sTOCKTON iNTERNATIONAL RIVERSIDE FESTIVAL 2006

Purpose of Report

To highlight the key achievements of Stockton International Riverside Festival (SIRF) 06 and issues arising, in order to inform the planning and preparations for SIRF 07 and beyond.

Summary

  1. The major SIRF review conducted in 2002 has been the driver of subsequent Festivals, prioritising a growth in participation, a concentration on a smaller/shorter event to achieve critical mass, targeted rather than blanket marketing, increased support for a growing Fringe, and greater emphasis on the visitor experience. The target of breaking and apparent glass ceiling on national media coverage has been a constant goal. In addition, appropriate strategic relationships with other festivals and events, including Culture 10 and BIFF, have been the subject of specific objectives.
  1. In relation to most issues, SIRF 06 reflected a continuation of approaches outlined in 2002. For brevity, this report does not restate the detail rationale behind previously agreed priorities.
  1. The headline findings for SIRF 06 are very positive;
  • Attendances were good across the full range of event sites and times, for much of the weekend there were tens of thousands of visitors on both Riverside and High Street areas, plus several thousands between Parish and Holy Trinity sites, in addition to respectable indoor audiences at the Georgian theatre and ARC.
  • Satisfaction reached record levels, 98% were satisfied (or better) with the event, sustaining the growth from 90% in 04 to 92% in 05
  • The Carnival and Parade was the biggest ever, 738 people played an active part, representing every postcode in the District.
  • Levels of visitor spend and impact on the image of the area have grown measurably from 04 and 05, with a mean spend per head of £38.55 compared to £27.97 last year, and 88% of non TS postcode visitors who feel SIRF has a positive effect on the profile of the Town, compared to the already high 82% in 05
  • The favourite performance or attraction was the town hall stage, for the second year running, justifying our decision to invest in the infrastructure and displace market stalls
  • The second favourite overall was the Fringe, giving an excellent return for our increased investment
  • Regional television and print media coverage was excellent with live and pre-recorded teatime pieces on both BBC and ITV, from Thursday through to Sunday
  • National newspapers covered the event meaningfully for the first time, with The Guardian nominating it the pick of the week for events, and the Fringe as gig of the week.
  1. Despite being a relatively lean year, following in the wake of the additional £300,000 secured for programme in SIRF 05, only 2% of visitors were disappointed with SIRF 06. However, production and staging costs have risen beyond inflation. Those in our survey who say ‘its not as big as it used to be’ are right.
  1. The national context has been shifted by The Sultan’s Elephant, a £2million show which enjoyed an audience of 3million. Street theatre is perhaps the new public art, where the aftermath of the Elephant (of the South) is like that of the Angel of the North; everyone wants a one. Our major funding partner, Arts Council England North East, is under pressure to free up its treasury funds, funding an increasing percentage of its work thought time limited lottery funding. If SIRF stands still as others press their demands, we could find our treasury grant reduced.
  1. We have credible evidence of the economic benefits of the event, and we have proof of people’s satisfaction at a time when satisfaction with the Council is arguably gaining in importance.
  1. I believe we should seek to make a considerable additional investment in SIRF over the next three year phase, securing matching growth via ACENE and Culture 10. By 2008, SIRF’s 21st birthday, we should be staging a production as big as Clipa, but on the Streets, and over a period of days. And we should be taking the performance to Beijing to feature in the Olympic celebrations.

Detail

  1. The annual SIRF Visitor Survey, conducted by Rocket Science/Norma Wilburn Associates, captured 4000 names, postcodes, and contact information. A cross-section of 600 people was then selected for a detailed telephone survey. We now have this more detailed data for three consecutive years, captured in the same way, allowing more robust trend analysis.
  1. All statistics quoted in this report are taken from the RS/NWA survey unless otherwise stated.

Character and content of the event

  1. In 2002 we set the priority of ‘putting the community back at the heart of the Festival’. We set out plans to build participation in the Carnival, and to work with community groups and partner organisations so that the SIRF Carnival was a celebration and culmination of year-round activity.
  1. The growth of the Carnival and Parade has been exceptional, this year's event was the biggest yet with 738 people participating, an increase of 18% on last year's figures.
  1. Significant progress was made on all key targets for this year's Carnival and Parade:
  • To create more large scale structures
  • To improve the performance elements, music and movement
  1. The Carnival was devised and directed by carnival arts company Bravura on the theme Waarms, Dragons and Knights. It featured large scale structures of local legends the Sockburn and Lambton worms, and children processing in charming "hobby horse" style costumes. It was bold, colourful and exciting to watch.
  1. This year saw the establishment of the event's first Carnival Club, a partnership between OaktreePrimary School and SPARK children's arts centre. The aim was to offer people who were not members of organised groups the opportunity to participate in the Parade. Over 20 people joined and created a performance on the theme "Dragons".
  1. As part of our cultural exchange project with Beijing, two Chinese artists visited for a month and worked with several community groups and schools to create costumes for the Parade. It was a new experience for both artists as there is no comparable way of working in China. The arts development team supported and mentored the artists and they soon became confident to use their traditional Chinese skills of paper cutting and calligraphy and translate them into costumes and structures for the Parade.
  1. The Carnival has always has had the reputation of being high quality and artistically and visually outstanding. It is devised and directed by a professional carnival arts company and requires participants to commit themselves to a demanding and structured workshop programme. The introduction of the Parade in 2004 gave groups the opportunity to choose the way that they got involved, expressing their own ideas and themes, often supported by local artists. From evaluation and feedback, there is clearly a strong demand for diverse and flexible ways of working and for 2007 we have set ourselves the challenge of creating a Carnival that features all the best elements, values and practices of the current carnival and parade.
  1. 2007 aims:
  • Involve 1,000 people, reflecting the diverse cultures of Stockton.
  • Provide training and learning opportunities in carnival arts skills for local artists to continue a high standard of production and performance in carnival and celebratory arts in Stockton Borough and meet the increased demand.
  • To strengthen the performance elements of the Carnival
  • Build on the successful cultural exchange with Beijing
  • Create a carnival that is distinctive, rooted in local culture and celebrates the diverse communities of Stockton.
  1. Once again, the outstanding quality and success of this year's Carnival and Parade demonstrates that it is an important feature of SIRF and the cultural life of Stockton. Our ambitions for its future development are justifiably a key objective for the Arts Development Service.
  1. The investment required to achieve this growth has been considerable. The Arts Development Service has prioritised this work and invested a significant portion of the small team’s time. In cash terms the budget allocation for the Carnival has gone from £10,000 in 2002, to £40,000 in 2006. In addition, £15,000 was raised in external grants.
  1. If the Carnival was the greatest achievement of SIRF 06, then the finale was the greatest disappointment. Ramon Kelvink Jnr and Catherine Ledger should have entered the local history books and consciousness for a breath taking show, the last of an old school of risk takers. In the event rain all but cancelled the show and washed out the audience. We can only reflect on the fragility of a rain and wind sensitive, outdoor, one night show, especially one so dependant upon an individual performer’s availability on the night.
  1. The main themes of the 2006 SIRF programme were the UK premieres of large scale aerial work from Circo da Madrugada and Duo du Haut (branded as "A Festival with Altitude") and the profiling of UK work of quality via 4 co-commissions and a platform for significant new work from Desperate Men and Dot Comedy. Other significant programming considerations included a desire to make full use of the High Street public realm, including a stage and grandstand at the Town Hall, and the creation of a relaxed, family friendly environment in ParishGardens around the 'sunset' performances of "A Midsummer Night's Tree."
  1. In general this programme was very well received and SIRF succeeded in providing an appropriate context and support for the work. Artists reported a good experience of the Festival and were particularly complimentary about the logistical support they received and the standard of catering at Parish Hall. There were, however, one or two niggles about the accommodation at the University Halls of Residence, which are now showing inevitable signs of wear and tear (interestingly, all of the complaints came from British companies). Accommodation is a key cost pressure for SIRF. There were also a couple of significant production issues that are being addressed through a revision of procedures for technical production immediately prior to and during the event.

Trinity/Madrugada.

  1. The Trinity site was again the subject of much debate, arising primarily from the application for a premises licence which residents assumed was for regular events throughout the year. We offered restrictions to the license which were widely accepted. There were none of the problems experienced in 05, thanks to the conscious exclusion of any fairground attractions.
  1. The Madrugada performances were an undoubted success; the company developed a great rapport with the audience by virtue of their intimate proximity to the action. The atmosphere during the final performance on Saturday night was magical and a great affirmation of Stockton's standing as a Festival Town, with artists, locals and visitors sharing the experience and being fully aware that they were sharing an experience. The steward supervisor on this site made a real effort to work with the company and our staff for the benefit of the audience, with results that were evident by Saturday.

Parish/ Tree & Installations

  1. ParishGardens is one of SIRF's most valuable locations because of the ability to create a completely different ambience within 100 metres of the High Street. The 06 installations and shows created a family-friendly oasis, making the most of the character of the site. This was one of the best uses we have made of this space in recent years.
  1. In hindsight, there was scope for one or two more daytime circle shows to provide a focus alongside the horticultural installations. "Tree" had the artistic quality and production values that we have come to expect from our links with this company, and a distinctively European feel.
  1. Whilst we will aim to replicate the ambience in future years, we cannot expect there to always be such a coincidence of ‘garden’ themed shows

Municipal Buildings car park/ Femina

  1. This site is only used intermittently but has great value for its ability to atmospherically frame static performances for audiences of 400-800 people. The company were highly professional and a pleasure to work with (once again, a Polish company demonstrated that lack of resources is no barrier to creativity) and the show was well received by men and women.

High Street/ Finale, Stage, Maze etc.

  1. The gradual opening up of the High Street to Festival programming has been a great benefit. This is where people naturally congregate, and the compartmentalisation of the High Street provided by the Town Hall and the Shambles offers a surprising amount of programming flexibility.
  1. Ramon Kelvink Jnr and Catherine Ledger should have entered the local history books and consciouosness for a breathtaking show, the last of an old school of risk takers. In the event rain all but cancelled the show and washed-out the audience. We can only reflect on the fragility of a rain and wind sensitive, outdoor, one night show, especially one so dependant upon an individual performer’s availability on the night.
  1. Many of the difficulties experienced with Duo du Haut were caused by the need to put their equipment in the same compound as the High Street Stage. There was, inevitably, some mixing up in such a confined area, in a manner that was unacceptable to the company. Events quickly demonstrated that the company, which had its own organisational shortcomings (!), also needed more by way of human resources than had been assigned to them.
  1. The programme on the re-configured High Street Stage was once again very well received and the crowd management issues noted in 2005 were satisfactorily addressed. Dot Comedy's Maze south of the Town Hall was hugely popular, and the performances and installations from Desperate Men, Spiral Flight and Wrong Size added to the impact and diversity of the High Street programme. The public watching the Carnival could not have been unaware of the context provided by the High Street installations; an impression which can hopefully be enhanced still further in the future with more attention to site visuals.
  1. As in 05, the Town Hall Stage proved the most popular element according to the survey, justifying the displacement of market stalls. However, despite the earlier provision of information to market traders about the size and location of spaces required for SIRF in 06, the loss of stall sites for regular traders and resulting loss of earnings, inevitably worsened relations between the traders and the Council.
  1. Much officer time is expended each year both in terms of conflict resolution and the additional logistical planning required to fit SIRF around the market and vice versa. The Town Centre Manager has explored the issue with traders and proposes a permanent solution to this conflict by agreeing a market holiday to ensure that the market traders do not stand on the SIRF Saturday. A compensatory payment would be made to the markets service and alternative, smaller and more distinctive markets would be presented, such as continental or organic produce markets.These would be commissioned to fit the space needs of SIRF.
  1. The prospect of a ‘blank canvass’ stretching from the Town Hall to Dodshon’s Fountain is an exciting one. It would be possible to plan a seating area around a flat floor space, allowing for the access and comfort needs whilst accommodating the street based, moving performances. Such an area could be used for the ever growing Carnival to pause and perform in front of the ‘grandstand’ before returning to the linear street procession. In addition it would be possible to introduce the smaller installations alongside any specialist market.
  1. As with the 05 recommendations, even if such a configuration were successful in 07, we should not assume it will remain the same in 08 or beyond. The best work available in the world dictates the format each year, but with the market on holiday, we have maximum flexibility within which to work.
  1. Riverside site, or FestivalPark, was used for the Fringe main stage, and worked well in relation to the hospitality events promoted by Service Stockton. The programme achieved an effective mix of contemporary bands, classic tributes, and emerging talent. The Fringe music stage was second favourite in the survey, for the second year running.
  1. In addition the Fringe programme in Georgian was very high quality and well attended, as were the visual arts installations. There is no doubt that the Fringe programme is as big and diverse as many other town Festival main programmes.
  1. However, in terms of noise conflict, a large open stage and p.a on the Riverside site presents problems for ParishGardens and High Street performances. We do not want to throw the baby out with the bathwater but we must consider the location and scale of the music element of Fringe carefully.
  1. In general the form and content of SIRF 06 was the optimum within the resources available. The aerial shows created a physically large and popular spectacle at 20% of the cost of 05’s Clipa show. The Town Hall stage programme was a little thin, but again popular. There was a noticeable absence of the sort of walkabout that generates unexpected encounters, and none of the larger moving, street based pieces.
  1. The SIRF brand and reputation has been won over many years, and will not be easily undermined or overtaken. We must decide if we want to retain our role as the leading UK Festival, the primary mover in the EU network and the place in which major companies wish to perform in order to access key opinion formers and programmers of other Festivals. This primacy enables us to attract resources and companies which major cities outside London and Edinburgh cannot attract. However, this comes at a price. Whilst there are more small festivals emerging, such as the Mouth of the Tyne Festival, which seek to replicate Stockton’s achievements, there are fewer Festivals able to co-commission new, large scale works.
  1. I believe we should seek to make a considerable additional investment in SIRF over the next three year phase, securing matching growth via ACENE and Culture 10. By 2008, SIRF’s 21st birthday, we should be staging a production as big as Clipa, but on the Streets, and over a period of days. And we should be taking the performance to Beijing to feature in the Olympic celebrations. Discussions with Culture 10 Director, Stella Hall, suggest there is potential for six figure investment from their funds. In addition, TVP Single Programme Culture 10 monies have been applied for and provisionally approved. It is conceivable that an increase to SIRF base budget of £40 - £60,000 would be matchable by ACENE. The combined effect would be sufficient to retain SIRF’s position as the primary UK commissioning festival. It would also deliver a visible return of walkabout and street based commissions, alongside set-piece spectacular shows.

Management and delivery structures