan Collins

375

REPORTS FROM NI Partner Dr.Rosa Solinas, Project Manager Opera Theatre Company

Last minute preparations by Rosa Solinas at Imagination Stage

The project was extremely successful. With my team we created a unique collaboration with the Washington National Opera (www.dc-opera.org), the Department of Community and Recreation Services in Fairfax County, VA (www.fairfaxcounty.gov/rec/) and Imagination Stage (www.imaginationstage.org) in Bethesda, Maryland, to produce an opera to benefit children in communities across the region who would normally encounter barriers to participating in a professional arts programme.

This cross-continental multicultural partnership was fully implemented on 10 January 2007 with a professional development workshop for Community and Recreation Specialists at the James Lee Community Center in Falls Church, Virginia, held by composer Stephen Deazley and conductor David Knotts who went over to provide hands-on training for staff, incorporating the music and visual arts materials used in the opera. Following the training, the CRS staff worked with local schools and community groups to recruit a group of about 40 children, offering a free, accessible and exciting opera and music theatre education programme. Together with our pianist Cory Davis the CRS staff held weekly workshops for the children in preparation for the Bug Off! production rehearsals.

376

Rehearsals at Fairfax County

In the meantime the Education Department at the Washington National Opera assisted me in the recruitment of suitable professional musicians who then took part in the project: alongside repetiteur Cory Davis we recruited Alexis Benard (violin), Teresa Cigan (clarinet), Mark Bergman (double bass) and Nathan Lassell (percussion).

Our team from Northern Ireland (myself, conductor David Knotts, director Orla McKeagney, designer Andrew Clancy, baritone Brendan Collins and stage manager Eimer Murphy) arrived with complete Bug Off! props and costumes on 27 April 2007 for a week-long rehearsal period with the children prior to two public performances (as well as an open dress rehearsal) at The Kennedy Center for the Performing Arts, Millennium Stage, on Friday 4 May 2007 at 6pm and at Imagination Stage, Maryland, on Saturday 5 May 2007 at 2pm. We had full houses in each venue, with audiences of 270 at the Kennedy Center and 150 at Imagination Stage. In addition, the performance at the Kennedy Center was broadcast live on the internet and has been archived at the Kennedy Center website (enter ‘Bug Off’ on page www.kennedy-center.org/programs/millennium/archive.html#search).

I spent approximately half of the grant on artists’ fees for conductor, director, designer, baritone, pianist, four instrumentalists (violin, clarinet, double bass and percussion), stage manager and composer, having commissioned an orchestration of the previously piano-accompanied opera Bug Off!. A quarter of the remaining fifty per cent of the grant was spent on new props and costumes and the rest was used to cover travel, accommodation and subsistence in the US for the six of us that went over for ten days at the end of April and the composer and conductor who went on a preliminary visit last January (please see attached expenditure list and receipts for full details).

377 Partnership support came from the Department of Community and Recreation Services in Fairfax County, VA, the Washington National Opera and Imagination Stage in Bethesda, Maryland.

By allowing us to take Bug Off! to Washington DC, the Rediscover Northern Ireland programme gave us the opportunity to showcase not only the work itself, but more especially the high standard of outreach activity that our company has been able to achieve over the past few years through a strategic combination of the best Northern Irish talent and intelligently applied funding.

We were able to test the worth of our work against international standards on a world- class platform, and were pleased to find that it measured up very favourably and encouragingly to equivalent local programmes in the Washington DC area. In particular, our partners at the Education Department of the Washington National Opera were impressed by the ambitious aims and innovative approach of our project and told us that they had found working with us a 'challenging and rewarding learning experience'. After initial reservations regarding the demands our programme makes on children of what they considered to be a relatively young age, they went along with us and in the end were struck by the results we achieved together within the (tight) timeframe. None of the programmes for school-age children offered by the WNO up to that point had included a performance element, let alone one featuring children performing alongside opera professionals on a real stage. The general sense of achievement was corroborated by the positive feedback from the children themselves and their parents.

At the end of our project we were able to establish a firm base for ongoing collaboration with our partners, all of whom have expressed serious interest in working together again in the future. Having one of our performances broadcast on the Kennedy Center website also magnified the impact of our project; in sum, we believe it has positively contributed to positioning Northern Ireland firmly on the international map of innovation in the arts. Evidence of this is to be found in the enquiries I have received from other opera companies around the world, mostly in the US and Canada.

Staff, participants and audience at Imagination Stage

378 DC Partner Fairfax County Working with the Opera Theatre Company of Northern Ireland was a tremendous experience. The expertise and professionalism of the Opera Theatre staff was only exceeded by their amazing ability to connect with the children. They truly made a difference in the lives of many at-risk youth who learned that hard work is worth the payoff and can be fun, too! Opera seemed foreign and strange to them as we began this project, but now is something familiar and enjoyable.

Fairfax County officials, staff, and community members are deeply grateful to Opera Theatre of Northern Ireland and their grant funders for bringing this opportunity to a group of children who would not normally be able to participate in fine arts programs except in school. These children worked with opera professionals and performed at the Kennedy Center here in the United States. That is a lasting experience that will give them the passion and confidence to stay connected to the arts and work hard to improve themselves.

The children and parents involved in Bug Off! have been so enthusiastic that, with the support of the Department of Community & Recreation Services and James Lee Community Center staff, they have begun YouTheatre, a youth drama and arts club, at James Lee. Their first performance comes six months after their work in Bug Off! The childrens' passion was sparked by the Opera Theatre Company of Northern Ireland, and their love of the arts continues.

Allison S. Mulligan Organizational Development Manager Fairfax County Dept of Family Services Children, Youth & Families Division

DC Partner Imagination Stage, Janet Stanford

While many people in the US claim some Irish heritage, most have little or no knowledge of Ireland’s history, its geography or politics, past or present. They are, however, generally curious and happy to meet visitors with unfamiliar accents.

The elementary school children who had the chance to work with Opera Theatre Company’s terrific team of artists and educators will certainly have a life-long memory to cherish that will stay with them for many years. For the children and families from the community center in Fairfax, VA, the BUG OFF production was undoubtedly an exotic adventure. The group is ethnically diverse and from a disadvantaged socio-economic neighborhood. The chance to learn about opera, travel to the city, and to perform at both The Kennedy Center and at Imagination Stage are opportunities that this group would not be likely to have without the Rediscover Northern Ireland project.

379

The Opera Theatre Company came well prepared and proved creative and adaptable to the attention spans and talents of the children they had to work with. It was clear from the reception by the children and the families at the Imagination Stage performance that the children had come to respect and admire the artists with whom they worked on BUG OFF. The performance was cleverly devised to give children with all levels of ability ways in which to actively participate while the musical throughline and story were carried by the professional singer from OTC. I have no doubt that this group of young people and their families will now have a new interest in and excitement about opera.

It was definitely an inspired decision to include arts at all levels of the community as part of Rediscover Northern Ireland. There is enormous good will associated with working with children from all segments of the community and I applaud the leadership that sought to make this program so inclusive.

The team photograph

380

381

ARTS AND CULTURAL EVENTS IN REDISCOVER NORTHERN IRELAND

DATE 30th April 2007

EVENT “A night in November”

TARGET AUDIENCE Peace activists/drama audience, Cultural leaders, peace organizations, theater goers, Peace Café members, those interested in learning more about Northern Ireland. LOCATION Busboys and Poets PRINTED PROGRAMME Yes PUBLICITY/MEDIA COVERAGE

WASHINGTON POST “Pick of Week”, Jane Horowitz “Backstage” column; WASHINGTON TIMES; WASHINGTON EXAMINER, CITY PAPER.

Extensive email lists of Peace Café, Busboys and Poets, Solas Nua, Theater J, and others. Flyers.

Solas Nua and Busboys and Poets press releases to:

WASHINGTON POST,WASHINGTON TIMES,EXAMINER, CITY PAPER;

Washington radio stations: WAMU, WPFW, WETA, WTOP, WASH, WMAL; TV stations: WRC – NBC, WJLA – ABC, WUSA – CBS,WETA – PBS, WHUT – PBS.

NUMBER OF PARTICIPATING ARTISTS 2 NUMBER OF PEOPLE ATTENDING 120 (with many more turned away because the venue had exceeded capacity)

DEMOGRAPHIC PROFILE OF AUDIENCE Ethnically diverse

US IN KIND SUPPORT Administration and management support, venue, printing and publicity

BUDGET: £6,010 OUTTURN estimated at £6,010

382 EVENT REPORT

The Peace Café is a generic title for an event which takes place in DC everysooften to provide a space for people involved, interested or intrigued by the Palestinian/Israeli conflict to come together and discuss, debate, deliberate and generally think about that conflict. The three originators of the Peace Café were the writer Mimi Conway, the theatre director Ari Roth, and the restauranteur Andy Shallal. I had become friendly with Mimi Conway through her association with Solas Nua – or rather her husband’s association with Solas Nua.

Mimi asked me if there was some way in which the Northern Irish situation could be illustrative of the way in which resolution can be reached. After much discussion, I offered to present Marie Jones’ play “A night in November” as a way in which the arts could comment on and show how attitudes can and in our case did change. I contacted Marie Jones whom I have known for many years and she was very willing to come out to DC as part of Rediscover Northern to talk to the audience about her play and her experiences in Northern Ireland. She suggested that we use Marty Maguire, a Belfast actor who now lives and works in Los Angeles, to be the actor in Night in November. I duly contacted him and he agreed to do the play as a special one-off production for the Peace Café.

Marty was stunning in his portrayal of the young Protestant who has an “enlightenment” in terms of bigotry and discrimination and the powerful script was conveyed with outstanding emotion and impact. The question and answer session after the play which formed the basis of the Peace Café was stimulating and revealing, showing the American audience just how much has changed in Northern Ireland.

The DC partner once again who handled much of the management/administration was the indispensable Solas Nua partnering with Tinderbox in Belfast. Solas Nua is of course really a one man operation in terms of Administration so the person who deserves the credit here is Dan Brick. So much of what we did in the drama and literature events were only made possible by his help.

383

Mick Cory, Marie and Andy Shallal at Busboys and Poets

REPORT FROM DC Partner Mimi Conway, Founder Peace Café

1. Do you think the event/project promoted a positive image of Northern Ireland in the US and how?

Most definitely. The audience was impressed that people who had been in conflict had undergone personal transformation that resulted in major societal and political change. Many said that in experiencing A NIGHT IN NOVEMBER they saw this happen before their eyes. Some found it an encouraging model for others in conflict situations. It was a stunning artistic achievement.

2. Did the event/project improve understanding in the US of developments in Northern Ireland and how?

It most certainly altered outdated or erroneous perceptions and provided an intimate window on core changes in Northern Ireland.

A number in the audience, although knowledgeable about struggles for peace in other parts of the world, were not as familiar with what had gone on in Northern Ireland even in the recent past and how NI had developed. For them, in particular, it was a terrific learning experience. For many others, it was an opportunity to know more.

In addition to the play, the Peace Cafe post-show discussion with the audience allowed further exploration of developments in Northern Ireland. Mimi Conway interviewed both playwright Marie Jones and actor Marty Maguire, one Protestant, the other Catholic, good friends. The audience had the opportunity to ask questions of the two artists about the changes.

384

3. Will the event/project encourage further artistic/ cultural/educational development in the future and how? ( e.g. any specific follow ups or legacy project planned or envisaged? )

Although no specific legacy project is planned, people who were present that night still talk about it as a moving experience. Many others have heard about the event and how very powerful it was (providing the opportunity for further discussion of the content of the play and Northern Ireland.) The power of that evening lives on.

Marty Maguire (Actor in Night in November) Mimi Conway (Peace Café) and Marie Jones

4. Has the event/project helped to foster relationships between Northern Ireland and the United States and how?

Because the event took place at a venue in Washington both known for important exchanges on a range of issues and bringing together influential audiences from a number of political and artistic organizations, the impact of the event, although not official, may be deep.

The audience was rapt. The work received a standing ovation and, in our early evening town, most stayed for the post-show discussion.

385

One of the most beneficial aspects of this was meeting and working with the extraordinary Rediscover Northern Ireland team. For the many who engaged with these representatives, no stronger, finer presentation of Northern Ireland is possible. More than “content”, we were greatly impressed and deeply moved by the NI managers of the event.

At event after event, standing ovations for the incomparable Philip Hammond were called. He has given so much for Northern Ireland-U.S. relations and has forged deep and lasting ties.

Marty in full flight!

At event after event, standing ovations for the incomparable Philip Hammond were called. He has given so much for Northern Ireland-U.S. relations and has forged deep and lasting ties All those who saw A NIGHT IN NOVEMBER were greatly impressed by the extraordinary and unforgettable performance of Marty Maguire. The audience was also appreciative of having an opportunity to hear from and talk to playwright extraordinaire Marie Jones. The post-show dialogue between them further illustrated in a powerful way the changes in Northern Ireland.

386

Marie Jones at Busboys Further Input. Mimi Conway continues…

In the audience at this one-time-only event was the founder of the Helen Hayes Award (Washington's premiere theater award organization); board members of a variety of prominent Washington theaters; major benefactors of Washington theaters; the German cultural attaché; a delegation from the Republic of Ireland’s Washington Embassy, including the cultural attaché; leaders of Washington peace and conflict resolution organizations.

An officer of the Washington-based conflict resolution organization, Search for Common Ground, wanted to secure a DVD excerpt from A NIGHT IN NOVEMBER for a presentation to the U.S. Institute for Peace, saying after the performance that it perfectly expressed what they were trying to convey about what was necessary to achieve peace.

387 A major cultural/theater leader, having seen A NIGHT IN NOVEMBER, wrote me: "The play and performance was so powerful I could hardly sleep last night, and I awoke this morning with the whole event resonating through my head, re-playing scene after scene, with all the characters becoming more real, and more vivid, than they were even during the performance itself. Absolutely one of the most powerful (and delightful) evenings I have ever experienced in a theater. I will never forget it. I keep thinking, wishing, that “everyone” could see it. Somehow it’s got to get into a theater here for a long run. Again, many, many thanks." MC

388

ARTS AND CULTURAL EVENTS IN REDISCOVER NORTHERN IRELAND

DATE 16th May 2007 EVENT Symposium on Northern Ireland Place Names titled “All Through the North As I Walked Forth” (based on a group Plantation maps by Richard Bartlett c.1602) TARGET AUDIENCE Specialists in place names; genealogists, also general audience interested in Northern Irish maps and history; those interested in visiting Ireland or uncovering Irish roots LOCATION Mumford Room, James Madison Building, Library of Congress PRINTED PROGRAMME/MEDIA COVERAGE Printed program; Library of Congress Gazette, v. 18, no. 16, April 27, 2007; Washington, DC Convention and Tourism Corporation http://www.washington.org/index.cfm?ID=12826&Page=0&blnShowBack=False&i dContentType=480&IDPG=0 Folklife Center News, v. 29, nos. 1-2. The CultureNorthernIreland website featured an article on KM’s talk by Lee Henry: http://www.CultureNorthernIreland.org/article.aspx?articleID=2757 The Folklife Center News of Winter/Spring 2007 (vol. 29, nos 1-2, just received) has on p.19 a report called ‘Place-names of Northern Ireland’ by James Hardin, who interviewd me/KM after the symposium, within a report by Stephen Winick and Margaret Kruesi on the six events hosted by the Folklife Centre as part of the Rediscover Northern Ireland programme, and whose account is on pp.20-21.

NUMBER OF PARTICIPATING ARTISTS 3, self/KM, Prof. Henry Glassie of Indiana, plus Edward Redmond of the LOC cartography division NUMBER OF PEOPLE ATTENDING 120 DEMOGRAPHIC PROFILE OF AUDIENCE Professors and students from Washington, DC area universities; Library of Congress staff members; general audience US IN KIND SUPPORT Venue, administration and management support, printing and publicity; Library of Congress website for event registration and information; reception following the event. Library of Congress staff presentation by Edward Redmond on maps of Northern Ireland; $1500 from the American Folklife Center for invited U.S. speaker, Dr. Henry Glassie; accommodation for Northern Ireland speaker, Dr. Kay Muhr. (Bushmills provided a range of whiskeys for the booklaunch/reception afterwards).

BUDGET: £1940 OUTTURN estimated at £1,500

389 EVENT REPORT

The Place Names Symposium was a reflection of the amount of interest there is in the United States for historical linkage to Northern Ireland and it was the idea of the Library of Congress. I was unable to attend the event due to other event commitments on that particular day.

REPORTS FROM

NI Partner Northern Ireland Place Names Project Queen’s University, Belfast NI Partner The Northern Ireland Place Name Project (Ulster Place-Name Society)

Contacts: Margaret (Maggie Kruesi) of the Folklife Centre, Library of Congress

Maggie, clearly very busy herself, kindly gave me and my sister bed and breakfast at her house in 9th Street NE, within walking distance of the Library of Congress. She taught us how to find our way there, find our way about the Library with its different coloured corridors, and get readers’ tickets to use in the different collections. As well as the Folklife Center, we visited LOC’s Treasures of America exhibition, which included John Smith’s 1606 map of Virginia which I intended to use in my talk, also a recent acquisition I had not known about, the first map of the world to include America (1507), described in the LOC Gazette vol.18 no. 18 p.1, and on which I was able to buy a book. We also visited the cartography section’s exhibition Maps in our Lives. Due to the lure of Washington’s many museums and art galleries on the Mall, which I had not visited before, I got little use from the reader’s ticket this time, although I read the printed guide on the Irish collection that Maggie gave me and I looked at the Folklife Center’s material in Scottish Gaelic (I recorded songs in the Hebrides as a student). Maggie’s own research on an urban shrine was of great interest to compare with holy wells etc. in Ireland. She is also interested in botany, an important theme in place-names. I hope Maggie will attend the conference of the Folklore Society with SIEF, the International Society for Ethnology and Folklore, Transcending “European Heritages”: Liberating the Ethnological imagination in Derry from June 16-20 next year and come and stay with us in Belfast. Henry Glassie will be one of the speakers.

Prof. Henry Glassie, University of Indiana Prof. Glassie’s publications of his in-depth folklore studies, on an area of rural Fermanagh which preserves an old district name Ballymenone (Baile I mBun Abhann‘settlement at the foot of the river[Arney]’) not found on maps, had always been of interest to me. He has attempted to reveal the whole community context in which specific folklore themes, like place-names and stories explaining them, have their root. It was interesting to find him giving a virtual sermon promoting for everyone the virtues of the life style of his Fermanagh informants. I bought his new book, launched at the Symposium.

390

Edward Redmond, Cartography, Library of Congress I was able to attend two short talks by as well as talk to Edward Redmond. One talk was in the Treasures of America exhibition gallery on the 1606 map of Virginia, after which he gave me a full-size copy of the map. The other formed part of the Symposium and was on LOC’s collection of maps of Ireland. At it Edward also provided a display of Irish maps, some estate maps being the unique copy. My talk used both the Virginia map and Bartlett’s maps of Ulster of the same period to illustrate how the process of colonisation affects place-names (some of the native place-names being kept, some eventually replaced with other names by the colonists). Ed alerted me to an important article on the Virginia map, on which the number of native place-names decreased and number of English-language place- name increased on subsequent editions (unlike Bartlett’s output, the Virginia map was published).

Michael Ashenfelder, IT and Communications, Library of Congress I believe Mike may have spoken to me after the talk, but I had no time to write down the names of everyone who asked me questions then. After my return to Northern Ireland he emailed to say that he had enjoyed the talk and had not realised before the significance of place-names, and he wondered if I could find him someone with local knowledge of the place-names around Drumnaha townland in Donegal, where he had recently visited and filmed interviews in the old family home with twin cousins in their 90s. As it happens I had for many years visited and made audio recordings of Andaí Mac Daibheid, an octogenarian Irish-speaker and tradition- bearer in the next townland, Cloghernagore. Andaí knew the stories behind place- names collected in the area in the 1970s by Séamas Ó Catháin of Drumquin, now the Professor of Irish Folklore in Dublin, and had also worked in the Sperrins in Co. Tyrone as a young man, when that area was still Irish-speaking. Thus has begun a co-operative project to record, preserve and ultimately write up the traditions of this fairly remote valley between Fintown and Doochary, in which few people live any more. We hope to meet again in Donegal next year.

Time spent in Washington

Because I had never been in Washington before it seemed only right to explore, and see the museums, art galleries, zoo, botanical gardens and arboretum. I was also able to travel outside the city to visit a first cousin once removed, whose mother, my great aunt, left Scotland before WWI. A few years later my grandfather migrated to New Zealand, and I found that my branch is the only one remaining in contact with both the USA and Scotland.

DC Partner American Folklife Center, Library of Congress

The afternoon symposium “All Through the North, as I Walked Forth…” A Symposium on Northern Ireland’s Place Names, Folklife, and Landscape included a short presentation by Edward Redmond of the Library of Congress Geography and Map Division and a chance for the audience to see rare historical maps of Ulster and Ireland in the Library’s collection.

391

Featured speaker, Dr. Kay Muhr of Queen’s University, Belfast, gave a fascinating presentation on Richard Bartlett’s 1603 manuscript maps, explaining the history of the campaigns in Ulster to defeat Hugh O-Neill, Lord of Tyrone, and how cultural features as well as strategic features were included on Bartlett’s maps. Dr. Henry Glassie of Indiana University talked about the small community in County Fermanagh where he lived during 1972, and about the local historians, both Protestant and Catholic, whose memories and knowledge of the landscape and place name legends of their community were the basis for Glassie’s books, Passing the Time in Ballymenone (1982) and Stars of Ballymenone (2006). The symposium included ample time for audience questions and responses from the keynote speakers. There was intense interest in the audience on this topic. The entire symposium was documented by the Library and will be available as a webcast on the Library’s Web site, another example of the continuing value of these events in promoting the relationship between the government and Arts Council of Northern Ireland and the Library of Congress. The video recordings of the event are also permanently held in the Archive of the American Folklife Center at the Library to be made available to researchers in the future. From the Library’s perspective the arrangements for this event were very well managed by the Department of Culture Arts, and Leisure of Northern Ireland. It was a pleasure to work with Philip Hammond, who made sure that we had all the information we needed to publicize this event through the Library’s Public Affairs Office. Dr. Kay Muhr donated copies of her publication, Celebrating Ulster’s Townlands, to the American Folklife Center and Genealogy and Local History Reading Room of the Library, which receives hundreds of requests for information about people and places in Northern Ireland every year. The Library appreciates her valuable donation of an eight-volume set of the Place-Names of Northern Ireland published by the Northern Ireland Place-Name Project, Queen’s University, Belfast. Attendees at this afternoon symposium included professors from George Washington University and the University of Maryland; Jesse Winch, the Membership Officer of the O'Neill-Malcom branch of the CCE, and his brother Terry Winch, a prominent Irish-American poet.

We would be very happy to continue this scholarly exchange between the U.S. and Northern Ireland, and look forward to the opportunity to plan future programs.

Margaret Kruesi American Folklife Center Library of Congress

392

ARTS AND CULTURAL EVENTS IN REDISCOVER NORTHERN IRELAND

DATE 4th M a y – 20th July EVENT Renewal: Printmakers from the New Northern Ireland TARGET AUDIENCE Greater Washington DC Arts Community LOCATION International Arts & Artists’Hillyer Art Space at 9 Hillyer Court NW, Washington, DC 20008 PRINTED PROGRAMME/MEDIA COVERAGE Yes NUMBER OF PARTICIPATING ARTISTS 18 NUMBER OF PEOPLE ATTENDING Approximately 1000 DEMOGRAPHIC PROFILE OF AUDIENCE Visitors ranged from ten years of age to senior citizens and came from diverse backgrounds due to the multicultural nature of Washington, DC. BUDGET: £35,000 OUTTURN £35,000 US IN-KIND SUPPORT IA&A received in-kind support in the form of donated catering services from a local restaurant. EVENT REPORT

Belfast and Seacourt Printworkshops are the two main professionally managed centres in Northern Ireland for printmaking. Their respective directors – Paula Gallagher and Robert Peters – were immediately receptive to the idea of send an exhibition to Washington as part of the Rediscover Northern Ireland programme when I approached them two years ago. As both organizations are member oriented, choice of artist and work for the exhibition had to be carefully considered and of course equally shared between the two printworkshops.

When Hillyer Arts Space – the non-profit gallery of Arts and Artists International in Washington - was identified as the venue for the exhibition, David Furchgott – the charismatic, hugely hospitable and helpful director of that organization – was invited by the printworkshops to curate the exhibition. He came to Belfast and did that, choosing a very broad cross section of the work produced by the members of both workshops.

David also was connected to the Cosmos Club, a private club of some prestige and standing in Washington. Through his good offices, the print exhibition was expanded to this venue as well for a rather longer run that the exhibition at Hillyer Arts Space.

Print exhibitions are particularly useful in planning international programmes because the relative value of the work is small in comparison to other visual art work..

393 However, there is an equal amount of work involved in any visual art exhibition in terms of agreeing content, programme, catalogue etc etc and so it was indicative of the strength of both the NI workshops and the partnership with Arts and Artists International that everything went smoothly.

It is hoped that the relationship with Arts and Artists International will be a continuing one. PH

REPORTS FROM

NI Partners Belfast Printworkshop

‘Renewal’ Printmakers from the New Northern Ireland Report from Paula Gallagher, Director Belfast Print Workshop

As Director of Belfast Print Workshop I was invited to travel to Washington DC to attending the opening of the ‘Renewal’ Printmakers from the New Northern Ireland printmaking exhibition on 4th April 2007. The exhibition was a collaboration between Belfast Print Workshop and Seacourt Print Workshop and was accompanied by a residency programme with Elaine Megahey (BPW) and Jill McKeown (SPW) visiting Pyramid Atlantic Print Workshop for duration of 3 weeks per artist.

The programme began with an invitation from Philip Hammond to develop a printmaking component in the forthcoming Rediscover Northern Ireland, Smithsonian Folklife Festival 2007. Philip Hammond had met with organisations in Washington DC including International Arts and Artists, Pyramid Atlantic Print Workshop and Washington Printmaker Gallery these were to be the key players in the printmaking event.

394 Work began immediately discussing the potential of such an event and the logistics of selections and residency proposals not to mention budgets. It was very clear to me at this early stage that the Washington organizations were very committed to making a success of our programme and were very forthcoming with guidance for the production of such an event in Washington DC.

On release of the information to members of the Belfast Print Workshop work began without delay on putting together prints for the selection process. David Furchgott, Director of International Arts and Artists, gratefully accepted our invitation to select the exhibition and was asked to visit Northern Ireland and the two Workshops. This visit proved to be a very productive time – selecting work from both Workshops and also visiting the Arts Council of Northern Ireland collection of works, some of which were to be exhibited in Washington DC at the Katzen Arts Center. The completion of the selection started, the compiling of artists details, images of prints and discussion with editors and designers took place and eventually ended in the production of an excellent publication to record the events.

On arrival in Washington DC I met with Philip Hammond who updated me on previous successes of events such as musical recitals, exhibitions and literature events. This confirmed my theory that this was a great opportunity to showcase Northern Ireland creative sector on a world stage.

Next I met with David Furchgott and his team at International Arts and Artists where the finishing touches were being put to the Northern Ireland printmaking exhibition. Later we visited the Cosmos Club were the second printmaking exhibition was to take place in a few weeks time. The Cosmos Club is a private social club, incorporated in Washington DC in 1878 for distinguished people of science, literature and the arts.

Following this I travelled the short distance to Silver Spring where I met with BPW artist Elaine Megahey. Elaine was selected to represent BPW on a residency in Pyramid Atlantic Print Workshop. Elaine gave me a tour of Workshop and showcased the work she produced. She took courses in papermaking, book binding and letter press. Working along side the technicians in these areas she produced an impressive volume of work that took the form of pages of a handmade book called ‘Quite Shifts’

395

Elaine grabbed this residency opportunity with both hands and her work involved many skills transfers from the technicians working towards a beautiful piece of artwork. Elaine’s work was exhibited along side Jill McKeown’s at the end of Jill’s residency in the Gallery area of Pyramid Atlantic.

396 Elaine and I were invited by Rosemary Cooley, the vice president of Washington Printmakers Gallery, to take a tour of some of Washington DC’s museums and arts institutions. The most interesting part of the tour took us to Georgetown – Washington’s oldest district where we visited the Torpedo Factory Arts Centre and viewed over 30 individual artists studios under one roof. Artists work from their studios but also have a gallery or display area incorporated into their space where members of the public can view and purchase art work. I found this a very interesting concept and design of an organisation.

I was also very pleased to be invited to Jenny Freestone’s house for dinner with her family and Rosemary Cooley and Elaine Megahey. Jenny is an artist from Washington Printmakers Gallery (and Elaine’s host for the duration of her residency). It was a delightful evening discussing the successes of the Rediscover programme from both sides.

The highlight of my visit to Washington was the opening of the ‘Renewal’ printmaking exhibition at International Arts and Artists. The evening began with a visit to an exhibition opening at Washington Printmakers Gallery where I met Gallery Manager Gail Vollrath and also Helen Frederick Director of Pyramid Atlantic. The group then proceeded to International Arts and Artists were the Northern Ireland printmaking exhibition was well under way with a constant stream of people visiting the Gallery. The evening was electric with many people talking about the artwork and wanting to know more about the print workshops in Northern Ireland. I was very impressed to see the amount of printmaking activities in the area during this event.

The next step for the programme is the touring of the ‘Renewal’ exhibition.The team at International Arts and Artists are working on attracting further touring venues as part of their touring exhibition schedule. The dates secured are Yellowstone Art Museum January 26, 2008 – March 30, 2008,Kansas City Public Library, Kansas City, MO January 26, 2008 to March 30, 2008The Belfast Print Workshop aim to keep the connections made during this programme as an important legacy to the event. It is our aim to invite artists from Washington Printmakers and Pyramid Atlantic Print Workshop to the Belfast Print Workshop during the Cathedral Quarter Arts Festival 2008 or 2009. I feel it is vital to establish links with other international organizations; this is a priority of the Belfast Print Workshop - but more importantly to keep the links fresh. An event such as this can me recorded as a tremendous success but if nothing comes from the connections/networks we have made this work will be lost; the Arts Council of Northern Ireland must continue to support events of this nature.

I would like to thank the Arts Council of Northern Ireland and the Department of Culture and Leisure for providing the opportunity for the Belfast Print Workshop to contribute to such an amazing programme, the legacy of which will remain for many years to come. I would like to thank David Furchgott and his team at International Arts and Artists, also Helen Frederick and the staff at Pyramid Atlantic Print Workshop for making me feel so welcome during my visit. I would also like to thank Jenny Freestone and Rosemary Cooley for being the perfect hosts to our visiting artists.

397 Finally I would like to take this opportunity to thank Philip Hammond for all his ambition and forward thinking. It has been a pleasure working with him on this programme and it is insightful to collaborate with someone who does not look at a challenge with fear but grasps it and makes things happen. I have personally learnt a lot from Philip and participating in this programme and it has developed me as an individual – skills I hope to use for a long time to come.

Seacourt Printworkshop

Report on visit to Washington as part of the Rediscover Northern Ireland Programme by Ropbert Peters, Director of Seacourt Printworkshop.

I travelled to Washington DC on the 21st of June, staying until Monday 26th. My visit was planned to coincide with the opening of an exhibition at Pyramid Atlantic of prints by Jill McKeown and Elaine Megahey. These two artists had been selected to represent BPW and SPW as artists in residence at Pyramid. I also planned to see the Renewal exhibition at Hillyer Art Space, headquarters of International Arts and Artists and explore what opportunities existed for further exchange. I visited IA&A on Friday 22nd and met with their President, David Furchgott. He introduced me to staff and accompanied me around the exhibition at the Hillyer and in the nearby Cosmos Club. We then discussed the programme over lunch with Cate Griffin, Exhibitions Manager. David indicated that the print exhibition had been very well received in Washington though there had not been much of a response as yet to the touring league of the exhibition. A museum in Yellowstone was the only venue mentioned during the conversation. I also had a conversation with Anna Smith who organises an Arts International Training Program which matches students to arts organisation on an intern arrangement. Although an interesting programme it was unlikely that SPW would benefit from involvement in this program.

After lunch I visited the Washington Printmaker’s Gallery and met with Director Gail Vollrath. It was interesting to compare approaches to ‘banding’ membership and the trials and tribulations of moving premises, which the gallery is presently faced with. There is a possibility that artists from this group may be interested in visiting NI on a self arranged residency basis.

Following this I visited a number of contemporary art galleries which were exhibiting some very exciting work much of it print surprisingly. The Curator’s Office and the Adamson Gallery were of particular interest.

On Saturday I travelled to Pyramid Atlantic to attend Jill McKeown’s artist talk and the opening of her exhibition with Elaine Megahey. I was given a tour of Pyramid Atlantic by Gretchen Schermerhorn, Principle Paper Maker. Alongside printmaking resources there are also papermaking and bookbinding resources. The facility is excellent and the members of staff were a delight to meet. This seems to be the most satisfactory match for future exchange programmes. We are hopeful that Gretchen will visit Seacourt in the Summer of ’08 to explore paper making and printing.

398 On Sunday I visited several of the larger public galleries and was very impressed with the size and quality of the collections. These resources combined with a very healthy printmaking scene would indicate that future links will be both successful in developing exchange opportunities and exhibition opportunities for artists in both areas. I know I will be going back.

Opening night at Hillyer Court. Paula allagher (far left) and Elaine Megahey (far right)

DC Partner International Arts and Artists

International Arts & Artists (IA&A) and its Hillyer Art Space were thrilled to be a part of the Rediscover Northern Ireland program. Renewal: Printmakers from the New Northern Ireland was a tremendous success attracting numerous visitors to the gallery and interest in the Northern Irish arts scene. Nearly 1500 citizens of the Greater DC area received marketing materials including print and web-based invitations describing Renewal and IA&A’s participation in the larger Rediscover Northern Ireland program.

Several DC-based publications including the The Express, Washington Life Magazine, The Intowner, and the Washington Diplomat covered the exhibition at Hillyer Art Space. Numerous online publications, such as washingtonpost.com, artsdc.com, Painterly Visions, dcartnews.com, and Authentic Art DC, also posted details and images from the event. This type of coverage not only contributed to increased exposure but also lead to several group tours from the Smithsonian Institution. Gallery Coordinator, Amanda Lewis, and Gallery Assistant, Ashley Miller, lead approximately 50 volunteers from the Smithsonian through the exhibition touching on various themes and techniques to be found amongst the works.

399

David Furchgott (International Arts and Artists) and Pennie Ojeda (National Endowment for the Arts) at the opening

At the same time, half of the works in Renewal were presented in the Crentz dining room at the nearby Cosmos Club, an esteemed, private social club whose members participate in professions related to scholarship, creative genius, or intellectual distinction. During the exhibition dates (May 18th – July 18th, 2007), twenty-seven events took place in the Crentz ranging from weekly member committee meetings to meetings of the European Institute, the Washington Homeland Security roundtable, and the American Academy of Diplomacy. In addition, IA&A’s president, David Furchgott sponsored two events at the Cosmos Club, one of which was an open reception for all the participants in the Rediscover Northern Ireland program. All of the institutions involved in the program were invited to a reception given by the Department of Culture, Arts and Leisure under the auspices of David Furchgott and the Cosmos Club. There was also a separate dinner held for the underwriters of Rediscover Northern Ireland, including Titanic Quarter and RBS.

Furthermore, IA&A has arranged for Renewal to tour to two additional venues. The exhibition will travel to Yellowstone Art Museum, Billings, MT and will be on display from October 12, 2007 – January 26, 2008. From February 2008 through March 2008, Renewal will be on view at the Kansas City Public Library, Kansas City, MO. IA&A is in discussions with other potential venues including the Hillstrom Museum of Art, Telfair Museum of Art, and the Nashville Public Library. While these institutions have yet to commit to showing the exhibition, IA&A hopes to confirm an additional venue in the coming months. We are certain that these added venues will result in increased understanding in the US of artistic developments in Northern Ireland.

400

The opening reception

As a result of the exchange between IA&A and the Northern Irish Arts Council, IA&A was able to arrange for the European premiere of Tradition Transformed: Contemporary Korean Ceramics at Ormeau Baths in Belfast, January – February 2007. The opening reception received 350 guests. Additional collaborations that arose as a result of this program include an internship arrangement with Visual Arts Ireland and a potential exhibition with the Crafts Council.

IA&A was also happy to introduce Philip Hammond and other participants in Rediscover Northern Ireland to a number of visual arts organizations in and around the DC area such as American University’s Katzen Center, Pyramid Atlantic, and the Washington Printmakers Gallery, all of which were able to participate in the program in some way.

IA&A would also like to note that DCAL did a tremendous job of promoting Rediscover Northern Ireland. We were extremely pleased with the working relationship that resulted between Hillyer Art Space and the Belfast and Seacourt print workshops. Both Paula Gallagher and Robert Peters were extremely helpful in the planning of Renewal, and we were greatly impressed by the artistic standard of the Northern Irish artists that the workshops represent. IA&A would like to thank DCAL and the Arts Council of Northern Ireland for collaborating with us, and we are eager for future exchange projects with Northern Ireland.

401

The opening reception at Hillyer

402

ARTS AND CULTURAL EVENTS IN REDISCOVER NORTHERN IRELAND

DATE 15th April – 5th May 2007/ 2nd – 23rd June 2007 EVENT Two Printmaker Residencies TARGET AUDIENCE Printmakers LOCATION Pyramid Atlantic Printworkshop, Silver Spring PRINTED PROGRAMME No NUMBER OF PARTICIPATING ARTISTS 2 NUMBER OF PEOPLE ATTENDING 100 DEMOGRAPHIC PROFILE OF AUDIENCE Middle Class/Artists/Printmakers BUDGET: included in Printmaker Exhibitions budget – see that report US IN-KIND SUPPORT Accommodation, venue, hospitality, printing and publicity plus Donated Funds for Two Residencies and Exhibition Elaine Megahey and Jill McKeown

Expenses Covered by Pyramid Atlantic: Budget Report from Pyramid Atlantic Art Center

Art Materials 600 Exhibition Materials/Reception 700 Announcement Card 200 Postage 105 Staff Time 2,000 Home Stay 6,000 Volunteer Hours 1,000 2 Complimentary Workshops (Elaine Magahey) 430 Return of Artwork to Ireland 800?

TOTAL $10,835

403 EVENT REPORT

Printmaking in Northern Ireland revolves around the two professionally managed printworkshops in Belfast at Seacourt in Bangor.(See also report on Printmakers Exhibition) Two printmaker residencies were organized through these two printworkshops in partnership in DC with the Pyramid Atlantic Printworkshop in Silver Spring onm the outskirts of Washington.

Through the Washington Printmakers’ Gallery near Dupont Circle, I met Helen Frederick, the Director of Pyramid Atlantic and she became the guiding hand in these two residencies. Elaine Megahey represented the Belfast Printworkshop and Jill McKeown represented Seacourt. At the end of Jill’s residency, Pyramid put on an exhibition of both the Northern Irish printmakers’ works and Jill gave a a talk about her work to the audience attending the opening.

Pyramid is keen to continue the relationship with Northern Ireland into the future.

Elaine Megahey

404 REPORTS FROM Artists

ARTISTS PRINTMAKING RESIDENCY PYRAMID ATLANTIC ARTS CENTRE, WASHINGTON, USA April/May 2007 ELAINE MEGAHEY

My proposal for the residency at Pyramid Atlantic Arts Centre, Washington, included a number of activities put forward in response both to the location and the facilities it had to offer, and as a means of developing ideas within my work. Prior to making the application I had undertaken a solo exhibition in the autumn of 2006, at Island Arts Centre Lisburn. This body of work explored, among other things, ideas about collecting, often referencing books and book forms within prints and mixed-media pieces. I had already considered collating a series of images into a book form as an extension of the work behind the exhibition ‘Quiet Shifts’, therefore the opportunity of a residency at Pyramid Atlantic offered an ideal opportunity for me to achieve this.

Having been selected, preparations began in January for my residency in April/May 2007. I communicated on a fairly regular basis with Helen Frederick, Director of Pyramid Atlantic Arts Centre, about the project, possible workshops and talks, and the joint exhibition in the summer with Jill McKeown as part of the Rediscover Northern Ireland/Smithsonian Folklife Festival. Initially it seemed I had a lot to fit in to 3 weeks and I decided early on to take work from my exhibition for possible selection for the joint exhibition, allowing me time to concentrate on the book project only when there. This also meant completing pages for the book before leaving, as a way of organising my thoughts and the format of the images. Whilst there I hoped to achieve a number of things: –

• Print the remaining pages, including use of letterpress • Work with a bookbinder, to construct the book and learn new skills • Carry out research through Pyramids archives into book/print projects • Give talks at Pyramid Atlantic and to Washington Printmakers Society • Visit museums and galleries and make contacts with artists and relevant bodies

On arrival at Washington, Jenny Freestone, my host for the duration of the residency, met me. A printmaker from England originally, she works from her own impressive studio at her home, is a board member of Pyramid Atlantic and a member of The Washington Printmakers Society. Both bodies promote printmaking in the Washington area, the Arts Centre through it access to facilities and exhibition space, the WPS through its collective and gallery in downtown Washington. Plans for my first week were somewhat thwarted as, frustratingly, my work was held up in customs. However I took time to visit various museums and collections, most notably the Jasper Johns Retrospective at the National Gallery of Art, ‘On the Cutting Edge’ an exhibition of contemporary Japanese Prints at the Library of Congress and the very inspiring Hirshhorn Museum and Sculpture Garden. In general I found my bearings and familiarised myself with the workshop and getting to and from Pyramid Atlantic.

405 Pyramid Atlantic has a slightly different dynamic to BPW. Offering similar printmaking facilities, but also specialising in collaborative projects and giving artists the opportunity to combine printmaking, papermaking, bookbinding and letterpress. Much of the space is dedicated to papermaking with workshops in European and Eastern papermaking running fairly regularly. Professional artists and students use the letterpress and print workshops, and the Arts Centre appears to actively promote links with educational establishments from high school level to degree and post-grad levels. The bookbinding facility is actually an independently owned workshop, situated within the Arts Centre and run by bookbinder Linda Rollins. I had hoped to work with Linda more, learning new skills and possibly experimenting with techniques, but this proved difficult as she is only there part-time and has a very busy schedule. I soon realised that the book may not be completed in the time, as I needed to rely on her expertise to bind it. However she was extremely helpful and discussed ideas and use of materials fully so that in my absence she could complete the binding. The first week also involved being shown solar plate etching, a technique similar to photo- intaglio etching, as this would enable me to complete the prints. I was also introduced to Xerox Lithography by Martha Oatway, a printmaker from Maryland and a member of the Washington Printmakers Society. This is a fairly direct technique and one that I hope to employ in future work. I also participated in a 2-day silk collograph workshop run by New York Master Printmaker Kathy Caraccio. This was a slightly more involved process, and we were shown an extensive range of work from her collection, made in collaboration with various artists at her New York studios.

By the second week, my work had arrived and I was ready to complete the printing. I made solar plates and used these along with photo-intaglio plates and blind embossing to complete the series of images. Again I participated in workshops taken by Gretchen Schermerhorn, Pyramids resident papermaking specialist. Having discussed ideas with Helen Frederick she suggested I try making flax paper for the cover of the book, we both felt it would be interesting as the printed pages included embossing from linen cloths and linen stitch marks. I liked the idea of the cover having integrity with regards to use of materials and in reflecting the content and context of the book. I also gave a talk about my work at the Washington Printmakers Gallery. This was well attended with individuals expressing an interest in purchasing work after the residency. It also gave me the opportunity to meet with other artists from the Society, discuss their work and their collective approach to showing work within the gallery, as well as other mutual interests and issues.

The final week left me with printing a couple more images for the book and organising framing of work for the exhibition. I also had a final meeting with the bookbinder and the letterpress artist Beth Schaible. My intention was to keep the use of text to a minimum and the selected words were printed on hand-made paper before being stitched in place. I was leaving the prepared printed pages and flax paper for the cover for the bookbinder to complete as planned. This was quite difficult, and we ended up communicating by e-mail after my return. I would have preferred to have direct input into the last stages, to be able to judge if the quality was exactly as I had envisaged. Having seen photos I know I would have altered certain aspects. However I see the project as a prototype and will make amendments in a second book I intend to make, as I made sufficient paper to enable me to do this.

406 Other highlights of the last week included visiting Georgetown, Washington’s oldest area, and The National Museum of Women in the Arts, where we met Krystyna Wasserman, Curator of Book Arts. The Museum has one of the finest collections of artist’s books in the world and each year an award is made to an individual, through selection, for a limited edition of their artist’s book to be printed and sold through the Museum. The end of my residency also coincided with the opening of the BPW and Seacourt Print workshop exhibition at International Art and Artists Dupont Circle. This was very well attended and served as a good platform for promoting printmakers from N.Ireland

By the end of the 3 weeks I felt I had achieved a lot, having learnt several new printmaking techniques, completed the work for the book and organised images for the exhibition. I was most impressed by the enthusiasm, expertise, and encouragement I encountered and came back feeling positive and inspired and able to hold my own on an international level. Washington as a city has a lot to offer the visual artist with the diversity of museums and exhibitions. You would need three weeks just to get around these!

In terms of feedback and developments, I have sold work as a result of my talk and exhibition; with further interest expressed in other works, and Pyramid have also asked to extend the exhibition by a month. Many of the artists I met in Washington have expressed an interest in coming to N.Ireland and the possibility of continuing links through an exhibition or residency programme here would be very appealing. I believe this crossing over would be beneficial in forging greater links and in continuing to promote printmaking from N.Ireland at an International level.

Report on Pyramid Atlantic Residency – Jill McKeown

From 2nd June – 23r d June this year I undertook a three week residency at Pyramid Atlantic, Maryland. Pyramid Atlantic is a contemporary arts center just outside Washington DC dedicated to the creation and appreciation of hand papermaking, printmaking, digital arts, and the art of the book.

The residency was organized through the Rediscover Northern Ireland Programme with the involvement of Belfast Print Workshop, Seacourt Print Workshop, the Arts Council of Northern Ireland and the Department of Culture, Art and Leisure.

The residency was presented as an engagement to produce an ‘Irish Print Portfolio’ of work in collaboration with artists from Pyramid Atlantic Art Centre. This was not the case as by the time I arrived there the artists at Pyramid were involved in the summer program of classes. However this did not affect my enjoyment and productivity while I was there.

Pyramid Atlantic has fantastic facilities for bookmaking, papermaking and printmaking and I was allowed access to all these departments. There is a tremendous team of trainee interns involved who were very helpful. Having access to an excellent printmaking studio in Northern Ireland, Seacourt Print Workshop, I decided to concentrate my time at Pyramid within the bookmaking and letterpress resources.

407 My residency at Pyramid Atlantic followed another residency in Connecticut and a month I had spent printmaking in New York, so I had a number of projects I was working on. At Pyramid I completed a small series of prints in which I had been experimenting with different and new methods of working. I also completed one artist’s book and started two others. Ryan Ives, an intern working for the summer at Pyramid Atlantic was very knowledgeable with letterpress and assisted me in printing some letterpress pages for a book, entitled ‘Catching the Bird’, based on a text by American Naturalist John Borroughs. I will complete the prints and the linen binding at Seacourt Print Workshop. My time at Pyramid Atlantic was very inspiring and productive creating many ideas and projects to continue at Seacourt Print Workshop.

While I was on the residency at Pyramid I was hosted by two incredibly generous hosts, Rosemary Cooley and Sally Brucker who provided me with board, transport and much entertainment and made my time there very easy and comfortable. Rosemary Cooley is the vice-president of Washington Printmakers and had organized for me to give a talk in their gallery space. This was a great opportunity to meet a lot of artists working and exhibiting in Washington DC.

The residency culminated in an exhibition in the gallery at Pyramid Atlantic organized by Helen Frederick the Director of Pyramid. A two person exhibition showing work by myself and Elaine Megahey of Belfast Print Workshop who had completed the residency a couple of months previously. The staff at Pyramid worked very hard framing and preparing for the exhibition, which generated a lot of publicity as part of the Rediscover Northern Ireland Programme in collaboration with the Smithsonian Folklife Festival.

At the opening reception of the exhibition I gave a talk about my artwork, practice and professional work in Northern Ireland. This was very widely attended not only by artists but also by people who had never been to Pyramid Atlantic before but had an interest in the Northern Ireland element of the programme. The reception was catered for by a local Irish Pub in the city and music provided by a local band. The evening culminated in a ‘fire ceremony’ in which Helen Frederick made some artistic marks on paper with smoke. The evening and exhibition were a great cultural success judging from the very great feedback we received from the audience.

While I was there I also exhibited work in two other venues organized by David Furchgott of International Art and Artists. The prints and books were exhibited in Hillyer Art Gallery and the Cosmos Club both in Washington DC.

In summary, I very much enjoyed my residency at Pyramid Atlantic and found it very beneficial in the development and production of new work. I would very much recommend the residency to other artists showing interest in continuing the legacy of the Rediscover Northern Ireland Programme. I would very much like to thank all the staff and interns at Pyramid Atlantic, my hosts, Rosemary Cooley and Sally Brucker, Philip Hammond and DCAL, The Arts Council, David Furchgott, Paula Gallagher of Belfast Print Workshop and Robert Peters of Seacourt Print Workshop for organizing this memorable and wonderful opportunity.

408

Helen Frederick, Director, Pyramid Atlantic, Silver Spring

Helen Frederick, Director, Pyramid Atlantic 1. Do you think the event/project promoted a positive image of Northern Ireland in the US and how? YES, the artists who were in resident were very forthcoming and positive in sharing their experiences both at Pyramid, in their lectures and in company with their home stay hosts. During Jill McKeown’s lecture, she was able to talk about Ireland’s history and how she has participated in community projects such as murals to help transform Northern Ireland’s image.

2. Did the event/project improve understanding in the US of developments in Northern Ireland and how? The lectures were very informative, but based more on individual artistic approaches rather than overviews about developments in Northern Ireland.

3. Will the event/project encourage further artistic/ cultural/educational development in the future and how? ( e.g. any specific follow ups or legacy project planned or envisaged? ) Pyramid’s Resident Papermaker /Outreach Coordinator Gretchen Schermerhorn, has been invited to participate in a residency at the Seacourt Workshop through Director Robert Peters.

4. Has the event/project helped to foster relationships between Northern Ireland and the United States and how? YES, the project has encouraged further research of who the artists are in Northern Ireland and how they fit into the international picture, thereby creating new bridges of understanding. We will strive for further residency exchanges and cross-cultural programs in the visual arts.

5. What impression do you think was conveyed to the audiences who attended

409 and to those involved with the NI artists? What was the impact? What type of people attended? Any influential people that you know of? Pyramid was pleased to have the Director and dancers from Dance Exchange attend Jill McKeown’s talk. Several new collectors were made aware of both artists’ works through the well attended lectures and gallery exhibition.

6. What was your overall impression of the Northern Ireland component of the event/project? Were you content with the NI management of the event / project? Were you impressed by the artistic standard of the NI artists? YES, we were all very content with the NI arrangements and careful response particularly from the Belfast Workshop.

Saturday 23rd June…Pyramid Atlantic “Celebrate Printmakers from Northern Ireland Rosemary Cooley, V-P, Washington Printmakers Gallery Workshop.

1. Do you think the event/project promoted a positive image of Northern Ireland in the US and how? Yes, it did. The two artists, Elaine Megahey and Jill McKeown, were warm and professional artist as well as good communicators. Both artist’s lectures at Washington Printmakers Gallery were delivered to capacity audiences. Elaine showed her prints in an intimate manner, spreading them on the floor as she described her inspiration, which was related to her fabric studies, childhood memories and objects found on walks in the countryside of Ireland.

Jill’s Powerpoint presentation both at WPG and Pyramid Atlantic, described her place and date of birth as co-inciding with the beginning of the Irish “troubles”, and how her work springs from “place and memory”. She presented Belfast and Seacourt as places of great creative industry, while she showed works which she had exhibited in Dublin and Donegal as well. Linen production was touched upon by both artists. There were many questions posed to both artists by the audience members, who thoroughly enjoyed the lectures.

410

2. Did the event/project improve understanding in the US of developments in Northern Ireland and how? We learned how strongly the Arts Council of Northern Ireland impacts on artists’ work their opportunities to express themselves through generous funding. Robert Peters, director of Seacourt Print workshop, described a very creative fundraising auction which he had initiated at his center, while Paula Gallagher, director of the Belfast Print Workshop, described past and future events, which were innovative and thought provoking.

Jill added information about her commission through the Hospital Trust for the Radiology Wing of the Ulster Hospital, in which she will create memory boxes of her prints with archival information of the beginnings of Radiology. She also described her prospective invitation to stay at the Tyrone Guthrie house, funded by the Arts Council, and for the purpose of allowing artists to create and dream of new projects on this beautiful estate. Tyrone Guthrie, the grandfather of the famed Irish-American actor Tyrone Powers, left his estate with the wish that the artists invited have complete freedom to plan art, music or drama, with the only restriction being that they dine together. This sounded like an artist’s dream. Jill was also involved with using art with old age people and teen-agers who had social problems for therapy. One project was fascinating as she gathered both groups to great advantage for singing and performing. Jill was energized by what she experienced in Washington D.C. and said that she was excited to use new ideas in this arena. As Jill had completed an Artist’s Residency at Weir Farm in Connecticut in May, she was thrilled to attend the opening at the Phillips Collection in Washington D.C. of American Impressionism. Dr. J. Alden Weir’s work featured strongly in the show, and it was on his farm that Jill stayed.

3. Will the event/project encourage further artistic/ cultural/educational development in the future and how? ( e.g. any specific follow ups or legacy project planned or envisaged? ) A subsequent visit to Belfast by Washington D.C. printmakers in Summer 2008-09 will certainly expand on the fine communication we have established.

4. Has the event/project helped to foster relationships between Northern Ireland and the United States and how? Mentioned above.

5. What impression do you think was conveyed to the audiences who attended and to those involved with the NI artists? What was the impact? What type of people attended? Any influential people that you know of? There were several wonderful chances to get to know the Northern Ireland artists. Jenny Freestone hosted a potluck dinner at her home which was attended by many members of Washington Printmakers Gallery as well as printmakers from George Mason University and Pyramid Atlantic. At this time we all got to know Elaine Megahey in a convivial atmosphere, and to view some of her work in Jenny’s studio.

411

Rosemary Cooley hosted a potluck dinner for Jill McKeown which was attended by WPG members, Pyramid Atlantic staff, an American University printmaking professor, Also there were Robert Peters of the Seacourt Print Workshop (fresh off the plane from Ireland!) and by David Furchgott, director of International Art and Artists in Washington. www.artsandartists.org. Pyramid Atlantic staged a wonderful evening for the opening of the exhibition of the two artists, which included Irish cuisine, drink, dancers and fiddlers and a fire ceremony by Helen Frederick. This was particularly poignant, as the paper which Helen smoked was made of Linen from the walls of the old Cone Collection at the Baltimore Museum of Art. There were over 100 attendees and it was a great success.

6. What was your overall impression of the Northern Ireland component of the event/project? Were you content with the NI management of the event / project? Were you impressed by the artistic standard of the NI artists? From our first meeting with Philip Hammond at the Washington Printmakers Gallery to the eventual arrival of Elaine Megahey and Jill McKeown, we were all impressed with the strong communication skills, the professional quality and the warmth of these people. Philip created something vast in scope, as we discovered when we attended the related art exhibitions of Contemporary Irish artists at American University, of printmakers at International Art and Artists and at the Cosmos Club. The quality of the Northern Ireland Crafts exhibited at the Dillon-Ripley Center of the Smithsonian Institution was highly elevated and provocative.

There was a gracious evening reception hosted at the Cosmos Club to thank all who participated in the Northern Ireland exchange. I was sorry to miss this as I was on a flight to China at the time. I later received a beautiful Irish linen bag containing recorded music by Philip and other Northern Ireland musicians with other gifts. I was very touched by this, and by the reports of how beautiful the evening was, with Philip playing the piano for the group.

412

ARTS AND CULTURAL EVENTS IN REDISCOVER NORTHERN IRELAND

DATE 2,9,16,23,29 May 2007 EVENT Traditional Music Series TARGET AUDIENCE Traditional music aficionados; LOCATION American Folklife Center Library of Congress PRINTED PROGRAMME/MEDIA COVERAGE Yes Library of Congress Gazette, v. 18, no. 16, April 27, 2007; Folklife Center News, v. 29, nos. 1-2. NUMBER OF PARTICIPATING ARTISTS 10 NUMBER OF PEOPLE ATTENDING Approximately1100 DEMOGRAPHIC PROFILE OF AUDIENCE scholars; students; Library of Congress staff; Irish music community in the DC area US IN-KIND SUPPORT Administration, management, venue, hospitality, accommodation, publicity, printing, technical support; Library of Congress website; and added performer, Daithi Sproule, guitarist and singer on May 23.

BUDGET: £25,350 OUTTURN £15,700 EVENT REPORT

Amongst the most prestigious of venues in Washington is the Library of Congress. The American Folklife Center there – as with the Music Division of the Library – could not have been more helpful and welcoming, providing a whole raft of support in so many different ways and constantly keeping in contact so that there was no possibility of unforeseen difficulties. This is how arts administration in an international context should be ideally handled and it was a pleasure to work with the Library and all of its staff with whom I had the privilege to come into contact.

413

This series of Traditional Music/Arts lectures and recitals took place in either the Mumford Room or the Coolidge Auditorium at lunchtime – 12 noon - and the programmes lasted anything from an hour upwards. We fielded some of our most famous and/or knowledgeable exponents from the Traditional Arts field here in Northern Ireland and tried to find a balance, at least in the eyes of Northern Ireland, between perceived notions of what belongs to one community or another.

414

Robert Watt on stage at the Coolidge

Of course, this is one of the most contentious issues here – but in America it means absolutely nothing because those who know about such things – and this was the type of audience we were targeting in the Library of Congress, an audience who was totally immersed in the subtleties of Traditional Arts and history, cared not a jot for the minor differences between some of claims of the historical, cultural traditions of Northern Ireland. The minor descriptive tags which cause such disruption here do not phase Americans – for example, in Washington, and indeed the United States in general, the term Ulster Scots is virtually meaningless and they would use Scots Irish as the generic definition of traditional arts emanating from this part of the world. We were however careful always to explain what Ulster Scots meant here at home and there was an interested ear always turned towards such explanations and indeed examples of Ulster Scots tradition.

415

Daithi Sproule on stage at the Coolidge

So the emphasis was on the quality of the art being presented at the Library of Congress and of course it was the American Folklife Center who selected the artists who eventually performed in this excellent series of events. The breadth of knowledge being presented ranged from the detailed study of the Sam Henry Collection by Dr. John Moulden through the source singing of Rosie Stewart, the intriguing historical background of the McPeake family, the incredibly virtuosic playing of piper Robert Watt, to the informed contextual positioning of some traditional tunes by Gary Hastings and Brian Mullen.

I introduced every one of these events and felt most privileged to have been asked to do so because by no stretch of the imagination could I be called a “traditional arts” specialist. However, I learnt so much about the subject by being involved with these excellent proponents of the field and I felt even more privileged to have been invited to interview Dr. Moulden for the Library’s archives.

In fact, all of these events were recorded for the American Folklife Center archive so there is a lasting legacy in that alone. In-depth interviews were also recorded by staff of the American Folklife Center which will help to expand the Library’s Northern Irish collection of “memorabilia” – if that is the right word.

416 For the future, I am more than hopeful that the new link with the Library of Congress can continue to grow. Dr. Peggy Bulger, the Director of the American Folklife Center, has proved that she and her staff are willing to contemplate this and of course, a recent addition to the staff at the Library is Dr. Nancy Groce who was the curator of the Northern Irish element in the 2007 Smithsonian Folklife Festival.

For all of this series, Kieran Gilmore of Open House Festival acted as the NI Partner, organizer, manager, administrator, advisor and trouble-shooter. He was totally efficient, totally reliable and on many occasions I had to call him at times which were not exactly convenient to him. He always had a kind word and an amazing ability to sort things out no matter what the problem. PH

REPORTS FROM NI Partner Kieran Gilmore Open House Festival Of all the venues in Washington the Library of Congress is by far the most prestigious. Having a selection of traditional artists participating in a programme of showcase lunchtime concerts, as part of the overall Rediscover Northern Ireland project, was, in short, a significant achievement

The programme was delivered as planned, with all stated targets being achieved. This includes delivery of the actual series of events, numbers of people attending events, and adherence to the original budget.

There were significant benefits which can be identified as follows:

⋅ The concerts provided a focus and an identifiable ‘product’ for the whole Rediscover Northern Ireland project

⋅ The concerts placed the traditional arts firmly at the centre of the Rediscover Northern Ireland project

⋅ helped elevate the traditional arts in Northern Ireland to an international and prestigious level, giving a major boost to the sector

⋅ showed Northern Ireland in a positive and artistic light to an informed and influential audience

⋅ the breadth and depth of the programme reflected the dynamism and diversity of the traditional arts within such a small geographical area as Northern Ireland

⋅ Individual artists gained invaluable experience and exposure in working with DCAL and the esteemed Library of Congress – it will act as a measure of their professionalism and the quality of their performance skills in the future

⋅ The project was a source of considerable pride for the Open House Festival – it was a prestigious international event that we were delighted to be involved with

417 ⋅ The project provided opportunities for the Open House Festival in terms of relationship building with important organisations like the Arts Council of NI, DCAL and the Library of Congress.

⋅ The project provided an opportunity for Open House Festival to show our strengths in terms of organisational ability and budgetary management and working knowledge of the traditional arts sector.

Dr.John Moulden and Steve Winnick (LoC)

Dr.John Moulden, Lecturer

1. How did you feel you impacted on the audiences? There was evident positive reaction during the talk and similarly at the end, especially to performance. It was possible to explain, in terms to which Americans could relate, elements of the NI cultural mix, the difficulties this produces and how they are being addressed. Jennifer Cutting, with whom I stayed, commented on the ‘rapt attention’ paid to my talk by the audience, on the quality of the illustrations and the focus provided by my performances.

2. How did the event/project impact on you as an artist? I felt that my position as an ‘authority’ was more accepted and enhanced as a result; it was significantly self-affirming. It is important, to me and my reputation, that the lecture has been preserved and made accessible as a web-cast. Similarly, the oral history recording indicated that the Folk-life Centre valued me enough to seek an account of my experience and philosophy. I also made or cemented many relationships with researchers in my field.

418 3. What was your experience of the logistical and administrative processes associated with the event/project – both in Washington and in Northern Ireland? Were there any lessons to be learnt? There was extremely effective advertising of the events in DC, involving all kinds of media, the AFC staff were more than impressed with audience numbers – apparently mine attracted the biggest audience for any similar event they had sponsored and the biggest for any of the lectures organised for Rediscover Northern Ireland. The efficiency and good manners of all concerned in the administration was a pleasure. Kieran Gilmore was effective and self-effacing. The only criticism I would level is, that certain types of expense had not been allowed in the original estimate and, although incurred and reasonable, had to be disallowed for payment on budgetary grounds; it might have been more satisfactory to have disallowed them and reconsidered the matter when it became clear whether the budget would allow them to be paid as a supplement.

Jennifer Cutting (LoC), Gary Hastings and Brian Mullen

Gary Hastings 1. How did you feel you impacted on the audiences? We were warmly received by the audience, who enjoyed our presentations and performance and asked questions afterwards, as well as coming up and talking to us. 2. How did the event/project impact on you as an artist? I found the whole experience very interesting, and was intrigued to be shown round the bowels of the Lib of Cong. Which was built like Belfast City Hall on steroids. The simile was not appreciated there, though. We were very kindly treated and well welcomed. 3. What was your experience of the logistical and administrative processes associated with the event/project – both in Washington and in Northern Ireland? Were there any

419 lessons to be learnt? Very impressed with the organisation of it all on our own side of the pond, and the human face of the entire business. Well looked after, lots of advice and help before going, Philip very kind, welcoming and helpful when we got there. All the people we worked with had a sense of humour. Sadly lacking in most walks of life.

Brian Mullen 1. How did you feel you impacted on the audiences? Our presentation seemed to go very well with the audience laughing in the right places, joining in the singing and asking sensible questions afterwards. All handouts that were sent were printed and handed out and the audiomen worked very closely with us to ensure a very smooth production. 2. How did the event/project impact on you as an artist? We enjoyed ourselves and it was great to see around the Library and the Institute and to be interviewed for the archive was a boost to a sometimes fragile self-esteem. It’s always inspiring to talk to people who are on the same wavelength as you and perhaps the contacts we made will mean that more musicians and singers from here will get a chance to go and perform in the USA (and maybe we’ll be invited back again as well).

3. What was your experience of the logistical and administrative processes associated with the event/project – both in Washington and in Northern Ireland? Were there any lessons to be learnt? We were looked after royally in America both by the people from the Library of Congress and the Smithsonian as well as by Philip. We were ferried about to and from engagements and the hospitality was liberal and very much appreciated. Having our waiter sing extracts from Italian opera to us at our meal was an unexpected bonus. Everything went very smoothly which usually means that a great deal of work took place behind the scenes. Even before we left for America, on this side of the water, both Philip and Keiran Gilmore sorted things effortlessly and quickly and took all the anxiety out of the experience.

Here’s to the next time.

The McPeakes on stage at the Coolidge Auditorium

420

REPORT FROM American Folklife Center, Library of Congress Margaret Kruesi, Point of Contact, Northern Ireland Programme, American Folklife Center Stephen Winick, Writer/Editor, American Folklife Center

First of all, we were delighted by the quality of the performances in the Northern Ireland traditional music series. Each performer was enormously talented, professional, knowledgeable, and entertaining. The American Folklife Center staff made a special effort to target the Irish traditional music and also Gaelic-language listservs in this area to develop the audience for these events, and this outreach was successful. Each of these events had a considerably larger attendance, (between 150 and 300 people at each concert) than we normally have for noontime events at the Library. The two events held in the Mumford Room--Dr. John Moulden, and Gary Hastings and Brian Mullen--were at close to capacity for that room, and the audiences were very pleased to have lecturers who beautifully performed the music they were discussing.

Moulden’s talk on May 2 served to highlight one of the Library’s most important collections relating to the traditional music of Northern Ireland. In 1942, collector Sam Henry donated a complete copy of his manuscript Songs of the People: The Ancient Music of Ireland, containing 836 folksongs that Henry had published in newspaper columns in Coleraine, Northern Ireland— then, as now, the largest collection of Irish songs ever to be published. The manuscript contains words and notation in tonic sol-fa, a form of music notation that uses the characters on an ordinary typewriter keyboard. The acquisition was negotiated by Alan Lomax, then the assistant-in-charge of the Archive of Folk Song in the Library’s Music Division. (The Archive was incorporated into the American Folklife Center in 1977, but the manuscript remained behind, and now belongs to the Music Division.) Moulden’s entertaining talk explained Henry’s background, his field methods, and his approach to collecting. Moulden also touched on the politics involved in donating a manuscript to the Library in those days. Henry was worried about the consequences of such a donation upon his own rights to publish the material in a book, but he had a powerful protector in American folklorist Helen Hartness Flanders, the wife of U.S. Senator Ralph Flanders of Vermont. Luckily, Henry and Lomax were able to settle the deal, resulting in a treasure trove of Irish songs being available here at Library forty years before they were finally published in book form, in 1978. Moulden also surprised the audience with his a cappella renditions of two songs from the collection.

More unaccompanied singing graced the series the following week, when Rosie Stewart gave a concert in the Coolidge Auditorium on May 9. Stewart is from Belcoo, County Fermanagh, and is among the most distinguished Irish traditional singers. In her concert, Stewart sang several local songs that served as a tribute to her father, Packie McKeaney; McKeaney had passed away only two months before Stewart’s visit to Washington. Stewart, whose concert consisted entirely of unaccompanied singing, thrilled listeners with a combination of fascinating historical songs and lighter, more amusing fare.

421

The former included ballads that derive from the Napoleonic Wars, such as “The King’s Shilling” and “Banks of the Nile,” as well as others that detail the struggles that Irish people had integrating into British and American society, including “Do Me Justice.” Her humorous songs, including older pieces, such as “The Rollicking Boys Around Tanderagee,” and modern compositions such as “The Errant Apprentice,” kept the audience entertained, as did the stories of her life in Northern Ireland that she told between songs.

The May 16 concert in the Coolidge Auditorium featured the McPeake Family, a family band that has been well known in Irish music circles for over eighty years. During the British and Irish folk revival of the 1950s and 1960s, the McPeake Family was an important part of the scene, and their song “Will Ye Go, Lassie, Go,” adapted by family patriarch Francis McPeake I from a traditional song of Scottish origin, was a mainstay of the revival. These days, the family is involved primarily in teaching Irish music at the Francis McPeake School of Music in Belfast. The group that performed at the Library included Francis McPeake III and his son Francis McPeake IV, along with fiddler Mairéad Forde and accordion player Sean O’Kane, faculty members at the school. Both McPeakes sang and played uilleann pipes, the very complex bagpipe typical of Irish traditional music. In addition, Francis III played tenor banjo and Francis IV played tin whistle. They entertained the large Coolidge Auditorium audience with a set of traditional tunes ranging from jigs, reels and hornpipes to laments such as “The Battle of Aughrim,” and to several songs such as “Fair and Tender Ladies” and, of course, “Will Ye Go, Lassie, Go.” During the concert, AFC also treated the McPeakes and the audience to a special film screening: two songs, performed by the McPeakes at their home in Belfast in 1964, and captured on film by Pete and Toshi Seeger. The footage is now part of the Pete and Toshi Seeger Film Collection, acquired by the American Folklife Center in 2003.

Robert Watt, one of the best young pipers in the world, who comes from the Northern Ireland town of Maghera, Co. Derry, was featured in the Coolidge Auditorium on May 23. Dressed in full Highland regalia, including kilt and sporran (but without the sgian dubh, or ceremonial dagger, which would have been deemed a security risk on Capitol Hill!), Watt took the stage for a rousing series of marches, jigs, reels and strathspeys. Since the pipes are primarily used in military bands and for dance tunes, this is the typical music of the pipes. But Watt also played some of the less typical and more difficult music associated with the instrument, known as Piobaireachd, a form of classical pipe music, providing the audience a glimpse of one of the more unusual traditions in Celtic music. Watt was joined on stage by Daithi Sproule, a singer and guitarist from Derry city, who has been living in the U.S. for many years and performs with the well-known band, Altan. The combination of gentle ballads and martial bagpipes proved very popular with the audience, who were delighted with the concert. Robert Watt is featured on the cover of the most recent issue of American Folklife Center News.

422

The final event of the series on May 29 in the Mumford Room was a dual lecture and performance by two scholars and musicians who are also longtime friends. The fact that Brian Mullen is a Catholic from Derry, and that Gary Hastings is a Protestant from Belfast (and indeed an Anglican priest), has not prevented them from maintaining their friendship since college, or from speaking about the culture that unites both sides of the well-known Catholic/Protestant divide in Northern Ireland. Hastings discussed the tradition of the Lambeg Drum, a very large bass drum typically played by Protestant groups when marching through Catholic neighborhoods, intimidating the local residents with the sheer volume of their sound. Hastings showed that the drum has precedents in both Catholic and Protestant communities, and that it developed out of fife-and-drum bands that played folk tunes without denominational associations. Mullen spoke about the tradition of “Orange Songs,” songs that express the Protestant point of view, extolling Protestant heroes and ridiculing Catholic belief and practice. Despite their divisive subject matter, Mullen showed that these songs used characteristically Irish verse forms and music— the same types shared by Catholic rebel songs and other Irish folksongs. The point being made by both speakers was that underneath the divisions in Northern Ireland, the population, whether Protestant or Catholic, shared a rich common stock of cultural practices. While these practices have been used to divide communities, they can just as easily, perhaps more easily, be used to unite them. It was an excellent message with which to end the series.

All of these performers were interviewed on digital video for the Archive of the American Folklife Center by Philip Hammond, and by AFC staff Steve Winick and Maggie Kruesi. These interviews document the performers’ life stories, and provide additional information about their instruments and vocal styles. In the case of Robert Watt, the interview includes information on the significance of the traditional dress of a bagpiper. Along with the recordings of the concerts, these interviews will be permanently archived in the collections of the American Folklife Center. The concerts will also be available as webcasts on the Library of Congress website, further enhancing the value of these programs in making the cultural traditions of Northern Ireland more widely known in the future.

423

Rosie Stewart in the Coolidge Auditorium

These programs were very successful in promoting a positive image of Northern Ireland in the United States. This was due in part to the fact that it was conceived of as a series, with one program each week over a five-week period. Many people made an effort to attend all of these events, and some came as far away as Philadelphia. In the U.S. there is a large following for Irish music and culture, and this audience was interested to learn more about performers from Northern Ireland. An example is a note we received afterwards from a member of the local Comhaltas Ceoltoiri Eireann: “Great job on the Northern Ireland program.

It felt wonderful to see NI get the exposure they need.” There is an increasing interest in the United States in the history, genealogy, and folklife of the so-called “Scots Irish,” the source of much of U.S. Appalachian culture; but this series of performances really focused on contemporary performances of traditional music, and the issue of a separate ethnic identity for people from Northern Ireland was and is not greatly important here. Most people just want to hear great music and learn more about the performers’ traditions.

424 It was valuable to present classical, contemporary, and traditional music from Northern Ireland at the Library, as there is an overlapping audience for this music. The complimentary CDs of music produced by DCALNI were appreciated by the audiences, and the attractive program booklet for the entire series, which was produced and printed by DCALNI and the Arts Council of Northern Ireland, helped to bring back the audiences for the following week’s performance. In addition, the American Folklife Center produced a detailed program flyer for each event, and publicized the series throughout the Library and to the broader Irish music community. The Rediscover Northern Ireland website was linked to the AFC’s Library of Congress website, and the broader message about new developments in the arts and modernization in Northern Ireland came through this connection. The only criticism of the Rediscover Northern Ireland website that we had was that the six individual events at the Library of Congress in May 2007 were not promoted as individual concerts or lectures on the RNI site, so that it was difficult to locate which event was occurring on which date.

As the coordinator for these events, I was excited to meet, mostly through Philip Hammond, the people working on the other Northern Ireland programs throughout DC, in theaters, art galleries, poetry readings, and at other performances. These connections will be particularly valuable for building potential programs in the future and are an important outcome of this program. The American Folklife Center already has a close relationship with the staff at the Smithsonian Institution’s Center for Folklife and Cultural Heritage, which produced “Northern Ireland at the Smithsonian” on the National Mall. Because of our involvement with the earlier programs that were produced at the Library, our staff was able to fully appreciate the performances at the Smithsonian Folklife Festival, and make additional contacts with the performers there. For example, Jim Ledwith of the Aughakillymaude Community Mummers, who performed at the Smithsonian Festival, gave us a copy of his article on straw costume in the history of mumming, which was added to the research files in the American Folklife Center. Lastly, Nancy Groce, Program Curator for “Northern Ireland at the Smithsonian,” has just joined the staff here at the American Folklife Center. Nancy and our director, Dr. Peggy Bulger, and I will meet to follow up on ideas for future cooperative programs with Northern Ireland that build on the considerable successes of 2007.

We would like to thank Philip Hammond, Mick Cory, Ryan Williams, Kieran Gilmore and our Library of Congress team: Thea Austen, Jennifer Cutting, Joanne Rasi, Guha Shankar, David Taylor, Jonathan Gold, Stephen Winick, and recording engineers John Regan, Mike Turpin and Brad McCoy, for making these events an unqualified success. We look forward to working with you in the future. Margaret Kruesi, Point of Contact, Northern Ireland Programme, American Folklife Center Stephen Winick, Writer/Editor, American Folklife Center

425