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Youth arts participants performing at this year's National Youth Council of Ireland (NYCI) Youth Arts Showcase at the National Library, Dublin.

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National Youth Arts Showcase 2013 Highlights Importance of the Arts for Young People

On the 3rd of July, The National Youth Council of Ireland, with the Irish Association of Youth Orchestras, Children's Books Ireland, National Association for Youth Drama and Young Irish Film Makers ran this year's Youth Arts Showcase. Officially opened by Minister for Arts, Heritage and Gaeltacht, Jimmy Deenihan, the annual event aims to showcase the exceptional quality of youth arts activity happening throughout Ireland and celebrate the contribution of youth arts to the lives of young people and to Irish society. It also gives young performers the opportunity to speak directly with politicians and policy makers on the benefits they have found from being active in the arts. Although the Minister described all the performers at the showcase as “living proof of why young people should have access to the

arts”, he didn’t have any good news on the State funding front. “Funding will not be demolished but it will be reduced,” he warned, urging groups to look for alternative sources of income. In a recent article printed in The Irish Times, the NYCI are credited with providing as much access to the arts as possible. It is proven that creative pursuits offer teens solace and enduring pleasure, but access to the arts is patchy, and with the Minister's comments and our ongoing economic situation remaining downcast, increasing this access will remain to be a problem. “The National Youth Arts Showcase allows us to share and celebrate a small proportion of the massive contribution young people make to our rich cultural heritage,” said Anne O'Gorman of the NYCI Youth Arts Programme, speaking at the event.


Welcome members and friends to the September 2013 issue of IAYO Newsnotes. As always, there has been plenty of activity over the summer months and there seems to be a greater involvement in music activity by young people over the holidays than ever before. We have also seen lots of new activity with local summer camps held by Music Generation in six counties in a variety of genres this year.

Hugh Maguire: 1926 ­ 2013

The big news in IAYO at the moment is that we are approaching twenty years since the foundation of the association. IAYO was founded on 17th April 1994 at an inaugural meeting in Ennis with Andrew Robinson as Chairman and at which Agnes O'Kane was elected as Honorary Secretary with regional representatives elected from Dublin and each province. Curiously, the way numbers work, the twentieth IAYO Festival of Youth Orchestras is due to be held in February 2015, within the birthday year of IAYO's 20th and we are beginning plans to make this into an extra­special event, a gathering of the tribes to represent all the great work that has happened in youth orchestras over the last twenty years in Ireland, the growing numbers of orchestras and young players and the growth in the level of achievements of those young people in taking on ever more challenging programming. We have set a date of Saturday 7th February for the 20th Anniversary Celebrations at the National Concert Hall with the potential of extra events over that weekend. We would really like to hear from all members who would like to be part of this event and to hear how you think we should celebrate. Please do let us know. The official application window for the 20th Festival is now open until Friday 1st November 2013. Looking forward to meeting many of you over the coming months. Allin Gray.

IAYO AGM 2013 The IAYO Annual General Meeting will be held in Galway this year on Sunday 6th October 201 3, at St Mary's College. The venue has been chosen because our own Chamber Music Course will be taking place in the same venue that weekend.

Causeway Youth Exchange Causeway is a British-Irish exchange programme that aims to strengthen and improve relationships between young people, and those that work with them, on the islands of Britain and Ireland. Causeway projects bring together two or more of the eligible partner countries, promote team working and joint activities, provide a valuable avenue for young people to explore their perceptions of identity and invariably deal with issues of tolerance and diversity. There is more information on Causeway and how to get funding/grants at www.causewayyouth.org

EMI Music Sound Foundation Awards & Bursaries The EMI Music Sound Foundation provides two types of awards: Firstly, the Instrument and/or Equipment awards which allows schools, music teachers and individuals in full time education to apply directly to the Foundation for assistance with the purchase of musical instruments and/or equipment. Secondly, the Bursary awards which allow students to apply for assistance with fees and/or living expenses (these are handled directly by the college/organisation). For more details on both awards please visit www.emimusicsoundfoundation.com

Hugh Maguire, honourary President of IAYO and the founder of the National Youth Orchestra of Ireland and ConCorda, passed away recently aged 86. Hugh was a violinist of huge talent from an early age, growing up in a musical Dublin family. Such was his potential that he was offered a scholarship to the Royal Academy of Music in London in 1 944, making his Wigmore Hall debut three years later. The next period of his life involved a trip to Paris for further study with Georges Enescu and a brief stint with the London Philharmonic Orchestra before becoming leader of the Bournemouth Symphony Orchestra in 1 952. After four years with the BSO, Hugh became the leader of the London Symphony Orchestra at a time of dissent, and played a part in returning the reknowned ensemble to stability. He enjoyed 6 years as leader of this orchestra, nearly accepting but finally turning down numerous offers to become leader of the RTÉ Symphony Orchestra before joining the BBC Symphony Orchestra, again as leader, in 1 962. Hugh left the orchestral scene in 1 968 to pursue chamber music, forming a piano trio with cellist Jacqueline Du Pré and pianist Fou Ts’ong, as well as leading the Cremona String Quartet (recording Boccherini and Haydn with guitarist Julian Bream), the Allegri String Quartet (recording quartets by leading British composers, and frequently bringing the quartet to play in Ireland), and later the Melos Ensemble. It was during this period of his life that he was in and out of Abbey Road Studios, and he later recalled how he enjoyed hearing his playing on the Beatles' recording of Hey Jude. In 1 970 he founded the Irish Youth Orchestra (now called the National Youth Orchestra of Ireland) with Olive Smith, and conducted them for more than 20 years, directing it in a landmark performance of the difficult Rite of Spring by Stravinsky in 1 991 . In 1 994 he founded ConCorda with his wife Tricia, which was based on the ProCorda training courses in Leiston in Suffolk where he had taught. ConCorda is now Ireland's largest youth strings course. Although Hugh was known as a mild mannered man, he was not afraid to speak his mind on musical matters, and there were numerous instances of him voicing his concerns and disagreements with various conductors throughout his life. His own musicianship was something special and natural, with music effortlessly flowing out of his violin in it's own distinctive tone. He was pre-deceased by his wife, Tricia Catchpole (née Block), who died in February, and is survived by his sister Monty and brothers Elias and Francis, his first wife, the dancer Suzanne Lewis, and their five children, Simon, Caroline, Rachael, Anna, and Philip.


IAYO Conducting Course ­ A Participant's Point of View Louise Foxe recently attended the IAYO Conducting Workshop in the Royal Irish Academy of Music as an observer and kindly wrote a piece on her experience.

I applied for the IAYO Conducting Workshop this year because I like to do a conducting course every so often to refresh my memory and skills. I’ve attended the Association of Irish Choirs' choral conducting course in UL twice and enjoyed it very much but it was great to find a course near to where I live. I was also curious, having not done this course before with this particular organisation. I’ve conducted several choirs, but I never feel as though I can conduct ‘properly’. I suppose that comes from learning classical piano – I have a diploma in piano performance, and so I’m used to doing grades and moving up the levels, and I’ve tried to find out if there’s any qualifications that you can get in Ireland for conducting, but the only one I’ve heard about so far is a masters in Cork that doesn’t always run, I think it might happen every two years. I’ve also asked David Brophy to give me lessons at some point in the future, and he said that that’s no problem (but now that I’ve met Bobby, David might have competition!). On the first day, I felt a small bit of trepidation, as you often do going into anything new where you don’t know the people. I was a little bit worried as well that everyone would know each other – maybe through involvement in the RIAM or through music degrees (I never did a music degree), and I also wondered if I’d be a good bit older than everyone (I’m 33), but there was a good variety in background, age and experience in the group, so I didn’t need to worry. I think we were all feeling the same! I also remember feeling at ease very quickly by Bobby’s approach. I do remember, however, not feeling totally prepared. As an observer, I probably should have printed out all of the scores, because I ended up asking for copies, but I remember thinking beforehand that it wasn’t really necessary for observers to have them, and I got that impression somehow, rightly or wrongly. I thought that Bobby (the course tutor) was brilliant. I particularly remember one thing – he didn’t spend too much time on the beating patterns with us. Well, he did, but in a different manner to any other course that I’ve been on. Other courses seemed to go through the very basics – “This is how you beat 2/4; this is how you beat 3/4,” etc. – which is also important – but Bobby showed us his way of doing them, which I liked. He didn’t try to impress them on us or make us do them his way – it was just great to see a ‘style’ rather than a generic model. We’d go in each morning, Bobby would teach us technique (even from the very beginning – like how to hold the baton), then we’d sit in our group and people would take it in turns to go up and conduct a piece that they chose from one of the course-works. I liked how nobody was put under pressure to go up and conduct – for the participants, there wasn’t much point in taking part and then not going up, but I still liked how pressure wasn’t put on people. Bobby would give feedback and constructive criticism, and it was incredibly useful. We all learned from it. In the afternoon, there was usually a session with the orchestra. That was great for me especially (and I’m sure one or two others on the course) because being a piano player, I’m not at all used to sitting with other people and hearing the different sounds around you. That was a great experience. Then we’d have maybe more individual conducting, and sometimes another session, like scorereading and transposition. That was unexpectedly helpful. It’s very important to keep your all-round musical knowledge and technique up, not just conducting, and all of the different to pics contribute to the conducting and benefit it. It was

enjoyable, and eye-opening too, to hear Bobby’s anecdotes from the world of conducting and conducting courses because it gave us a view into what’s involved and the experiences that people have. I suppose I could recommend that we get notes from the course to take home with the most basic points on them, but I’m really just suggesting that for the sake of suggesting something, because we all took our own notes in our own style, which means that we’ll understand them (hopefully!) when we read back over them. I would also suggest maybe that people bring a baton. I didn’t have one with me, but there were always a few spares there – thank God – and I was never made to feel like I should have brought one, which I was grateful for, and which I think is the right approach. I’d definitely recommend doing the course – it’s in a very central location, you meet a variety of people on it, all of whom you may be able to work with in future, and all of whom have something to offer. Bobby is a great teacher relaxed, informative, useful and very enjoyable. It really adds to conducting skills, it provides you with lots of tools to go away and work with, and it’s held in a building where the atmosphere is very conducive to such learning. I thoroughly enjoyed it. I’d definitely do it again and I’d recommend it to anyone at any level really. No-one was made to feel beneath or above anyone else. We were treated as equals and the atmosphere was all the better for it. We thank Ernst & Young for supporting a number of scholarships for IAYO members for the conducting course


2013 ­ 2014 Season Auditions

The National Youth Orchestra of Ireland is delighted to announce audition dates for the 2013 season! Application forms are available from www.nyoi.ie and the closing date for applications is 27th September 2013! Auditions will take place as follows: Cork: Saturday 12th October ­ Cork School of Music Dublin: Sunday 13th October - Alexandra College, Milltown Belfast: Friday, 18th October 2013 (evening) ­ City of Belfast School of Music Dublin: Saturday 19th October 2013 (Percussion, Harp & Leadership only) ­ Alexandra College, Milltown Galway: Sunday 20th October ­ Galway Technical Institute

IAYO Festival of Youth Orchestras 2014 ­ Participating Orchestras The 1 9th Festival of Youth Orchestras will see more than 400 young players from around Ireland perform original works and arrangements from the classical repertoire, shows, films and pop music including pieces by Mozart, Beethoven, Bizet, Bartok, Scott Joplin's 'The Entertainer', Corelli's 'Christmas Concerto' and arrangements of Elbow, Cole Porter and more. 3pm Performance

Ceol Na Mara Chamber Orchestra St Agnes / Scoil Colm Primary School Orchestra & St Ultan's Primatry School Orchestra Music Matters County Wexford Youth Orchestra 8pm Performance

County Donegal Youth Orchestra East Meets West Orchestra (Headford Youth Music, Galway and Kilbride and Lakeside Band, Wicklow) Tipperary Millennium Orchestra Young European Strings Chamber Orchestra Full Price: €1 5 Concessions (Students, OAPs, Unwaged etc.): €1 0 Children (1 4 and under) €7.50 Family Ticket: €40 40% discount for groups of 1 0 or more On sale from Monday 1 6th September 201 3


St Canice's Instrumental Music Programme celebrate 30 years

Maria Comerford, Principal St Canice's NS Kilkenny, Gina O Leary, and Ruth O Leary The Watergate Theatre, Kilkenny was the venue on Saturday 22 June for a musical spectacular to celebrate 30 years of the renowned Instrumental Music Programme in St Canice’s National School Kilkenny. ‘30 years of Music Making – A Celebration’ was a night to remember the many achievements of the music programme since it was founded in 1983. The concert was a showcase not only of current musicians in the school but also of several past pupils who have gone on to become renowned musicians in their own right, such as Maria Ryan (current holder of the Heineken violin), David O Leary, Alison Comerford and Mark O Leary. The concert also featured groups of local secondary school students, who had started their music in St Canice’s and who continue to play and enjoy music together as well as St Canice’s Gateway Orchestra, a very special adult orchestra of amateur musicians making their debut performance. Eamon Cahill, who is synonymous with teaching jazz in Kilkenny also featured 2 of his jazz bands in the show. It was a night of musical diversity; from french horn, and trombone, played by brother and sister Muireann and Lorcan Brennan to violin and flute, played by Aisling O Dwyer­O Brien and John Donovan, both of whom teach music locally. One of the highlights of the evening was the performance of Mendelssohn’s Octet for Strings, where several of the solo artists came together for one night only to form a special octet. The group received a standing ovation with many of those in the audience saying their performance alone was worth the trip! Maria Ryan, celebrated violinist treated the audience to Tchaikovsky’s “Melodie” followed by the frenetically paced “Banjo and Fiddle” by Kroll. David O Leary, violinist with the English National Opera, played ‘Carmen Fantasy’ by Sarasate and again received a standing ovation for an outstanding performance of this virtuoso piece. St Canice’s Senior Orchestra, conducted by Ruth O Leary, closed the show. This multi­award winning orchestra has proven over the years to be a springboard for many musicians to even greater things and these children are themselves ‘musicians in the making’. The night would not be complete without special mention of the woman who made this all possible. As the show came to a close, Gina O Leary received a special presentation from her son David in recognition of her creation of a legacy of music for thousands of children in Kilkenny. Gina in turn expressed sincere thanks to all who had contributed to the success of the programme over the last 30 years. Speaking after the show acclaimed Dublin conductor and adjudicator Dr Albert Bradshaw praised Gina for the profound effect she has had on the lives of so many through her work in music education and for bringing the children’s “musical sense” to life. While it was an emotional night, it was more than anything a night of celebration. The last word should be left with Gina who simply said “I expected the concert to be very good but I didn’t imagine just how amazing all the performances would be. It was truly a celebration”!

Eurochestries

Catherine John is a recent graduate of the Masters in Community Music at UL. She contacted IAYO to give us information on the Eurochestries Federation, which is a network of European and international youth orchestras and festivals. Catherine became involved in Eurochestries when she took a Mexican youth orchestra to their Charente-Maritime (France) festival in 2011 for an exchange with the Youth Orchestra of l’Entre-Deux-Mers, and she has returned over the last two years as an intern at their festivals and a member of their board. "The Mexican musicians were never the same after this experience. With renewed energy and enthusiasm, they have since recruited new musicians and conductors to their orchestra, delved into more challenging national repertoire, and perform frequently, with the dream of traveling to a festival again some day." Catherine went on to study a Masters in Community Music at the University of Limerick, during which time she continued to be involved in the Eurochestries Federation, attending their annual congress in Paris, where she was appointed Representative of the United States, and interning at another of their summer festivals. The Federation has been enthusiastic about encouraging Irish youth ensembles such as orchestras, choirs, and chamber music to participate in their summer festivals, and Catherine has actively promoted the Eurochestries in Ireland. Their festivals are very affordable for participating ensembles. Aside from transportation to the festival site and during the festival (the federation does subsidise coach hire), there is a cost per participant of approx. €25 for one to two weeks' room and board, in addition to tourism, a concert tour organised by the Eurochestries, and activities and performances with other young musicians of many different nationalities. The Eurochestries Federation has not yet hosted an Irish youth orchestra and they would very much like to. Chamber ensembles and choirs are also welcome. Eurochestries festivals are held in France, Spain, Slovakia, Poland, Russia, Brazil, Canada and China. The 201 4 festival sites and dates will be announced soon. For more information, visit their website at www.eurochestries.org


Young Dublin Symphonia Tour with help from Youth In Action Young Dublin Symphonia, a youth string orchestra based in Malahide, County Dublin was chosen to take part in an EU initiative based in Celleno, Italy earlier this month. Twenty members of YDS along with their conductor Bjarke Gundersen travelled to Italy to join forces with Italian and Norwegian orchestras to make one large group of 60 members who would practise and perform a repertoire of classical music. This meeting of youth and culture was funded by Youth in Action, Norwegian branch (Aktiv Ungdom), which promotes youth based activities. Although music was a priority, discussion forums based on issues which the young people of the EU face today also took place on a daily basis. These young Irish, Norwegian and Italians discussed and debated issues such as poverty, education, stereotypes, water conservation and their own cultural identities. The main aim behind the forums was to promote young people’s active citizenship in general and their European citizenship in particular. The three orchestras performed an extensive repertoire which included Palladio by Jenkins, Water Music by Handle, Concerto

Agnes O'Kane Award The Agnes O’Kane Award is presented annually to a volunteer who has contributed to the growth of a youth orchestra or youth orchestras in Ireland and recognises the vital contribution that volunteers have had in the growth of youth orchestras over the last thirty years. The first recipients of the award were Agnes’ own family, both recognising her work and the support that her family gave to herself and to IAYO. Since then, Joanna Crooks and John O'Brien have received the award for their great contribution to youth orchestras in Ireland. If you would like to nominate someone for the award, please make a recommendation in writing to the IAYO office. Recommendations should be between one and three A4 pages long describing the person’s contribution to youth orchestras and how it has helped in growth and development. The closing date is Friday 1 0th January 201 4.

in G minor by Vivaldi, Mission Impossible, St Pauls Suite by Holst, 'Molly on the Shore' by Grainger, Mixing the Malt by Martin to name but a few. Three concerts were held in the outdoor venues of Celleno and Bolsena and in the church of Santa Maria della Verita in Viterbo which is in the Lazio region of Italy. The 201 3 activities of YDS were funded by Culture Ireland & Youth In Action and the Irish Presidency of the EU.

Youth In Action Orchestra Exchange: Dum­Tek Dum-Tek is a not for profit music association located in San Salvo. Its aim is to foster curiosity for art and passion for music among young people. From the start, all Dum-Tek’s activities have been carried out with an intercultural emphasis focusing on different genres of music (including from the orchestral repertoire). Dum-Tek have recently expressed the willingness to do an exchange with a youth music group through the Youth in Action programme. The aim of Youth in Action is to get groups of young people from different countries together so they can explore their social and cultural difference and similarities. It's specific objectives include improving the mobility of young people and youth workers, promoting youth empowerment and active participation, promoting cooperation and exchange between youth groups. This could be interesting for our members as there is funding available for trips such as these, and if you wish to pursue it further, we have a number of documents with further information on our website at http://www.iayo.ie/news/youth-in-actionorchestra-exchange-dum-tek/


ConCorda 2013 Tara McCarthy writes about her experience at this year's ConCorda course in Kilkenny

This year was ConCorda’s twentieth anniversary and, to mark the occasion, there was a commission for a new piece to be composed. This was the job of Sam Perkin, a young composer who visited the course to see the rehearsals and performances of his new work Inspirit. It was a very inventive work and, as he was asked to write for a chamber music course, it cleverly included several chamber groups alongside chamber orchestra. Not only this, but we had the chance to use voice, percussion and droplet sounds among others! Learning this new work was a great experience, and we also had the opportunity to perform the World Premiere! Most importantly, this was dedicated to the founders of the course, Hugh and Tricia Maguire, who both recently passed away. As well as this, we enjoyed three daily sessions of chamber groups in which we had the chance to work through great works such as those of Prokofiev, Mendelsshon and Mozart among many others. These three different groups could consist of quartets, quintets, sextets or octets. We all had the chance to work with teachers from the Irish Chamber Orchestra, The Vanbrugh Quartet, Acanthus Quartet and Danel Quartets to name a few. All of this takes place in a completely non-competitive atmosphere, where everybody’s playing improves immensely over the week. It’s a great chance to play chamber music and if you haven’t played in a chamber group before, it’s the best place to learn to do so!

Irish Youth Wind Ensemble 2013 Emma­Lee Meegan was a member of this year's Ensemble, and she kindly wrote about her experiences this year for Newsnotes

My 201 3 IYWE experience got off to an early start at 5am on Sunday, 1 8th August. As it was my first year in the ensemble I was suffering from a few nerves on the bus on the way down, but fortunately my friend, who was in it last year, kept me entertained with stories of how nice everyone was and how much fun the week would be. After registering, we spent Sunday and half of Monday in sectional rehearsals. It was a bit daunting at first, being stuck in a room with eight brilliant trumpet players, but once we got Members of this year's Irish Youth Wind started on the programme I Dublin soon forgot how nervous I’d been. Everyone was very friendly and our trumpet tutor, Dave Collins, was great. Monday afternoon saw our first rehearsal as a full ensemble with conductor, Ronan O’Reilly. Having never been part of such a talented ensemble before, I was amazed by how well everything seemed to fit together so soon into the week. I loved the choice of programme. The pieces were challenging but at the same time there didn’t seem to be anybody having nervous breakdowns over particular bars – so just the right level of difficulty. I think everyone in the ensemble would say they enjoyed every piece on the programme – there was always a

The quartet in residence this year was The Acanthus quartet. They inspired the whole course to sing snippets from Dvorak’s American Quartet by the end of the week. They did not hesitate to get involved in all of the activities throughout the course. One of the all important events is the talent show. It was varied as always, with a mixture of entries from staff and students providing fantastic entertainment. Other extra-curricular activities include sports, sight-reading sessions, fashion show and the ConCorda quiz. These activities especially help you to get to know staff as people and not just teachers, which is a great aspect to the course. Music theatre is a session in which students come up with their own show during the course. It allows you to improvise and be completely creative with music. This is an important and original aspect to the course, like no other, especially since we as classical musicians often do not improvise so it provides a relaxed atmosphere in which to do so. Nearing the end of the week, we visited the beautiful Castalia Hall, where the orchestra premiered Sam’s piece Inspirit. This was the venue for the much anticipated performance of the Acanthus quartet also, one that was enjoyed by all. The family atmosphere of the course is one that is never forgotten, whether new at ConCorda, or experienced at the course, everybody is welcomed to this great week. The friends that are made here are ones that stay with you and often go back year after year for the experience. Following my third course, I can safely say if you haven’t applied before don’t hesitate, you will have an exciting and inspiring musical week!

great atmosphere during rehearsals and no stage where the conductor was getting frustrated. He even had the time to make fun of a few people’s accents (Ardee-hey!). My favourite piece was Nigel Hess’ East Coast Pictures because it had the most fabulous cornet and trumpet solos (but perhaps that is a little biased). I also loved the ‘Tango’ in Yosuke Fukuda’s Symphonic Dances. I honestly can’t say that I had a least favourite piece. The most challenging for me personally was the Trombone Concerto, as I was playing first trumpet in it and it had a few awkward passages. We were kept well entertained in the evening with trips to the cinema, bowling, a quiz or just general socialising. The week wasn’t long flying by with rehearsals until 9pm every evening and it became hard to stay awake at night later on in the week! Ensemble on Sandymount Strand, It was amazing, come Saturday, to be part of the concert in the National Concert Hall. Everything ran as smoothly as we could have hoped. Despite how great I thought we sounded at the start of the week it was incredible to hear the difference those few days had made to everyone. Part of me actually spent the concert wishing I could be out in the audience hearing it all from their point of view as I’m sure it sounded even better there than it did at the back of the trumpet section! Overall, IYWE was a fantastic experience. I’m so glad to have met such a talented group of young musicians and am looking forward to IYWE 201 4 already!


Garda Vetting for Youth Orchestras IAYO provides Garda Vetting for youth orchestras and ensembles through the consortium run by the National Youth Council of Ireland. Contact Bertie at the IAYO office for details on vetting staff and volunteers with your orchestra.

Achievement Awards The IAYO Youth Orchestra Achievement Awards are presented annually at the Festival of Youth Orchestras. They acknowledge achievements in a range of categories for programmes completed by youth orchestras in the previous year. We are now accepting applications for the 201 4 Festival.

Newsnotes Online You can now access our paper version of Newsnotes online on the e-publishing website issuu. You can access this edition and many of our previous editions of Newsnotes at issuu.com/iayo

NYCI Certificate in Youth Arts 2013­2014 open for applications Applications are now open for the NYCI Certificate in Youth Arts, a part time, year-long university accredited course of study in Irish Youth Arts Practice managed and delivered by the Arts Programme at the National Youth Council of Ireland. The Certificate in Youth Arts aims to introduce those working in the non-formal education sector to the concepts, principles and practice of youth arts using a context and practice approach. The application deadline is Friday 20th September 201 3. For more information visit www.nyci.ie

More news, more detail, more often . . . . www.iayo.ie/newsnotes

Arts Council Festivals and Events Scheme 2013 The Arts Council Festivals and Events Scheme will be open to multi-disciplinary festivals and single artform festivals. Events may be one-off projects or programmed over a number of months (e.g. a concert series). So far, IAYO members such as Summer Music on the Shannon, Coole Music Youth Orchestra Festival and Ceol na Mara have benefitted from funding. The Festivals and Events Scheme is a non-recurring competitive scheme, assessed by a peer panel. The closing date for applications is 1 9th September 201 3 and for more information visit the arts council website www.artscouncil.ie

Implications of the new Garda Vetting Legislation

There was a report prepared for the board of IAYO on the implications of the new Garda Vetting Legislation which includes guidelines provided by the National Youth Council of Ireland. You can find the report and the act itself at http://www.iayo.ie/vettingact

Charity Regulator Gets Green Light An announcement by Minister for Justice, Equality and Defence, Alan Shatter TD that Government has approved plans to establish an independent Charities Regulatory Authority is welcomed by the IAYO. The new Authority will come into operation in 201 4. This is good news for both the public and charities. When the regulator is established, members of the public will for the first time have access to comprehensive information on the activities of community and voluntary organisations, including how they use their funds. Community and voluntary organisations will themselves enjoy clarity on what the requirements are in relation to governance standards, fundraising practices and reporting requirements. All in all, everyone – charities, members of the public and beneficiaries – will benefit from the increased transparency and accountability that regulation of charities will provide. In February, the Government embarked on a public and stakeholder consultation on the implementation of the Charities Act 2009. The Department of Justice and Equality also published a summary report of submissions received.


IAYO Newsnotes September 2013