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Written evidence from the Incorporated Society of Musicians (OLL 08)
Short Summary
· The Incorporated Society of Musicians (ISM) is a professional association taking part in the Cultural Olympiad, with over 5000 members and over 100 organisations as corporate members. [Part 1]
· We are responding to the House of Commons Culture Media and Sport Committee ('the Committee') on the issue of securing a lasting Olympics Legacy ('the Legacy') of the London 2012 Olympic Games ('the Games') that improves cultural life and we believe that an effective Legacy should benefit the following [Part 2]:
o Music education o Music technology o Cultural activity
· We wish to maximise the opportunities engaging with music at all levels through encouraging:
o Effective coordination of opportunities [Part 3] o More funding of the Cultural Olympiad [Part 4] o A change in government policy on radio microphones bandwidth [Part 5] 1. About the Incorporated Society of Musicians
1.1 The Incorporated Society of Musicians welcomes the opportunity to provide a written submission to the Committee to assist its inquiry into the Legacy of the Games.
1.2 We welcome the decision of the Committee to include the Cultural Olympiad in its assessment of the Legacy and the opportunity to put forward the views of our members who are all professional musicians.
1.3 The ISM is the UK's professional body for musicians. We were founded in 1882 and are a wholly independent non-profit-making organisation with over 5000 members.
1.4 The ISM has over 100 corporate members. Our membership includes the Association of British Orchestras (ABO), the Associated Board of the Royal Schools of Music (ABRSM) and a large number of music associations, conservatoires and orchestras.
1.5 Without political interference or financial imperatives we express robust and authoritative views which champion both music and musicians. Our members come from all branches of the profession - performers, composers, teachers, music therapists, academics and advisers.
1.6 We serve the whole of the music profession through our responsive staff team, many of whom trained as musicians. As well as providing a wide range of services to our members we also fulfil an advocacy role, promoting the art of music. We have been highlighting concerns of members and advising parliament and government since our founding date.
1.7 The ISM is particularly keen to respond to the point of inquiry focussing on the aim of leaving a lasting Legacy that improves cultural life.
1.8 We are part of the Cultural Olympiad and will be funding new works as part of the Performing Rights Society's (PRS) Foundation for New Music's 'New Music 20x12' project (20x12).
1.8.1 The aim of the 20x12 project is to commission twenty, twelve-minute works which will be performed throughout the UK as part of the Cultural Olympiad in 2012.
1.8.2 The aims of this project in relation to the Legacy will be as follows:
· excellent repertoire which will be performed long after the Olympics · online documentation of all performances and project activity · a vibrant network of composers, performers, music organisations, funders and patrons who will engage with and celebrate the creative process, learning and outcomes of this programme · an increased profile both for new music across the UK and for the emerging composers involved · a sustainable platform for touring and co-commissioning · a patrons circle willing to consider continued involvement in partnerships which enable new music to flourish and grow.
1.9 Our participation in the Cultural Olympiad, membership, and corporate membership give us unique insights into operation of the Cultural Olympiad and the progress towards creating a lasting Legacy that improves cultural life.
2. Recommended aims of the Cultural Olympiad
2.1 The Cultural Olympiad is an opportunity to create a Legacy which will have cultural, educational and technological benefits with increased attendance at and participation in music activities. This should be a sustained increase and should be measurable beyond 2012.
2.2 We would like to see an increase in those learning and participating in music through the early and school years, adulthood and the third age. This includes sustained increases in the number of people gaining music and music technology qualifications at Key Stage 4 (GCSE) level and at further and higher education levels as well as in concert-going and formal or informal music participation.
2.3 We also believe that investment in music technology must form a central part of the Cultural Olympiad. Music technology provides an opportunity to share the Cultural Olympiad across the regions of the UK outside London. In addition, appropriate use of music technology could also create opportunities for wealth creation and workforce development.
2.3.1 The UK is a world leader in music and music is central to the economic contribution of the creative sector.
2.3.1.1 Creative industries grow at least 1 per cent more than the rest of the economy[1]. Music grew by 4.7 per cent from 2007 to 2008 [2].
2.3.1.2 Creative industries more than double our investment. The contribution of music to the UK economy reached well over £3.5 billion with the arts estimated to put over £2 back into the economy for every £1 invested [2]. Over 120,000 people are employed in music [1]. In addition, consumers spent over £4 billion on music in 2000 [2].
2.3.2 Music education and effective teaching of music technology are vital to the continuing world leadership of the UK in music. The UK currently lacks the capability to take full advantage of music technology even though music technology has the ability to motivate pupils [3]. The Cultural Olympiad gives an opportunity to put music technology at the centre of Continuing Professional Development. We believe that there is an opportunity to create Cultural Olympiad music technology teachers, available to every local authority and able to provide training and continuing professional development to the current music teacher workforce.
2.3.3 To guarantee access to music technology for all ages local music technology centres could also be created. These could operate as local learning exchanges which could also be used by schools, community musicians, adult educators and any other music groups.
2.3.4 The ISM believes that the Legacy must benefit areas beyond the five Olympic Boroughs, and music technology provides just such an opportunity to have a wider impact. 2.3.4.1 The example set by the London Symphony Orchestra's LSO Discovery programme includes projects using video conferencing connect schools and communities across the UK and abroad in live demonstrations [5].
2.4 Coordinating lifelong learning, education, the Cultural Olympiad and the use of music technology could create an exciting, measurable legacy for years to come and should be at the centre of an effective Cultural Olympiad. The creative industries already contribute significantly to the UK economy, but to sustain this, we believe that the Cultural Olympiad must not miss the opportunity to train the workforce of tomorrow.
3. Concerns on leadership
3.1 The respected broadcaster and composer Michael Berkeley in November 2009, said that the Cultural Olympiad at that point had been 'complete and utter shambles' [6].
3.1.1 Berkeley has
also suggested that 'planning and commissioning should have started two years
ago with proper funding' in order to allow performers and composers longer to
provide works. 3.2 Former chair of the Arts Council, Christopher Frayling, has raised the concern that there are 'too many front doors' to the Cultural Olympiad.
3.2.1 The number of apparent funding gateways is too high. There are at least three apparent funding gateways on top of the sponsorship for arts activities.
· Arts Council England are providing £5.4 million for twelve commissions of up to £500,000 to create 12 new works of art across the country; one in each of the nine English regions, and in the nations of Scotland, Wales and Northern Ireland.[7] · The Olympic Lottery Distributor announced a £16 million grant towards the Cultural Olympiad to fund six of major cultural projects.[8] · London 2012 has an apparent funding gateway set up to encourage involvement in the Cultural Olympiad.[9]
3.2.2 We have heard from our corporate membership, including leading conservatoires, of difficulties in engaging with the Cultural Olympiad. This chiefly relates to a lack of a single clear funding gateway or access point to take part in the Cultural Olympiad.
3.3 Tony Hall, Chief Executive of the Royal Opera House has now been appointed as Chair of the Cultural Olympiad Board.[8]
3.3.1 Michael Berkeley's own comments were 'If anyone can pull rabbits out of hats it is probably Tony Hall, lately appointed to fire fight and pull something together.'
3.3.2 Tony Hall recently announced an additional £16 million of funding for the Cultural Olympiad up to 2012. It should be noted that this is a tiny fraction of the already funded £747 million from the Olympic Lottery Distributor and £1,835 million as an eventual target.
3.4 Whilst we welcome the appointment of Tony Hall, there is still a great deal of confusion surrounding various funding streams. Our corporate membership is informing us that the lack of coordination is continuing and they are struggling to get involved.
4. Funding the Cultural Olympiad
4.1 A report from Arts Quarter LLP [10] highlights the concerns of some members of the cultural community (the summary of findings is taken from the report): 4.1.1 Among theatre community respondents, some 62% felt that the Games may impact negatively on their fundraising capacities - clearly at a time when they might hope to see some degree of recovery. Among other arts sector respondent groups, 60% were of the same view.
4.1.2 Looking regionally - 18% of all respondents based in London felt that the Games would have a positive impact on their fund-raising, with some 47% undecided at this time. Among respondents based outside of London, 4% felt that the Games would impact positively on their fund-raising with 57% undecided.
4.1.3 On earned income however, 39% of London-based respondents felt that the Games would have a positive affect with 26% undecided but just 8% of out-of-London respondents foresaw the potential for gains with 45% undecided.
4.2 The ISM is concerned that funding could potentially be diverted away from music projects in the build up to the Games (3.1.1). This will have a negative impact on music and musicians and will harm the prospects of a lasting positive cultural Legacy to the Olympics as a whole.
4.3 We are concerned that funding could be moved from cultural projects by the Olympic Lottery Distributor or London 2012 certain amount of funding should also be ring-fenced for the Cultural Olympiad. This should also not draw away from other already-existing music funding.
4.4 Whilst we do welcome the possible income benefits from visitors to the localities where the games are taking place, we are nevertheless concerned that the sustainability of such funding is limited and suggest that this would not result in a lasting Legacy.
5. Radio microphone concerns
5.1 We would also like to use this opportunity to highlight the importance of the programme making and special events (PMSE) sector to a successful Games, and continuing Legacy.
5.2 The campaign group Save Our Sound UK (SOS UK) [11] is concerned about the sale of radio frequencies that radio microphones (radio mics) rely on. They have highlighted the costs of replacing equipment.
5.3 If current proposals are implemented, all productions and businesses that depend on the use of these technologies will be under threat, from the freelance sound engineer to the Games, because of the way that the UK's pool of equipment is held and supplied.
5.4 SOS UK have warned that live music, newsgathering, musical theatre and other events are likely to become impossible to stage. Companies face insolvency, individuals bankruptcy and employees redundancy. The UK's balance of payments will be severely affected, and charitable and community organisations will have to divert funds from core services to cope with purchasing new equipment.
5.5 The Olympic ceremonies may need as many as 350 radio mics, which will not be possible under the new system.
5.5.1 This could also have an adverse impact on events for the deaf and hard of hearing. Access for all is a vital element of the Olympics.
5.5.2 The emphasis placed by the Olympic Lottery Distributor on deaf and disabled artists having access to funding around the Olympics highlights the importance of this issue for a section of Cultural Olympiad artists.
5.6 The campaign is supported by a significant number of arts and sports related organizations including: BEIRG - British Entertainment Industry Radio Group, PFA - Professional Footballers Association, RSC - Royal Shakespeare Company, and SOLT - Society Of London Theatres.
6. Recommendations
6.1 We recommend that a proportion available funding should be ring-fenced for the Cultural Olympiad now.
6.2 To guarantee this ring-fencing and resolve the concerns over coordination of funding, we recommend that one organisation be given the task of awarding Cultural Olympiad funding and approving the use of the Inspire Mark.
6.2.1 Our preferred 'single' distributor are the Arts Councils of the nations. This is for two reasons: Firstly, it will ensure ring-fence funding for the Cultural Olympiad and will avoid the use of resources to assist in the delivery of the Games. Secondly, it is already established as a distributor and is already in use by musicians. The creation of a single gateway for accessing funding is crucial in securing a lasting Legacy.
6.2.2 This distributor should continue funding programmes beyond 2012.
6.3 Funding for the Games must not come from this ring-fenced funding and should also not come from other existing arts projects.
6.4 Any measure of financial Legacy must continue with an assessment of the impact beyond 2012.
6.5 We recommend that music education projects including music technology are prioritised for additional funding by the Arts Councils and other distributors of Cultural Olympiad funding.
6.6 The ISM recommends a review of the current government approach to the selling of radio mic wavelengths. This would avoid small arts organisations closing, deaf and disabled artists suffering and protect large scale events and would contribute towards a positive cultural Legacy.
7. Conclusion
7.1 The ISM welcomes this inquiry and the opportunity to submit evidence to the Committee. We look forward to reading the upcoming report.
January 2010
Footnotes: [1] From the January 2009 Department for Culture, Media and Sport Statistical Bulletin: http://www.culture.gov.uk/images/research/Creative_Industries_Economic_Estimates_Jan_09.pdf [2] Performing Rights Society (PRS) report 'Economic Insight' (20 July 2009): http://www.prsformusic.com/creators/news/research/Documents/Will%20Page%20and%20Chris%20Carey%20(2009)%20Adding%20Up%20The%20Music%20Industry%20for%202008.pdf [3] Daubney, A. & Marshall, N. (2008). Developing reflecting learning in a virtual world. Primary Music Today. 38, 25-27. [4] Ofsted. Making more of musicAn evaluation of music in schools 2005/08: February 2009: http://www.ofsted.gov.uk/content/download/8937/96944/file/Making%20more%20of%20music.doc [5] The LSO Discovery programme: http://lso.co.uk/aboutus/aboutlsodiscovery [6] Michael Berkeley's speech to the Paul Hamlyn Foundation, 10 November 2009: http://www.phf.org.uk/news.asp?id=616&year=2009&pageno [7] Arts Council England, 20 March 2009: http://www.artscouncil.org.uk/news/artists-take-the-lead-in-cultural-olympiad [8] Creative and Cultural Sector Skills Council, July 15 2009: Details on the appointment of Tony Hall and the extra £16 million funding: http://www.ccskills.org.uk/Pressevents/Pressreleasearchive/London2012welcomes16millionNationalLottery/tabid/667/Default.aspx [9] The London 2012 website has an apparent gateway for applying to secure funding under the Cultural Olympiad: http://www.london2012.com/get-involved/cultural-olympiad/becoming-part-of-the-cultural-olympiad/creative-programmers-contact.php [10] Arts Quarter LLP, 2nd Recession Impacts Report, 9 November 2009: http://www.artsquarter.co.uk/news.html [11] Save Our Sound UK, 10 November 2009: http://saveoursound.wordpress.com
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