A Soundtrack FOR SCOTTISH TOURISM The Scottish Arts Council and VisitScotland Traditional Music and Tourism Initiative 1999-2002
a soundtrack for scottish tourism a soundtrack for scottish tourism a soundtrack for sco The best musical night we have ever had on vacation anywhere. US visitor enjoying traditional music while on holiday in St Andrews A Soundtrack for Scottish Tourism The Scottish Arts Council and VisitScotland Traditional Music and Tourism Initiative 1999-2002 A report researched and compiled by Rob Stokes of Rockville Communications Contents Foreword 1 Background 2 National projects 4 Communicating the Initiative 5 Local demonstration projects 7 Analysis of key points 20 Food for thought 23 Checklist: learning points from projects 26 Conclusions 29 Acknowledgements 31 Cover: Clarsach player (photo: Fèisean nan Gaidheal); pub session (photo: VisitScotland); audience (photo: Antonia Reeve/SAC)
ttish tourism Scotland is rich in its traditional culture and natural talent; and also in its many other attractions, which make each area of the country a distinctive destination for visitors and tourists, from home and abroad. As tourism becomes an increasingly important part of our national economy, we must also recognise and develop the winning combination of authentic tradition and talent, and our desire to welcome visitors with a uniquely Scottish experience showcasing the excellence of our best cultural products. In piloting their Traditional Music and Tourism Initiative, VisitScotland and the Scottish Arts Council have proved the value of partnerships which first promote mutual understanding and awareness between organisations and then produce significant and far wider mutual advantage. The music that has flowed from the projects described in this report is the authentic voice of Scotland. The agencies and businesses which have been involved are part of an imaginative practical exercise which has demonstrated that Scottish traditional music is a unique attraction for an increasing number of discerning visitors. The Initiative has confirmed what pioneering work suggested and has begun to map one of several routes for tourism based on cultural activity that I feel sure many others will want to follow. I congratulate those who developed and organised this important Initiative and all who took part in the many events. Mike Watson MSP Minister for Tourism, Culture and Sport Foreword 1
a soundtrack for scottish tourism a soundtrack for scottish tourism a soundtrack for sco Background The Scottish Arts Council and VisitScotland s Traditional Music and Tourism Initiative is a landmark in the development of thinking and action on cultural tourism, already earmarked as a priority area for future efforts in tourism marketing and development. The Initiative has enabled a wide range of private and public partners to work together for the first time and to experiment across a diverse range of activities. Projects supported by the Initiative include concert series, informal music sessions in pubs and hotels, a promotional video, an award-winning scheme linking ferry passengers with live events at their destination and database research in Area Tourist Board (ATB) regions from Shetland down to Dumfries and Galloway and from the Uists across to Angus. Many projects have been partnerships between the Scottish Arts Council, VisitScotland, local authorities, Local Enterprise Companies (LECs), ATBs and their information centres, venues, promoters, musicians, as well as sponsors who have supported them in cash and in kind. While evaluation criteria were agreed for all projects, a light touch has been applied to support the energies of local promoters. The Initiative has worked with the grain of developments in Scotland s traditional music scene, which is as strong as most aficionados can recall in their lifetimes, with increasing attention from an array of public sector partners playing its part in this growth. Celtic Connections, supported by Glasgow City Council at the Glasgow Royal Concert Hall each January, already provides a notable urban example. The festival is a major event in the international music calendar and generates significant additional off-season tourism income for the city. Public funding has also been important in sustaining music promotions in sparsely populated and more infrequently visited rural and island areas, where the options for evening entertainment are more limited than in cities and towns. However, tourists have not always been able to find quality traditional music on tap during their holidays. So in 1999, Scottish Arts Council and VisitScotland, formerly the Scottish Tourist Board, considered an initiative to increase visitor access to traditional music. The aim of a working group established under the chairmanship of Dr James Hunter, then a board member of VisitScotland and now chairman of Highlands and Islands Enterprise, was: To raise the profile of traditional music within Scottish tourism and to ensure that visitors to Scotland have ready access to traditional music, thereby enforcing our musical heritage and culture, and realising the benefits for our local economy. A joint Scottish Arts Council/ VisitScotland fund was established to assist and stimulate projects which: 2
ttish tourism were designed to increase visitor knowledge, awareness of and access to traditional music involved or developed productive understanding and collaboration between the tourism sector and the traditional music sector involved an appropriate mix of musicians, event promoters, venues, ATBs, Tourist Information Centres (TICs) and other tourist organisations created new opportunities for activities to extend tourism and music promotion to mutual benefit. The Scottish Arts Council and VisitScotland acknowledged the importance of existing events such as Celtic Connections, traditional music summer schools and dozens of folk festivals, in attracting tourists, particularly those in the know. The Initiative wanted to explore how to guarantee a memorable holiday soundtrack to a broader range of visitors. The members of the working group - pathfinders for the Initiative - asked how musicians, promoters, venues and the tourism industry could make connections that might increase the quantity and regularity and enhance the quality of traditional music on offer and put it on a sustainable footing for the future. The aim was also to raise visitor and trade awareness of existing events and those created by the Initiative specifically to ensure, as far as possible, that holidaymakers on compressed schedules could be certain of finding traditional music in many areas of the country. The Scottish Arts Council and VisitScotland were mindful of the academic observation that tourism induces culture. In selecting projects to support, the Initiative has acknowledged that visitors like to feel they have happened upon a normal facet of life in Scotland, rather than bespoke entertainment. This approach is aligned with VisitScotland market research suggesting that today s tourists are more independent, more sophisticated, better educated and more demanding than their predecessors. Such visitors value authenticity. At its best, traditional music fits this bill as one of the truly unique assets that Scotland can offer as it seeks to differentiate itself in the world travel market. The Initiative has recognised this by committing 49,000 for demonstration projects alone, an approach akin to the seed or proof of concept funding that Scotland s enterprise bodies make available to entrepreneurs. A previous Scottish Arts Council/ VisitScotland report, Traditional Music and Tourism Initiative 1999-2000, produced in July 2000, outlined activities in the first year of the programme. This final report provides an overview of each project, and the evaluations and learning points gleaned from experience over three years. It provides a platform of knowledge and relationships to build upon. 3
National projects Readers are invited to approach it in a spirit of celebration for what has been achieved so far. There is no longer any argument about the benefits that traditional music and tourism can bring to each other. The greatest prize will be if the Initiative encourages others to yoke Scotland s rich seam of traditional music talent to an imaginative tourism industry to further both important causes. How the Initiative was undertaken An initial action plan for the Initiative set out clear objectives and specific national and local action points. Details of the action plan and first year pilot projects are included in the Initiative s July 2000 report available from VisitScotland s industry website, www.scotexchange.net The key findings and outcomes of the national action plan are covered in brief here for completeness and to set the stage for the local projects and their outcomes. Investigating experience elsewhere Initial work included investigating the development of links between tourism and traditional music elsewhere, the obvious example being the Republic of Ireland. A visit to Dublin to meet representatives of the Irish music and tourism industries revealed that long-term investment by the visitor trade had created a worldwide perception of Ireland as a hotbed of traditional music. Bord Fáilte, the Irish tourist board, recognises that traditional music is one of the top three reasons why visitors choose to holiday in Ireland. Licensees have invested in traditional music for so long that a wealth of high quality performances is available in pubs and bars. People do not need to go to concert halls to hear it. Publicans are confident about booking and paying for acts themselves, and some Irish session players do not mind accepting donations in the hat as a bonus. Word-of-mouth appears to be the main form of marketing in a country where there is considerable local awareness of what is on offer. Bord Fáilte supports a What s On guide that includes traditional music, but activity generally appears to be self-sustaining in many areas. Traditional music in Scotland listings Living Tradition magazine was contracted by the Scottish Arts Council and VisitScotland to produce three listings covering the main 1999 tourist season so that TIC staff could have comprehensive schedules from which to advise visitors. The information also went on a website. The contract was taken up after the first year by the Traditional Music and Song Association of Scotland (TMSA). It has provided hard copy listings for TICs, ATBs and TMSA s 1,000-plus members as well as maintaining a website version (www.tmsa.demon.co.uk/tmlistings. htm) that is accessed increasingly by visitors from the rest of the UK and abroad. The exercise has been valuable in pinpointing how to enhance the gathering and dissemination of information about events. 4
It has allowed the relevant parties to address these issues through improved practices and communication. Visitor perceptions of traditional music in Scotland Postal questionnaires were sent to 1,500 people on VisitScotland s databases who had shown interest in festivals, arts and traditional music. 26% responded, mainly 45- to 64- year-olds, 58% of them male. 26% lived in the south of England, 18% in Scotland, and 17% in Northeast England. Respondents were not generally members of folk clubs or other music associations. Traditional music was seen as a secondary reason for visiting Scotland. Scotland was nevertheless cited as second only to Ireland among a number of countries as the main place they would visit to hear traditional music. The Highlands and Islands and Edinburgh were seen as the main areas where traditional music takes place. Traditional music was classed variously as bagpipes (82%), pipe bands (66%) and ceilidh bands (59%). The findings need to be treated with caution as the sample was from people who had already expressed an interest in a Scottish holiday, and, in any case, Edinburgh and the Highlands and Islands are two favourite destinations. Training sessions At the Initiative s behest, the TMSA developed and delivered training modules for ATB and TIC staff. These contained detailed information on traditional music, instruments and regional styles as well as questions to test product knowledge. Promoters handbook A promoters handbook has been commissioned from the TMSA to communicate best practice to wouldbe promoters and to provide them with contacts and other resources they may need to mount successful traditional music events, with special reference to maximising tourist interest. The book is currently in preparation. A series of seminars and media events have been arranged to keep participants and the wider public abreast of developments under the Initiative: November 1999 A seminar was held in November 1999 in Inverness to promote and raise awareness of the importance of increasing visitor access to traditional music to agencies that could support local projects. The audience brought together ATBs, LECs and local authorities with the traditional music industry. The seminar was extensively covered on radio and in the press. Full details and the speakers and guest list are included in the Initiative s July 2000 report. August 2000 A media event was held at Denholm in the Scottish Borders to unveil funding and projects for the second year of the Initiative. Rhona Brankin, then Communicating the Initiative 5
Deputy Minister for Culture and Sport, remarked on how close co-operation between the Scottish Arts Council and VisitScotland had borne fruit in the Initiative. Their vision and activities are well in tune with the objectives of our National Cultural Strategy, she said. The Scottish Arts Council s then Director, Tessa Jackson, described traditional music as one of Scotland s best assets. Scottish Borders traditional musician, Malcolm McEwan said: The concept of trying to get visitors in to listen to the music is very rewarding for musicians. There is a real need for TICs to share information on music events so that tourists know what s on. This initiative will help to do that. The John Wright Band and an array of local musicians entertained at the event held in a well-known local inn. Media coverage included prime time national television. August 2001 Allan Wilson, MSP, then Deputy Minister for Sport, the Arts and Culture, launched Dumfries and Galloway s traditional music sessions programme under the area s More Music Live! brand at Ecclefechan. The Minister paid tribute to the local project and the wider Initiative and flagged up the important role that traditional music could play in selling the country to visitors. He said that Scotland might not always be able to sell itself on sunshine but could focus on quality. Visitors were discerning, recognised good when they saw it, and good meant authentic. Traditional music could provide that authenticity, he concluded. Cultural tourism had been identified as a key niche to be exploited. Tessa Jackson stressed how the Initiative s pioneering partnership approach showed how things could be achieved when different worlds meet each other. The event, also attended by Michael Cantlay, Deputy Chairman of VisitScotland, and at which local musicians played and sang, attracted widespread and positive newspaper, radio and television attention locally and nationally. February 2002 A roadshow of seminars in Inverness, Lerwick, Dundee, Glasgow and Moffat has been planned for February 2002 to communicate the outcomes of the Initiative, with the aim of encouraging other partnerships and projects. The target audiences include public organisations, the tourism trade, the music business and others with the potential to play a role in furthering cultural tourism. 6
Local demonstration projects On the advice of the steering group, the Scottish Arts Council and VisitScotland agreed to provide funding to stimulate pilot projects. Nineteen projects in 11 areas were supported over the three-year period of the Initiative. Criteria for eligibility, and the maximum sum available for any individual project, were adjusted in light of experience and shifting priorities as the Initiative progressed. In the first year, 1998, all 14 tourist boards were invited to apply for funding for local projects which could evaluate traditional music as a means of encouraging visitors to either visit or stay longer in the area. Six ATBs submitted projects and one asked a LEC to lead on the project. In the third year, fewer but larger individual grants were awarded to rural and island areas. In these locations, the impact of even modest sums has had a dramatic impact in enhancing entertainment for visitors and making traditional music available to them. With an eye on sustainability, applications were also invited from individual promoters who could demonstrate the involvement of ATBs or other appropriate partner organisations. Overviews of the local projects, their objectives and outcomes are reported in the following pages. An analysis of key points follows before conclusions are drawn, key learning points checklisted and ideas for the future outlined. In the second year, nine applications were approved from lead bodies including a LEC, ATBs and arts associations and trusts. 7
a soundtrack for scottish tourism a soundtrack for scottish tourism a soundtrack for sco Angus The old songs made the hairs on my neck stand up. Brilliant. I m proud to be Scottish. Scots visitor at a session in an Angus hotel Partners: Angus Council (1999 and 2000), Angus and Dundee Tourist Board (1999 and 2000), Scottish Enterprise Tayside (2000) and Scottish Arts Council/VisitScotland (1999 and 2000). Objectives: To improve visitor access to traditional music in Angus, encourage longer stays and boost the number of traditional music performances and attendance figures. Projects: A researcher was employed for two months in 1999 to produce an Angus database of venues, artists, archives, instrument makers, sessions, music publishers, festivals etc. This is to be updated regularly and is accessible to the tourism trade. In October and November 2000, 18 free events branded as the Angus Folk Sessions under the Angus Traditional Music Initiative were supported at six hotels and pubs in Monifieth, Kirriemuir, Carnoustie, Forfar, Brechin and Letham in a high-quality programme organised by an external contractor with knowledge of local traditions and musicians. Montrose Folk Club s five acts over the period were included in the publicity, and pub and hotel sessions were scheduled to avoid clashing with existing events. This ensured that traditional music was available in the area on many nights of the week over the two months. Sessions were seeded, ie guaranteed, by paying two performers to lead the sessions and to arrange for other guest artists to attend and invite participation from listeners. Venue proprietors and managers contributed hospitality and refreshments for artists. Evaluation questionnaires were used. Outcomes: The Traditional Music in Angus directory was published in July 2000 and made available to the public free of charge through Angus libraries and Angus and Dundee Tourist Board sites. Copies were sent to Angus and Dundee Tourist Board members and to all contributors. The sessions prompted the return of more than 100 completed evaluation questionnaires. All respondents said it was likely they would attend a traditional music event in Angus again. More than 90% considered the quality good or excellent. Only 15% were visitors, but having trialled the project in the shoulder months of a poor year for tourism, participants gained the confidence from local reaction to repeat the Angus Folk Sessions in summer 2001. One of the six venues from 2000 also decided to run fortnightly traditional music sessions under its own steam. Contact: Colin Smith, Angus and Dundee Tourist Board, 21 Castle Street, Dundee DD1 3AA Tel: 01382 527540, e-mail: colin.smith@angusanddundee.co.uk 8
ttish tourism We re delighted. We ve seen a modest rise in audiences despite falling visitor numbers in the area. Argyll, the Isles, Loch Lomond, Stirling & Trossachs Tourist Board Partners: Argyll, the Isles, Loch Lomond, Stirling and Trossachs Tourist Board, local traders, Scottish Arts Council/VisitScotland. Objectives: To raise audience numbers for the Traditional Music in the Trossachs programme at the Rob Roy Centre in Callander during summer 2000. Projects: The Rob Roy Centre, which increases the choice of summer entertainment for locals and visitors, was attracting only a fraction of visitors to the area to its summer performances of Scottish music from local performers. It relied on on-site advertising and leaflets in local shops, but needed to reach the tourism trade through pre-event marketing. Initiative funding was used to provide Callander s 55 accommodation providers and the ATB s 27 TICs with promotional posters and leaflets. To raise awareness further among the trade, an open evening was held so accommodation providers could sample the forthcoming entertainment. Questionnaires were also distributed to audiences, expected to total around 700 over 11 shows. It was the first time that formal research had been conducted into the make-up of customers at the venue. Outcomes: The ATB s Director of Customer Services said a modest rise in audience numbers had resulted - at a time when visitor numbers to Scotland and the Callander area had been falling. 78% of 233 respondents to the questionnaire rated the event they attended as excellent or very good, a proportion rising to 92% when good was included. 90% rated value for money as good to excellent. The ATB established a baseline for future measurements by discovering that 62% of its audience came from outside Scotland, with 36% coming from the rest of the UK. It has been able to build on this and other marketing information in its 2001 programme. Contact: David Wyles, Argyll, the Isles, Loch Lomond, Stirling and Trossachs Tourist Board, Old Town Jail, St John s Street, Stirling FK8 1EA Tel: 01786 445222 e-mail: info@scottish.heartlands.org This fantastic investment of relatively little money has produced many tangible benefits and myriad spin-offs which have greatly improved the quality of the Arran experience for many, many people. Dónal Boyle, Arran Sessions Co-ordinator Partners: Isle of Arran Folk Festival, Arran Tourist Information Centre, local businesses, Scottish Arts Council/VisitScotland. Objectives: To extend awareness of the festival s brand to visitors outwith its annual event in June, Argyll, the Isles, Loch Lomond, Stirling and Trossachs Arran 9
to provide traditional music/dance somewhere on the island on most nights of the week, and to provide incentives for visitors to travel to or stay in other areas as well as the main centres at Brodick and Lamlash. Projects: In conjunction with 10 pubs and other venues, the festival organised and promoted events from Sunday to Thursday for 13 weeks from the end of the Isle of Arran folk festival on 17 June 2001 until mid- September. A 75 per night subsidy was provided to publicans who were free to select mainly local artists who had a strong link to Scottish traditional music and could satisfy the festival s performance quality standards. Events encompassed informal acoustic sessions, amplified pub gigs, informal roadshows and larger scale public hall concerts and ceilidhs, but a common brand was used for all. An incentive to return evaluation questionnaires was made to audiences by making the form an entry for a prize draw. Promoters had to return completed trade evaluations to receive payment of subsidies. The events were collectively branded, marketed and publicised through channels including a weekly advertisement in the Arran Banner newspaper, posters on the ferry bringing visitors to the island, village notice-boards, pubs, and at the Ayrshire and Arran Tourist Board s local TIC, which co-operated fully with the initiative. A local company, the Banton Press, provided sponsorship in kind by printing publicity material. It is too early to establish whether awareness of the Arran Folk Festival was raised and whether it has resulted in more interest for the June 2002 event - bookings for the festival had not commenced at the time of writing. Outcomes: A total of 2,486 people were entertained at events and nearly 250 returned evaluation questionnaires from nights when sampling took place. These have been analysed. The responses from promoters also tell a success story. On a ranking scale between one for excellent and five for awful, the average scores were: overall standard of music, 1.5; promoter s perception of audience enjoyment, 1.6; promoter s enjoyment of music, 1.4; value for money with subsidy, 1.9; value for money if no subsidy had been available, 3.2; and overall success of event, 2.0. Venues averaged nearly 39% higher bar takings on nights when entertainment was provided. On average, another three artists turned up to support musicians paid to seed sessions. The organisers say the project succeeded in a key aim of distributing trade more evenly around the island. Some visitors followed favourite acts around venues. Contact: Iain Frame, Chairman, Isle of Arran Folk Festival Society, Carwinshoch, Alma Park, Brodick, Isle of Arran Tel: 01770 302623 e-mail: admin@arranfolkfestival.org 10
It s just like you imagined it should be but never thought it could... if you know what I mean. English visitor at a session in a Galloway bar Partners: Dumfries and Galloway Arts Association (2000 and 2001), Dumfries and Galloway Tourist Board (1999, 2000 and 2001), Dumfries and Galloway Council (1999), Scottish Arts Council/VisitScotland (1999, 2000 and 2001). Objectives: To measure the economic impact of a traditional music performance, to collect audience opinions for future promotional purposes, and to pilot then run a series of jointly branded and promoted sessions making traditional music available to visitors throughout the region. Projects: In 1998, as the Traditional Music and Tourism Initiative was being planned, Dumfries and Galloway s Council and ATB received a pledge of funding for an audience survey at a Scottish traditional music concert by leading artists Phil Cunningham and Aly Bain as part of the annual Gaelforce programme. A small, pilot series of sessions planned for the Scottish and English school holidays in October 2000 had to be shelved after some venues withdrew their earlier interest in participating and expressed doubts about the value of putting on entertainment at what is traditionally a busier period for the local trade. Instead, three high quality sessions took place at the ATB s headquarters and information centre in Dumfries during December 2000 and the Saturday closest to Burns Night in January 2001. The music of Robert Burns featured prominently in the January session. These sessions coincided with a period when visitors would be making bookings for summer 2001 and reinforced the message that they could find good traditional music in the region. Learning from their experience as partners in 2000, Dumfries and Galloway Arts Association (DGAA) and the ATB returned with a successful series of free, subsidised sessions across the area in September, October and November 2001. Visitor and promoter evaluations were conducted by questionnaire. The Arts Association has appointed a full-time traditional music officer whose job description was widened to include co-ordinating the programme of more than 100 sessions. Outcomes: 25% of the audience (225) completed and returned questionnaires at the 1998 concert. 8% of the audience were visitors, staying an average three nights, and 45% of these rated Gaelforce as an incentive to return to Dumfries and Galloway. Sessions in the tourist board headquarters were well received by visitors and drew between 20 and 30 to the browsing section on each occasion. Staff were generally positive. Independently, DGAA produced in 1999 a directory of traditional musicians based in the region, and a bookmark/flyer telling visitors where they might hear and enjoy music. Evaluation of the autumn 2001 sessions was carried out and it is already clear that networking between performers and the trade has been markedly strengthened, which bodes well for the future. Dumfries and Galloway 11
Fife Contact: Jennifer Wilson, Director, Dumfries and Galloway Arts Association, Gracefield Arts Centre, 28 Edinburgh Road, Dumfries DG1 1JQ Tel: 01387 253383 e-mail: jenny@dgaa.net The best musical night we have ever had on vacation anywhere. US visitor on holiday in St Andrews during a traditional music event Partners: Kingdom of Fife Tourist Board, Fife Council, Scottish Arts Council/VisitScotland. Objectives: To increase awareness of, and promote, traditional music to tourists by encouraging pubs, hotels and other venues to present high quality traditional Scottish music and dance. To ensure key events information was available to both existing and potential visitors and to local accommodation providers. To guarantee the availability of traditional music to visitors on specified evenings. Projects: The Initiative supported four music showcase evenings and a short series of solo performances for the tourist industry and TIC staff in low season 1999 as part of the Fife Traditional Arts Programme run by Kingdom of Fife Tourist Board and Fife Council Arts. Full information packs were given to all attendees. Royal Scottish Academy of Music and Dance students and local traditional musicians also appeared at an ATB showcase of local food, drink, crafts and music. ATB members attending events were surveyed. Building on raised awareness in the trade, Fife s 2000 project funded under the Initiative was to ensure that visitors could be guaranteed traditional music on any evening of the week. Events would rotate around eight venues in St Andrews and East Neuk of Fife locations of Upper Largo, Largoward and Earlsferry. Promotional leaflets and posters were distributed to TICs, visitor attractions and to accommodation members of the ATB. Evaluation was to be by visitor questionnaires at selected venues on occasions throughout the May- August duration of the project. The artists were predominantly talented young local musicians. Venues included pubs, hotels, restaurants, established folk clubs and a museum. Press releases were issued regularly to national and local media. Outcomes: Awareness of the value and potential of traditional music, and of the wealth of local talent, was raised significantly among the tourist industry in Fife. Venues booked many featured acts and ATB members started to recommend acts and venues to visitors. The organisers estimate that 6,500 spent on showcase evenings generated in the region of 30,000 in subsequent bookings for artists. Analysis of questionnaires from the East Neuk performances showed a 46:54 male/female split in the audience. No age group was predominant, but 36- to 45-yearolds were most represented, with 28%. Encouragingly, visitors to Fife 12
accounted for 47% of audience members. An unexpectedly high 85% of respondents said they had, or would, visit another venue featuring traditional music. Some venues were so enthused by the experience, that they continued to run sessions throughout the winter season, supported by the ATB and Fife Council continuing to print promotional leaflets well into the winter. Fife has continued its ambitious programme of traditional music events into 2001 without further resources from the Scottish Arts Council/VisitScotland fund. However, the broad range of activities taking place in one of Scotland s most go-ahead areas for traditional music continues to attract Scottish Arts Council and ATB support. Contact: Sheena Wellington, Traditional Arts Development Officer, Fife Council Arts, 7 Pleasance Court, Dundee DD1 5BB Tel: 01382 223355 e-mail: shesings@wellingtons.fsbusiness. co.uk Sessions extended the length of visit to the Tourist Information Centre of many visitors and stimulated demand for information on other events and venues. Alison Young, Supervisor, Inverness TIC Partners: Highlands of Scotland Tourist Board (HOST), Scottish Arts Council/VisitScotland. Objectives: To gauge the value of using live traditional music in TICs. Projects: HOST sub-contracted external promoters Skyescene and Balnain House to provide musicians for morning and afternoon sessions in the ATB s information centres at Portree and Inverness respectively in summer 2000. No external promotion was carried out, and evaluation was done by questioning the staff. Outcomes: Staff observed that the sessions increased the amount of time visitors spent browsing in TICs. There was no increase in sales of CDs and tapes during or after sessions, but a surge in requests for information on other events and venues was seen. Some visitors were moved to start impromptu dancing. Staff were keen to see the exercise repeated again with more publicity, preparation time and thought on how to host sessions without disrupting TIC operations. Visitors also enjoyed talking to artists. The Portree TIC commissioned a traditional music events display board as a result of its experience. HOST reported that visitors seemed most interested in more modern elements of traditional music and responded particularly to younger performers. Contact: Graham Smith, Customer Services Manager, The Highlands of Scotland Tourist Board, Peffery House, Strathpeffer, Ross-shire IV14 9HA Tel: 01997 421160 Highlands 13
Orkney One of the highlights of our journey through Scotland. Thank you. Deirdre Harrison, California, USA Partners: Orkney Tourist Board, Orkney Enterprise, local businesses, Scottish Arts Council/VisitScotland. Objectives: To help visitors to Orkney to access, understand and participate in traditional music events in intimate local settings, with an emphasis on development of local musical talent, creating additional opportunities for hospitality, and enhancing visitor experience. Projects: Orkney s Rolling in the Isles programme linked traditional music and tourism together by making sessions possible in local venues. It was based on 1999 research into the views and needs of visitors at traditional music events between May and September. This marketing information, and the experience of other Initiative projects supported by the Scottish Arts Council/VisitScotland, prompted an ambitious programme of more than 200 open house, seeded sessions throughout the islands during the summers of 2000 and 2001. In 2000, for example, it meant traditional music was available somewhere each night for six nights a week over the main tourist season. The nine venues ranged from fourstar hotels to a licensed café on a remote island. Around 30 musicians were employed and dozens more turned up to take part in the sessions in a project managed by Orkney Tourist Board, which negotiated with venues, recruited musicians, oversaw administration and best practice, and assessed impact through visitor, trade and musician surveys. Outcomes: Market research supported by the Initiative found 77% of 96 visitors who returned questionnaires had sought out live music, 95% said it was quite or very important to enjoying their holiday, and 96% would have liked more. Traditional (74%) or folk (75%) music were the most sought after, and weaknesses in advertising and publicity were identified. 78% of visitors who responded to the Rolling in the Isles 2000 survey either agreed or strongly agreed that the sessions had enhanced their visit to Orkney. 12% of visitors said the sessions had actually influenced their decision to visit Orkney. 53% had not previously attended traditional music events anywhere. 68% thought it likely they would visit similar events in Orkney in future. In 2001, 33% of respondents agreed or strongly agreed that the provision of sessions had encouraged them to visit Orkney, 41% were noncommittal and 26% disagreed. 75% of 2001 s visitors agreed that the sessions had enhanced their visit to Orkney. Visitors comment books showed great enthusiasm for the local flavour, musical quality and atmosphere. A fabulous taste of Orkney s culture, commented Anika Rivera from California. One startling finding was that the 6,000-plus visitors who attended the sessions 14
in 2000 estimated their holiday spending on entertainment, excluding food and drink, accounted for only 2% of their total budget. In 2001, when an estimated 7,200 people attended sessions, this percentage rose to 9.5% of budget. The project succeeded in spreading visitors around the Orkneys, though attendances at sessions were predictably higher in the two main towns, Kirkwall and Stromness. The 2000 experience persuaded some businesses that would previously not host sessions without full subsidy that they would be prepared to contribute 50% of costs in 2001. Evaluation of the 2001 programme painted a similar picture. Contact: Orkney Tourist Board, 6 Broad Street, Kirkwall, Orkney KW15 1NX Tel: 01856 872001 e-mail: info@otb.ossian.net It was an unexpected surprise... we had a magical evening thanks to the local musicians... brilliant... the venue was filled with tourists obviously enjoying the music. Visitor s comment on the Ross-shire Traditional Music Scheme Partners: Ross and Cromarty Enterprise, Fèis Rois, local businesses, Scottish Arts Council/VisitScotland. Objectives: To guarantee regular traditional music performances every night of the week in East and West Ross-shire between June and September 1999, to enhance visitor experience and attract more business to venues. Projects: 50% subsidies were paid for hoteliers to host traditional music performances and to record numbers attending. The partners also organised two Best of Ross-shire events. These combined a cookery demonstration and exhibition and a traditional music showcase provided by Fèis Rois, a traditional music development body that organises fèisean (festivals) to tutor adults and children. 20,000 promotional leaflets doubling as evaluation questionnaires were produced and distributed locally. Outcomes: Venues contributed roughly half the estimated 15,000 total cost of the programme of more than 150 performances involving more than 50 local musicians who benefited collectively by around 14,000. The events attracted more than 8,000 people in total. A limited number of questionnaires was returned, but those visitors who responded rated the quality of the music as overwhelmingly excellent. All venues said they would take part in future activities. The Initiative stimulated further activities. Convinced of the benefits, Ross and Cromarty Enterprise continued its music support scheme in 2001. It contracted out the organisational aspects to Fèis Rois, which delivered excellent results in terms of the quality and variety of music on offer. The involvement of young musicians through Fèis Rois has helped a new generation to understand the potential of tourism as a market for their skills. Ross-shire 15
Scottish Borders Expansion is being considered for 2002, with more weekend festivals on the agenda, and a larger scale evaluation is under discussion as the scheme matures. Other developments include a Ceilidh Trail, which has added to the mix of attractions that the region can offer in marketing itself. Contact: Jackie McGuinnity, Ross and Cromarty Enterprise, 69-71 High Street, Invergordon IV18 0AA Tel: 01349 853666 e-mail: j.mcguinnity@hient.co.uk These five days were equivalent to 14 in the summer! Delighted visitor from Kortonhoef, Holland at Hogmanay 1999 Partners: Scottish Borders Tourist Board (1998-2001), Scottish Borders Enterprise (1998) John Wright Band, local businesses, Scottish Arts Council/VisitScotland (1999 and 2000). Objectives: To boost tourism visits to the Borders outside the peak season through the unique marketing-led development of music programmes at Hogmanay. Projects: For three successive Hogmanays, 1998, 1999 and 2000, Scottish Borders struck a deal with the John Wright Band, a full-time contemporary folk group living in the region to attract visitors from other parts of the UK and continental Europe. The band distributed at its concerts publicity material for The Land, The Light, The Locals, a series of events, around and including Hogmanay each year. It also collected a mailing list of potential visitors, which was used to invite them to the event. The band s pay-off was part-funding for its concert tours and promotional benefits. A tourist board coordinator, who has since taken on the project on a freelance basis at Heeligoleerie Project Management, was appointed to manage the events. Sponsorship was raised from local businesses. In the second year a newsletter was set up to alert previous and potential new visitors to what was planned next at a time when they would be deciding where to go for Hogmanay. The programmes included free sessions hosted by local artists, as well as paid-for events including a concert by the band, a Hogmanay ceilidh and a New Year s Day walk. The project received funding from the Initiative in 1999 and 2000. Outcomes: Table 1 on page 21 tracks a success story characterised by: an increasing number of short breaks and rising value to the local economy; the involvement of more musicians; and a reducing percentage of public funding and overall costs. The Land, The Light, The Locals has a remarkable track record in persuading visitors to return. 53% who attended in 1998 came back in 1999, and 81% of the 1999 visitors showed up in 2000. Its marketing has focused on encouraging returners, and it has 16
developed the product by varying venues, walks and session hosts. A one-stop approach to tickets, accommodation and information was set up in response to visitor feedback. This is a good example of the power of customer relationship marketing at work in a small but growing tourism initiative. 100% of visitors said they came to the Borders specifically for the event. In 2000, 59% came from England, 15% from other parts of Scotland, 11% from the Netherlands, 11% from Switzerland and 4% from Germany. So the event generated a high proportion of genuinely additional tourism revenue for the Scottish economy, assuming that visitors from outside Scotland would not have come here otherwise, either at Hogmanay or at another time during the year in question. The Land, The Light, The Locals has created a stir, both locally and nationally, in and out of music circles, claims co-ordinator Ros Halley at Heeliegoleerie Project Management. It has proved that it is possible to develop a connection with potential visitors through ambassadors and that by maintaining a personal approach to the marketing, a longerterm relationship can be developed with visitors. The event took place again at Hogmanay 2001. The organisers have raised interesting issues relating to its sustainability in its present form. These are outlined later in this report. Contact: Ros Halley, 2 Wester Essenside Mill, Near Ashkirk, Scottish Borders TD7 4PG Tel: 01750 32700/1 e-mail: ros.halley@virginnet.co.uk This is fantastic. I wish we could buy Shetland back from you Scottish. Norwegian visitor to a session bar in Shetland Partners: Shetland Arts Trust, Shetland Islands Tourism, Shetland Television, Scottish Arts Council/ VisitScotland. Objectives: To investigate how to raise the profile of traditional music and improve visitor access to it. To produce a promotional video for a diverse range of Shetland musical acts to disseminate the Islands indigenous culture globally and to visitors. The video project would also provide an opportunity for the commercial side of Shetland music to reach a wider audience through sales of a cultural souvenir. Projects: A three month feasibility study was conducted in 1999 into the regular provision of traditional music sessions, the potential for busking in Lerwick, how events information should be collated, and how a future traditional music framework should be marketed. Findings were benchmarked against Dublin s traditional music scene, and a public meeting was held with musicians and relevant organisations to discuss issues. Shetland 17
As a result, sessions were offered in local bars, aboard P&O ferries and on cruise liners visiting Lerwick. The potential for more co-ordinated marketing of events was identified and addressed under a remit given to the Shetland Arts Trust s music development officer. In year two, the Soons Lik Shetland project filmed and recorded Shetland bands using original material from the artists and accompanied by footage of scenery and cultural events from Shetland. The footage was edited into a video and soundtrack CD. The product was designed to fill a gap in the market identified by Shetland Arts Trust research. Outcomes: Shetland s 1999 project attracted keen interest at the trade seminar organised by the Initiative in Inverness. It went on to achieve national attention and accolades through winning one of VisitScotland s prestigious Scottish Thistle Awards for Tourism. Some 48 sessions were supported in local bars at a cost of 3,500, all paid to musicians. In one bar, the average nightly attendance was 200 between 9pm and 1am, customers spending an average of 3.79 each. Cruise liners proved willing to pay for onboard sessions. 68% of visitors surveyed by Shetland Islands Tourism said traditional music had been one of the highlights of their visit. Recommendations for the future included providing traditional music on transport links and encouraging live music sessions. The video was completed and has encouraged collaboration between musicians, technicians, Shetland Islands Tourism, Shetland Arts Trust and local retailers. It will be a valuable addition to the promotional product range for visitors in summer 2002. Contact: David Gardner, Music Development Officer, Shetland Arts Trust, Pitt Lane, Lerwick, Shetland ZE1 0DW Tel: 01595 694001 e-mail: david.gardner@shetland-artstrust.co.uk I expected to enjoy the concert but it passed my expectations. It was a privilege and a pleasure to share a sense of living tradition with people of the area. Australian visitor to a concert at Daliburgh Partners: Western Isles Enterprise, Scottish Arts Council/VisitScotland. Objectives: To plug a gap in provision of entertainment for tourists by delivering a programme of regular, well-publicised events. To increase awareness, knowledge and understanding of the musical traditions of the Uists. To raise community and local artists awareness of tourist demand for cultural events. To provide local performance opportunities for local musicians and encourage further development of such events. To develop audience attendance at local events. To foster pride in and 18
identification with the local cultural heritage of the area. To establish links between the promoter and the management groups of local venues. Projects: Benbecula Promotions was contracted to organise and promote Ceol Uibhist, the Music of Uist, a series of 10 traditional music concerts throughout the Uists during peak season, July to September 2000. The schedule was designed to plug gaps - for example, to provide entertainment in North Uist while the annual fèis took place in South Uist and vice versa. The ceilidh format of Gaelic song, music and dance served up concert troupes of eight acts including piping, fiddle, accordion and Gaelic song. Audiences heard short talks focusing on the distinctive musical traditions of the area. Young local musicians were included to showcase new talent. Tea and home baking were served during the interval when audience members had a chance to talk to musicians about their instruments, influences and styles. The audience also received leaflets on the area s musical heritage and state of development as well as a bibliography of suggested reading and recorded material. There were four performances in South Uist, four in North Uist and two in Benbecula. Promotional brochures were printed and distributed via TICs, visitor attractions, hotels, B&Bs and venues. Evaluation questionnaires were distributed at each event. Outcomes: 300 adults and 100 children attended the concerts. 246 questionnaires (61%) were returned. 44% of the respondents were from the Uists, at least 18% from Scotland, 13% from England and the rest from around the world, of which the largest proportion, around 4%, were from North America. Evaluation forms showed almost universal agreement that the quality of acts, organisation, value-formoney and enjoyment were very high. The contributions of young people in the programme received particular commendation. Young artists benefited from working alongside professional performers. The organisers also commented that the programme affirmed the local culture in a performance setting and that they themselves had gained valuable experience of promotion. Contact: Isabel F MacDonald, Area Manager, Uist and Barra Western Isles Enterprise, Taigh Cheann à Locha, Lionacleit, Isle of Benbecula HS7 5P Tel: 01870 602646 e-mail: i.macdonald@hient.co.uk Western Isles 19
a soundtrack for scottish tourism a soundtrack for scottish tourism a soundtrack for sco Analysis of key points There were clear business benefits to individual traders, and many were persuaded of the case for investing more themselves in traditional music. The willingness of traders to participate and to part-fund future programmes suggests that they judge the costs to be justified by increased takings and the wider promotional benefits for their own venues and their area s tourism appeal. In Orkney, all traders involved in the Initiative were satisfied with the effects on sales. Nine out of 10 businesses in the 2000 Rolling in the Isles programme estimated that trade had increased on session evenings. Estimates ranged from 15% to 100% and averaged 42% increase on food and drink, and 12% on meal bookings. All venues indicated a willingness to contribute 50% of costs for any future programmes, a sea change in attitude for some. In Arran, venues averaged 38.6% higher takings on evenings when entertainment was provided. In Ross-shire, participating venues knew from the start that they would have to contribute 50% of costs, but took part willingly. In Fife, venues continued to run sessions over the winter, even though the formal project had ended. In Angus, at least one participating venue went on to invest in fortnightly sessions from its own resources. In Shetland, cruise ships and ferries were delighted with and prepared to invest in bringing the local musical culture to their customers. There were clear benefits to the visitor experience of Scotland. Visitor appreciation of traditional music events across the projects was uniformly high and survey evidence suggested that people wanted even more traditional music to be available. Comments from visitors showed what a difference it made to their holiday. The Initiative s support for enhanced promotion and publicity, including national event listings, has helped to raise awareness of what Scotland has to offer in the traditional music area. There was clear evidence of the value of marketing aimed directly at cultural tourists and of enlisting musicians as tourism ambassadors. The Scottish Borders project was an object lesson in how a marketingled approach can exploit the international appeal of leading Scottish traditional and folk acts. Table A below illustrates how traditional music has significant potential for niche tourism. Increased awareness among musicians of the power of direct marketing is a development that the tourist industry could exploit in tandem with acts that regularly compile e-mail and postal mailing lists on tours at home, in England and overseas. 20
ttish tourism Table 1: The Land, The Light, The Locals - a Borders success story in the making Measurement 1998 1999 2000 Short breaks generated 94 135 196 Economic benefit to local economy 22,000 40,555 59,100 Total cost of event 13,180 22,015 8,734 Public sector funds 100% 59% 26% Musicians involved 45 61 92 Visitors returning from previous year 0% (new event) 53% 81% Source: Heeligoleerie Project Management Traditional music can persuade visitors to explore an area more fully. Arran s project addressed a real concern on the island about growing centralisation of activity. While many visitors stay in remoter parts, they frequently have to travel to main centres for entertainment. Local performances allow visitors to meet and mix with locals, who are often a significant proportion of the audience. The Land, The Light, The Locals spread visitors around the Borders (Fig 1). Fig 1: Where visitors stayed during The Land, The Light, The Locals at Hogmanay 2000 Orkney s sessions moved visitors around the islands. The highest number of visitors attended events in the two main towns, Kirkwall and Stromness, reported Sheila Faichney, the then marketing assistant of Orkney Tourist Board who managed the projects. But there were notable successes in a country area of Orkney Mainland and in two remote island venues. Promotional skills and information systems are improving. The quality, thoroughness and effectiveness of promotion and printed material naturally varies across the projects. This was to be expected in a diverse and widespread Initiative, and part of the rationale behind the projects was to give the partners involved more hands-on experience of promotion. There was clear evidence of organisers and promoters learning on their feet and from other projects. 22% Jedburgh 19% St Boswells 19% Melrose 12% Hawick 11% Selkirk 7% Denholm 7% Ancrum 3% Galashiels The results of a number of enquiries to TICs by those involved in administering the Initiative over the first year allowed the ATB network to identify how the delivery of Source: Heeligoleerie Project Management 21
information about traditional music might be improved and enhanced. This area will continue to demand attention as the Initiative underlined the importance of TICs in linking visitors to traditional music. In VisitScotland s postal survey of consumers who had asked about festivals, arts and traditional music, 77% of respondents had used TICs to source information before they left home and 82% did so once they arrived in Scotland. At 60%, accommodation providers were the second main source of advice once in-country. Orkney s and Argyll, the Isles, Loch Lomond, Stirling and Trossachs findings underline the point (Table 2). economic and social benefits for its area. Fèis Rois, based in Dingwall, has developed the Ceilidh Trail project with the funding assistance of a Scottish Arts Council lottery award. The project gives first-hand professional experience to young musicians in organising their own gigs, whilst simultaneously adding to the region s tourism marketing mix. The Young Fife Roadshow, another showcase for the talents of young musicians in their own area, has gone from strength to strength. This is in no small measure due to the Initiative s encouragement and blooding of young musicians in the tourism market, and to Table 2: How visitors found out about traditional music in summer 2000 How Orkney AILLST Leaflet at venues, TICs, other public outlets 47% TIC staff 13% Venues 29% TIC 38% Leaflet 14% Poster 35% Consideration needs to be given to the collation and provision of listings beyond 2001 if this valuable service is not to disappear. The Initiative has been a catalyst for further activity For example: Ross and Cromarty Enterprise has continued to run its traditional music scheme, recognising the the trade s raised awareness of the untapped musical talent on its doorstep. In both these cases - and more are emerging - the presence of a professionalised driving force for traditional music like the Fèis Rois administration or Fife Council Arts Traditional Arts Officer has played a significant role in making further progress. 22
The national and local projects have provided a wealth of observations, discussion points and speculative blue sky thinking beyond the quantitative and qualitative data and opinions gathered through formal evaluations. While these do not constitute formal recommendations (and neither do they necessarily represent policies or opinions of the Scottish Arts Council or VisitScotland), it is valuable to include them here for completeness and to air them for wider discussion as insights in the development of thought and expertise in cultural tourism. Sustainability and public funding The Initiative s research in Dublin points up the fact that it has taken decades for Ireland to reach a position where the country and its tourism appeal are synonymous with its musical traditions. The ideal in Scotland is for activity to become sustainable through the continuous development and nurturing of musical and promotional skills, product development, coordinated marketing, networking, infrastructure and trade and visitor awareness. In this context, the observation by visitors to Orkney and elsewhere that they would like even more traditional music suggests that further discussion is required about the role and place of potential future public funding in traditional music and tourism. In more sparsely populated and less visited areas, the question of sustainability is compounded by: the limited pool of quality musical talent available; the high costs of importing musicians; the scarcity of promotional skills; the relatively small numbers of potential local audience members; lower disposable incomes; and transport issues. The Ceol Uibhist programme of concerts in the Uists demonstrated that these obstacles could be overcome successfully by a competent promoter working in partnership with public organisations and learning fast. However, one issue thrown up by this project was how onerous even a limited programme can be for organisers when the number of movers and shakers in these areas is limited and considerable calls are already made on their time across a number of fronts. This raises the question of whether sparsely populated rural and island areas should be treated as a special case and prioritised for support aimed at skills development and continued activity. Successful areas are not immune from the human resources dilemma. In its own research, Scottish Borders identifies part of its appeal as the personal welcome and attention that visitors to The Land, The Light, The Locals received from organisers. Food for thought 23
Yet, as successful events grow, some organisers question whether their ability to offer a personal service can remain intact if public funding stands still or is reduced while increased revenues from ticket sales may be insufficient to allow staffing to be scaled up. The Borders experience also demonstrates that sustainability is not always about scale. The organisers raise an intriguing question: if intimacy is a key selling point, should fast-growing festivals consider breaking themselves up into more but smaller events, scheduled against each other? Also, as more visitors attend, could there be a point at which tourists begin to wonder how local it all is, or at which local people feel marginalised? Borders itself has raised the question of whether one answer to questions about capacity and intimacy might be to co-operate more closely with other areas. It has suggested that Dumfries and Galloway might make a natural partner, particularly when both regions are natural destinations for short stay visitors from the north of England. Ambassadors and events Using higher profile traditional musicians as ambassadors is a concept already employed by other countries to considerable cultural effect. It can work on a number of levels, from simply maintaining the general cultural profile to specific promotional activity. And the Initiative has shown how using high profile traditional musicians touring overseas to compile direct marketing databases of visitors who are by definition interested in Scottish music and culture has commended itself as a potentially strong model for other sustainable initiatives. Other Scottish examples already exist. The Wrigley Sisters have, through sponsorship links, promoted the products and attractions of their native Orkney to audiences worldwide. And the Battlefield Band, who have played in many parts of the world for many years, have always toured under the banner of Forward with Scotland s Past. Hogmanay Extending the train of thought involved in an ambassadors programme, some participants in the Initiative have mused over the scope for a generic Scotland s Hogmanay promotional campaign. Their rough concept would involve promoting collectively some recently established events such as the large-scale Edinburgh s Hogmanay, long-established but smaller local celebrations such as those based on fire rituals, and new, tailor-made events. Such a campaign might, for argument s sake, encourage visitors to return each year to sample festivities in different areas. 24
Speculatively, they suggest that existing local events could be encouraged to become more marketing-led and to work more closely with traditional music and local and regional partners. While this is beyond the remit of the Initiative, it is an example of the way in which it has fertilised creative thinking on cultural tourism. Venues It is not known how many of the licensed venues involved in projects under the Initiative were independently owned and managed. Profit margins on beer sales in particular tend to be higher in brewery-managed bars. This has raised the speculative question of whether it would be possible to convince a large managed pub estate to invest in a quality programme of traditional music throughout Scotland in partnership with public bodies and experienced local promoters. Other ideas for the future Potential major partners in the pub, hotel and brewing industries might be sounded out on the prospect of establishing a national scheme to support quality traditional music sessions. Consideration could be given to setting up a working party to develop a national programme using high profile Scottish musicians as tourism ambassadors. Is there a need to explore the potential and feasibility of supporting the development of a web broadcast site to provide a dedicated medium to promote Scottish culture and events, including traditional music, to a worldwide audience? It should be possible to use more images and sounds of traditional music in advertising campaigns and promotional events. We could make far greater use of special interest publications such as the music media to highlight Scottish traditional music, its uniqueness, and its accessibility to visitors. Is there value in providing more regular opportunities for ATB and TIC staff to network with the traditional music world and to attend events? Anecdotally, there is a widespread perception in the traditional music scene that the Scottish Parliament and MSPs can play a lead role by continually affirming the importance they attach to Scotland s culture in general and traditional arts specifically. MSPs could perhaps play a valuable part by encouraging and supporting traditional music and tourism developments in their own constituencies. 25
a soundtrack for scottish tourism a soundtrack for scottish tourism a soundtrack for sco Checklist: learning points from projects This checklist represents accumulated insights of partners working on national and local projects over the course of the 1999-2002 Traditional Music and Tourism Initiative. It should be used in conjunction with the Initiative s handbook on how to promote, which has been researched and compiled by the Traditional Music and Song Association of Scotland and, when published, will be available from TMSA and the Scottish Arts Council. Key point Visitors to Scotland expect to be able to hear traditional music and overwhelmingly enjoy it when they do. Promoters and venues Quality artists should be chosen. To get reliable and quality entertainment, musicians should be paid. Musicians at venues should be rostered on a rotational basis where the pool of quality artists is limited. Communication between project organisers, venue managers and frontline serving and waiting staff at venues is the key to good relationships, better atmosphere and more visitors. Trade participants will get more out of a project the more they are prepared to put in by way of promotional back-up and communicating with frontline staff and customers. Venues should make artists feel welcome, attend to their hospitality and pay them promptly at the end of performances. Promoters, organisers, venues and musicians should put agreements in writing to avoid misunderstandings. Plans should be made early in the tourism year to have products ready for inclusion in ATB marketing material. Publicity and promotion must be planned and professionalised. Develop creative ideas for joint marketing and promotional activities with the tourism industry and its support organisations. Share what you learn with other promoters and organisers to move quicker up the learning curve and avoid mistakes that others have made. Musicians Audiences, particularly tourists, will appreciate musicians who take the time and make the effort to talk to them at concerts and sessions and answer any questions they may have. Session leaders can encourage participation by other musicians and visitors who want to play or sing. Musicians should recognise the demands that sessions place on venue managers and frontline staff, particularly if the venue has not run them before. 26
ttish tourism Treating staff and visitors courteously and not making undue demands on the venue s hospitality usually makes for a happy gig. Get agreements in writing to avoid misunderstandings. Start on time and do not let the session take long breaks without any music. Marketing Establish and update databases of musicians, promoters and other elements of the traditional music infrastructure in each area, and make these available to the tourist trade. Strong and incisive evaluation helps to develop the product, argue the case for investment and generate local and national publicity and awareness. Link visitor evaluation forms to an incentive such as a prize draw. Ensure trade evaluation forms are returned by making their completion a prerequisite for payment. Visitor comment books are a valuable source of qualitative feedback on events. Keep evaluation forms concise but ensure that you cover all the marketing information you might need. Linking music with other activities provides sell on benefits to tourism. Distribution of leaflets and other promotional material by ATBs and participating venues are the two main ways of reaching visitors, but no stone should be left unturned. Bring events to the attention of hotels, guest houses, B&Bs, caravan sites and others in the accommodation sector who are often asked about entertainment options. Some hotels and guesthouses provide bedroom packs, for example. Find out how to get your programme into these. Collect direct mailing lists, e-mail and postal addresses, from audiences at every opportunity. Consider pooling this with others, but make sure you understand the requirements of the Data Protection Act. Promote the event outside your area by using the national media and other means. Every pound spent from someone outside your area is additional income for the local economy. Partnerships In partnership projects, it is strongly advisable to have one person assigned to the twin role of organiser and main contact point throughout the lifetime of the project. Any decision-making on funding or project collaboration should set realistic lead times for partners developing traditional music programmes which would allow them to launch at the start of tourist seasons. 27
Information packs on traditional music and local artists and promoters are useful for promoting musicians to ATB members. Regional promoters of traditional music need more opportunities to develop top class skills in meeting the needs of the tourism industry. TIC staff benefit from seeing acts (and events) live if they are to recommend them. Ensure that all TIC staff are aware of strategic projects and that members of staff joining after programmes are launched are brought up to speed quickly. Unusual venues such as museums and historic houses can provide a whole new experience for musicians and audiences for traditional music. Let policymakers and the media know frequently about the positive attitude that your organisation adopts towards traditional music. Promote traditional music events on relevant ATB and other websites. Alert visitors to all events that may meet their needs. Consider providing ATB staff with training modules on traditional music. Inclusion of traditional music in the remit of local authority arts, culture and leisure development officers is valuable for making tourism connections as well as supporting the music itself. To underline such a commitment, contract traditional musicians to perform at civic occasions. 28
Traditional music and tourism are natural bedfellows. There is large and unequivocal visitor demand for traditional music, preferably allied to opportunities to mix with and meet Scottish people in an informal and social setting. There is clear evidence that wellpromoted, high quality traditional music in atmospheric and comfortable venues can generate a feelgood factor for locals and tourists alike. It oils the wheels of cultural exchange, putting visitors more closely in touch with what previous VisitScotland research has shown to be prime and unique assets in the competition for tourism income - Scotland s people and its culture. The 1999-2002 Scottish Arts Council and VisitScotland Traditional Music and Tourism Initiative has made a valuable, enthusiastic and impressive start to building bridges between the two worlds. Tourists, venues, public sector partners and musicians have all gained from it. Thousands of visitors have benefited and have responded almost unanimously with enthusiasm to the quality and content of what they have heard and seen. Their experiences can only be good for Scotland as they return home to recount the highlights of their holidays to others who may be persuaded to follow in their tracks. Hundreds of musicians have found a local source of finance to keep them at key times in the tourism calendar when they might otherwise be performing, of necessity, outside their local communities or Scotland. The goodwill they have shown in some of these experimental pilot projects (in accepting fees) that did not always match what they would normally expect or command testifies to their commitment to their art, culture, communities and country. This commitment, and that of organisers and co-ordinators who have worked well beyond their contractual obligations, should not go unnoticed. In some areas, trade participants now appear to have been persuaded of the business benefits of starting up or hosting traditional music events, but may not do so where the profits are marginal or a loss is incurred. More research is needed to quantify what thresholds and criteria apply in each location when venues are making decisions about entertainment. Further discussion is needed on future potential public funding in this field. An integrated approach is essential. Building on existing relationships, cultural and tourism agencies should continue to develop links with one another and thus realise the potential of traditional music in tourism. Conclusions 29
High quality and sustainable information services are necessary and should be secured without delay to sustain the momentum that has been built up by the Initiative. A long-term approach is needed, particularly in rural and island areas. It takes time to learn to promote and market effectively, for strong networks to develop between music and tourism, for audience awareness and trust to build up, and for those businesses that have hitherto seen traditional music as a marginal case for investment to be persuaded otherwise. Already the rich rewards of this pilot Initiative point to the fact that planning and working for the long term will produce twin benefits for economic prosperity and Scotland s unique and living cultural heritage. 30
The following external advisers gave freely of their time and expertise to comment on progress, achievements and issues and to guide future work. In addition to their roles on the bodies they represented, many are well-known traditional musicians and singers in their own right. They served variously on the Traditional Music and Tourism Initiative Steering Group, then on the Traditional Music and Tourism Advisory Group. The Scottish Arts Council and VisitScotland thank them for their contribution. Arthur Cormack, Fèisean nan Gaidheal Iain Hamilton, HI Arts/MIDAS Sheena Wellington, Fife Council Arts David Francis, Stoneyport Agency Elspeth Cowie, Traditional Music and Song Association of Scotland David Gardner, Shetland Arts Trust Jean Urquhart, The Ceilidh Place, Ullapool Amy Geddes/Clare McLaughlin, South Lanarkshire Council Peter Heywood, Living Tradition Thanks are also due to Dr James Hunter, former VisitScotland board member who chaired the first meeting of the Initiative s Steering Group; Tom Buncle, formerly with VisitScotland and Seona Reid formerly with the Scottish Arts Council who were responsible for the development of the Initiative as a joint project. Scottish Arts Council and VisitScotland staff who served variously on the Steering and Advisory Groups and administered the various schemes were: The Scottish Arts Council Nod Knowles Caroline Docherty Shonagh Irvine Patricia McGuigan Carolyn Paterson VisitScotland Jim Allison, formerly with VisitScotland, who chaired the Steering Group Lynda Johnston Susan Dickie Fiona Cunningham Marion Oates, Scottish Borders Tourist Board Ros Halley, formerly with Scottish Borders Tourist Board Acknowledgements 31
The Scottish Arts Council champions and sustains the arts for Scotland Equal opportunities The Scottish Arts Council operates an equal opportunities policy. Our offices have disabled access. Certain publications can be made available in Gaelic, minority ethnic languages, in large print, Braille or audio format. 32
Music Department and Area Development Department The Scottish Arts Council 12 Manor Place Edinburgh EH3 7DD Tel: 0131 226 6051 Fax: 0131 225 9833 Help Desk: 0131 240 2443/2444 e-mail: help.desk@scottisharts.org.uk website: www.sac.org.uk VisitScotland 23 Ravelston Terrace Edinburgh EH4 3TP Tel: 0131 332 2433 Fax: 0131 343 2023 e-mail: susan.dickie@visitscotland.com website for the tourism industry: www.scotexchange.net website for visitors: www.visitscotland.com 2002 The Scottish Arts Council/VisitScotland ISBN: 1 85119 111 9 No part of this publication may be reproduced in any format without prior written permission of the Scottish Arts Council or VisitScotland. January 2002