Welcome to The Access Folk Podcast and our special series on Folk Arts, Cultural Policy and UNESCO’s 2003 Convention for the Safeguarding of the Intangible Cultural Heritage. In this third and last episode, Esbjörn Wettermark talks to Steve Byrne from Traditional Arts and Culture Scotland and shares a recording from the project's final workshop at the University of Sheffield. At the start of the episode Esbjörn introduces UNESCO’s 2003 Convention for the Safeguarding of the Intangible Cultural Heritage, and the current discussion around its implementation across the UK. The Convention for the Safeguarding of the Intangible Cultural Heritage The Convention on Intangible Cultural Heritage is a framework developed by UNESCO to safeguard cultural practices across the globe. In short, the Convention asks state signatories to compile an inventory of the intangible cultural heritage within their borders and create strategies for safeguarding these practices for future generations. The UK is a late signatory of the Convention, which entered into force in the UK in June 2024. Esbjörn introduces the initial discussions around the implementation but, as of October 2024, formal guidelines are still being worked on by the UK’s Department for Culture, Media and Sport. Read more about the Convention and browse UNESCO’s lists of Intangible Cultural Heritage on their website. Scotland Traditional Arts and Culture Scotland (TRACS) director Steve Byrne introduces the work of their three forums on music, dance, and storytelling. He talks about key reports that have influenced how they work, and gives examples of how some government policies, for example on minority languages, are relevant for the folk arts. Even before the UK’s ratification, TRACS has supported Intangible Cultural Heritage policies in Scotland for some years. Steve describes a mapping report on Intangible Cultural Heritage he worked on with several partners in the Scottish cultural sector. He also notes TRACS’s recent accreditation as a NGO Advisor to UNESCO on Intangible Cultural Heritage. Visit Traditional Arts and Culture Scotland's website to read more about their work, including relevant reports and other resources. Creative Scotland Strategic Framework can be downloaded from their website. Workshop In October 2024 all of the people featured in this podcast series met at the University of Sheffield to discuss the UK’s implementation of the Convention on Intangible Cultural Heritage. Dan Woodfield, from the Cornish folk arts organisation Lowender, also joined to share their regional perspectives on folk arts, policy and the Convention. The group noted how being a signatory to the Convention has allowed new conversations and networks to develop, both with policy makers and other arts organisations, even before the work of implementation has really gotten started in the UK. Their discussion highlighted risks with the implementation process, especially the potential for cultural practices with strong organisational backing to be recognised at the expense of equally valuable community practices without clear organisational structures. The group argued that folk arts organisations and their networks have a role to play in supporting an equitable implementation process. Visit Lowender’s website to learn more about their work and folk arts in Cornwall. Further reading Francis, David. 2010. ‘Traditional Arts Working Group Report – January 2010’. Scotland.https://webarchive.nrscotland.gov.uk/20190120050012/http://www2.gov.scot/Publications/2010/01/28100441/14. House of Lords. 2024. ‘Scrutiny of International Agreements: UNESCO Convention on Intangible Cultural Heritage:  5th Report of Session 2023–24’. HL Paper 69.https://committees.parliament.uk/publications/43438/documents/216057/default/. Kurin, Richard. 2007. ‘Safeguarding Intangible Cultural Heritage: Key Factors in Implementing the 2003 Convention’. International Journal of Intangible Heritage 2:10–20. Local Voices C

Welcome to The Access Folk Podcast and our special series on Folk Arts, Cultural Policy and UNESCO’s 2003 Convention for the Safeguarding of the Intangible Cultural Heritage.  In the second episode Esbjörn Wettermark talks to Danny KilBride from Trac Cymru in Wales and Katy Spicer from the English Folk Dance and Song Society in England. At the start of the episode Esbjörn introduces the role of Arts Councils and their work across the Isles. Arts Councils Since the 1990s, culture has been a devolved issue in the UK. Over the last 30 years, the Arts Council of Northern Ireland, Arts Council England, Arts Council of Wales and Creative Scotland, consequently, have developed in different directions. All arts councils – apart from Isle of Man Arts Council, which is more closely connected to the Isle of Man government –  are so-called ‘arms-length’ organisations: they all distribute government funding to artists and organisations, provide support, and monitor the work of funded organisations in their areas, but operate independent of direct oversight from government. In the episode, Esbjörn  discusses some of the work the arts councils do and introduces the State of the Art report, which provides some comparison of their roles across the isles. Wales Trac Cymru is a folk arts development organisation supporting both professional artists and community activities across Wales. Director Danny KilBride talks about the organisation's history and their work to engage people with folk arts. He talks about how changes in Welsh language policies have impacted the cultural landscape, and how attitudes could change toward the folk arts. We discuss the evaluation and impact agenda of arts councils (and other funders) and if the data supplied by organisations such as Trac Cymru ever leads to real development of the culture sector. Visit Trac Cymru’s website for information and resources about their work and Welsh folk arts. Download the Arts Council of Wales’s Investment Review 2023 Report and Decisions from their website. England The English Folk Dance and Song Society (EFDSS) is England’s largest folk development organisation. Chief executive and artistic director Katy Spicer talks about their work with education and artist development, as well as supporting the folk scene through the Vaughan William Memorial Library. Katy discusses the increasing demand on the arts to prove their worth with politicians and funders, and the changes she has noticed through the years. We also hear about the EFDSS’ own policies and how, for example, their stance against blackface makeup in morris dancing has supported real change within the folk scene. Visit the English Folk Dance and Song Society’s website for more information and resources, including on music education and research.  Download Let’s Create: Strategy 2020-2030 from the Arts Council England’s website. Further reading Allard, Gillian. 2007. ‘Imagined Diversity: Cultural Policy in Wales, 1997–2001’. International Journal of Cultural Policy 13 (1): 71–84. https://doi.org/10.1080/10286630701201871. Campaign for the Arts, and University of Warwick. 2024. ‘The State of the Arts’. United Kingdom: Campaign for the Arts & Centre for Cultural and Media Policy Studies. https://www.campaignforthearts.org/wp-content/uploads/2024/07/The-State-of-the-Arts.pdf. Durrer, Victoria, Abigail Gilmore, and David Stevenson. 2019. ‘Arts Councils, Policy-Making and “the Local”’. Cultural Trends 28 (4): 317–31. https://doi.org/10.1080/09548963.2019.1644795. English Folk Dance and Song Society. 2020. ‘Time’s up for “Blacking Up”’. EFDSS’ Website (blog). 1 August 2020. https://www.efdss.org/about-us/what-we-do/news/10135-time-s-up-for-blacking-up. Keegan-Phipps, Simon. 2017. ‘Identifying the English: Essentialism and Multiculturalism in Contemporary English Folk Music’. Ethnomusicology Forum 26 (1): 3–25. https://doi.org/10.1080/17411912.2017.1302809. Knowles, Tim. 2017. ‘English Folk Law: A Brief Introduction

Welcome to The Access Folk Podcast and our special series on Folk Arts, Cultural Policy and UNESCO’s 2003 Convention for the Safeguarding of the Intangible Cultural Heritage. In the first episode Esbjörn Wettermark talks to Breesha Maddrell from Culture Vannin on the Isle of Man and Ciarán Ó Maoláin from Armagh Pipers Club in Northern Ireland. At the start of the episode Esbjörn introduces the terms folk arts and policy. What is Folk Arts? There is no single definition of what constitutes the folk arts. In fact, several of the organisations involved in this project use other terms, such as traditional arts, or combinations such as folk music and dance traditions. The very broad definition we use is described by Esbjörn as ‘art forms and styles of cultural expressions that are based in oral transmission, have a sense of connection to place, and are perceived by practitioners as being part of a people’s culture – something connected to everyday life rather than being part of an institutionalised art form’. Words like folk or traditional can have many different meanings depending on the context and you can find more information about this in the further readings below. What is Policy? Policy can be a tricky word, but it generally refers to a decision or plan of action taken by a government or organisation to ensure a certain outcome. Policy expert Prof. Paul Cairney’s website is a great starting point to learn about what policy is and how policy making and research on policy works in the UK. v Isle of Man Culture Vannin is the Isle of Man’s main arts development organisation. They are based in St John’s in the centre of the island. Director Dr Breesha Maddrell talks about the specific context of Isle of Man and how they work with the Isle of Man Arts Council and Government. She discusses the importance of language policies and the UNESCO Biosphere project. Visit Culture Vannin’s website for more information about their work and Manx culture and language. Download the Isle of Man’s National Development Strategy for Culture and The Arts 2017-2027 from the Isle of Man Arts Council’s website. Northern Ireland The Armagh Pipers Club was founded in Armagh in 1966 and is one of the oldest Irish traditional music organisations in Northern Ireland. The club’s secretary, Ciarán Ó Maoláin, talks about the club’s history and long relationship with the Arts Council of Northern Ireland. He describes their work in the context of intercommunity tension and his hopes for policy changes and development in the region. Visit the Armagh Pipers Club’s website for more information about the club and their annual international piping festival. Download the Arts Council of Northern Ireland’s Strategic Plan 2024-2034 from their website. Further reading Belfiore, Eleonora. 2022. ‘Is It Really about the Evidence? Argument, Persuasion, and the Power of Ideas in Cultural Policy’. Cultural Trends 31 (4): 293–310. https://doi.org/10.1080/09548963.2021.1991230. Cairney, Paul. 2022. ‘The Myth of “Evidence-Based Policymaking” in a Decentred State’. Public Policy and Administration 37 (1): 46–66. https://doi.org/10.1177/0952076720905016. Chaney, Paul. 2015. ‘Parties, Promises and Politics: Exploring Manifesto Discourse on Arts Policy in Westminster, Scottish, Welsh and Northern Irish Elections 1945–2011’. International Journal of Cultural Policy21 (5): 611–30. https://doi.org/10.1080/10286632.2014.943754. Dowling, Martin. 2008. ‘Fiddling for Outcomes: Traditional Music, Social Capital, and Arts Policy in Northern Ireland’. International Journal of Cultural Policy 14 (2): 179–94. https://doi.org/10.1080/10286630802106359. Foskett, Holly. 2023. ‘Cultural Policy and Arts Engagement for the Working Class in Northern Ireland. Case Study: “The Gert and Friend” Project’. Queen’s Policy Engagement (blog). 2 November 2023.http://qpol.qub.ac.uk/cultural-policy-and-arts-engagement-for-the-working-class-in-northern-ireland-case-study-the-gert-and-friend-project/. M

For our last episode of this series Joanie and Oliver talks to the founder of the Access Folk research project Fay Hield and her colleague Esbjorn Wettermark. They discuss their methodology, how they have defined folk singing for the purpose of the project, and how they balanced intersectionality and collective experiences and barriers. Fay reflects on where new generations of singers might come from, where they might sing and the differences of getting young people involved in singing versus instrumental music. Wrapping up the series Joanie and Oliver reflect on the ecosystem that makes up the English folk scene and where we might go from here. You can learn more about Access Folk and what lies ahead on their website and through social media @AccessFolk Music in the episode: “Green Gravel” and “Old Adam (Reprise)” from Fay Hield’s album Old Adam (2016, Soundpost Records). All music used with permission from the artists and copyright holders.

In this episode Joanie interviews Clair Le Couteur and Carli Jefferson who together make up the duo Lunatraktors. They talk about their personal journeys to reimagining folk music, thoughts about difference, gender and embracing the carnivalesque and fun in folk. Drawing on the interview Joanie and Oliver discuss how we get to a point of feeling comfortable to participate in the folk scene and how the work of Lunatrakors and others can help people to feel connected through song. Clair and Carli mention the folk costume exhibition Making Mischief and at the end of the episode Joanie talks about the work of Madge Bray on women’s voices. You can learn more about Lunatraktors and their music on their website and through social media @lunatraktors Music in the episode: “Now the Time” by Lunatraktors (2021); and, “Old Adam (Reprise)” from Fay Hield’s album Old Adam (2016, Soundpost Records). All music used with permission from the artists and copyright holders.

In this episode Oliver interviews fiddler and singer Mikey Kenney about socio-economic barriers to getting involved in folk music, differences for a young person in Ireland and England to learn folk music, and his approach to engage young people in Lancashire Youth Folk Ensemble. Drawing on the interview Joanie and Oliver discuss class, difference, English folk “academia” and their experience of folk music in Ireland and England. Mikey and Oliver mention the Irish music organisation Comhaltas Ceoltóirí Éireann (pronounced “Coaltas” for short) and Mikey’s work with the Lancashire Youth Folk Ensemble. You can learn more about Mikey’s work and music on his website and through social media @Mikeykenney Music in the episode: “The Path I Walk Upon” from Mikey Kenney’s album The Reverie Road (2018); and, “Old Adam (Reprise)” from Fay Hield’s album Old Adam (2016, Soundpost Records). All music used with permission from the artists and copyright holders.

In this episode Joanie interviews musician and ethnomusicologist Marie Bashiru about her music, research, and race and ethnicity in the folk scene. Drawing on the interview and their own lived experience Joanie and Oliver discuss race, ethnicity, belonging and feeling connected to a place. Marie and Joanie talked about Marie’s podcast British Folk Music: Where Are All The Black People?. They also mentioned the music organisation The Nest Collective. You can learn more about Marie’s work and music on her website and through social media @mariebashiru. Music in the episode: “Reciprocity” by Marie Bashiru (2023); and, “Old Adam (Reprise)” from Fay Hield’s album Old Adam (2016, Soundpost Records). All music used with permission from the artists and copyright holders.

In this episode Oliver interviews musician and disability activist John Kelly about his music, growing up with singing in a London-Irish family, getting involved with the folk scene and access. Drawing on the interview and their own lived experience Joanie and Oliver discuss how disability and neurodiversity is experienced within the folk scene in England. John and Oliver both talked about the Social Model of Disability. You can learn more about John’s work and music on his website and through social media @JK_Musician. Music in the episode: “Nobody Sings about My Heroes” from John Kelly’s album Better Late Than Never (2022); and, “Old Adam (Reprise)” from Fay Hield’s album Old Adam (2016, Soundpost Records). All music used with permission from the artists and copyright holders.

In this episode Oliver interviews the education director of the English Folk Dance and Song Society about youth engagement, funding and folk singing. Joanie and Oliver discuss the contemporary funding landscape for folk music, how young people first meet folk singing and reflect on their own experiences of first getting involved with folk singing. In the podcast Rachel talks about The English Folk Dance and Song Society’s youth programmes and their award winning Resource Bank. Joanie mentioned her visits to the Morris Folk Club. You can learn more about the work of the English Folk Dance and Song Society by following them on social media. @TheEfdss Music in the episode: Old Abigail’s Delight / Granny’s performed by the National Youth Folk Ensemble (2018, EFDSS); and, “Old Adam (Reprise)” from Fay Hield’s album Old Adam (2016, Soundpost Records). All music used with permission from the artists and copyright holders.