Building for the future

The ISM community came together on 24 April for our second major digital event – a day of music, learning and discussion. Ruth McPherson feeds back from an informative and inspiring online gathering

Above: Ruth McPherson, ISM Senior Partnerships & Marketing Manager

Photo: Emile Holba

See page 4 for more information on the impact of Brexit on musicians

‘Today’s conference was an absolute triumph, hitting the right note in every session… I’ve been an ISM member for around 50 years and this conference was the best yet.’ Rosalyn Asher, ISM member

Clockwise from top left: Laura Bettinson; James Owen Lewis; Sharon Mark-Teggart; Ed Lyon, Photo: Gerard Collett ‘There’s an old adage that out of adversity comes strength,’ said ISM President Professor Chris Collins, in his opening words at ‘Building for the future’ (BFTF), the ISM’s free virtual conference at the end of April. And after a year dominated by the Wagnerian leitmotifs of COVID-19 and Brexit, our sector has certainly known adversity, possibly more than any other UK industry. This has undoubtably been one of the most challenging years for musicians since the ISM was formed 139 years ago. But we have also seen great examples of adaptability and innovation, and this event, with almost 450 attendees, was a wonderful show of solidarity. It celebrated the resilience of music professionals, while looking to the future to ensure that they are equipped with the skills they need to move forward with confidence.

However, as Collins wisely reminded us, ‘To know where we’re going, we need to know where we’ve been’, and a key focus of the day was reflection on and learnings from the events of the preceding 12 months. This was particularly evident in the first panel session on ‘Working internationally post-Brexit’, chaired by ISM CEO Deborah Annetts, which looked at the new complexities faced by artists travelling to and from the UK since our departure from the EU, including visas and work permits, carnets, the transportation of musical instruments, CITES, cabotage and healthcare. Annetts gave an update on the ISM’s tireless lobbying of the government to fix the crisis facing the creative industries in the aftermath of the Brexit trade deal, and explained the support that the ISM has put in place to help touring musicians navigate the complex regulations more easily, such as our new visa and work permit advice service.

Music director Ben Papworth described the personal impact that Brexit has had on his work, explaining that he used to be able to work in Barcelona with 48 hours’ notice, but now he is unable to obtain a Spanish visa despite multiple attempts. Soprano Anna Patalong told us she is facing additional barriers as a working mother, as the visa costs of travelling with a baby and childcare don’t justify her taking on jobs in Europe any more. One of the rare musicians who has been able to acquire a visa is tenor Ed Lyon, but it cost him around £1,200 and took seven weeks to get the paperwork. Annetts highlighted the importance of sharing these experiences, saying ‘the ISM needs personal stories from musicians that we can pass on to Government if we are going to make the touring situation for musicians any better’.

The picture from the music education sector was more positive, with our ‘Teaching music in a post-COVID world’ panel discussing how music teachers were initially thrown into uncertainty by the pandemic, but have adapted quickly to the ‘new normal’. Risk expert James Owen Lewis explained how it is much easier to implement controls now that we know more about the virus, and piano teacher Sharon Mark-Teggart said COVID has encouraged teachers to embrace technology, and that those who have been delivering remote lessons have actually developed better listening skills and multi-sensory learning strategies as a result.

The ISM’s Head of Legal John Robinson shared the results of our teaching, examining and accompanying fees survey 2021, which contained the good news that ‘hourly rates of pay fees have stayed the same or even slightly increased, despite the disruption caused by the pandemic’. As Robinson said, ‘the survey’s results show us the value that the public places on music and music teaching. There’s been so much creativity, energy and courage by music teachers over the pandemic, because of the belief they have in music and its power for transformation.’

Collaboration has also been key in a year when we’ve had to learn to adapt to the ‘changing challenges of the teaching and examining environment’ according to examiner Steph Power. She explained that the downside of digital exams has been the lack of humanity and interaction, but that they have also enabled greater social equality by opening them up and allowing more people to access them.

‘What a great day of panels and advice from the ISM today; everything to support musicians delete dealing with Brexit and COVID-19, but showing the resilience of the UK’s amazing musicians.’ Vick Bain, ISM member

‘Best thing about the day? Being able to mix (virtually) with our professional music colleagues and the whole team ... we don’t feel so alone. We feel supported.’ Helen Marcus, ISM member

‘Thank you for a brilliant day, I’ve really enjoyed this.’ Katie Beardsworth

‘You could just clock in to the sessions that interested you; the ease of joining was excellent.’ Michael Danes, ISM member

Left: Pauline Black Right: Magnus Mehta

See our next feature for a summary of Julia Haferkorn’s research into livestreaming performances

Inclusion was a major thread running throughout the event. During his introduction, we heard that one of Collins’s priorities for his presidency had been ‘our important work in making the sector as inclusive as possible … and actively redressing the imbalances that make a musical career so much less feasible for some people than for others’. This was echoed by attendees, who said they were pleased to see that diversity was a key focus, with one commenting that they appreciated the ‘attention to inclusion at every level’.

We enjoyed a hugely popular ‘in conversation’ session with double bass player, founder of the Chineke! Foundation, academic and broadcaster Chi-chi Nwanoku OBE, interviewed by the Southbank Centre’s Head of Classical Music, Toks Dada. Their wide-ranging conversation explored Nwanoku’s career development from performer to entrepreneur, and her thoughts on improving representation and celebrating diversity in the music sector. She advocated making the music scene more welcoming, programming more musicians of colour, and improving the auditioning process ‘to make it easier for orchestras to meet Chineke! musicians’. Dada summed up their discussion beautifully, saying ‘Diversity = excellence. We need it to be more fulfilled, to be more enriched. It’s not a “nice to have”, it’s a crucial part of the future.’

Our final future-focused session looked at ‘Incorporating online work into your portfolio career’, and featured a panel of performers, composers and digital experts. We heard how COVID had encouraged artists to connect with audiences in new and innovative ways, such as Concert Roulette, a jukebox comprised of over 200 high-definition performance videos, devised by Alternative Classical co-founder Hannah Fiddy. Producer and DJ Laura

Bettinson said that performing online at SXSW festival had been ‘a completely different experience to doing it live’, but that it had actually resulted in being exposed to a much bigger, more global audience than it would have done had the gig happened physically.

Several panellists felt that the ‘full stop’ imposed by the pandemic was a ‘great leveller’ and a ‘welcome pause’ from the often competitive and fast-paced nature of the music industry. It encouraged artists to think more creatively, but also highlighted complex issues around recording rights, monetisation and streaming. Even though at times the pandemic had been ‘a real uphill struggle’ for multi-instrumentalist Magnus Mehta, he said that things were finally falling into place: ‘There are all sorts of amazing special experiences that you can create for people online … There’s never been a better time to be an independent musician.’

The day ended with warm words from Collins and from Past-President Dr Jeremy Huw Williams, as the ISM’s Presidential Medal was handed over to our 2021/2022 President, Deborah Keyser, Director of Tyˆ Cerdd, the national agency for promoting and celebrating music in Wales. Keyser thanked both her predecessors for their service, and said it was ‘a great honour’ to be leading the ISM ‘as we move into a hopefully brighter future’. She reminded us that ‘The ISM will continue to lobby and to fight for musicians’ rights across a number of areas … Together we are stronger. The ISM is living proof of the power of the collective.’

Watch the sessions and access related resources at ism.org/future ‘The quality and extent of the ISM’s professional activity over many years, and the way this has developed more recently, especially during both Brexit and the pandemic, has brought it into the public arena and made it into a potent force for good. Brilliant. Keep it up.’ Lesley Wilson, ISM member

‘A huge “well done” to all those involved in making such an interesting, informed and smoothrunning event. Great speakers, chairs and panels as well as varied delivery styles which made for a very enjoyable and informative day.’ Jean Carter, ISM member

‘Thank you to all at ISM Head Office and to our Presidential trio, council and all committees who have helped us sustain our livelihoods this past year.’ Helen

Left: Hannah Fiddy

New: Building for the future videos available to watch on demand

Following our most recent digital conference for music professionals, Building for the future, you can now watch all the sessions at a time that is convenient to you. These include panel discussions, speeches from our CEO and Presidential Trio, and an ‘in conversation’ interview with Chi-chi Nwanoku OBE. You can also discover advice and resources featured in and inspired by the event. ism.org/future