ArtScape: The Arts Council seems to set to change the way it funds opera in Ireland. It has issued opera companies with a "briefing note" on its strategy for opera, writes Michael Dervan.
The note summarises the council's response to the report Towards a Policy and Action Plan for Opera, prepared by Pamela Smith, and delivered to the council more than a year ago. Acting on the report was delayed by the Government's cutback in funding to the Arts Council, which resulted in one of the country's worst arts funding crises.
The council has now made clear its decision that opera provision "should consist of three primary elements". The first is "main-scale productions of new and established operatic repertoire, presented by an opera production company with an artistic and administrative base which allows it to engage in the requisite levels of co-operation (including co-production) with others and of staging productions with the potential for touring to other major centres in Ireland (Dublin, Cork, Belfast, Derry)".
The second element consists of "touring productions of chamber opera and work adapted to the smaller scale of non-metropolitan venues, by a company funded to commission and produce such work to a high quality, with orchestral accompaniment".
And the third is "festival productions of niche repertoire, attracting a national and international audience".
The council acknowledges, "on its own, funding at current levels is not sufficient to ensure this type of balanced provision on a sustainable basis" and "a re-configuration of the current funding model for opera is required involving greater conscious co-operation between a broader range of stakeholders, North and South". A timeframe of three to five years is envisaged for the development of an implementation plan that will address the wide range of issues facing opera in 21st-century Ireland.
The covering letter sent out to opera companies by arts programme director, John O'Kane, offers further clarification of the council's current thinking. An important dimension of the approach, he explains, "has been the separation of the elements in the opera strategy from existing or potential 'service providers', i.e. opera companies. This recognises that, in developing an implementation plan, it will be important to consider a broad range of options." What he calls "the progression of the implementation plan" is likely to take some two or three years. "In parallel with this process," he informed the companies, "the Arts Council will now engage with existing service providers regarding shorter-term provision of opera, i.e. for 2004 at least.
"Therefore, the issues of progressing the plan and of providing funding to opera companies will, for the present, be addressed as separate processes."
This approach should help clarify any outstanding competitive issues between the small-scale touring companies, Opera Theatre Company and Co-Opera. But, with the personal commitment of the Taoiseach behind the re-development of the Wexford Festival's Theatre Royal - and that building project envisaged as also providing a new base for Opera Theatre Company - the biggest question marks posed by the council's proposed way forward must surely be those affecting Opera Ireland (OI), which hasn't managed to present its regular four operas a year since 2001.
OI's chief executive David Collopy is sanguine about the situation. O'Kane, he points out, makes reference to "the need to involve existing opera companies and opera practitioners, with whom the council has had long and valuable relationships". And Collopy draws attention to the closeness between the current set-up in Ireland and the council's targets - the main innovation is the prospect of main-scale productions touring to major urban centres North and South. "In order for the council to get it right," says Collopy, "they need to re-examine the total provision. We're very supportive of that idea, and we'll work with them towards that end. If at the end of the day it means there is a better option than Opera Ireland, then so be it."
In to the Ark?
With Temple Bar Properties (TBP) offering Arthouse to the Ark, it looks like one of the question marks hanging over the growing number of tenant-less cultural centres hanging loose in the area may be resolved. Last weekend, TBP offered the multi-media building on Curved Street to the Ark, which is exploring how it might use it to create programmes for primary-school children, but hasn't made a final decision yet. This is the end of a public tender process started in September 2002, following the collapse of Arthouse in July 2002; the building has had a variety of short-term uses since then.
In the meantime, the seemingly interminable tender process for SS Michael and John Church (the former Viking Centre) continues and the deadline has been extended to October 3rd. Last autumn, interested parties were said to have included the IFC, and a joint application from the Improvised Music Centre and the Gaiety School of Acting. Last September, it was reported the IFC was conducting a feasibility study. Mark Mulqueen of the IFC says they did a draft business plan and are still interested, but are also looking at other options in Dublin and elsewhere. It seems things are no closer to a resolution, with TBP stressing the process is ongoing and the building is available for short-term use. It will be a Dublin Fringe Festival venue again this autumn. And to top that, DesignYard, another landmark TBP cultural landmark, closed its doors suddenly in May. So that space is also up for discussion. TBP says it will make an announcement about its long-term use later this autumn.
You could say that to lose one cultural centre in Dublin's cultural quarter is unfortunate, but to lose three . . .
Temporary freeze
The publisher at Cork University Press has announced she is to leave the troubled organisation, writes Mary Leland. Sara Wilbourne has been with CUP for 10 years, but in a letter to contributors to the press she says one of the logical outcomes of UCC's decision to review the operation of CUP has been to make the post of publisher redundant. A spokesperson for UCC said the university wished to place on record its appreciation of the very significant contribution made by Sara Wilbourne during her time with the press.
In her letter, Wilbourne says it has been decided to suspend the commissioning of any new titles for the foreseeable future, but the university will honour all existing contracts for books due to be delivered to the press and will publish new books already in the schedule.
"CUP will retain the sales, marketing and production function in the short term, will actively sell and promote its backlist and publish new books already in the pipeline," writes Wilbourne. Business at the press will be conducted by the sales and marketing manager and the production manager, working with the assistance of the university's Press Committee.
The university anticipates that this temporary freeze on new book contracts will enable it to restructure its cost base and that the reduction in output and in staffing means there is now an emphasis on the promotion and sale of its extensive back list. The cost of running CUP is quoted - by the university - as €200,000 annually. This is hardly an enormous sum for the management of a prestigious imprint and lends a suggestion of irony to Wilbourne's description of the last 10 years as an exciting mixture of experimentation, challenge and progress. Yet her role in regenerating a conservative and restricted press at UCC has been widely acclaimed, and scholarly publications during the past 10 years have been reviewed in international academic journals on a regular basis. CUP's publishing profile has been broadened to accommodate two further imprints - Attic Press and Atrium, which has just produced the popular "Paradiso Seasons" cookbook. Wilbourne will be leaving CUP on September 30th.
And furthermore . . .
Kells Priory in Co Kilkenny is an under-appreciated wonder, stunningly located on the King's River. For several years - with a one-year gap because of foot and mouth disease restrictions - it has served as a dramatic backdrop for Sculpture at Kells, timed to coincide with the Kilkenny Arts Festival and bringing together work by many leading international and Irish sculptors.
This year, alas, the event received no Arts Council funding and had to be cancelled. Finding alternative funding at short notice proved too great an obstacle,
but plans are already in hand for its return next year. It is a fine exhibition in a unique setting and deserves to find a generous sponsor. . .As part of
Squared, next week's Diversions dance programme in Temple Bar, Rex Levitates and Critical Voices 2 present two talks. New York dancer, choreographer and teacher Jodi Melnick hosts a post-show discussion with the choreographer of Fish & Map (Tuesday 7 p.m., SS Michael & John's). All four "Squared" choreographers, Melnick, Michael Klien (Austria/Ireland), Christina Gaigg (Austria) and Liz Roche (Ireland), examine the solo creation process (Thursday, 1.15 p.m., Project).
Both are free ticketed events; information from Diversions Temple Bar, (01) 6772255 or www.temple-bar.ie . . .
Next Friday, August 15th, is the deadline for applications under the second round of the Arts Council's awards programme for artistic projects. Project awards help artists in any discipline to research or develop creative ideas, or to produce new work (awards from €5,000 to €25,000). Applications on paper or on line:
1850 392 492 www.artscouncil.ie,
01-618 0209 . . . Smashing Times, in partnership with Queen's University, is developing a cross-Border drama training programme, Creative Training in Community Drama. The two accredited courses run from September and then January. For information, tel: 01-8656613. . .
Meanwhile, the part-time community arts studies programme at the Playhouse in Derry continues until November, and there are still places for the remaining weeks. For information, tel 028-71 268027. . . The 23rd annual summer of choral conducting, presented by CNC/Association of Irish Choirs (Cork, August 21st-29th) is still accepting bookings for courses in choral conducting from beginners to advanced. The courses cater for
people with widely differing levels of levels experience. For information, tel: Margaret O'Sullivan, Cumann Náisiúnta na gCór, 021 4312296, margaret@cnc.ie; info@cnc.ie. Website: www.cnc.ie