Gail Ferrin's trip to 'BRAW Revealed'

The NRTF recently sent Gail Ferrin from Blaize ArtERY & Live Lincs Touring to 'Braw Revealed' using one of our CPD grants. Here we hear about what she learnt. 

I recently had the opportunity to attend Braw Revealed billed as ‘a day of learning, sharing and doing for anyone looking to contribute to the innovation of rural touring’, which took place at the Eden Court Theatre in Inverness, Scotland. Representing the NRTF, I went to hear about the project and see if I had some ideas to contribute to the day.

On arrival, I found a room full of delegates from across a wide spectrum of arts, including; development officers, marketing & communications officers, venue directors, performers, touring organisations and programmers, representatives of various forums, event managers, lecturers and other arts development professionals.

I also noted the quote displayed on the screen – which set an interesting tone to the day;
“I thought it was going to be shite but it was actually quite good” Neil – audience member Isle of Eigg

The day began with an overview of Braw – a two-year-long action research project which is almost complete. Described as a project which is ‘examining artistic vibrancy, relevance and impact by deepening the relationships between three devising performers and three rural communities’ I was interested to hear about the impact and learning from this process.

Jo Maclean, CEO of the Touring Network and Lisa Baxter of The Experience Business led the day and began describing the project ‘What we did, why and how we did it’. They explained that they would explore and share what happened when they propelled 3 devising artists, 3 promoters and 1 first-time animater into an open-ended experiment into rural touring – examining what happened when trialing some new approaches (with some spectacularly good and not-so-good results!). What followed was a series of sessions where the assembled delegates heard a review of the three areas and projects, from promoter and artist perspective – Birds of Paradise Theatre, Creative Electric and Lochgoilhead, Vanishing Point and the Idle of Eigg then Saffy Setohy, The Work Room and Forres , Finhorn Bay Arts. There seemed to be some more successful experiences and those which perhaps hadn’t accomplished quite what they could have. However, all acknowledged it had been good to try. 

It seemed that perhaps a two-year project timeline was too long to keep audiences and participants involved and that some of the initial energy dissipated as time went on. The team also acknowledge they should have put in place a tighter brief and been clearer on expectations of all involved, including promoters, companies, the animater, and artists.

At the end of the day, the delegates were asked to contribute to some questions around what happens next for Braw.

Overall an informative and interesting day, which mainly consisted of hearing from all of those involved in the Braw project, and some comments and feedback from delegates who offered some opinions, suggestions, and observations after hearing about the process, results, feelings of promoters, audiences, and artists who were involved.

One of the main points I came away with from the day is just how important promoters are, they are key to the success of projects like this, they know their communities and yet they have limited capacity and should not be expected to work as hard on getting projects up and running and sustaining a lot of local involvement over a long period, without funding and other support.

Gail Ferrin – Blaize ArtERY & Live Lincs Touring

CONCERTA Presentation at Hi-Vis: NRTF Conference 2019

The first of our 'Big Conversations' at this years NRTF Conference 'Hi-Vis: Value, Impact and Sucess of Rural Touring' focussed on our CONCERTA Social Impact Study.

The CONCERTA Listen Up and Shout Out session gave delegates a chance to hear an overview of the studies undertaken by Coventry University, the research methods used, and the results produced.

What to Expect from the 'Rural Touring in the UK' event at Ed Fringe

Every August the NRTF and Rural Touring Schemes heads to Edinburgh Fringe to look for companies hoping to give their show life after the festival - and this year is no different.

Each year we host a 'Rural Touring in the UK' event for artists to attend to find out more about how our sector works and meet the key people involved. 

If you're heading up to the Fringe, you are probably already exhausted thinking about everything you'll have to do promoting and performing your show. And while your focus should no doubt be on wowing programmers and audiences with your work, it is essential to put aside time to think about what happens next?

Can we suggest you use some of that planning time to attend our event on Saturday 17th August, 3pm at Fringe Central?

If you do, here is what you can expect from the event...

NRTF attends - A Civic Role for Arts Organisations Day

NRTF Director Holly Lombardo was invited to speak at a symposium run by Gulbenkian Foundation (UK) called A Civic Role for Arts Organisations: Relevance, Risks, Rewards. 21st June, London, Wellcome Trust: Cultural Spaces: Temples or Town Halls (1 - 5.30pm)

This London conference at the Wellcome Collection, focused on ‘Cultural Spaces: Temples or Town Halls?’. Popular topics included ways to make cultural spaces more welcoming to all citizens; the need for deep and meaningful engagement; and calls for change in the sector so that staffing and visitors reflected the diverse population of London.

What is Rural Touring and Why is it Important?

What is National Rural Touring Forum?

National Rural Touring Forum supports rural touring schemes, promoters, artists and communities to bring high quality and professional creative experiences to rural venues and audiences. It does this through advocating on behalf of the sector, creating national projects, networking, showcasing and hosting an annual conference.

What is rural touring and why is it different to urban touring?
Rural touring is where professional performances take place in rural venues. These rural venues usually take the form of a Village Hall or Community Centre, but can also be pubs, libraries and outdoors. They are rarely fully equipped arts venues. Performances are programmed by a rural touring scheme, who will curate a varied season of events. Instead of all the events taking place in a couple of rooms in one building, they take place in lots of venues across a specific geographical area, sometimes whole counties, sometimes even further. Rural touring work is very different from touring to city centres or venues in urban areas. Artists express high regard for rural touring venues and the level of professionalism from the promoters. They often talk about their appreciation of a certain “magic” and warmth of the audiences that happens at rural events which aren’t the same at larger halls or festivals.

“The heart of the reason why it’s different from a town centre art centre is that the audience knows each other. That contributes to the other thing that is distinctive, which is that rural touring events become part of shared memory, part of what builds community. So, for both of those reasons, I think that it is a very distinctive kind of artistic experience.” Fran├žois Matarasso, March
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