Editorial ~ 2009: June

This month we give our opinions on the growing pains of the English National, the voting process in the North West and in praise of Black Dyke...

English National growing pains

Every major brass band contest has had it’s early growing pains: What would have been the third British Open was cancelled in 1859, due to a lack of entries, whilst the National Finals had to take a break just after it was finding its feet, due to ill timed intervention from the Kaiser.

Both recovered and flourished however, thanks mainly to the fact that there was still a public and banding demand for the growing number of contests.

Today, that is no longer the case – as the English National is currently finding out.  

To be fair, the British Federation of Brass Bands were handed a troublesome ‘pup’ when the contest was first proposed and hastily set up.  The lack of a long term sponsorship commitment soon became apparent, and was echoed by the well meaning proposals concerning a ‘new’ adjudication process and even the number of qualifying bands that were to take part.  The contest has been hampered by both external and internal problems. 

Now the English National faces another dilemma, one that could well define whether or not it survives its infancy. 

The appetite for contesting is diminishing – a combination of inverted demand and supply, the harsh financial climate and poor long term planning.  The monetary disparity between actually competing regularly, and being successful, irregularly, is becoming ever more unsustainable. 

For all the desire to be seen as a democratic way of getting an English Champion Band to the European Championships, the reality is that the English National currently adds time and expense to a process that many believed was adequately achieved at the National Finals or even the old All England Masters.

If the English Nationals is to ultimately flourish, then it needs to offer more than just an empty passport visa to yet another expensive contest. 

What do you think?
Send an email to: comments@4barsrest.com        

When is a vote a real vote?

Talking of democracy – when is a vote a real vote?

The recent announcement from the North West Regional Committee that its members bands had taken part in that most cherished of democratic processes, and had voted to keep one adjudicator in the box for the foreseeable future at the Area was laudable.

However, a few eyebrows would have been raised even in North Korea when the actual results were analysed a bit more closely.

83 bands were sent voting forms, but just 31 returned them, of which, 20 voted for a change to two judges, with 11 voting for the system to remain as it is. 

The outcome? No change in the current system.

Now, before all the Guardian reading liberal types start wailing about Proportional Representation, or try to point out that the actual response was about the same as the turn out for local elections, the North West Regional Committee did make it very clear that not taking the opportunity to vote was to be seen as tacit approval of the current system.

That may well explain why so many didn’t bother to reply – apathy reigns in banding.

Perhaps a better idea would have been to insist that a representative of each band would have to cast a vote on such a proposal at the 2010 contest – by placing a voting slip and ballot box at the registration desk before their band went on stage.

Then no one could ignore the choice to be made, or be apathetic enough not to be even bothered to put an ‘X’ in the appropriate box.

What do you think?
Send an email to: comments@4barsrest.com        

In praise of Black Dyke

If bands are to prosper in the 21st century then seeking progressive partnerships to connect with new audiences is essential.

And not for the first time Black Dyke is leading the way.

Their impressive relationship with Leeds Metropolitan University serves not just to help promote the image of the band (and despite its history even Black Dyke has only a very limited world wide tag of recognition), but also to help establish the University reputation as a leading centre of community based cultural excellence.

The response to the 2009 Black Dyke Brass Festival not only saw an increase in participants from within the banding community, but also saw an increased awareness of what brass banding was all about from those outside it too. 

Not all bands can of course make the same type of links to educational establishments such as Leeds Met, or benefit from its resources as Black Dyke has done, but it does show that there are opportunities to be sought and grasped for those bands that have the commitment and foresight to look beyond just the desire to win contests.

Black Dyke has done just – now others must try and follow.

What do you think?
Send an email to: comments@4barsrest.com        

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